I’ve always been a fan of movies that examine how deaths can affect the ones we love and how it can create a pretty significant ripple. “Suck It Up” is a bit of “Garden State,” and “Ordinary People” mixed with mumblecore here and there. While I appreciate director Jordan Canning’s efforts to create this drama about how the death of one of the more important people in their lives affected them drastically, the script from Julia Hoff seems to be almost bereft of drama to the point where scenes just stretch out in to nothingness. There are a lot of really drawn out moments where almost nothing happens. In brief scenes where Canning tackles the dynamic between our characters Ronnie and Faye, “Suck It Up” presents only slight glimmers of an emotional character study.
Tag Archives: Drama
The Neon Demon (2016)
Whether or not you like Nicholas Winding Refn, there’s no doubt that he makes art that gets people talking. Surely, his movies are hit or miss, but they are art that spawn emotions that not many directors can incite. Much like Lynch’s “Mulholland Drive,” Winding Refn’s newest masterpiece is a statement about the ills of fame and how Los Angeles can consume innocence and naiveté. Winding Refn makes a statement about how the modeling industry is literally cut throat, while seemingly drawing inspirations from films like “Suspiria.” The women here are assuredly predators intent on committing a devious scheme that revolves around the idea of vanity and self preservation.
Dirty Dancing (1987)
Returning to the big screen on January 29th and February 1st for a 30th anniversary presentation from Fathom Events and Lionsgate.
“Dirty Dancing” represents a lot of what made eighties cinema so great. There’s the obsession with the sixties, Jennifer Grey, Patrick Swayze, a pretty brilliant soundtrack, and of course a story about the guy from the wrong side of the tracks and the upper class girl above him in certain respects. Sure, “Dirty Dancing” can be silly, but it’s silly in a good way, and it’s bold in its approaching abortion as a key story element that sets the narrative in to motion. “Dirty Dancing” is one of the best movies about the love of dance and music ever made, and while it’s definitely associated with the chick flick label, it’s a movie that just about anyone can enjoy. And how can you not love “(I Had) The Time of My Life”?
I’m Not Ashamed (2016)
“I’m Not Ashamed” is a movie in desperate search of a martyr. Brian Baugh’s “I’m Not Ashamed” takes the true story of Rachel Joy Scott and completely sidesteps facts in favor of a sickeningly exaggerated tale of faith, and persecuted Christians in America. Rachel Joy Scott was the first victim of the Columbine massacre, and drew particular attention for a piece of art she made before the massacre that centered on two tear soaked eyes and their thirteen tears. Allegedly it was prophetic of what occurred in Columbine and represented the thirteen lives lost on that day. “I’m Not Ashamed” works over time to turn Rachel in to a female Jesus Christ who literally sacrificed herself during the Columbine massacre for some kind of holy purpose we will never understand. The writers turn Rachel in to a potential prophet taken down before her prime, and by turning the entire day in to a case of angry atheists taking their anger out on others rather than turning to God.
Ouija: Origin of Evil (2016)
After the dumpster fire that was 2014’s “Ouija,” it’s a most impressive feat to see Mike Flanagan follow it up with a damn good horror film that serves as a prequel. It’s also kind of shocking how Flanagan is able to deliver a truly creepy horror movie that also almost makes the original “Ouija” retroactively better; if just a little. While “Origin of Evil” is not a masterpiece and feels a bit like a pseudo-sequel to “The Conjuring,” director Mike Flanagan is able to do what the original film couldn’t. He involves us in an engrossing and interesting story about loss, death, and grief, and how evil can prey on our desperation to want closure in a world where very few of us can actually get it.
Pitchfork (2017)
I can’t help but appreciate the inherent ambition behind the production of “Pitchfork.” Director and Writer Glenn Douglas Packard delivers a slasher film that offers the classic tropes, while also feeling like something completely different. He also manages to concoct a premise that’s actually original and doesn’t feature the same old idiot teenagers looking to party who get stranded or whatnot. He actually sets out to deliver a unique premise, and gives our characters their own motivations. It’s also not often we get slasher movies with final boys, but “Pitchfork” creates one who is not only genuinely heroic, and selfless, but facing his own dilemma when we meet him.
We Are the Flesh (Tenemos La Carne) (2017)
Emiliano Rocha Minter’s “We Are The Flesh” is arthouse, horror, fantasy, surrealism, experimental. It’s also droning, boring, and at barely eighty minutes goes on way too long. “We are the Flesh” begins as something of a post apocalyptic tale where two wandering Mexican teenagers find a demented older man living by himself in isolation as a hermit in a humongous building. Everyday he forages for resources, and makes new resources which he trades for food by some unseen entity behind a wall. The minute the pair finds him, they’re taken in to his bosom, and are dropped in to demented world that is either Eden or Damnation. Quite clearly, Emiliano Rocha Minter seeks to take all kinds of imagery and use it as a sense of multipurpose provocative metaphor and symbolism, and pretty much all of it is a chore to sit through.