The Skeleton Twins (2014)

Posted on December 16, 2014 by Felix Vasquez

While Craig Johnson’s “The Skeleton Twins” had every chance to be a self indulgent vehicle for two SNL alumnis, “The Skeleton Twins” ends up being quite fantastic, and compliments the idea that Kristen Wiig is more than a comedian. Co-star Bill Hader also proves he can handle dramatic material with the best of them. Hader’s turn as a self loathing homosexual who is one part of self destructive twins is something of a revelation, and his turn here is Oscar worthy. Maggie is on the verge of committing suicide when she gets a call from a hospital alerting her that her long lost twin brother Milo attempted suicide.

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Wish I Was Here (2014)

Posted on December 15, 2014 by Felix Vasquez

When it isn’t trying to be profound or reaching for metaphor and goofy Spike Jonze style photography, “Wish I Was Here” ends up being a pretty interesting family melodrama. It’s not by any means Braff’s masterpiece. I think we’re a long way from ever seeing one. Here he repeats the same beats of his former indie drama “Garden State,” ad nauseum. He’s either intent on reminding people why the aforementioned was so good, or he’s bereft of offering anything new. There’s Jim Parsons, a fractured relationship with a father figure, the ghost of a dead mother, Braff’s character is an actor, and there be plenty ‘o montages set to indie rock music.

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Trance (2013)

Posted on December 13, 2014 by Felix Vasquez

One thing you have to give “Trance” is that it’s not one of Danny Boyle’s typical films. Prone to delivering grit, even with family fare like “Millions,” his newest opus is something of a surreal and mind bending thriller that constantly shifts between plains of consciousness and vision that often fools the viewer in to trying to figure out what’s reality and what’s pure dream. And that’s the point of “Trance” in theory. It’s supposed to be about characters living in trances, many of whom are avoiding reality. It’s a shame the premise is so interesting as Danny Boyle’s film is a complete misfire.

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Annabelle (2014)

Posted on December 10, 2014 by Felix Vasquez

I don’t think we really needed to know the story of “Annabelle” nor did we need a movie about her. And if we had to have one, wouldn’t it have been better to expand on the events from the prologue of “The Conjuring”? What’s sad is that the first five minutes of “The Conjuring” involving Annabelle is more terrifying than the ninety minute bore that is “Annabelle.” It seems like often times the movie can reach the heights of pure terror if it wants to, but pulls back for some odd reason. Either director John R. Leonetti doesn’t know how to hit those highs that “The Conjuring” did, or just didn’t want to, for the sake of a sequel. “Annabelle” sets up the prologue by staging the first five minutes from “The Conjuring” to let audiences know this is a direct sequel, and spin off, and prequel. It’s all three.

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Under the Skin (2014)

Posted on December 10, 2014 by Felix Vasquez

Girl drives. Girls picks up guy. Girl lures guy into black muck. Girl drives. Girls picks up guy. Girl lures guy into black muck. Girl drives. And that’s the gist of “Under the Skin.” I’m not sure if I’d recommend “Under the Skin” to even the most open minded arthouse buff. It’s not to say that “Under the Skin” is awful. It’s just an experience that won’t lend well to repeated viewings. Especially when you consider that much of what occurs is either explicitly stated and or subtly hinted at for ambiguity. For the sake of science fiction, much of “Under the Skin” is obvious, while director Glazer also vies for a gritty realism that’s sorely out of place when we see it.

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The Babadook (2014)

Posted on December 5, 2014 by Felix Vasquez

In a time where studios aim for shocks over substance, especially with the advent of the found footage sub-genre, it’s great to see a horror movie that’s horrifying and about something. Director Jennifer Kent’s first outing as a horror director is a downright flawless effort that doesn’t just shock audiences, but has a ton of subtext, and undertones that deserve to be examined by literally everyone. It’s not just a movie about a mother and son being terrorized by a monster, but a movie about the mother and son dynamic. More to the point, it’s about the birth of a child, and how blame can often be misplaced on the unborn child for circumstances beyond their control.

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