True Story: The Rules of Writing and the Meaning of "Truth"

I'm just gonna say it: it's weird to see Jonah Hill and James Franco in roles where they're not telling inappropriate jokes and romping into each scene kicking up mayhem. However, they both seem to hold their own in True Story.

And they're not even telling potty humor jokes.

Hard to believe, I know.

Hill plays Mike Finkel, a writer for the New York Times. When Finkel compromises the verity of a story that he's written, he's immediately fire from the famed newspaper. But not long after he's moved back to Montana (who the hell decides to move to Montana, btw?), he receives a strange phone call. The man on the other end informs him that a child murderer has been arrested and that he was found to be using Mike Finkel's own name. Finkel then meets this killer, Christian Longo (Franco), and decides that there may be something to be discovered here. He then dedicates himself to the task of attempting to tell Longo's own version of the story. With a book deal in the mix, he may be able to salvage his writing career. But getting close to Longo proves to blur the lines of truth. Can he really trust this guy? And what is it about him that reminds Finkel so much of himself?

Honestly, I was impressed by these two performances. Franco has a tendency to act in a variety of roles and Hill is starting to get more and more attention with each movie that he comes out in, but these roles were pretty tricky to nail and both actors come out on top. They're deceptively subtle, each of them. Hill is believeable as the ruined journalist looking for a way out and finding it in a man who is creepily like himself. And Franco's likeability sustains throughout almost the entire film, until you get towards the end and the horror of what he's done resurfaces.

Creeeeeeepyyyy

The movie's big question seems to be about telling the truth. Finkel gets fired from the NYT because he's embroidered upon a story about impoverished young children in Africa in order to buy them more attention (he says). And then the rest of the movie is dedicated to trying to figure out whether Longo is innocent or not, through his 80-page letters, deep conversations, and other interactions with Finkel. It isn't until the story begins to taper off that we start to realize the true character of Longo, and that makes the end of the movie pretty damn creepy.

The title and backstory of the movie are also delightfully meta. The story of Mike Finkel and Christian Longo is incredibly true. But is True Story really a true story? How true is it? How much can we trust the verity of biopics and stories that claim to be true if they're spun into a form that's meant to entertain and engage as much as it is to inform? And it's those questions that make the film so thought-provoking.

Good stuff and hats off to Hill and Franco. 7 outa 10.

Play Misty for Me: Hope You Like the Sound of Mouth Breathing

I'M ALIVE! And I'm still watching things, I swear. I'm just not having my usual energy levels because I got a new job (cue the "Hallelujiah Chorus").

Anyway, since I'm trying to get back on my Netflix DVD game and I've been catching up on some old flicks that I had heard about a trillion times, I decided to watch Play Misty for Me, one of Clint Eastwood's first movies (bless).

Aw, lil guy.

The plot follows suave radio DJ (like there is such a thing) David, a guy who lives near Carmel in what I can only assume is California. After meeting a nice woman named Evelyn at a bar, he takes her back to her place, they have a talk about having "no strings attached," have a one night stand, and call it a day -- OR DO THEY? So Evelyn keeps on popping up all over the place, namely David's house, and cooking him food, buying him stuff, etc. And David's starting to get a little creeped out at this point, so he tells her to back off. But she doesn't. As the plot continues, Evelyn becomes less and less passive and more and more obsessed with getting to David, who she thinks is her one true love.

Don't they just scream true love?

The whole "stage 5 clinger" storyline is far from new. Leave Her to Heaven, Fatal Attraction, Misery, Single White Female, and a whole bunch of other ones. What is it that we find so fascinating about people that don't take "I don't love you" as an answer?

Whatever the answer is, Play Misty for Me is indulgent, dated drama. It's not bad, but it was hard not to laugh at it for being so over-the-top at points.

On that note, Play Misty for Me is pretty dated, coming from a modern perspective. Why is David so into jazz? Were radio DJs really that cool back then? Did everyone have a blind hair stylist for this film?

Seriously, what's happening here...

One thing that really stood out (and drove me BONKERS) was the sound editing in this. While you could make the argument that the sound of heavy breathing over action shots is interesting editing, I'm gonna call it like I see it -- no one likes mouth breathing. And Evelyn's craaazy shrieks against the quick zoom-ins to Clint Eastwood's eyes are just so cliche for this time period. It's hard not to giggle.

Also what the heck is up with the soundtrack here? Why is Evelyn, a girl who seems pretty fashionable for all her crazy, so into terrible jazz? Why is David so into terrible jazz? Was terrible jazz a thing that was cool in the past? Were these the original hipsters? What is happening??

Play Misty for Me. Or, y'know...dont'...whichever...

5 outa 10.

"You're not dumping me, Buster Blue-Eyes!" I just...can't. Also, what is this music??

Frank: Papier Mache, Fassbender, and the Meaning of Art

Michael Fassbender wearing a giant papier mache head? Weird band making music out of weird stuff? Domhnall Gleeson? Streaming on Netflix?

How can you say no?

Jon Burrows (Domhnall Gleeson) is not a good song writer. Despite trying his hardest, he seems to be continually grasping at straws to write even the simplest melodies. But then he happens upon an eccentric band in need of a keyboard player and finds himself swept up in their weird ensemble. Fronted by a guy named Frank, who wears the aforementioned papier mache head, the group is...hm...weird as hell. As Jon is thrust into the mentality of a group that unquestioningly does whatever Frank tells them, he sees golden opportunity for growing as a musician. Trying to grow their fan base (as is the modern way), Jon creates a social media profile of the band unbeknownst to them, and ends up compromising their structure and, worst of all, their sound.

This movie was pretty cringe-worthy at times. Jon's sheer obliviousness at his own lack of talent is exacerbated by the fact that all of the band members (except Frank) totally hate him. While his acceptance into the band is a revelation on his side, especially after spending the opening scene of the movie trying to compose (hilariously) horrible songs, the rest of the members look at him like an itch they can't scratch. And ultimately, everything that he does to try and make the band more mainstream only serves to alienate him further from the others.

It opens up really interesting questions, though, about what people consider "good music." The band's members are, for the most part, mentally unstable. But that only serves to make their music more interesting, and to give them all a different perspective on their form of expression. Ultimately, it's because they're all a little loony that they can make the music that they do. And the driving force behind why it's so good.

Jon, by contrast, is trying to make the band into a mainstream success and that is just not who they are. By trying to make their sound all bubblegummy and catchy, he only succeeds in destroying what makes them them. His best efforts end up sounding pedestrian, basic, and (honestly) terrible. Tt becomes more and more obvious, he's not an artist, and that his music is not expressive of anything that he actually feels.

Favorite parts: Jon's hilariously awful songs in the first scene ("LADY IN THE RED COAT, WHAT YA DOIN' WITH THAT BAG??" I died.), Maggie Gyllenhaal's performace in general, the "I Love You All" song.

Very thought-provoking despite being the most offensive waste of Fassbender's beautiful, beautiful face in recorded history.

7.5 outa 10.

Mr. Turner: The Most Boring, Confusing Period Drama I've Ever Seen

Can we all agree that period dramas are usually pretty damn good? Like, look at all of the various Pride and Prejudices and Jane Eyres; or classics like Sense and Sensibility; A Room With a View; Shakespeare in Love; Elizabeth; Dangerous Liaisons; Emma; The King's Speech; Mansfield Park; Young Victoria; and a bunch of others.

Granted, these all have their pros and cons, but generally when you see a trailer where the cinematography is on par with the rest of these sorts of films you have no reason to suspect that they're, um, not going to be very good.

Mr. Turner, which I had been dying to see since the moment I saw the trailer, was a total let-down.

The plot (if you could call it that...) follows J. M. W. Turner in his later years, diving right into his life as a prolific, and somewhat controversial, painter.

Um...and that's the plot.

His life featured a jolly father who died when he was middle-aged, a failed first marriage and unacknowledged children, a common-law (presumably) marriage to a Mrs. Booth who is the only redeeming character in the film, and a weird, creepy housekeeper who shuffles around the entire film without saying more than, like, a sentence.

Ugh, this dumb biddy...

Now, keep in mind, I didn't really do research on this guy's life before going in to see the film, so I was just seeing what was put in front of me.

The nice thing about this is that I could, objectively, see what they were going for in terms of Turner's character. A gruff man who growls more than speaks (a little too much, if you ask me), there are a handful of moments throughout the film where we get an idea of his profound sensitivity in a way that's extremely intimate.

The cinematography and mise-en-scene are absolutely grogeous, and we get to see the original subjects of some of his most famous works, providing context for some of his more abstract paintings.

Like dis one.

Outside of these little gems though, the movie is just bewildering. And honestly, that's not something that you want for a biopic. Especially in trying to reflect the life of a well-known artist.

While we get little vignettes and insights as to the quality of his life, the majority of the film just feels like filler, and I found myself asking "What is the point of this scene?" more often than not. While there are a few shots that Mike Leigh makes thought-provoking and beautiful in a minute-to-minute frame, the overall message of the film is blurred as you realize that none of the scenes really connect to mark a larger message. You leave the theater thinking "Mr. Turner really liked to paint and had a lot of feelings! He was a pretty okay guy, I guess!" without really learning anything much about his art, or even really about his family life.

Seriously, who are you?

Fundamentally, too, I had a major problem with how inarticulate Timothy Spall is. Like, okay, the man grumbled like a bear. A lot. Okay. We get it. Please make the grumbling stop. Oh god now he's choking. Oh GOD, now he's gurgling?? Now he's gurgling and grumbling and choking??? Make it stooooppppp.

Woof.

Anyway, I guess my point is this: If you're going to go see Mr. Turner because you want to see a pretty movie, by all means go ahead. But if you go in expecting to leave with a better knowledge of what Mr. Turner's art was all about? Uh...you're probably going to be a little disappointed.

5 outa 10. Extra point deducted for disappointment. Just sayin.

The Babadook: Nightmare Fuel.

As most horror movie fans would probably agree, finding a well-made scary movie can be a little harder than you might think. Churning out blood and guts (sometimes quite literally) can be done by any idiot with a camera and some corn syrup. But instilling actual fear? That's something that requires a bit of finesse.

The Babadook, an Australian film garnering more and more attention, is one of these films.

Full disclosure: I don't think he's funny.

The plot follows a mother, Amelia, and her son, Samuel. Samuel is having some behavioral problems that are interfering with his classmates, his cousin, and (most markedly) his mom. He has a pathological fear of monsters, which prompts him to make numerous homemade weapons, frighten those around him, and makes it nearly impossible for him to sleep. Despite Amelia's attempted patience, there's a tangible exhaustion that totally envelopes her character. She's dealing with the grief of having lost her husband in a car accident seven years before (incidentally, on their way to the hospital to have Samuel) and her son's antics are driving her up the wall.

It only gets worse with the arrival of a mysterious pop-up book in her son's book case. A book that tells of a man called Mr. Babadook, and shows images of him watching you, waiting to be let inside, and finally, forebodingly, ends that once you've seen him you'll "wish you were dead." At first denying the existence of this creature, the mother begins to hear and see strange things at night. As things gets more eery, the Babadook starts to affect their lives and their relationship. But is the Babadook real? Or is it a manifestation of the mother slowly losing her sanity?

Is he in that closet tho..?

The Babadook is really interesting in that it blends psychological and supernatural horror in a way that hasn't been done this gracefully, to my memory, since The Shining. While you want to believe that there are supernatural powers at work, there is also a tangible slip in Amelia's psyche as she becomes more and more blunt and antisocial. Honestly, for the first half of this movie, all I could think was "This poor woman." Her son's unacceptance of the idea that there is no monster almost makes you feel hopeless. But then when he ends up being right (or does he?) you're immediately conflicted with whose side to root for. Is Amelia just at her breaking point? Is the Babadook a supernatural manifestation of her emotions? Or is he simply a monster like the child's been saying all along?

In terms of technical specs, the cinematography is on point. This is where, I might add, a lot of B-horror movies screw things up. Too many long shots, bad dialogue, sloppy editing, and dozens of other things can turn a horror movie into a nightmare (heh, see what I did there?). Director Jennifer Kent goes out of her way to give you some great jumps and fantastic creeps without sacrificing artistry. And, like all worthwhile scary movies, it has a way of manipulating sound that totally will creep you out. In their too-quiet house, Sam's outbursts are more irritating, his mother's silence more resounding, and the sounds of their intruder incredibly scary.

In a lot of ways, The Babadook reminds me of a few Asian horror movies that I've seen. A lot is left unexplained, and a lot relies on mystical realism, but that is part of what makes it so good. It's not an episode of Scooby-Doo, where the monster is revealed and you can go home with a sense of closure. It ends leaving you on your toes. After all, you can't get rid of the Babadook.

Great, great, great. 8 outa 10.

Arranged: Finding Common Ground

Following the recent devastating events in Paris, it seemed fitting to watch a movie about religious differences and how they affect (and don't affect) us in our day-to-day. The movie Arranged had been on my Netflix queue for a while, but (in pure Annie form) I was like "Ehhh...I'll get to that one later." Yesterday seemed the perfect time to check it out.

Nasira and Rochel (the "ch" pronounced with that back-of-the-throat sound so common in Hebrew and French languages) are both teachers at a Brooklyn school. Though they start off as quiet strangers, they are quickly thrown into an unlikely friendship. Despite the fact that Rochel is an Orthodox Jew and Nasira is a Muslim, they bond over their shared fates being in an arranged marriage.

What's great about this film is that it celebrates diversity without being blatantly secular. Instead of saying "oh religion is stupid!" each main character comes to the conclusion that they love their traditions and religions, despite being shoved into secular attitudes by their (somewhat overbearing) principal. And they give a nod to the secular experience as well. Rochel, after having a particularly hard time going on dates with weirdos, takes a minute to visit a cousin who isn't Orthodox Jewish anymore. And, without being hard on people that choose this kind of a lifestyle, decides that it isn't for her.

But honestly, the nicest thing about this movie is that is shows that interfaith friendships aren't impossible. Despite their parents' blatant disapproval, Rochel and Nasira end up being extremely close, to the point where Nasira goes out of her way to help Rochel find a proper suitor! There are shots, also, of each of them striving to understand each other's religion. From Rochel letting Nazira henna her hand to Nazira going with Rochel to pray at her grandmother's grave, there are small moments where they learn to accept each other. And, especially in the spirit of this week, that kind of tolerance between two very strict religions is invaluable.

A lovely movie. Believable yet powerful. 8.5 outa 10.

Whiplash: You'll Never Think of Jazz the Same Way Again

I remember when I was in high school, there was a teacher that made everyone incredibly nervous. The kind of teacher that would tell you to read the footnotes on the pages of the text book and then quiz you on them the next day. The kind of teacher that would stop and stare at you if you didn't have the right answer, and tell you to look it up on the spot, instead of moving on to another person that had their hand raised. He scared the absolute crap out of me.

Fletcher, of Whiplash, makes my high school teacher look like Santa Claus.

The film starts off with a young drummer named Andrew. A shy 19-year-old, Andrew is a student at Shaffer University (a fake school made to mirror the likes of top arts universities like Juliard). Second chair drummer in a class band, he catches the eye of Fletcher, the razor-sharp conductor of the school's studio band. Testing his strengths and weaknesses, Andrew endures psychological and physical abuse at the hands of his teacher to remain in his position as the drummer of the band. The film begs the questions: What is the true way to realize an person's talent? What is the cost of success? And how far are you willing to go to get it?

Could you handle this every day? 'Cause I could not.

I had heard that this movie was impeccable, and I really have to agree. I can't remember being as tense watching a movie since Gravity, and the fact that the film largely relies on psychological games to achieve this effect is nothing short of impressive.

Teller is absolutely brilliant as the understated Andrew. Having loved him in The Spectacular Now, he really gets to show his acting chops playing a more dynamic character. His transformation into the cocky, outspoken musician (that quite creepily ends up mirroring that of J.K. Simmons's character Fletcher) is totally believeable. What keeps the movie so captivating is Andrew's self-discipline, and his sheer will power at being able to bend and not break. And you expect him to break. Things come to a head several times within the story, and just when you think he'll up and quit -- he just keeps practicing harder.

Agggghhhhh.

That being said, and on the flipped side of things, the acting done by J. K. Simmons is nothing short of masterful. His most memorable role in my mind before stepping into the theater is when he played the father of a pregnant teenager in Juno. (And of course his role as the spokesperson for Farmers Insurance.) But honestly, the reign of terror that he unleashes on his entire band, and on Andrew specifically, has wiped the image of those good-natured characters from my mind. He is mind-bogglingly ruthless. Putting both the bands he conducts as a whole and the students within them on the line -- just to make a point -- you've got no choice but to believe the worst of this man.

And yet, one thing that the movie also does incredibly well is whisper the question: "...Is it worth it?"

Fletcher reflects at one point that there are no two words more damaging than "Good job." Students that get mollified are only then encouraged to accomplish the status quo. Students that are challenged by looking stupid react instinctively by practicing harder so that it never happens again. Andrew, instead of breaking under the massive weight of all of the psychological torment, only bounces back by practicing harder and getting better. So, the question remains...is it worth it?

Absolutely mesmerizing. I can only imagine the physical toll that this took on Teller, as he looks about ready to pass out or break something a few times. And wonderful score. Hope this ups everyone's jazz intake.

9.5 outa 10. Honestly. Very good.

Exodus: Another Biblical Blockbuster

The boils. The frogs. The flies. The locusts. It's a pretty well-known tale. Between Judaism and Christianity, the story of Moses lays some pretty thick groundwork conveying the strength and power of the terrifying God of the Old Testament. (Homie did not mess around.)

For those of you who might not know this story, skip on down to the bottom and enlighten yourselves.* For everyone else, let's stay up here and talk about the movie.

Focus.

All in all, the film is pretty neat if a tad long. Since Scott chooses to go very introspective and very modern with the personality of Moses, we see something much more realistic than Moses as he's portrayed in The Prince of Egypt or The Ten Commandments. 

At the risk of repeating everything that I said in that other post from September, I find this new trend in biblical movies pretty fascinating. For any person that went to church every Sunday as a child, it's interesting to see the stories you've heard 10,000+ times reimagined and made realistic. Such is definitely the case with Exodus: Gods and Kings, Ridley Scott's version of the famous Old Testament tale of plagues, miracles, and freedom.

Much like Noah of last year, Exodus is an interesting watch in that it takes the biblical story and then builds on it and gives it depth. If you've ever read the story as it is written in the book of Exodus, things can be a little sparse on detail. You see the words on the page that Moses trusted God to do the right thing but a lot of times you forget how emotional Moses's ties were to Egypt. Seeing the film unfold is a great reminder that these weren't made-up characters, they were human beings with thoughts, feelings, and opinions.  From his personalized sword, which was given to him by Ramses's father, to the fact that he was basically Ramses's right hand man for the first half of his life, them ties are deep and hard to cut.

lolz totes broz

Another thing that I found interesting was the fact that in this movie Moses isn't always unflailingly accepting the things that God was asking him to do. He weighs possibilities and discusses things with him, and God even seems to ask his input on things. God seems a little more on our level than he does in the bible. Scott chooses to make Moses an atheist at the beginning of the movie which I also found interesting.

Now, this is a little different than what I learned and a little different from what's in the bible. We don't really get a glimpse of what Moses's personality was like, nor do we learn from the actual book of Exodus what he was at the time of his banishment from Egypt (Prince of Egypt has him as the chief architect and Exodus portrays him as one of the pharoah's top generals of war), so there's a lot of wiggle room for creativity. But I found that kind of cool. When you're taught these lessons as a kid (and honestly, the way that Exodus is written reflects this as well) it's very God-is-omnipotent-so-we-do-what-he-says, but Exodus portrays this relationship as more two-sided than that, and by the end scene we see that not only do God and Moses respect one another -- they're kind of buds.

I was a little bummed out by the fact that God is kept more mysterious in this version of the story -- and honestly if you're cynical enough you could make the argument that Moses suffers a massive concussion and that is why he goes through this whole ordeal to free the Hebrews. When you read it, God is with Moses almost constantly, telling him to turn his shepherd's staff into a snake, making the Egyptians uncomfortable, and all kinds of other direct God-to-Mo contact. Moses shouts at one point in the film "I'm tired of speaking to a messenger!!" but this is not so in the bible. We know that God originally appears as the burning bush but after that he pretty much is talking to Moses one-on-one.

"Yo, Mo, lemme part that sea for ya right quick."

"Kthanks, God."

The only qualm that I have with the movie is that I only wish Scott had chosen a bit more of a racially diverse cast, and that he should've added some more character development. In scenes where major Egyptian and Hebrew characters share the screen, there's no markable difference between them besides cleanliness. And honestly, characters range from being bizarrely super-white (Sigourney Weaver???) to wearing too much bronzer (yes, you, Ben Mendelsohn). The only ethnic characters that we get to see are the wives of Moses and Ramses and, while they do a terrific job, they make the major casting even more obviously whitewashed.

The accents, too, are a little weird. I think Americans have a tendency to be like "Well obviously we can't expect everyone to learn a foreign language so let's slap the audience with some British accents. That'll make it fancy." Weaver's heavy American accent is a bit of a jolt next to the clipped British tone of the film (I mean, come on, even Aaron Paul pulled it together and sounded okay). While the casting is a little weird, though, if we're being honest, Christian Bale has a hell of an audience draw and such a decision, while regrettable, is obvious in the eyes of stupid studio execs. Kind of a shame, but they do have to make a profit and it makes sense why they chose the stars the way they did.

All in all, I enjoyed Exodus: Gods and Kings. If the whole bible thing doesn't appeal to you, go and see it for the special effects. Between the shots of ancient Egypt and the different plagues that we get to see realistically, it's pretty damn cool.

6 outa 10. Refreshing perspective, beautifully shot, contemplative movie; but a little long and would've been nice to see a more ethnic cast.

Also, it must be said that Prince of Egypt wins Best Moses Story for tunes:

*Moses was a Hebrew baby at the time the Hebrews were enslaved by the Egyptians. He was sent down the Nile in a basket by his mother to save him from being killed. The pharoah at the time had heard a prophecy that a Hebrew baby would be born that year and basically screw up everything that they had built. Ironically, the pharoah's servant/wife/somebody found Moses in his basket and they decided to raise him in the palace. When Moses grew up he fled Egypt after killing an Egyptian who was beating a slave. After hearing a message from a burning bush telling him that it was time to go set his people free, Moses set out for Egypt to bargain with the pharoah he grew up with as a kid. Long story short, the pharoah was not willing to free the Hebrew slaves. As a result of his stubbornness, God, working through Moses, hit the Egyptians with ten awful plagues. Livestock died, people grew boils and sores, there were unspeakable swarms of locusts and flies and frogs, there was hail the size of softballs, it rained fire, and (most horribly) God decided to kill the oldest child of every Egyptian family. (Fun fact: this is why Jews celebrate Passover, because God passed over the houses of the Hebrews and let their eldest children live. Hey, I told you he was terrifying...) After this, the pharoah finally let the Hebrews go. Then he changed his mind and tried to chase them and kill them all, but Moses parted the Red Sea and they got away, free to wander the desert for 40 years. But that's a whole other tale.

Best Scary Movies of All Time -- Of ALL Time. (Part 2)

Well, I hope you made it through the beginner movies, kids, because horror movies these days are a bit more of a step up. As I stated in my last post, I'm not big on gore (which is even more gross these days) so I am not a fan of the Saw series or Hostel or any of those gross-for-gross'-sake movies/franchises. That said, I now present to you the scariest movies from 1990 onward.

THE BEST SCARY MOVIES OF ALL TIME

(PART 2)

1. The Silence of the Lambs (1991)
One of the best horror films of all time, I've seen this one for countless film classes and still love it. The story follows Clarice Starling, a student at the FBI Academy who becomes a key piece in solving the abduction of a state senator's daughter, whom the police believe was taken by serial killer Buffalo Bill. Enlisting the help of a convicted serial killer named Hannibal Lector, Clarice needs to find the missing girl before it's too late. The only major American horror movie to win an Oscar for Best Picture, the way that it's edited, acted, and executed is really just impeccable. Might be a little too intense for some, but the perfect scary movie.

2. Scream (1996)
Classic slasher film that brings all the unspoken tropes of horror movies to the surface. Teen Sydney (worst name ever) is a student at a local high school where her friends have mysteriously started being murdered by a man wearing a mask. Tongue-in-cheek but still pretty scary, this film is great for horror movie fans and newbies alike.

3. Blair Witch Project (1999)
The one that started the found-footage trend. A troop of college kids are making a documentary about a local witch and hike into the woods to get footage of some local stories. They soon lose their map, get disoriented, and start to find and hear strange things around their camp sites. Wierd bundles of sticks and circles of rocks might seem relatively nonthreatening, but added to the tension and hopelessness of being lost in the woods, this movie has you on edge throughout. Still one of the best found-footage movies out there.

(Embedding was disabled on the clips I found, for a scary scene go here)

4. The Sixth Sense (1999)
The original DAFUQ!? plot twist ending, this movie follows a psychologist as he attempts to help a kid who tells him he can "see dead people." (Come on, had to put that in there.) Some seriously jumpy scenes, and the plot is sewn up so tightly that you have to watch it a few times to really appreciate it. The best ever from M. Night Shamalan (although I wanted to put Signs on here and everyone at my office got belligerent at me...still think it's pretty good, but that's apparently just me...).

5. The Ring (2002)
The first terrifying movie I can recall having seen, I'm pretty sure I watched the bulk of this from underneath a blanket. A weird video tape has been circulating and once you watch it you only have seven days to give it to someone else -- or else you die. When a reporter tries to get to the bottom of these seemingly mysterious deaths, she discovers the disturbing story behind the tape and tries to figure out how to stop them. Based off of the original Ringu, The Ring is still plenty terrifying.

6. The Grudge (2004)
Ahhhhhh, that creepy girl and her child and those noises that they make with their mouths!! Help! Another based on an Asian original (in this case, Ju-On), The Grudge actually takes us over to Japan where a young American woman is studying and living with her boyfriend. After becoming an in-house caretaker for an old woman, she begins to feel like she's being followed by something sinister, as are those around her. The Asians really have a way with the supernatural and this remake is pretty near to the original in its scary originality. These aren't your evil, grinning spirits, but tangible, blue things that pop up out of NOWHERE. Still scares me. (Disclaimer: if you thought you could hide from ghosts in your bed, this movie will destroy you. See above scene.)

7. The Descent (2005)
AWESOME creature feature, and very original. Instead of zombies, ghosts, and werewolves, The Descent rigs up some original and pretty scary cave creatures. After a group of thrill-seeking girls decides to take on an uncharted cave, they are unpleasantly surprised when they are met with a small population of cave-people that slowly pick them off, one by one. The central character is a total bad-ass, and it's one of the (SPOILER ALERT) few scary movies that ends with closure (depending on which ending ends up being used. I've seen both and I much prefer one over the other.).

8. [REC] (2007)
Best. Zombie. Movie. I've. Ever. Seen. This Spanish horror movie is much better than the American remake (Quarantine) and much more unsettling. A reporter is covering a local apartment building when all of a sudden the building is quarantined. But one by one, each of the residents of the building starts turning into zombies. Just wait for the scene with the little girl. And the end scene. Scary stuff.

9. Paranormal Activity (2007)
Um, yeah. The first time I saw this movie, I was so on edge that I had to sleep over my friend's house. With the lights on. And I was 19 years old. Another successful found footage movie, this one will either bore you to death or scare the shit out of you. Something deeply disturbing about being stalked by the intangible, and everything seems SO normal in this that it's even more unsettling when things start to happen to this couple. If you like this one, be sure to catch the second and third ones, not bad considering they're sequels.

10. Orphan (2009)
Okay, I hear you laughing, but Orphan is a pretty well executed horror flick and the first time I saw it, I didn't anticipate the ending at all. Originality in scary movies is always delightfully welcomed (there are only so many movies that you can make about serial killers and zombies) and this one is a unique spin on the usual "bad seed" kind of films. After a couple is still reeling from having a relatively recent stillborn baby, they decide to adopt from a local orphanage. Seeing something special in a little girl who is a bit apart from the others, they decide to take her in. But Esther proves to be quite the sadistic daughter; torturing her siblings and giving due payback to bullies at school. Great character development for a horror movie, especially from the ever classy Vera Farmiga. Good ending and pretty creepy how well she knows how to torture her new family.

11. Insidious (2010)
The notorious. Some love this one and some don't, but I still love Insidious, stylistically and plot-wise. A boy falls off a ladder one night and then never wakes up the next day. His parents find out that (SPOILER ALERT) he is gifted at astral projection, or projecting his soul outside of his body. Ghosts, demons, and everything in between then show up, seeking to possess the kid's body for themselves. Notable soundtrack ups the creep factor tenfold for Insidious, which has jumps, creeps, and a unique plot. What more can you ask for?

12. The Innkeepers (2011)
While I'm not a huge fan of Ti West's other horror film House of the Devil (really sharp esthetically but just takes to long to get moving), The Innkeepers was freakin' terrifying. Another case of "Everything is normal -- NO IT'S NOT!! -- Okay, now it's normal again...Or is it?" West takes his time delivering the scares, and by the ending you're jumping out of your seat. Help.

13. The Possession (2012)
Another interesting spin on a typical plot, The Possession is basically a Jewish spin on the traditional possession tale. A little girl finds a mysterious box at a garage sale and accidentally opens it up. Insatiable hunger, aggression, and an uncanny ability to move things with her mind alert her parents that something may be wrong with the girl. An interesting casting choice with Matisyahu as the rabbi that tries to help the girl, the rest of the cast delivers a pretty believable film.

14. The Woman in Black (2012)
Okay, ignore Harry Potter up in here, but this movie is chilling. A woman in black haunts the house isolated at the end of a swamp and picks off little children in the village below. Trying to crack the case is a young lawyer, who is met by more than one instance of inexplicable phenomena. Scary stuff and lots of jumps.

15. Cabin in the Woods (2012)
In the same sort of wheelhouse as Scream, Cabin in the Woods pokes fun at the stereotypical horror genre. A group of teens decide to vacation at (you guessed it) a cabin in the woods, but the longer they're there, the more differently they begin to act. As they begin to morph into the stereotypical horror movie roles (jock, nerd, slut, stoner, and virgin), we begin to learn more about why they're changing and what the bigger picture is behind all the horrific things they see throughout the night. Scary enough but also really great fun! (See: the merman.)

16. Mama (2013)
Two baby girls find themselves alone in an abandoned house in the woods, but are astonishingly discovered there years later and restored to their existing guardians. But they are far from normal. Growing up far from socialization, the girls are taciturn and skittish. As they begin to warm up to their new "parents," the thing that took care of them in the woods isn't too happy at being replaced. Despite "showing the monster," I still really like the bulk of this movie. And seeing Jessica Chastain as a punk rock chick is pretty interesting in its own right.

Can't even bring myself to inflict the red trailer upon you all...

17. Evil Dead (2013)
HAVE A DRINK HANDY WHEN THIS ONE ENDS. I was so shaken up after seeing this in theaters that I came home and had a whiskey. A group of teenagers go to a cabin in the woods to help their friend go through detox. After discovering a basement full of dead cats, one of them discovers a book wrapped in garbage bags and barbed wire (clearly just screaming "READ ME!") and -- get this -- reads from it. Unleashing the EVIL DEAD (see what I did there?), the girl starts acting crazy weird. Thinking that she's just going through detox, her friends don't worry seriously at first...until the blood starts to flow. Good god. This movie is (and I say this in all seriousness) horrifying. Gore, gore, gore, gore, gore. Far less cheesy than the original, this one had me INCREDIBLY on edge.

18. The Conjuring (2013)
THIS ONE TOO. One of the best formulated scary movies I have seen in years, The Conjuring features a family of girls who have moved into a new house that doesn't want them there. After being tormented in innumerable ways by the spirits that infest the house, the family enlists the help of Ed and Lorraine Warren, two mediums who try to cleanse the house. But this exorcism is far from easy, and as the group wanders deeper into the mystery of the spirits of the house, things get more and more extreme. This movie has all the things that scare you: murder, ghosts, possession, demons, and a nostalgic set that hearkens back to the 1970s. Well acted and well executed, The Conjuring is a new classic.

Honorable Mention:

Signs (2002) I don't care what you say, I like this movie so shut up.

The Others (2001) Great plot twist at the end still keeps this one pretty fresh. And those pale children that can't go outside and talk to the disembodied Victor? Um yes, still super creepy.

28 Days Later (2002) Great zombie movie but I got REALLY annoyed with two things that happen in this: that drop of damn zombie blood falling in that poor man's eye and the weird thing that happens with the soldiers at the camp. Other than that we good, 28 Days Later. You do you.

An American Haunting (2005) This one, to be perfectly honest, isn't incredibly scary, but it has a few moments that stick with me. There aren't a ton of scary movies that take place in colonial America (which, quite frankly, is a bit surprising because being in an undeveloped country actually sounds pretty unnerving if you ask me...). Scary scenes get a little blurred by the ending, which isn't my favorite, but up until that part seeing this poor girl get tortured by the intangible is creepy enough.

Best Scary Movies of All Time -- Of ALL Time. (Part 1)

Norman, I'ma let you finish, but...

Taking note of this year's severe lack of scary films that actually look worthwhile, I've decided to compile a list of my favorites of all time. Now, I use the term "scary" pretty loosely. These are thrillers, slasher flicks, campy horror, creepy classics, and regular ole scary movies.

This started off as one list, but there are so many good ones that I wanted to include (and since imbedded YouTube videos can make the page lag pretty bad), I split it up into two lists organized by year. This list rightchere is the best horror flicks up until 1990.

SO! Here we go!

THE BEST SCARY MOVIES OF ALL TIME (PART ONE)

1. Cat People (1942)
Had to watch this one for my first film class in college and it still sticks out as one of the best examples of Don't-Show-the-Monster, possibly leading the forefront behind this kind of shadowy suspenseful editing. The story follows an American guy who marries a Serbian girl only to find out that she is terrified of a family curse that causes all of the women to be jealous ladies who can turn into (you guessed it) Cat People. It sounds cheesy, and it's admittedly pretty dated, but watch it to see the earliest examples of sharp editing creating suspense. I still find the pool scene pretty creepy (yes they had pool scenes even in the scary movies of the 1940s).

(Cue the hokey old trailer)

2. The Uninvited (1944)
Probably one of the first scary movies that I've ever seen. I don't know when renting movies from the library became gauche, but in our family The Uninvited was a damn staple and the local library had the only copy that I have ever seen. Seriously, I've actually never heard anything about this movie ever again and find it hard to believe that more people haven't seen it. Might've been the crappy quality of VHS tapes, but I vividly remember thinking "Holy crap, for the 1940's, that ghost looks REAL." Pretty creepy, even for the 1940s, and definitely an underrated horror flick.

3. Invasion of the Body Snatchers (1956)
I haven't seen any of the remakes of this one, but the original I found to be pretty good, enough to not explore the other ones. In a small town, a raving lunatic (presumably) is picked up off of the streets for ranting about aliens. Telling his tale to the police, the movie unravels and we learn that he was a doctor, and that he uncovered a bunch of different patients who came to him seeing changes in the ones closest to them. While nothing was ever clearly wrong, they were noting that their loved ones seemed distant, and blank. After a time, the doctor uncovers the reason: aliens have been making copies of people, growing them in pods, and doing away with the originals. Be careful; they come for you when you're sleeping.

4. Psycho (1960)
One of the best early examples of effective psychologically-imbalanced-people horror, we follow Norman Bates and his murder of a young woman at his family hotel. Still creepy even now, the black and white creates a high contrast backdrop for the multiple good vs. evil battles highlighted in the film. Still unnerving to see Norman run into the basement dressed as his mama in the final scene. And the above scene still seriously gives me the chills. The direct eyeline into the camera. Good job, Hitchcock.

5. The Birds (1963)
This was another library staple (why did we rent so many old, old scary movies when I was little...?). The special effects, the character development (that's Jessica Tandy as Mitch's mom, btw), and of course, the man with the pecked-out eyes. Pretty visceral stuff for the 1960s, and what's scarier than getting attacked by a gigantic flock of birds? I freak out when a pigeon flies too close to my head; the nightmare of them intentionally flying at me (see: the phone booth scene) is damn scary.

6. Rosemary's Baby (1968)
Oh nbd, you're just pregnant and your baby happens to be a demon. This one is particularly scary for women; new moms might want to stay away. Rosemary's just moved into a lovely NY apartment with her new husband and shortly thereafter finds herself pregnant. But her pregnancy is going rather strange. She's in nearly constant pain, looks awful, can't sleep, and is developing some bizarre eating habits... The neighbors across the hall aren't helping much either, giving her strange herbs and shakes and being a bit more concerned about the baby than they should. Creepfest in the extreme, especially if you're seeing it for the first time. Sharp editing and multiple twists keep it a classic.

(NSFW, as if you needed warning.)

7. The Exorcist (1973)
Well duh. Only (arguably) the scariest movie ever made. Some of the special effects are a bit dated, but damn. This one still terrifies me. Regan and her mother are in London for her mother's acting career when the little girl starts acting weird. Weird being the understatement of the century. I'm not going to go on about everything that happens in this movie because you've probably heard it already, but rest assured it's still super-effectively horrifying.

(Not for the faint of heart.)

8. Texas Chainsaw Massacre (1974)
Gross. Ah. Help. My sister and I rented this YEARS ago and the image of Leatherface hanging a perfectly fine, conscious person on a meathook by her back still gives me the chills. The terrifying thing about this movie is actually the way that it's edited. Not a ton of closeups or unrealistic blood spurts, this seems horrifyingly realistic. I'd never want to see it again (not a fan of torture movies) but that only stands testament as to how incredibly terrifying this movie is.

9. Jaws (1975)
Don't go into the water!! Oof, born and raised in a coastal town, this one just hits a little too close to home. Not so scary now, as it's a little dated, but this age-old tale of a town terrorized by a giant great white is still enough to make me a little skiddish about swimming in the ocean. And it's Spielberg. So that.

10. Carrie (1976)
This movie has it all: a psychotically religious mom, telepathy, and pigs blood. Carrie's the school nerd that everyone hates for no reason. A quiet kid, she comes under the scrutiny of her classmates after they get in trouble for aggressively bullying her. Things come to a head at the notorious prom. A good look at the consequences of bullying and of having a freakin' insane mom (really, when you think about it, it's a wonder that Carrie ends up as normal as she is before the prom scene). Skip the remake and watch the original.

(Couldn't find a good scene that didn't give something away, so this dated trailer will have to do.)

11. Alien (1979)
You're trapped in space with an aggressive alien that you can't kill. Scary? Um, yes. This is where it all began. While the effects are (to use the word again) a bit dated, the suspense of not knowing where the alien is coupled with the two big plot twists are enough to allow this one to stand the test of time. To be honest, I like the effects in the second one better, but it becomes (as most sequels do) a bit of a caricature of the first one (especially with the addition of the stereotypical soldier people. yawn.)

12. The Shining (1980)
Creep, creep, creepy. A man takes his wife and clairvoyant son to become the grounds keeper at an isolated Colorado hotel for the entire winter. Is it the isolation driving him crazy or is there something seriously wrong with this hotel? Kubrick delivers an unsettling film with an even eerier soundtrack. Not downright terrifying, but definitely delivers an unrest that stays with you for a little while. (If you like the movie, try reading the book. Excellently written and, in my opinion, even scarier than the movie.)

13. Poltergeist (1982)
"It knows what scares you. It's known since the beginning." I would argue that Poltergeist is one of the best executed scary movies. Even if you take out all of the scary bits, the acting in it can stand by itself. One of my biggest qualms with the horror genre in general is that characters are consistently underdeveloped and unrealistic. In Poltergeist, the family reacts understandably when their house turns on them and abducts their youngest daughter. Not just scary, but incredibly well edited and acted, I still think that Poltergeist is one of my favorites. (And seriously, if that clown scene doesn't freak you out, there's something wrong with you.)

14. The Thing (1982)
Along the same vein as movies like Invasion of the Bodysnatchers, The Thing follows an arctic expedition camp who have uncovered a strange creature. As it begins picking off members of the team, they begin to realize that not only does it kill these people, but it assumes their identities. Scary in the "I don't know who my enemy is" sense, The Thing is eery beyond all reason. Perfect example of well-executed practical effects as well. (CGI be damned!)

15. Hellraiser (1987)
A man opens a puzzle box and all hell breaks loose. Literally. After summoning the Cenobites, Frank is literally torn apart in a weird sadomasochistic labyrinth of chains and hooks. But after discovering that blood will ressurrect him, Frank employs his former lover (who's sporting some of the most hilariously awful makeup I've ever seen) to kill randos on his behalf. The only person who can stop him is his neice. Some really incredible practical effects. Big fan, very creepy even now.


(Ones I Didn't Include, And Why)

Halloween (1978) I'm sorry, but I can never get into it. I've tried to watch it several times and walk away kind of like "Meh." I get more annoyed with all the characters that can't outrun Michael than scared about how he's stalking them. I dunno. Say what you will. It's too slow and it doesn't hold up with dis critic. Sorryyyyyy.

Suspiria (1977) This one was mentioned on several lists I found, but I've seen it and I'm just not a fan. Anyone who reads this thing with any regularity will also know that post-dubbed sound drive me nuts.

Don't Look Now (1977) Another critically acclaimed horror movie that I just didn't get. Full reason why located here.

A Nightmare on Elm Street (1984) Kudos for a scary plot (you're not safe when you sleep, etc.) but I just hate the main character way too much in this. She's so incredibly annoying. Honorable mention for special effects though.

Gone Girl: Woah.

It's hard to make a movie that's as good as a book. Books rely on our imaginations and so it can be hard to see something on screen translated differently than the way you saw it in your mind.

Such is not the case with Gone Girl.

I can't remember the last time I saw a movie and thought "Wow, this is better than the book," but I found myself thinking that through this whole film.

The plot centers around Amy Dunne and her husband, Nick. Amy has gone missing and Nick has no idea what has happened to her. As more and more evidence comes to light about the nature of their unraveling marriage, things are looking grim for Nick. Seemingly cold about the disappearance of his wife, he is not gaining any popularity. But as the plot unfolds, we begin to question whether maybe we're wrong about Nick's character after all. Maybe Amy's disappearance isn't what the public thinks it is. And maybe nothing is as it originally seemed after all. Prepare yourselves for some shocks and thrills, kids.

Oh she's gone, girl.

This is a hard review to write if you haven't read the book, but here goes nothing:

The acting in this is insane. For a story that relies 1000% on character development, Affleck and Pike do not disappoint as the mesmerizing Nick and Amy. I've got to be honest: I don't usually like Ben Affleck. He's never struck me as a very poised actor before. Most of the roles that he plays are very average-Joe ish and I never really buy his emotions. That being said, Affleck is absolutely stellar in this role. For a character who you aren't sure whether to trust, Affleck is amazing. Seriously. We're talking Oscar-worthy. The same can be said of Rosamund Pike's portrayal of Amy. While I've only seen her in a few films, she's incredible in this. The way that she captures Amy's incredibly complex character is damn impressive. And that's not something I say lightly. I think I liked their screen counterparts better than the characters written on the page.

The other thing that I love about Gone Girl is its aesthetic, and really its feel in general. From cinematography to soundtrack to sets, this is an extremely well-polished piece of work. Crisp images of suburban normalcy pop out of the screen and fluctuate between the gray, well-decorated interiors of the Dunne house and the bright green-and-blue wilderness of the outside. There's something about the cinematography that makes you totally uneasy, as well. Flipping back and forth between the present reality of Amy's disappearance and her past journal entries (as happens in the book), things happening in the present seem too quiet set against their original, whirlwind romance. The soundtrack has that dichotomy too. Always sweeping, emotive songs, but with minor notes lurking underneath creating slight disharmony. Very well done, and very subtle.

In terms of the actual story, I was shocked at how much remains unchanged in this movie adaptation. There were hardly any characters cut out of the script and next to no scene is cut out. Maybe (dare I say it) to its detriment. While allll of the tiny details of the book remain intact (and really, I mean, the structure of the story itself leaves little room for edits), the only bad thing i would have to say about Gone Girl is that it's long. Especially since I had read the book and knew how it was going to end, I spent the last 20 minutes of the movie tapping my foot waiting for the damn crash-bang conclusion. If you can hold out for the length of the movie, the climax towards the end is pretty damn crazy. But I wouldn't step into this theater running on less than 8 hours of sleep.

Really excellently executed. I'd say 9 outa 10.

(I'm sure you've all seen this trailer by now, but just for good measure..)

Why the Nostalgia Sequels Need to Stop.

In recent years the market for nostalgia has gone further than any of us really wanted it to go. With things like high-waisted shorts, vinyl LPs, and -- dear God -- even the scrunchie coming back to life, it was only a matter of time before this spread to other things.

Like film.

And pogs.

(Only a matter of time...)

In the past few years, there has been a scramble by media executives to pump out sequels to beloved characters and films of decades gone by. Capitalizing on a public crazy enough to revamp the pop beverage Surge in the name of feeling like it's 1995 again, studios have begun an insane race to see whose "where-are-they-now?" movie can cash in the most at the box office. From Dumb and Dumber To, to the recently dropped sequel to Mrs. Doubtfire, to the most recently released news of a Bill and Ted sequel, these movies are popping up out of the woodwork.

But in creating these harebrained, half-planned sequels the movie industry is destroying the original essence of the movies that we hold closest to our hearts. 

Let me tell you all a story. It's about a time I went and saw Eddie Money in concert.

The Eddie Money I knew.

Once upon a time, I was (and, let's be honest, still am very much) in love with 80s rock. After hearing tales that Eddie Money was going to be performing a free(?!) concert at a local sports bar for Labor Day, I harassed my best friend into going with me. Arriving a bit later than anticipated, we both half-sprinted to the venue to be sure that we'd catch the rest of the set. Grinning like an idiot, I walked up to where the stage was for his last three songs, one of which was "Two Tickets to Paradise," a personal turn-the-volume-all-the-way-up car jam of mine. But when I got to the stage I realized that the man in front of me was:

1. Very drunk

2. Very old

3. Very over the song

4. And very over being there.

The Eddie Money I got.

Sweet Jesus...the Eddie Money I got...

While I was still pretty happy to be enjoying one of my favorite tunes (something to be said for jumping up and down to 80s rock with your best friend), it was clear that the glory that was once Eddie Money was no longer there. After the song ended, the man before me started blithering about some tee shirt that his wife bought at a Rolling Stone concert and how we should buy some of his tee shirts too. And things became weird. And we left.

I still seriously enjoy "Two Tickets to Paradise" and "Take Me Home Tonight" every time I blast them in my car, but there's something to be said for letting glory stay immortalized in its original nostalgic time frame. For example, which would you rather hear on your radio: "Two Tickets to Paradise" original studio version? Or "Two Tickets to Paradise" live version circa 2014 by the half-terrifying old, drunk man in the above photo? Yeah.

Half of the reason that things are nostalgic is the knowledge that we can never really fully return to the time and place that they were originally. Yeah you can buy Dunkaroos, but you're not gonna turn into a 12-year-old the minute you pop them into your mouth.

May they rest in peace.

The same goes with these movies that are trying to recapture their former glory.

Watching Dumb and Dumber To is not going to transport you back to the 90s to see what Harry and Lloyd were up to the day after they started walking back to Rhode Island. It's picking up in present day. And while that gives you an interesting perspective on what has happened to them in the past 20 years (although it doesn't look like they've been doing much judging by the trailer) it's not going to be like the first experience you had watching the first film. 

For one thing, humor is relative. Jokes that worked 20 years ago won't necessarily work today. While slapstick is the most constant of most forms of humor, as is idiocy, the best selling comedies in recent years have been self-depricating and goofy. It's an uphill battle for movies that were successful decades ago because outside of the 80s or 90s, that kind of humor is just going to look...off.

That bowl-cut looks a little weird outside of 1992...

For another, these nostalgia sequels hit familiar territory hard, hoping to capitalize on the audiences that are attending them. As a result, most nostalgia movies take whatever the audience relates to most in their originals and turns it into a caricature of its original greatness. The resultant flicks then end up being strange, warped versions of the characters and situations that we originally loved so much.

If you're going to revisit something beloved and try to make it as good as it was the first time, here's some advice: you can't.

(Even the trailers are totally different...)

Submarine: If You Like Wes Anderson, Amelie, and Getting Caught in the Rain...

There are a handful of movies on my Netflix queue that I always happen to skip over for one reason or another. Bread and Tulips took me literally about two years to watch and then when I finally did I loved it. The same is true of Submarine, whose cover has intrigued me for years, but which I also suspected would end up being a lofty indie drama that I wouldn't like. Well, this is a quick thank you to the Netflix algorithms: for your patience and persistence. God bless you.

Submarine follows a boy named Oliver Tate (played by Craig Roberts), a teenager living in Wales (which is next to England/part of the UK, just sayin). Oliver has two main halves of his life that are constantly occupying all of his time. On the one hand, his parents (played by Sally Hawkins and Noah Taylor) are having marital issues, which have only worsened since his mother's high school sweetheart just moved in next door. On the other, he's just fallen in love with a girl named Jordana (played by Yasmin Page), and his relationship is a little bumpy as well. A well-intentioned kid, the movie follows Oliver as he tries to patch up his parents' marriage and pursue the girl of his dreams.

Too cool.

I'm a sucker for movies like this. What I was expecting was something along the lines of I Heart Huckabees or something equally stupid. But Submarine ends up being something like Amelie crossed with a Wes Anderson movie. The cinematography is gorgeous. Following Oliver's every mood, it can go from quick, clean, and observational to romanticized and warmly lit, to even upright absurd and almost avant garde at times. But every scene is meticulously thought out, and voiced over with Oliver's clever and overly adult insights. Really, visually, this movie was a treat. It's hard to pull off clever editing without falling into the trap of trying to copy another film auteur, but I thought that the pacing of this was original and downright beautiful. The chill, placid soundtrack is a great compliment to it as well.

Craaazy cool

Oliver is an extremely likeable character. Well-versed in Neitzsche, Salinger, and Shakespeare, he tries to help his parents, Jordana, and even more minor characters to resolve their problems. A fascinating mix of flat deadpan and touching sincerity, Oliver has trouble fitting in at school and doesn't have a ton of friends. But his relationship with Jordana proves to bring out his personality, which he hadn't fully tapped into before. And his overanalyzed and sweet approach to everything is extremely well played by Craig Roberts (who, IMDB tells me, was also recently in Neighbors and 22 Jump Street, whaaat...).

Lil obsessed..

Submarine is also subtly hilarious. From Oliver's ill attempts at being the "Best Boyfriend in the World" to the tiny idiosyncrasies of each character (He always types on a typewriter, his dad drinks hot water and lemon when he's in a funk, and Jordana is a mild pyromaniac.), there are a lot of quirks that the underplayed performances keep from being too zany.

Yup.

The story is extremely sweet, and hearkens to the teenage mindset without being angsty.

9 outa 10. Full disclosure: I watched it twice.