'Rupture' Review: An Alien Sci-Fi with More Questions Than Answers
Rupture forces innocent victims to confront their worst fear and, ironically, that includes the film's director.
Director Steven Shainberg has made a name for himself in the alt/indie film world by pushing audiences toward the outer edges of their comfort zone. In his 2002 breakthrough film Secretary, a disturbed young woman gets a job as a legal secretary when her relationship with the lawyer she supports quickly turns not only sexual but sadomasochistic, reminiscent of 50 Shades of Grey. In his latest film which comes 11 years since his last project (Fur), Shainberg stays true to his reputation for incorporating torture with sexual undertones in the sci-fi picture, Rupture.
The film stars Noomi Rapace as Renee Morgan, a single mom who is deathly afraid of spiders, yet jumps at the opportunity to go skydiving with one of her friends. After dropping her son Ethen (Percy Hynes White) off at her estranged husband's house, she is on her way to meet a friend when her car tire suddenly goes flat. Accepting help from a man who (no coincidence) happened to be driving right behind her, and pulls over to inspect her car, Renee is suddenly tackled, tasered, and kidnapped– but why?
Turns out, a group of mysterious people has been spying on Renee for "a long time" by using household technology like home security cameras. Renee is chained to a portable examining table in a nondescript dungeon basement, sweating profusely as she struggles to break free from these people who are wearing what can only be described as Burning Man sunglasses. "Who are these fucking people?" she screams. It is then that she hears another prisoner, also in chains, answer her with "G1012X."
When her captors turn into shape-shifting alien creatures reminiscent of “Sloth” from "The Goonies," it's really hard to emotionally sympathize with her situation.
What is G1012X? Exactly. It is here where Rupture turns from storybook thriller to questionable sci-fi and that's all because of its ambiguity. We are questioning why Renee's captors rub their faces against hers and subject her to her biggest fear (that spider comes full circle) up until the end of the film, but by that point, it is hard to take the severity of the situation seriously. When her captors turn into shape-shifting alien creatures reminiscent of “Sloth” from The Goonies, it's really hard to emotionally sympathize with her situation.
There are, however, interesting elements to Rupture that seem to be overshadowed by the overall lack of convincing execution, but it isn't all dismissive. The wallpaper, reminiscent of The Shining carpet pattern, is a creepy yet welcomed touch. The torture of one prisoner is very A Clockwork Orange and definitely nails the sadistic horror mood. While these moments may have had me momentarily question my criticism of the film, it was then validated with Rupture's frustratingly open-ended ending. All this to say, my final takeaway is that, although Steven Shainberg’s past work has been good, Rupture will likely not be added to that list.
'Rupture' is not rated. 102 minutes. Opening tomorrow at the Arena Cinelounge Sunset.
'Tomorrow' Review: Mélanie Laurent Documentary Inspires Eco-Conscious Change
Divided into five chapters, Tomorrow looks at different countries and cities to explore how the local communities are living green and working together towards a happy and healthy lifestyle for all.
Tomorrow, April 22, 2017, the "March for Science" will take place in Washington, D.C. and over 500 cities across the world to bring government attention to the importance and impact of science research on the future of our global civilization (a cause that some in positions of power are planning to de-fund). It is an opportunity to have collective voices heard and to hopefully inspire others to make a difference. With a similar agenda, and just in time for Earth Day, comes an eye-opening eco-documentary from French actress Mélanie Laurent (Inglorious Basterds) and French activist, author, and filmmaker Cyril Dion, also appropriately called Tomorrow (Demain).
Tomorrow begins with shocking statistics about how the demise of the human race is due to three contributing factors: climate change, the destruction of the earth's surface, and population growth. It is nothing we haven't all heard before, but instead of just reciting facts and taking a doom and gloom perspective, this documentary gives insight into how we can make a difference locally, in our towns, on our streets and backyards.
Divided into five chapters, Tomorrow looks at different countries and cities to explore how the local communities are living green and working together towards a happy and healthy lifestyle for all (and I'm assuming the filmmakers even planned their flights accordingly so as to not use too much fuel for their various travels).
Chapter One focuses on agriculture, mainly urban farming in Detroit. The main takeaway here is that cutting down on meat consumption, even if only one less day a week, will have a huge impact on reducing our carbon footprint and saving resources like fossil fuels and fresh water. Chapter Two is all about energy, the goal here is to eventually have all energy be produced by the sun, wind, or water and not carbon, coal, or oil (plus- geothermal heat is free!). We travel to the energy-conscious city of Copenhagen, where 21% of people get around on foot, 26% use bikes, and 20% use mass transit. That means 67% of people don't drive. As a Los Angeles-native, this is one of the most mind-blowing facts to comprehend.
The silver lining that 'Tomorrow' emphasizes is that it is not too late, but only if we act now.
Chapter Three focuses on the economy and the necessity for an ecosystem of currency, not just one universal standard. We visit Switzerland to get a better understanding of their two-currency system, which claims to be more resilient than just a single method of payment. Chapter Four talks about democracy and we look to India for a better understanding of how a proactive local government is giving a new meaning to the word "democracy." Chapter Five is all about education. We look to Finland to gain a better understanding of their inspiring school system, which educators say is due to the trust in their child-centered teaching methods, no national testing and having teachers undergo lessons in child psychology before running a classroom. It is typical for a classroom in Finland to have two teachers per fifteen students, a stark difference to the underfunded and overcrowded classrooms in America.
It's a scary thought to know that at this rate, catastrophic changes can happen by the end of the century. The silver lining that Tomorrow emphasizes is that it is not too late, but only if we act now. The consequences of our actions have been overlooked because these effects don’t happen overnight but take time to develop. Unfortunately, we're feeling the heat (pun intended) and this is the critical time for humanity to understand that how we have treated our planet is catching up with us; Fortunately, we can still do something about it. We only get one world, let's do our best to take care of it, starting today.
'Tomorrow' is not rated. 118 minutes. Now playing at the Laemmle Music Hall.
'Somewhere Beautiful' Review: Heartbreak Prevails in This Lovely Indie
It can be gathered by the end of the film that somewhere beautiful isn't nirvana where heartache is left behind, rather a harsh reminder of the normality that sometimes relationships drift apart and people move on, no matter how beautiful the dream of togetherness may seem.
After first hitting the festival circuit in 2013, Armenian-American director Albert Kodagoliabeen's debut feature film, Somewhere Beautiful, has finally secured a theatrical release date. Opening at the Los Feliz 3 this Friday, the film may have been sitting on the shelf for close to four years, but its return to the screen remains as relevant and radiant as ever.
Shot on both 16mm and 35mm film in the Patagonian wilds of Argentina and sun-drenched Los Angeles, Somewhere Beautiful is a story about heartbreak and a look at two relationships in varying states of dissolve. Aside from directing, Kodagoliabeen also stars in the film as Albert, a director who returns home to Los Angeles after a shoot to find that his wife Rachel (Robyn Buck) has left both him, and their toddler, due to his ongoing emotional/physical unavailability. Yet Rachel continues to leave him voicemails which play as voiceovers as he struggles to get his life back on track.
Simultaneously, in the wild landscape of Argentina, a photographer (Anthony Bonaventura) begins to notice the budding relationship between his wife Elena (María Alche) and their tour guide (Pablo Cedrón). Elena finds herself in the middle of the two men, quite literally, as she acts as a translator for her husband. The interest in this forbidden love interest manifests as a slow build that comes to a devastating end captured in one of the most beautiful places in the world.
For as beautiful as the film is aesthetically, it is further boosted by the soothing and transformative music of Avi Buffalo and Andrea Silva, appearing on the soundtrack.
For as beautiful as the film is aesthetical, it is further boosted by the soothing and transformative music of Avi Buffalo and Andrea Silva, appearing on the soundtrack. Avi's breezy, California-cool melody, mixed with the lively and alternative sounds of Andrea's Colombian roots, give the film a warm, organic feeling. If only the same could be said about the dialogue where, in several scenes, the characters recite lines in a very rigid way, suggesting that it may have been rehearsed too many times. Aside from some awkward moments, the lines themselves are subtle poetry– even the simple line "Go forward, my friend" is one that has resonated with me in the most bittersweet way.
'Somewhere Beautiful' is not rated. 78 minutes. Opening on Friday at the Los Feliz 3.
'My Entire High School Sinking into the Sea' Review: High-Concept Art
A true form of video art that may look childlike and innocent on the outside, but reveals within the script, the deeper conversations about the abuse of power, patriarchy, and the hero's journey.
Comic book writer and cartoonist Dash Shaw creates a high concept and forward-thinking animated film with My Entire High School Sinking into the Sea. Joining the GKids label alongside other Studio Ghibli movies, this feature is one part ticking-time-bomb adventure, one part high school comedy throwback, and all parts energizing fun. Aside from its creative storytelling, Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolph, and Susan Sarandon all lend their recognizable voices to the project, making this a film to remember.
It begins on the first day of sophomore year for best friends Dash (Schwartzman) and Assaf (Watts), who are aspiring journalists. Along with their editor Verti (Rudolph), they are determined to have their writing taken seriously. Even their latest publication, "Survival Tips for Freshman", struggles in distribution, despite it being free. Their status isn't helped by the understanding that they definitely aren't the coolest kids in school, evident by the fact that popular, student council president-seeking, Mary (Dunham), obviously can't stand Dash.
But as Dash tries to prove that print isn't dead by creating lies about the size of Assaf's genitalia in order to sell more newspapers, as well as disrupt the burgeoning romantic relationship between Assaf and Verti, he accidentally discovers that the biggest story is right under his nose. He literally uncovers a secret about the school's building code, including that the plans for the highly anticipated auditorium, have been forged by the principal. The code further reveals that the integrity of the entire school building is vulnerable (it sits on the edge of a cliff) and could collapse any minute. With this knowledge, Dash assembles his team of friends, Assaf and Verti, as well as acquaintances who turn into friends, Mary and the lunch lady Lorraine (Sarandon), to band together to save the school.
Just because 'My Entire High School Sinking into the Sea' is an animated film, it is not immune from death scenes, in fact, there is a fair share of gruesome decapitations so consider yourself warned.
The mixed media animation style in My Entire High School Sinking into the Sea is so eye-catching, it's hard to look away (not that you'd want to, given that this movie perfectly executes what it sets out to do). Incorporating drawings, paintings, and collage, this is a true form of video art that may look childlike and innocent on the outside, but reveals within the script, the deeper conversations about the abuse of power, patriarchy, and the hero's journey. Just because "My Entire High School Sinking into the Sea" is an animated film, it is not immune from death scenes, in fact, there is a fair share of gruesome decapitations so consider yourself warned.
My Entire High School Sinking into the Sea is good for so many reasons, namely the unique video art and talented cast are the obvious ones, but what really resonated with me was the number of poignant moments happening at the most unexpected times. At the end of the day, this is a feel-good movie that leaves you nostalgic for the past and appreciative of the value of friendships.
'My Entire High School Sinking into the Sea' is rated PG-13 for some images of peril, sexual references, and drug material. 75 minutes. Opening at the Nuart Theatre this Friday.
Nacho Vigalondo talks Stunt Doubles and Spook Houses in 'Colossal'
When I meet director Nacho Vigalongo, I'm immediately drawn to his Van Halen-spoof "Von Trier" t-shirt. We sit down on the couch and jump into talking about his latest indie film, "Colossal." Starring Anne Hathaway (who was pregnant at the time, more on that later) and Jason Sudeikis, the film is an unexpected blend of modern rom-com and kaiju. In our exclusive interview, we talk about his favorite job (which involved dressing up as Norman Bates), his shared interest with Rob Zombie, and a scene that used a stunt double in the cleverest of ways.
If someone walks into "Colossal" expecting a typical monster movie, are you happy to toy with their expectations?
I'm happy and terrified at the same time. The reason why someone likes the film- the unexpected element- is the same reason why someone else will hate it. When you make a movie that doesn't make people feel at home, out of their comfort zone, it's a reason for people to feel [offended] by the film. When I was making this movie, I was in a total Dr. Jekyl and Mr. Hyde complex, like shooting a joke that happens right after a really dark moment. I like playing those contrasts, even if it's going to make people get angry. But, the other side of my brain wants me to make a movie for everybody, something everyone will enjoy. I have these feelings all the time. But, for good or bad, Mr. Hyde tends to win.
You also wrote the film, what was that process like?
In the beginning of the process, you have to feel like a child. You have to wonder, "Wouldn't it be cool if this happened?" In writing "Colossal," my first thought was how I could make a monster movie without having a budget. I'm just a guy from Spain writing from his little flat in Madrid, trying to find a way to make a monster movie. I always recommend keeping a level of innocence at the beginning of the writing process.
I'm just a guy from Spain writing from his little flat in Madrid, trying to find a way to make a monster movie.
What was your first job outside of filmmaking?
Hmm, I can't remember my first job but the best job I had in my life was during college, the summer after my second year. I was working as Norman Bates in a [haunted] house. I was paid to scare people. I had a broom and had to pretend to hit people with it. There is no better job than scaring people.. filmmaking isn't that different. That's the kind of purity I want in my movies.
Did that job influence your interest in film, or directing?
I don't think it directly influenced me, but it was in the key of what I wanted to do in life. One of my dreams in life is to own a spook house and a witch train. One of the American filmmakers I admire the most is Rob Zombie. I love his style! The fact that he hosts these haunted houses every Halloween makes me admire the guy even more.
One of my dreams in life is to own a spook house and a witch train.
Now I may be reading into this too much, but in the movie, the monster pops up in Seoul, South Korea. I thought it was interesting it took place there because Anne Hathaway's character was battling her own demons in her "soul." Am I on to something?
You know what, I'm not going to contradict that. I don't think the filmmaker should be the keyholder to the meaning of the film. That's my way to avoid answering your question, haha.
Fair enough! I understand that Anne was in her second trimester of pregnancy during the shoot. How difficult was for you as the director?
I was very delicate in the way we made the shot list, especially when dealing with a lot of fights. We would place the camera a certain way and used a stunt double. You remember the scene where she is doing the human burrito (rolling up in the air mattress)? There are two actresses on screen- Anne Hathway faces the camera and then the stunt double is doing the roll and the unroll.
Wow, I had no idea. I bet it was torture for her to pretend to drink too.
Haha oh yeah!
'Cézanne Et Moi' Review: French Artists Face Friendship Rivalry
Directed by Danièle Thompson, Cézanne Et Moi tells a timeless story of friendship rivalry and bitterness although it, unfortunately, falls victim to historical stuffiness.
Hitting select theaters this Friday is the Parisian historical biography Cézanne Et Moi, a lengthy recounting of the true-life friendship between two artists in the late 1800s. Running just shy of two hours and subtitled in French, Cézanne Et Moi proves to be a rather arduous watch, despite its interesting context of 19th Century poets and painters.
Writer Émile Zola (Guillaume Canet) greets his friend, the titular French painter Paul Cézanne (Guillaume Gallienne) at his large estate in Médan, a northwestern suburb of Paris. The house compliments Zola's aesthetic, sharply dressed and beaming with wealth. Cézanne, on the other hand, looks about as rough as he feels– his shaggy hair and unkempt appearance symbolizing his struggles as a working painter. From here, the film moves very fast through flashbacks of their first meeting in grade school, to their mischevious twenties, and finally middle age. Just as their friendship evolves throughout the years, so do their individual successes and failures, ultimately driving a wedge between the two men who used to be best friends.
Directed by Danièle Thompson, Cézanne Et Moi tells a timeless story of friendship rivalry and bitterness although it, unfortunately, falls victim to historical stuffiness. Relying heavily on the performances from the lead actors, which are delivered with an abundance of verve and theatrics, and a dense script, including a lot of superfluous chit-chats, Cézanne is a tough film to sit through. This is not to be confused with calling it a bad movie; in fact, the images of Paris and those who lived there in the 1800s are extremely beautiful and give the film life.
For as grandiose as their accomplishments and notoriety, overall, 'Cézanne Et Moi' feels like it comes up a bit short in its retelling of their relationship.
Credit also belongs to the actors, who fully embody the men they set out to play. Canet as Émile Zola looks the part to a tee, stoic yet refined. Gallienne transforms physically and emotionally into the explosive artist Cézanne, wearing his emotions on his sleeve and confidently pursuing his passion despite the hardships he faced.
Considered some of the greatest figures in French culture, Cézanne was looked up to by Picasso and Matisse, who considered him "a god of painting." To this day, over 700 of his works are on display around the world. Zola is still considered the most prominent French novelist of the late 19th century and is credited as founding the Naturalist art movement. For as grandiose as their accomplishments and notoriety, overall, Cézanne Et Moi feels like it comes up a bit short in its retelling of their relationship.
'Cézanne Et Moi' is rated R for language, sexual references, and nudity. 117 minutes. Playing in select Laemmle theaters this Friday, 4/7.
'Colossal' Review: Try This as an Indie Alternative to the Studio Monster Movie
This Freaky Friday meets Godzilla flick isn't quite the comedy its trailer makes it out to be, rather, it is an unapologetically dark look at self-destruction, alcohol and relationship abuse, and bullying– all taking shape as a mythical kaiju creature.
Anne Hathaway knows what it's like to be bullied. The Best Supporting Actress winner (Les Misérables) is known for getting her fair share of flack from critics who deem her "strive for perfection" to be annoying, but she has never retaliated towards these haters by transforming into a giant killer monster on a mission to destroy. In Colossal, Hathaway plays Gloria, a woman whose experience with a childhood bully ultimately changed her in ways she never knew existed until she is forced to re-examine her life and face her frenemy twenty-five years later.
The sun peeks through the window of the NYC apartment Gloria (Hathaway) shares with her British boyfriend as she creeps in from a late night out. Hair disheveled and smelling of alcohol, her constant drinking and lying prove to be the last straw for her boyfriend Tim (Dan Stevens) as he kicks Gloria out, already having packed her bags for a swift exit. Finding solace in the familiar, she heads back to her childhood home in the suburbs. She begins to settle into life in the slow lane before running into her childhood friend Oscar (Jason Sudeikis). Despite her pledge to stay away from alcohol, she agrees to work at the local bar Oscar owns while doing her best to stay on the straight and narrow.
While Gloria battles her inner demons stateside, a gigantic monster has begun terrorizing the city of Seoul, South Korea. With seemingly no personal connection to this devastating event, Gloria, along with the rest of the world, looks on in horror as a green mega-monster, who appears and disappears into thin air, destroys buildings, landscapes, and kills anyone in its path. It isn't until a night alone when Gloria realizes that she is (literally) responsible for the mysterious creature's actions and is left to figure out, amidst multiple obstacles, how to save Seoul, her relationships, and herself.
Don't let the film's traditional first act fool you– while establishing that the character's world is based in reality, 'Colossal' slowly turns up the dial towards far-fetched fantasy...
Directed by Nacho Vigalondo, Colossal is an original story in the midst of reboots and remakes. It's one we've never seen before, bursting with creativity and surprises. Don't let the film's traditional first act fool you– while establishing that the character's world is based in reality, Colossal slowly turns up the dial towards far-fetched fantasy that, by the end of the film, is a complete 180-degree flip. This Freaky Friday meets Godzilla flick isn't quite the comedy its trailer suggests (despite a few laugh out loud moments), rather, it is an unapologetically dark look at self-destruction, alcohol, relationship abuse, and bullying– all taking shape as a mythical kaiju creature.
While the premise is enjoyable, despite being far-fetched, the same can't necessarily be said for the characters. Hathaway's Gloria is likable enough, tapping into every fear that a thirty-something-year-old woman who doesn't necessarily have her life together feels at one point or another. While she may not be sympathetic enough to feel sorry for, mostly because her issues are self-inflicted, we still root for her to succeed. Oscar, on the other hand, starts out as a well-intentioned friend who does everything he can to help Gloria in her time of need. From offering her a job to giving her furniture for her empty house, Oscar seems like the perfect guy to help turn Gloria's life around. That's why he seems almost bipolar when he demonstrates such unlikeable qualities about halfway through the film. For example, it's one thing to show off and assert male dominance around Gloria, but to punch her in the face until she falls to the ground is completely unsettling to see. It's definitely not funny and feels extremely uncomfortable. Oscar later blames his actions on alcohol, but nothing can erase that image from my memory.
General character development seems to be lacking in Colossal, which proves to be its biggest downfall. We don't ever see the buildup of Gloria's vices, only the consequences of her actions, which forces the audience to assume her behavior is a pattern without ever actually seeing the pattern. Because of this, it's also hard to distinguish when Gloria is drunk or sober (both performances seem about the same amount of spastic). Although, despite its shortcomings and critiques, Colossal is a nice indie alternative to the studio "monster movie" and could benefit those who want to escape reality for a couple of hours.
'Colossal' is rated R for language. 110 minutes. Opening at ArcLight Hollywood and The Landmark this Friday, 4/7.
'I Called Him Morgan' Review: The Dark Side of Jazz
Larry's audio of Helen's posthumous interview narrates the documentary, and it is every bit as intriguing and sobering as one would expect.
Ever since "La La Land" sang and danced its way into the heart of Hollywood last year, the interest in jazz music has been rising. I'll admit to creating multiple Spotify playlists to familiarize myself with the legendary musicians of a genre I had yet to fully discover. Although, I realized that after watching the documentary "I Called Him Morgan," the light and airy jazz scene image I had envisioned a lá "La La Land" is comparable to the Disney version of Jazz music. "I Called Him Morgan" shows the dark side of the soulful sound– from drugs and deceit to an untimely death.
February 20, 1972. Wunderkind trumpeter, Lee Morgan, was shot to death on a snowy night in a New York City jazz club. His death sent shockwaves throughout the music community for many reasons. First, there was his undeniable talent. Morgan was 16 years old when he first broke onto the scene and was held in high regard ever since. Second, was his age, which was only 33 at the time of his death. He had a lifetime of music ahead of him and many felt robbed of enjoying what was perceived as his future potential. But the most shocking reason of all was who the person responsible for killing him was– his common-law wife, Helen Morgan.
Helen was arrested on the spot and sentenced to time in prison. After her release, she enrolled in a local college where she met a western civilizations teacher, Larry Reni Thomas. A jazz enthusiast, Larry was determined to interview Helen while he still had the chance. In 1996, 20 years after her release from prison, she agreed to talk to Larry. One month later, Helen died. Larry's audio of Helen's posthumous interview narrates the documentary, and it is every bit as intriguing and sobering as one would expect.
While her actions were unforgivable, it is easy to sympathize with a woman who felt unloved.
Interviews with Lee's old bandmates, peers, and his mistress (the cause of Helen's deadly motivation) are sprinkled in throughout the film which proves just as eye opening as Helen's testimony. They speak to Lee's struggles with drugs and his career low, which happened to be the time when he met and became dependent on Helen, who was 14 years older than him. Their anecdotes give the film a fuller bodied narrative as opposed to just hearing one side of the story. Helen doesn't deny her guilt, in fact, she confesses, hoping it was all a terrible nightmare that she would wake up from, the moment after she shot Lee. Her personal struggles could only be conveyed in the first person, and that is why hearing her side of the story before her death is priceless. From conceiving her first child at 13 years old and her second at 14, to meeting Lee and dealing with his affair, her life was never easy. While her actions were unforgivable, it becomes easier to sympathize with a woman who felt unloved.
Directed by Kasper Collin ("My Name Is Albert Ayler") with cinematography by Oscar-nominated DP Bradford Young ("Selma," "Arrival"), "I Called Him Morgan" has made the rounds on the festival circuit, playing at TIFF, Venice, and NYFF. For those interested in learning more about the history of the Jazz community, or even for those familiar with Lee Morgan and just want to hear Helen's side of the story, this documentary is enthralling from start to finish.
"I Called Him Morgan" is not rated. 91 minutes. Now playing at Laemmle’s Monica Film Center and Laemmle’s Playhouse 7.