The Nightmare Before Christmas

9.5

The stop-motion animated feature is a modern classic fit for both Halloween and Christmas. Much of its charm derives from the hand-made feel of the animation, which is far more textural than anything computer-generated. Similar stop-motion films like Corpse Bride and Coraline were touched up using computers, and feel stiff, lacking the life present in every semi-perfect frame of Nightmare. The idea and execution here is simple and effective. Each character of the ensemble cast gets a moment to shine. Thankfully, Disney's influence isn't as strong as Burton's and the resulting film feels more mature.

That's not to say the pacing suffers. At 75 minutes, the film flies by and I wish some characters and plot lines had more time to breathe. The underlaying theme embracing individuality and self is interwoven into the plot and strengthens the film upon multiple viewings. The songs range from classic to mediocre and the quality dips a bit in the middle with some of the lesser songs. The first couple of numbers make for a perfect first act full of ear worms that have since become generational staples. This is easily one of my favorite animated films and a holiday classic, stitches and all.

The Flight of the Phoenix

7.4

It's unfortunate that many stars' prominent hits overshadow their lesser work. Case in point, the 1965 adventure The Flight of the Phoenix. It is in no way any of the actors' best work, but an enjoyable ride nonetheless. James Stewart and Richard Attenborough are obvious stand outs, excelling in many scene-chewing dramatic bits. Hardy Kruger is the lesser-known stand out. The face-offs between his character and Stewart's are some of the most memorable. The best dramatic scenes are saved for the last act, where the pace thankfully quickens.

Running at 2 hours and 22 minutes, the film is massive. In attempting to tell a conventional adventure story on a massive scale, the film flounders as often as it flies. There is just too much movie here. The majority of which involves a long list of obstacles the characters brave in order to survive. They all add dramatic tension here and there but never amount to anything more. A sexy mirage in the desert, a stand-off with radiers; any number of these can be cut. The subtractions could make for a leaner, more enjoyable film. The cinematography and sound are solid but nothing special. It is a strong adventure film with an outstanding cast that will leave you as weary as the stranded characters by the time its over.

Suspiria

8.7

Less of a narrative and more of a work of art, Dario Argento's cult masterpiece is a thrill from start to finish. Upon the first viewing its hard to comprehend the psychedelic, vivid visuals. It will surely alienate the passive audience, who expect a liner narrative. As a film, it switches from eye-catching to tedious. The performances are very well done but can't stop lulls of soft-spoken dialogue and slower pace. The gorgeous look is art directed within an inch of its life, awash bathed in some of the craziest light ever put on film.

This difficult visual feast ends as suddenly as it starts, making the whole ordeal flow like a visceral dream. Apart from the winning cinematography, the score, performed by horror aficionados Goblin is glorious. It fits the mood perfectly, completing a singular experience of cinema. The same haunting pieces are overused and do get waring after a while, but are effective nonetheless. Puzzling and bizarre more than its scary, Suspiria is on the short list of definitive horror classics.

Martyrs

4.0

Martyrs elevates the needless violence of the recent torture porn wave of horror releases but its message isn't clear until the final minute of the film. For the most part, it's a flashy, violent affair with a weak script and disturbing concept. It is very slow and meanders around three major plot points.

*Its impossible to fully critique the film without ruining the ending so from here on out is spoiler territory. If you're going to watch the film, I recommend keeping your remote close. I was able to watch the majority of the film sped up and not miss a beat. Or just read the summary on Wikipedia.

The performances are strong, especially considering the demanding actions of the characters. It is technically well-acted and well-directed, even if the script isn't up to snuff. The first third relies on a weak monster device to provide the film's jump scares. While it does contrast the crawling pace of the rest, it feels out of place. The middle of the film is empty, apart from the most disturbing sequence of the film, featuring a surviving "victim." She is far more irking than any Freddys or Jasons and a sick example of man's depravity against itself.

The reveal of the cult promises a rising action but fails to deliver, even in sick thrills. The film was a far cry from its reputation as one of the sickest out there. I'm not sure what that says about me, but is one of many of the film's faults. The torture segment that rules the remaining 25 minutes never reaches the gore level of the Saw movies and is predictable and boring. The final images make up for this fact and stick with you long after the film concludes.

The only redeeming quality of the film is the finale, which contains overt religious overtones. The device of the "divine eyes" looking towards God relates back to Jesus on the cross, the original "martyr." Furthering the comparison, neither martyr deserves any of the pain inflicted and, in sacrificing their ego have transcended pain. The failed "victims" manifested their egos as malevolent external forces, unable to put faith in a higher power, whether it be God or fate. The transcendental sight given to martyrs is the reward for their pain and can only be "witnessed." In this way, the film ends happily. Anna is rewarded for her pain and drives the cult leader to suicide, under the pretense that her divine knowledge can only be gained through experience.

This is a tricky to review. Just because the acting and directing are passable doesn't make up for a terrible script. The film is a truly unenjoyable experience that offers nothing more than an intriguing idea. The film succeeds as a vessel for its theme but is a disastrous picture through and through.

Triangle

7.0

One of the most original recent entries in the time travel genre abandons the strict rules followed by its predecessors, instead forming its own logic. Independent filmmaker Christopher Smith brings a multitude of fresh ideas to his character drama. For all intensive purposes this is a one-woman show and Melissa George plays the meaty main role very well. She single-handily carries the weighty subject matter and is able to keep the audience's attention throughout.  The supporting cast is needlessly established throughout the first act and slow the pace to a halt. The ideas at play are the real stars of the film and the characters themselves are varying degrees of cliche.

The film is a mixture of fresh science fiction and played-out modern scenarios. The first third is the weakest, hell-bent on establishing a tired horror vibe through cliche dialogue. I'm not even sure why this was marketed as a horror film in the first place. A few jump scares distract from the overtly science fiction premise.

Once the film really gets going around the halfway point it rarely lets up, delivering a one-of-a-kind thriller. The amorphous structure presents a pretty even race between audience and filmmaker. Sometimes, viewers are way ahead of the character and wait impatiently for a scenario to play out. But most of the time the ante is upped by unexpected plot twists that are just plain fun to think about. In the end, the pieces are interesting but don't quite add up to a cohesive whole. In other words, it fails where Timecrimes succeeded. I wasn't quite sold on a big character change at the end of the second act, even if it works on paper. The ending is as mind-numbing as it is empty. Triangle isn't quite up there with the sci-fi greats but is a commendable effort and worthy entry into the genre.

Mr. Smith Goes To Washington

8.0

There's no denying James Stewart's breakout performance is what the film is best known for. His starry-eyed Americana role aside, the film is a strong and straightforward political drama. The American spirit interwoven into the film is sadly a thing of the past. It is the film's strongest quality and the only reason the mediocre ending feels conclusive. The black and white photography brings out the magical essence of Washington's drab courtrooms and offices, aligning the film's portrayal of Washington with Jefferson Smith's idea of it. The film is at its weakest when Stewart is not on screen and many of the scenes involving the money-grubbing politicians drag.

James Stewart and Clarissa Saunders share a natural chemistry and their scenes together strengthen the film. The role of the press in the film is especially poignant when compared to today's media stranglehold. The picture has many strengths and few weaknesses. The classic status of the film is not due to any one scene but to the overarching themes that harken back to the foundations of this country.

David Byrne / St. Vincent - Greek Theatre, Los Angeles, CA, 10/13/12

9.1

My first impression of the peculiar and intriguing collaboration between David Byrne and St. Vincent was very understated. Love This Giant sounded exactly like a collaboration of this caliber should sound but offered no real surprises. I sat on it for weeks, only revisiting it on the night their live show invaded Los Angeles' Greek Theatre. Driving to venue, I was pleasantly surprised at how much I had missed on the first two go-arounds. The live rendition of the album amplifies the multi-layered orchestration that was initially glanced over. Their live show amplifies the esoteric frenzy of the studio set, with some sweet surprises sprinkled on top.

The set list was an outstanding mix of the album and the duo's respective solo material. A lot of effort seemed to go into the selective choices of solo work, which fit right along side the album's tracks. This did not please the majority of the middle-aged audience expecting for a Talking Heads marathon. Thus the crowd's energy was sorely lacking, especially after realizing a lot of the night belonged to indie darling Annie Clark. Under the monicker St. Vincent, she performed choice cuts from her past two albums with vigor and concentration. When she wasn't noodling an electric guitar, she was matching Byrne's signature weird energy with slinky duck walks and awkward robot dance moves. Needless to say, she is a perfect match for Byrne.

Continuing the David Byrne tradition of unexpected artistic choices, the stage set up was stark and empty. Instead of trying to match the dizzying light spectacles of every other 2012 show, the focus was on the choreography of the ensemble brass band. There's something to be said for good old-fashion showmanship and the band delivered in spades. The end result was simple, powerful and most importantly kept the focus on the music itself. Every member was in top form and good spirits, filling the amphitheater with joyous spirit.

Prior to the show, Byrne took to the PA to highlight the work that went into the show and urge everyone to enjoy it as it was happening instead of through a screen. The announcement foreshadowed a highly-danceable set, who only a sad few took advantage of. Besides the obvious crescendo of the Talking Heads encores, the night had many highlights. St. Vincent's "Northern Lights" built to a dizzying freak-out that found both performers dueling over a theremin. The original cut, "The One Who Broke Your Heart" harbored the contagious energy and unrequited joy that flowed over the entire set.

I feel bad for the timid adults who restrained themselves to toe-tapping in their seats because it wasn't the show they expected. Turns out, this is the closest you will come to a Talking Heads show in this day and age. It shared the band's live electricity from start to finish and mirrored the danceable ecstasy of the 80's.

Night of the Living Dead

8.6

The certified classic helped to spark a new generation of horror and invented the modern "zombie." Many of the cliche jump scares now heavily relied upon are almost absent here. Instead, Romero focuses on crafting a one-of-a-kind atmosphere that is chilling and effective. The black and white photography is downright grimy and has a strong documentary heir to it. Most of the horror of the film is translated in the rough look and feel of the picture, which oozes with independent film passion.

The gore that came to characterize Romero's later entries is restrained here, most likely due to budget limitations. This strengthens the picture and draws more attention to the psychological horror of "other people." Thankfully the film favors character and drama rather than overt satire and in the process addresses deep-seeded human fears. The obvious fears at play are the horror and claustrophobia of other people and the horror in trusting mass media. The segment focusing on the latter is the weakest part of the film, halting the action to play a film-within-a-film. In my opinion, the strongest message of the film (other than the ending) involves the main characters being visited by their loved ones from beyond the grave. In both instances, these characters succumb to their attackers-in-disguise, providing an interesting commentary on the universal fear of death.

All deep meanings and satire aside, the film is well-directed, and full of both good and bad performances. Pieces are downright haunting and the minimalist photography and sound heighten the reality of the picture. Its one of the greatest independent horror films ever made and its legacy will continue to haunt audiences from beyond the grave.

All the President's Men

8.9

The film is an excellent political thriller that finds drama in outwardly dry material. The strength of Redford and Hoffman's performances lays within in their truth. On the surface, the events of the film don't come off as "Hollywood-ized" or overblown. Instead, the drama is created through the conspiracy dug up by the two main characters. Whether or not you are partial to the real life events, the film successfully creates tension in the complex situation. Furthermore, it succeeds in stringing the audience along without confusion and without underestimating the viewers' intelligence. It is a film that demands constant attention and focus. In the end, it rewards these but concludes very abruptly. After following such an intensive investigation it is a letdown to see the fruits of the characters' labor appear in the superimposed epilogue. The ending is satisfying but only to a point and could benefit from an extra ten minutes or so.

My Chemical Romance - Conventional Weapons #1

7.1

The first two tracks of the ditched album that got replaced by 2010's Danger Days finds the band rekindling the raw fire that fueled their breakout album, Three Cheers for Sweet Revenge. Both are tightly-constructed rock/pop cuts that show off the harsh side of the band. On the other hand, I can completely understand why they abandoned the safe zone of this session for a new direction. Neither come close to the glory of the The Black Parade but offer interesting insight into a lost road.

The dangerous energy of Three Cheers feels glossed over and over-produced here. The true highlight of the set is the last half of "Boy Division" which mimics the call and response that eventually got carried over to Danger Days. Both are enjoyably empty listens but new nonetheless. The first entry in what will surely be a set of interesting b-sides purposed to tide over fans while the band plots their next project.

The Simpsons - Treehouse of Horror I - XXXIII

I watched and ranked every short from every Treehouse of Horror...

YOUR WORST NIGHTMARES

1. X - Life's a Glitch, Then You Die

2. V - Time and Punishment

3. V - The Shinning

4. II - The Monkey's Paw

5. II - The Bart Zone

6. VII - The Genesis Tub

7. IX - The Terror of Tiny Toon

8. VII - Citizen Kang

9. XI - Night Of The Dolphin

10. XIV - Reaper Maddness

11. VI - Homer 3

12. XII - Hex and the City

13. VIII - The Homega Man

14. I - Hungry are the Damned

15. IV - Bart Simpson's Dracula

16. IV - The Devil and Homer Simpson

17. XV - The Ned Zone

18. XXIII - Bart & Homer's Excellent Adventure

19. XIX - It's the Grand Pumpkin, Milhouse

ALL THE GUTS, NONE OF THE GLORY

20. XXIII - The Greatest Story Ever Holed

21. XIV - Stop the World, I Want to Goof Off

22. III - Dial Z for Zombies

23. III - King Homer

24. VI - Nightmare on Evergreen Terrace

25. VIII - Easy-Bake Coven

26. XI - G-G-Ghost D-D-Dad

27. XIII - Send in the Clones

28. XIII - The Fright to Creep and Scare Harms

29. XX - Dial M for Murder or Press # to Return to Main Menu

30. XI - Scary Tales Can Come True

31. XV - In the Belly of the Boss

32. X - Desperately Xeeking Xena

33. XVIII - Heck House

34. XX - Don't Have a Cow, Mankind

35. XII - House of Whacks

36. VII - The Thing and I

37. IV - Terror at 5 1/2 Ft.

38. I - Bad Dream House

39. XIII - The Island of Dr. Hibbert

40. XXI - War and Pieces

41. XVI - Survival of the Fattest

42. IX - Hell Toupee

43. XIX - How to Get Ahead in Dead-vertising

44. II - If I Had a Brain

45. VIII - Fly Vs Fly

46. IX - Sharship Poopers

47. XVI - I've Grown a Costume on Your Face

48. I - The Raven

49. XIV - Frinkenstein

ROTTING CORPSES

50. XII - Wiz Kids

51. XVII - Married to the Blob

52. XVI - B.I.: Bartificial Intelligence

53. XVIII - E.T. Go Home

54. XVII - The Day the Earth Looked Stupid

55. X - I Know What You Diddily-iddily-Did

56. III - Clown Without Pity

57. VI - Attack of the 50 ft. Eyesores

58. XV - Four Beheadings and a Funeral

59. XXIII - UNnormal Activity

60. XXII - The Diving Bell and Butterball

61. V - Nightmare Cafeteria

62. XXI - Tweenlight

63. XVIII - Mr and Mrs Simpson

64. XIX - Untitled Robot Parody

65. XXI - Master and Cadaver

66. XX - There's No Business Like Moe Business

67. XXII - Dial D for Diddly

68. XXII - In the Na'vi

69. XVII - You Gotta Know When To Golem

Os Mutantes - Os Mutantes

9.0

A group of Brazilian musicians melt down their favorite Rolling Stones and Beach Boys records. They add hearty portions of whistles, kazoos, dreamscapes and bells. The resulting muck is molded like Playdough, reversed, and stretched bone thin to dry. Eventually the dried wax is formed into one of the most (well, not really) psychedelic tropical rock oddities of the 60's. It is playful and vibrant from start to finish. Songs play by their own rules, changing shape and volume at will. It all makes for an exciting trip that ends just as suddenly as it began. It definitely soundtracked numerous freak-out sessions and groovy get-togethers in its heyday. Now, it remains an interesting pop gem that mutates with every listen.

Cat People

8.1

As far as horror films go, this one is about as constrained as they get. At barely over an hour, it is full of very impressive performances and memorable characters. Simone Simon is tantalizing and vulnerable as Irena, carrying the film. When the film turns into the monster flick is was advertised as, I found myself continuing to root for Irena. She is portrayed as the villain after being wronged by her lover. This dynamic reminded me of Frankenstein and its misunderstood monster.

The drama is never undercut by the unrealistic premise and each of the characters has depth and genuine humanity. Kent Smith's leading man is well-developed but careful never to overshadow the titular star. The film's photography is a great example of the otherworldly nexus only black and white film can create. The editing is strong and the sound is atmospheric and sparse, but successfully carries the film in multiple sequences. As strong as the film is, it is a far cry from frightening. For what it lacks in terror, it more than compensates with strong characters and an engaging story.

From Beyond

6.3

A far cry from director Stuart Gordon's previous film, Re-animator, From Beyond features the same two leads but lacks the magic that propelled the previous film into cult status. The concept of an invisible dimension in between our own makes an interesting premise that could easily deliver on the low budget gore Gordon's films are known for. Instead the film feels like a rather wasted effort, glossing over its detailed characters and straight-forward plot. The film strays in many different directions over its 85 minute runtime, never sure what story to follow. Character motivations are uneven and change at a moment's notice.

The low-budget passion of its predecessor remains, vicariously delivered through Jeffery Combs film-anchoring performance. Co-star Barbara Crampton is an enjoyable female lead, even if her character arc is terribly uneven. But the main pull of the film, the gore, is impressive even if it is in short bursts. With such an open premise, the gore is imaginative and comparable to horror heavyweight The Thing. Problem is, there just isn't a lot of it. There are worse ways to pass 80 minutes but the film is an overall disappointment, especially following the impeccable Re-animator.

Scarface - The Diary

5.2

Hardcore rapper Scarface has issues. He is the self-proclaimed bad influence on the youth, encouraging them to smoke, drink, and kill. His friends are dying all around him and he has no one to lean on. He can't talk to his mother, let alone his diary. Lend an ear and the prolific 90's rapper will spit all his problems, wrapped up in dismal metaphors and rhymes. Trouble is, Scarface's problems aren't all that different from any other rapper's. Even worse, those guys are saying the same damn thing, but more eloquently.

Instead of trying even harder to differentiate himself, Scarface adapts a little of everyone's style. His flow and voice is eerily similar to Biggie's. His production and beats; Dre and Snoop's left-overs. I'm not discounting him entirely. A few gems ("No Tears," "Goin' Down") rise to the top but can't overshadow the fact that you can hear better versions of these songs on Doggystyle and The Chronic. Poor Scarface.

When a Stranger Calls

5.1

The 1979 thriller would make a solid short film. Its bookended by disturbing encounters featuring the pale pixie Carol Kane. The first 25 minutes set up a scary believable scenario and the final 15 minutes resolves the conflict. The middle however, is a meandering weakly-scripted cat and mouse game. We've seen both the cliche cop hero and the crazy killer hundreds of times before and not much changes here. The only purpose to the fat in the middle is to bring sympathy to a lunatic who mangles children with his bare hands. It is a bold move by the filmmakers and works in part only due to the impressive performance by Tony Beckley.

The overdramatic post-production camera zooms and psychedelic sound effects are horribly dated and do little to raise the tension. Carol Kane's restrained performance in the opening is commendable and helps sell the reality of the situation. But by the end of the film, when she finds herself wandering through a deceptively empty house yet again, her mirrored performance weakens the impact of the climax. After the tension is resolved and the credits roll, there remains a nagging feeling that all was for naught and nothing can really be learned here. The film's biggest strength is its terrifying premise that fails to go anywhere. I picture the movie-going audiences of 1979 emerging from the theater on a Friday evening, in search of the real highlight of the night.

Spine Tingler! The William Castle Story

8.4

A fantastic documentary about the Hollywood showman who's attempts to innovate the horror genre mark an age in cinema where horror could be fun as well as scary. The comprehensive film embodies the jovial spirit of the filmmaker's well-known pictures and gimmicks. Castle was one of the last filmmakers to elevate the cinematic experience through the use of external media and publicity.

In recent years, his efforts have influenced film's integration with social media. But there's something magical about true showmanship that technology cannot fully replace.  Whether the gimmicks scared audiences or not was besides the point. The filmmaker's passion and lust for entertainment seemed to carry over to his audiences, who had a grand ol' time.

The Black Cat

4.2

The 1934 classic clunker marks the first pairing of horror legends Bela Lugosi and Boris Karloff. Its unanimous appeal made it both Universal's highest grossing picture of the year and a certified horror classic. I am in the decided minority of viewers of which the film had little effect on. Its an atmospheric hour of silent film-style acting in a "talkie" picture.

There's a reason the two stars were known for their portrayal as monsters. When the actors are left with just dialogue, they flounder. It's understandable when considering that the film is of another time, where overacting was the norm. The ending is satisfying as is the well-known, chilling climax. But aside from the last five minutes, the film is weak and meandering.

Gentlemen Prefer Blondes

6.2

Its clear from frame one that this is a vehicle for film goddess Marilyn Monroe. She outshines every one of her co-stars, oozing sex. The film never pretends to be about much else and the script is filled with humorous and risque double-talk. In the moment, the exchanges of the sexes are entertaining enough but the film fails to add up to anything more.

The prominent atomic blonde bomb is more than functional in a one-note vapid seductress. Apart from her beauty, she is everything wrong with the sex. She is selfish, egotistical and manipulative. The worst factor of the film is that she never changes. What we are left with by the film's conclusion is a weak comparison of men's wealth to woman's beauty, meant to anchor the sexes in their own ill-informed attractions. This thesis is not only true but quite poignant but fails to anchor a weakly-told story.

The structure of the film is quite weak, flip-flopping between paper-thin plot points that fail to add up to any substance. The musical numbers vary in quality but serve to anchor the film. Setting a pattern for all romantic comedies following it, the film falls into a pattern of situational humor. Each segment starts off strong enough but fizzles out before delivering any real laughs. The supporting characters, editing and cinematography all serve to make Monroe that much more dazzling. But like the main character, the film is fun to look at but doesn't have much else going for it.

[REC] 2

3.4

A film entirely succumbed to sequelitis, it attempts to out-do the original in every aspect. More cameras, high budget, more gore, more twists. The result improves upon the pacing and wastes little time getting to the violence but ends up feeling vapid and empty. The original's successful use of cinéma vérité is trampled upon by the addition of multiple camera cross-cutting. It never stays on a single camera long enough to place the viewer in a specific setting so the shoddy camerawork serves little purpose.

The overly-complex camera device hints that the filmmakers are bored with the concept this time around and strive to throw in as many new ideas as possible to liven things up. A completely reestablished system of zombie rules, religious overtones and child protagonists all weaken what was a strong, simple concept to begin with. The scares take a backseat to a luke warm plot that builds upon the closing moments of the first film. Every choice feels more deliberate and heavy-handed as we move further away from the magic of the previous installment.

After a meaningless child-centric second act shows off the film's multiple perspectives, the film repairs a little of the damage in its closing minutes. A clever plot convenience is used to get the night-shot gimmick back, which ups the fright level for a minute or two. A lumbering plot twist anyone could see coming closes the film and by this point the lightning in the bottle of the original has been replaced with a cheap nightlight.

V/H/S

5.3

All anthology films live or die by the quality of their individual stories. V/H/S ends up being a mixed bag. Out of the 6 stories, one is fantastic, one is pretty good, and the rest is some of the worst storytelling put to film (or video). Let me preface by confessing my love for the terrible look of analog video. It's nowhere near HD and barely SD, but nothing else does a better job with putting the viewer in a convincing reality. This may be attributed to a generational trait that links the format with home video. In my opinion, the use of the medium in a horror film could assist the filmmakers in bringing the audience into the world of the movie, heightening the tension. This is why The Blair Witch Project was a box-office smash. Or so I thought.

The 1999 cult hit, The Blair Witch Project's success is not only due to its engaging cinéma vérité style, but also by a well-told story and believable characters. The majority of V/H/S is filled with weak drama and characters that are so ill-developed it makes watching a chore. Each end with "shocking" finales that come out of nowhere and are not supported by anything prior. The film ends up getting very little right. In fact, the film's trademark VHS style is even abandoned after the first 10 minutes. The remaining stories are captured by the characters digitally. The explanations for the camera's presence vary from story to story and for the most part, are extremely weak.

When the characters aren't believably scared out of their wits, the acting varies from pretty good to horrendous. The first story, "Amateur Night" is too long and marred by weak, cliched characters. When things finally get interesting, the action really picks up and the film becomes not only bearable but actually entertaining. The shock ending is one of the highlights of the entire ordeal, only to be followed by an hour of garbage. A few solid jump scares are scattered throughout the muck. One very disturbing voyeur thrill is to be had. Now, I like gore as much as the next horror fan but a lot of the (albeit technically impressive) effects are complete overkill. The real treasure of the bunch isn't unearthed until the final 20 minutes of the film.

"10/31/98" begins weakly enough with the main character explaining to his friends that the camera he's wearing is part of his costume. Mercifully, things are all uphill from here and the story builds to a terrifying climax. After the expected (and effective) jump scares heighten the danger, the film kicks into over-drive and the remaining 10 minutes are legitimately terrifying. And for the first time in the film's bloated 2 hour runtime, the cinéma vérité style heightens the tension and makes the film scarier. The whole ordeal concludes with one of the best last scares in recent horror history. My advice: stick to the first and last bits and avoid an 80 minute headache.

How the West Was Won

6.6

The star of this show is surely Cinemascope. Matching the epic nature of the title and film itself, the ultra-panorama created by the expensive 3-camera medium went as quickly as it came. Thankfully, TCM recreated the roadshow presentation in all its curved glory under the monicker of Smilebox. Despite the drastic drop in screen size, the illusion was still very engaging. The breath-talking cinematography captures wide mountain ranges and raging rivers with exquisite detail and succeeds in transporting the audience to a different time and place.

Its obvious that the wider the shot, the more effective the illusion so the majority of the film is made up of wide masters. This unconventional technique really hinders the editing, taking the viewer out of the story with intrusive and sluggish cutting from one master to another. The dialogue scenes are the worst and unfortunately this film is very dialogue-heavy. The film does succeed in its action segments, which are few and far-between. The bookended set pieces of the film are its strongest points, making it clear why this is a classic.

The quality of the storytelling varies based on the different segments. The first and last parts are the strongest while some middle stories were tedious and slow. The film starts out very strong, anchored by a solid performance from James Stewart. "The Rivers" is also the film's strongest story because it is entirely character-based. When the film shifts to a larger scale in service of the epic tale, the human touch fades. The next story, "The Plains" starts out strong and maintains the rich cinematography and scale but is hindered by a slow pace. The story all but falls apart when main character Lilith is betrayed by the script writers, who abandon her characterization for a Hollywood-type happy ending. The unsatisfying undermining of women characters is one of the ways the film shows its age.

The next two parts, "The Civil War" and "The Railroad" are marred by bland characters who fail to connect. John Ford's direction of "The Civil War" falls flat, the wide-scope cinematography distracting from the story. Even with a cameo by The Duke himself, the story is short and overdramatic, hitting all the cliche notes expected from a Hollywood war epic. The Railroad marks the film's low point in story and peak of cinematic beauty. The Western frontier is captured flawlessly, juxtaposing wafer-thin characters. An abrupt resolution solidifies the pointless nature of this part.

The concluding part of the epic film, "The Outlaws" delivers the climax of the film in a train shootout. By this point, its hard to tell who's who and the convoluted script doesn't do the viewer any favors. But just as soon as the characters are barely established (or reestablished?) the climactic shootout concludes the film. Influenced by The Great Train Robbery and sure to be a point of interest to later film such as The Wild Bunch, the train sequence is a tightly-edited, well-shot piece of action driven by murky character motives. The resulting film is a series of vignettes claiming to explain how the West was won but instead adding up to nothing more than a series of beautifully-photographed, weakly-scripted short stories.

[REC]

7.1

The next in the long line of new wave cinéma vérité horror flicks comes from Spain and was predictably ripped off by Americans. I can't speak for the remake but the original offers up some genuine scares amongst predicable characters who can't figure out the meaning of "zombie" until its too late. Like most found footage horror films, its too long, even at a brisk 70 minutes. Thankfully it never succumbs to the pitfalls of its sibling, Cloverfield and isn't weighed down by extensive characterization. Like most horror films, we know the characters the instant they appear on screen. Character cliche is narrowly avoided and so many people are briskly introduced that by the time the horror starts, anyone could be next.

The situational exposition is what really weighs the film down. Half the running time is spent setting up the claustrophobic quarantined building. It's refreshing to watch the situation play out through the fly-on-the-wall camera but doesn't stop the audience from lapping the filmmakers. Performances are believable (the language barrier helps) and half the horror comes from the escalating confusion that builds to a scathing 20-minute conclusion that never lets up. 

The film's best trait is the claustrophobia created when dealing with so many people in such a confined space. When Hell breaks loose, it attacks the viewers from all angles. A number of horror films do it better (Night of the Living Dead, The Descent) but not on such a short time table. In fact, the grand finale is so quick and relentless, I'm wondering if so many establishing scenes were necessary. Some of the genre's calling cards (the disappearing corpse; the missing, sick grandfather) set up future scares for the latter half of the film. As far as I could tell from the fast-paced shaky camerawork, the payoffs either last mere seconds or were absent altogether.

I am impressed with the news camera device used to explain the cinéma vérité. Every character remains aware that they are being filmed, but the filmmakers never over-do it. The self-referential camera, despite becoming a popular trend in today's horror cinema is a hard thing to pull off but its done well here. Like almost every found footage horror film, it ends very abruptly. A last-minute twist adds to the convoluted plot but also creates the most disturbing scene in the film. It's a functional horror film that, while highly predictable, contains enough kinetic energy to fill an hour with grizzly thrills.

Ruby Sparks

9.2

The idealized version of women in film has changed over the years. The quirky, lovable "indie heartthrob" first seen in films such as Annie Hall seems to have risen to prominence again, becoming the go-to movie crush of the 2000's. She is most recently seen in films including Eternal Sunshine of the Spotless Mind, (500) Days of Summer and this year's Seeking a Friend for the End of the World. These female characters all have various degrees of believability yet are all lovable in their own right. Initially, the title character of Ruby Sparks looks to be another carbon copy. But she sets herself apart from these women by actually feeling like a real person...who's a character. She is just quirky enough to be instantly lovable but never gets pigeon-holed into a new wave cutout. In other words, she doesn't need to talk about The Smiths or vinyl records for any of the target audience to fall for her.

The fascinating meta-level discussion of creator vs. created is dealt with perfectly here. Big ideas involving creativity and reality fall second to the character-driven love story which, once it takes hold, never lets up. This love story is about as different as they come. Even after knowing the set-up or seeing the trailer, things play out differently than you'd expect. The script is air-tight and the pacing keeps things moving evenly. When the audience's "what ifs" surrounding the premise unexpectedly come into play, they do so in the most interesting way possible, completely driven by the emotions of the characters.

Like Little Miss Sunshine, the passion for this project oozes off the screen in every scene. This cannot only be attributed to directing team Jonathan Dayton and Valerie Faris but also Ruby Sparks herself. Zoe Kazan, the actress who plays Ruby wrote the screenplay and is also dating leading man Paul Dano. If that isn't meta, I don't know what is. It explains the electric on-screen energy between the two. At their best, they give Jim Carrey and Kate Winslet a solid run for their money. 

Paul Dano has more than proven himself in the past and really brings a one-of-a-kind neurotic energy as Calvin that catches the viewer's eye. He commands the screen effortlessly, creating a multi-layered character who's flaws make him instantly relatable. Annette Benning and Antonio Bandaras make all-too-brief cameos as Calvin's parents. Chris Messina plays Calvin's brother, a role that is thankfully not as neglected, allowing him to shine in a fantastic supporting role along side Dano. The filmmakers seem to be back in their comfort zone once this family is brought together. Like Sunshine, so much is painfully left unsaid between these characters, it is realistic and heart-breaking. Sadly, the film all but leaves these characters behind to re-focus on the primary conflict between Calvin and Ruby.

All in all,  my expectations were shattered and, so far, this is not only the best romance but also one of the best films of the year.

Grizzly Bear - Greek Theatre, Los Angeles, CA, 10/10/12

8.7

Grizzly Bear has matured. After striking gold with 2009's Veckatimest, the band veers into refined territory with Shields. Their new album finds the band attempting to morph and build upon the crisp orchestration and sweeping melodies they are known for. Wednesday night's set at the Greek Theatre went hand-in-hand with their new material and proved the band is as tight as ever. Under a starless night sky and an impressive set comprised of shifting lanterns, the expanded live band tore through a set balancing new and old.

The last show of their US tour found the band in great spirits as they performed an elongated victory lap set chock full of new material, fan favorites, and a few gems. Unfortunately after a full tour, the band sounds tired and the vocals occasionally fell flat. The sonic density of the new material masked this limitation well. But with so many on stage instruments, some songs sounded cluttered. Still, I commend the band for striving for the sonic perfection of the recorded material. For the most part, they achieve it.

The band's enthusiasm shined through the understated nature of their songs but was not reflected back by the crowd. The majority of attendees were too hip to move, dance, or do much else than talk over songs and guzzle from hidden flasks. This created a weird vibe, making the entire experience feel rather stiff. Still, gleeful shout outs to every member in the band lightened the mood and encouraged them to respond with quirky zingers, dedicate a song to a girl on Twitter and fulfill contrived audience requests for Knife.

I am still having trouble getting into their new album and its not from lack of trying. The live renditions of the songs really opened them up, bringing to light every nuanced string arrangement or hidden melody. A Simple Answer is my favorite cut off the new album and still sticks out as the best new song performed. Shift was a beautiful mid-set surprise featuring a pitch-perfect whistling solo from Chris Taylor, who later shined with his mechanized moan in Knife. The real treat of the night was the climactic double-whammy I Live with You and Foreground. The songs' eerie build-up and cathartic release made for the best 10 minutes of the night.

In conclusion, my biased reaction to this set was certainly due to the transcendental experience of seeing them in a church three years prior. Technically, Shields is the natural next step for the band, seeing them at their most refined and adventurous. Their mid-week set at the Greek was an extension of that. Unfortunately for me, the connection was not as strong this time around. Closing the set with a glorious semi-acoustic All We Ask serenaded the audience with a stark love that cut bone-deep. If nothing else, their haunting sound perfectly complimented the chilly night under the stars, marking the true arrival of Fall. And it wouldn't be fall without Grizzly Bear.

Animal Collective - Fox Theater, Oakland, CA, 9/22/12

9.5

Now that all original band members are accounted for, Animal Collective has successfully transitioned into the Centipede Hz era. Nothing solidifies their new direction more than the colorful racket made at the Oakland Theater on Saturday night. Compared to the Merriweather Post Pavilion tour, a thoroughly enjoyable set by 3 DJs, this new batch of shows capture the raw energy only real live instrumentation can provide.

The Collective is at its most vivacious here, curating a set of bangers all dated from 2007 and above. This greatest hits / new material split kept the audience moving for 100 straight minutes. The venue was thankfully loose and the crowd was that rare kind that actually danced to the music. Great vibes were thrown back and forth from performers to audience, the band constantly testing the energy of the bouncing sea of people. This culminated with a trance-like Brothersport that turned into an all-out rave and old favorite Peacebone that tore apart its studio counterpart.

The new material fit right in and really comes alive once the band start to play with individual song elements like sonic Playdough. Animal Collective are one of few bands who truly embrace live experimentation and this was especially clear with Pulleys, which was stretched into a 10-minute spacey burner.

The mixing was very well done, considering the amorphous tendencies of the band. Perfectly complementing the sound was the otherworldly set design. Inflatable cartoon teeth lined the top and bottom of the stage while multicolored spikes surrounded the band. The effect of the band playing inside of a creature's mouth was the closest thing to having a psychedelic trip without taking drugs. All in all, it was an unforgettable night inside the mind of the perpetual motion machine that is Animal Collective.

A Face in the Crowd

8.4

We all know the story. A nobody rises to fame and is corrupted with power along the way. The tale is old as dirt and about as original. What sets this 1957 black and white satire apart is that by the end, it has more in common with Frankenstein. And like Frankenstein, Patricia Neal's Marcia must come to terms with her creation after it has wrecked havoc on its surroundings. In this iteration, a manipulative country bumpkin replaces the burly monster. Andy Griffith is perfectly cast as the monster, his genuine likability foreshadowing his role on The Andy Griffith Show 3 years later.

Supporting actor Patricia Neal gives a subtle and impressive performance that counters Griffith's larger-than-life persona and supplies the film with a moral core that is necessary to sell the story. A young Walter Matheau appears out of nowhere halfway through and steals every scene he's in. But there's no mistaking that the film belongs to Andy Griffith. Without him, it would be hard to pity such a hubris-filled character.

Overall, its a functional and entertaining satire that enthralls even if you already know where its heading. The photography is solid if rather unsensational and the editing sets it apart from other films of its time. It is well-paced and even ruthless at times, cutting off actors in the middle of heart-felt speeches all in service of telling a better story. Sidney Lumet's Network owes a lot to this film. While Network features a better script and more naturalistic performances, this film has a more satisfying ending that never feels like it sacrifices character for satire. Its worth a look for Griffith's performance alone.

The Wild One

6.5

Considered relevant due to a titular performance by acting guru Marlon Brando, The Wild One may have upset many in its time, but feels rather tame after more than 50 years. The fast-paced drama spins the tale of an uproarious motorcycle gang as they take over a small town, giving the townspeople no choice but to strike back.

The film begins with a message branding it as a warning to society. As it progresses, both the mischievous gang and the defensive citizens commit equally heinous acts, blurring the line between good and evil. I'm intrigued to see what the film would have ended up being without the enchanting performance by Brando luring the audience onto his side. The entire ordeal is photographed beautifully in black and white and features some of the most effective and mesmerizing day-for-night scenes.

The acting is great, especially considering everyone having to go toe-to-toe with Brando. The real problems with the film lay in the script, which chooses to depict its characters very unevenly. On one hand, Brando's Johnny feels fleshed out and human but is cast along side cut-out sidekicks who offer little more than comedic relief. His rival Chino, played by Lee Marvin is engaging to begin with but by the end all but disappears. What hurts most is Mary Murphy's Kathy, Johnny love interest who starts out strong but halfway through descends into cliche, starry-eyed swooner territory. Still, their scenes together are the strongest moments peppered throughout the film.

After an hour of setting up an all-out culture war between the straight-edge town folk and the combative bikers, the film doesn't exactly erupt into the slew of violence you'd expect. The conflict makes for an impressive and though-provoking thesis implying that neither side is justified and both are equally responsible for creating friction between one another. This interesting dynamic is never really followed-through upon and the film ends abruptly. Its true that most noteworthy issues in society have no definitive answers but that doesn't necessarily make for a satisfying ending to a film.

The Front

5.7

Woody Allen gets uber-political in this 1976 drama that puts the anti-Communist message at the forefront of the film. The concept of the friend of a writer becoming an overnight sensation after representing his black-listed friend's work is straight-forward and clever. Allen surrenders his usual writer/director roles to previously-blacklisted filmmakers who add streaks of justified anger throughout the film.

It proves to be entertaining enough while overselling its relevant thesis of freedom of speech. The plot and characters do get entirely overshadowed by the message, creating a mediocre film that satisfies only with its agenda. Woody Allen is mainly here to service a plain script, his trademark Jewish swagger shining through in rare moments. But he is entirely overshadowed by a supporting character played by Zero Mostel, who steals nearly every scene he's in. Besides him, every other character feels wooden, existing merely to service the core idea.

It doesn't help that Woody Allen has nearly no chemistry with any of his fellow actors, least of all his leading lady, played by Andrea Marcovicci. The cinematography and editing are functionable and the trademark Allen/New York City jazz that plays over most scenes adds a nice sheen to the whole picture. The ending is satisfying enough and feels very Allen-esque. A heavy-handed opening montage does well to establish the setting but also foreshadows a middle-of-the-road film that wears its agenda on its sleeve.

Flying Lotus / Animal Collective - Hollywood Bowl, Hollywood, CA, 9/23/12

8.7

8.9

Does the band influence the venue or vice versa? This question was at the forefront of my mind during the somberly conflicted Sunday night double-bill at the Hollywood Bowl. I had high hopes for my first experience at the legendary west coast venue which once housed The Beatles and was about to host my current favorite band, Animal Collective and their amorphous live show.

The result was by no means related to the band or their performance but rather to a venue which confirms everything that is wrong with the Los Angeles music scene. Sure the acoustics are second to none and nothing compares to live music played in the open night air under a bed of stars. But by playing a larger venue, the band invited in mostly casual fans, eager to talk over the majority of the set and whoop and holler when that one song they heard on college radio begins.

So were my dashed expectations due to my misunderstood notion that the Hollywood Bowl could actually rock or to being surrounded by an uninterested crowd made up of the worst hipster scum on the west coast? As Flying Lotus started the night off proper, I found my answer was a combination of both.

The electric wizard is at the top of his game and put on a fantastic show, seamlessly wiring his new album's spacey production with current hip hop hits like A$AP Rocky's Hands on the Wheel and electronic classics like Radiohead's Idioteque. Even after encouraging the audience to stand, FlyLo didn't get half as much energy back as he was dishing out behind a futuristic 3D projection wall. In the end, a forward-thinking monster of a set seemed to be the highlight of the night for most, but would still perform better in a small club.

As Animal Collective took the stage it was clear that this performance would be less about full-body immersion into their musical wonderland and focus more on presenting the one-of-a-kind sounds of the band in the best acoustic environment under the sun. If recorded correctly, this show has the potential to be one hell of a bootleg.

The current tour's set list represents the double edged sword of indie stardom. Now more than ever, the band seems to be responding to the success of Merriweather Post Pavilion and actually giving the fans what they think they want. I'm glad they continued their tradition of keeping the majority of the tunes current but besides the new album, none of the material predates 2007. This of course, kept the majority of casual fans packing the Bowl happy, conforming to the drunken pleas of My Girls.

Despite the shortened set, the Collective managed to massage some sneaky surprises into the jelly-like ether that fills the gaps between songs. The studio versions of every song seem like blueprints in comparison and even among other electronic performers, Animal Collective stands alone. I was sad to see Moonjock axed but the interlude concluding the album's lead-off track made a welcomed appearance. I am personally not a fan of Pulleys and think its the weakest track on the new album so the fact that the extended interlude woven into recent live versions was also nixed didn't faze me. Instead, we got an elongated Peacebone that is literally torn apart as it cascades to a mind-numbing finale that loomed above the hit-laden second half of their set.

The cartoon centipede mouth that dressed the stage accents the music, which brings out the loopiest side of the band. But it also encapsulates the exact reason why such immediate music needs to be experienced in the most intimate of settings. In a club, the illuminated teeth that lined the edges of the stage actually makes it look like a psychedelic centipede mouth. On such a big stage, the effects are still mesmerizing but the illusion is lost. The kinetic nature of new hits like Honeycomb and old faithfuls a la Brothersport create a ruthless set that never looses its punch and encourages participatory freak-outs. Unfortunately for both the band and audience, the venue kept the majority of onlookers glued to their seats, tapping their toes and smoking weed.

Still, the music hold up masterfully and the set is an hour and a half long banger designed to keep fans bouncing. Despite the fact that this may be their least experimental, most hit-driven tour, I'd mark the night a success, especially considering I was able to catch the band in their intimate element the night before. A worthy companion to a night of psychedelia under the night sky.

Mark Twain - The Adventures of Tom Sawyer

9.3

Every generation likes to think it was the last of its kind to represent the Tom Sawyers of the world. The kid who awoke at the crack of dawn every morning looking forward to the simplest, purest pleasures in life. A warm Saturday swimming under the sun, catching bugs, running through the woods at the edge of civilization, "gun" or "sword" in hand.

Mark Twain's novel is a collection of stories meant to capture the imaginations of fathers and sons alike.  By no means a children's book or a quick read, Twain is meticulous in his choice of language and imagery. The novel works best when read slow and deliberate, allowing the reader to soak in every detail of a simpler time and place. A Southern backdrop of the mid 1800's ties the author's past experiences to those of Tom's. Thus the language, dialect, and references may seem confusing or bothersome to some readers but nonetheless paint an accurate and engaging picture.

The strong suit of the novel is that its world clearly belongs to the children. The boundaries are limitless when any scenario can happen right in your own backyard. The core of the novel is the adolescent's perception of the world as a vastly untouched playground, waiting to be conquered.  Even as our heroes are moments away from certain demise, the danger is never fully realized, always kept in check by the soft cushion of childhood wonder.

The children themselves are all fully fleshed out characters. While they certainly act their age, their actions are firmly rooted in realistic emotion. In other words, Twain never undercuts his characters because of their immaturity. The character and setting descriptions never get in the way of the story and are sparse enough to allow the reader to fill in the gaps with their own imagination.

The individual tales are, for the most part, perfectly paced and suited for bedtime reading. While some are more adventuresome and enjoyable than others, all have a moral core and serve to teach rudimentary lessons of life we all learn throughout childhood. Thankfully, the stories remain at the forefront and Twain never gets preachy.

The conclusion of Twain's timeless classic says it all. Instead of hinting towards a bright future for Tom, Huck and Becky, the author simply separates the pre-pubescent glee driving his novel from any adult matters of maturity. Thus, the characters and more importantly the ideals they represent can remain in a timeless state of childhood for all to vicariously enjoy.