Category Archives: Netfix
Mini-reviews of currently streaming streamables.
Roughly a year ago, Kevin Smith released Tusk into the world. Though it was not received kindly, behind the scenes of the grotesque adventure was an entirely different scenario – a time of family bonding and friendship, as it were. After seeing his daughter and her best friend behind the clerk’s counter, Smith was inspired to weave a new story just for them.
And what a tale it is.
Yoga Hosers stars Harley Smith and Lily-Rose Depp as Colleen McKenzie and Colleen Collette, respectively. These two sophomores love to hang out, jam, and practice yoga. The only thing spoiling their precious youth is their part-time job at the local convenience store Eh-to-Zed.
One fateful day, everything changes for the Colleen Coalition: they are unexpectedly invited to a Year 12 Party! OMG! 😂
Frankly the first half-hour of the movie is pedantic teen nonsense with some Smodisms tossed in – but when Guy Lapointe (Johnny Depp reprising the role) steps in, things get really weird, and so much more fun. What begins as a teen romp snowballs (heheh) into a cascade of B-movie mayhem, with bratwurst Natzis. Bratzis.
This film was a family affair – chocked full of cameos (including both the girls’ families), references and easter-eggs. It’s obvious everyone was having fun on this one. Needless to say I am still looking forward to the final chapter of the True North Trilogy, Moose Jaws (which is like Jaws, but with a moose).
Though the intentions were good, this portrayal of teenage girls was painfully pandering, to the point of being embarrassingly condescending. Also are undergrads trying to get into senior parties still a thing? (Was it ever a thing?)
Considering this was aimed towards modern teen girls, but features 80’s/90’s references, it’s hard to figure out who this movie’s really aimed at.
The “What the f*ck?”
Is it weird that I thought the bratzis were strangely adorable? …Did you know that is the same voice he uses to speak to his dogs? (Coincidently, Smith’s dachshund, Shecky, also makes a cameo.)
In all, this movie’s pretty fun. Dumb, but fun.
Chances are, you’ve seen this movie pop around your recommendations but totally ignored it way more than the other recommended films/shows, and I think I know why.
The poster’s shitty. Shitty and forgettable. Which is a dirty shame really, because The Suicide Theory has a really cool premise:
Percival (Leon Cain), frankly, wants to kill himself – but for some reason, he can’t. It’s not that he hasn’t tried, he just keeps on living all the time. So what’s a man to do? Hire someone to do it for you – this is where Steven (Steve Mouzakis) comes in. For Steven, what seems to be a done deal opens a whole new can of worms instead.
The Suicide Theory is kind of like if M. Night Shyamalan had made The Butterfly Effect, but with less time travel and angst. In Australia. With no budget. In fact, I just wanted to check my facts with the last statement I made there, and just learned that this film was funded by Indiegogo! No wonder their poster’s so pedantic. (Then again, there are great-looking promo materials on the Indiegogo page, so I’m not sure what’s going on with Netflix.)
I don’t want to reveal more about the plot, so let’s just get down to brass tacks.
To avoid repeating myself further down the page, I want to note that The Suicide Theory does a great job keeping your attention. The tone and pace was consistent, and personally I was pretty happy with the ending.
Sometimes the acting is pretty poor, but all things considered, it’s not even that bad. Well, they did go a little hard on the “fate” thing.
The Final Thought
Some say convoluted, I say charming; The Suicide Theory is pretty neat and wraps itself up nicely. It’s a story not only of fate, but also sheer cause and consequence. If you have 90 minutes, this is definitely worth a peek.
Bored with his dull suburban life, aspiring songwriter Jon (Domhnall Gleeson) stumbles upon a grand opportunity when an experimental indie band, Soronprfbs, is in sudden need of a keyboardist. Though the gig does not go particularly well, Jon earns the attention of Soronprfbs’ masked frontman, Frank (Michael Fassbender). Jon is invited to join the band, much to the chagrin of Frank’s girlfriend and band theremin-player (thereminist?), Clara (Maggie Gyllenhaal).
As a film, Frank serves almost as an inside look as a achieving art, or perhaps more of the perception of becoming of artist. Throughout the quirks is a story of anguish and expression, with Jon as an apt creative everyman. This is a story of fame versus respect, combined with the internet celebrity zeitgeist – wrapped up in a musical shell. From Jon’s perspective, his venture with Soronprfbs is not unlike a trip to Oz – even with the ending, but I won’t spoil anything.
Pretty much everything. I’m thinking about getting the soundtrack, even.
…I’ve got nothing. Maybe the use of social networking will age terribly in the next few years, but that’s about it.
It goes without saying that Michael Fassbender is fantastic (as if that’s a surprise anyway); his performance as Frank is wrought with sincerity and a sort of delicate tact. Really the whole ensemble works wonderfully – I really just enjoyed watching them play together and jam.
When news broke of this cinematic venture, it was hard not to be curious – a whole film secretly shot in Disneyland? A sci-fi horror film? This had my creepypasta meeter just spinning. After much controversy, this little number finally made it’s way onto Netflix. So how’d it fare? Hush now, synopsis first.
On the last day of the White family’s Disney vacation, Jim (Roy Abramsohn) is told that he’s been fired. Despite this news, he does his best to keep a happy face for his family. Little did he know that this day would get much, much weirder: what began as a wholesome family trip became a torrent of sex, lies and possessed animatronics. The White family’s facade comes tumbling down in a venture that is not only the end of innocence, but the dissolution of sanity.
This was a movie was really just a hot mess of ideas: sci-fi, infidelity, loss of innocence – it all sounds good on paper, especially with a background as wholesome as Disney World. Personally, I love this kind of stuff. And there’s a definite appeal of something that’s gone through this amount of red tape and altercation.
I think that what first put me off was how incredibly unlikeable the protagonist was. Granted there are two sides to every relationship (and the portrayal of the wife really wasn’t helping), but the way he was ogling the jailbait (and every other woman) to the point of neglecting his children really wasn’t making me care if this man lives or dies by whatever horrible means.
The ending was also, er, problematic. Don’t worry, I won’t spoil it, but it left something to be desired. Or maybe the last bit just went over my head.
As mentioned, I love the idea of Disney world as a horror backdrop, especially because they didn’t take the zombie route. Not to mention the concept of false memories crossed with temptation – it’s perfect! The sci-fi tangent was without a doubt my favorite. Really, I kind of wish the movie was more like it’s inspiration.
Though I was left with a lingering unease (good thing), that does not help the incoherent cluster that we’re left with. Maybe if they only stuck with the science fiction and developed that more, the story would flow a little easier. Or if they did a Pleasure Island route, that would be pretty cool too. But that’s just, like my opinion, or whatever.
Maybe I’m just whining too much. Escape from Tomorrow definitely sticks with you, and there’s a certain charm to the guerrilla aesthetic. In the end, it comes off as a moderately-budgeted student film, and there’s absolutely nothing wrong with that. If anything, I say it’s worth checking out.
Voice acting could easily be one of the most over-looked arts in the TV/film industry. It’s one thing for a well-known actor to provide a voice for a character – they’re mostly playing themselves. But for a person to hide themselves completely and be utterly unrecognizable amongst us common-folk, that takes talent.
I Know That Voice exposes and pays tribute to such talent as June Foray, Jeff Bennett, Daran Norris, Pamela Segall Aldon, Billy West, and many, many more. (Did you have to google some of those? I don’t blame you in the least.)
As far as documentaries go, you really can’t get any more cut-and-dry than this one. I Know That Voice goes into a brief history of the establishment of voice acting, talks about some industry pioneers, and carries on about recent happenings and new kinds of media. Plus it’s chocked full of all sorts of talent and trivia.
Now, I’m a total dork about this kind of stuff, so I really enjoyed learning about the history of voice acting as well as methods of the craft. I’d recommend this to anyone who loves learning about filmmaking – or loves cartoons.
Nothing dates a documentary like bouncy, animated text. I’m not going to hold that against it, though.
The Just Plain Neat
Corey Burton illustrates his process for performing as Porky Pig – it’s pretty impressive.
Last Monday, August 11, the Internet exploded. Everyone all over social media began to scramble to answer one simple question – “is it true?” Sadly, yes. Robin Williams, beloved actor, comedian, and all around cool guy, took his life at the age of 63.
I don’t want to harp too much on this – after all, there’s not much left to say. In return, I’d rather celebrate this man’s legacy by talking about a lesser-known Williams film that’s all about, well, legacy: World’s Greatest Dad, directed by Bobcat Goldthwaite (which is also currently streaming).
I would like to start out saying that given the content of the film, I could see quite a few people getting upset about this one. So, take some time on this one.
Lance Clayton (Williams) is a failed writer turned English teacher (aren’t they all), who is father to probably the worst teenage boy in existence, Kyle (Daryl Sabara). Okay, to be fair I say that sort of thing about a lot of teenagers, but we’re talking lord-god-king douchebag. One fateful day, Lance walks in to discover that Kyle accidentally killed himself in an act of autoerotic asphyxiation gone awry.
Crushed by his discovery and wishing to save his son (and more likely himself) from the embarrassment, Lance poses Kyle’s body as a suicide and writes a heartfelt note on his son’s behalf before calling the police. The note is later obtained and published in Lance’s/Kyle’s school newspaper, and Kyle soon becomes a posthumous icon for the students. Having finally been recognized for his writing, Lance decides to pen a journal under Kyle’s name, which soon becomes published as a national phenomenon.
Admittedly, this is a film about terrible people. Simultaneously, it’s a fantastic satire on the cult of celebrity. And again, I warn you (and as if you couldn’t tell by my little synopsis there), this movie is dark. Not to mention especially heartbreaking given the circumstances.
Though it’s been a couple years since I sat down and watched this movie, but one thing that stuck out in my head was how absurdly funny the whole thing was. That, and William’s incredible range on display. Despite being crass and about terrible people, World’s Greatest Dad is an unexpected gem worth checking out.
Though he may be gone, his legacy of laughter will always remain in our hearts and minds. And with that, we will miss you.
I’ll come out and say it: I dig the McConaissance. Coined by the New Yorker through Dallas Buyers hype, it was believed that Magic Mike was the film to kick off this star’s return. Personally, I think it started before that, with smaller titles such as Bernie and Killer Joe. Soon after came a little gem now available on Netflix, Mud.
Mud is a charming little coming-of-age drama about a pair of friends in De Witt, Arkansas, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland). These boys spend their days riding around the Arkansas River, selling fish and talking about boobies. One day Neckbone discovers a mystical boat stuck in a tree. The boys decide to claim the boat to themselves, until they find it’s already home to a mysterious drifter called Mud (McConaughey).
Mud tells the boys that he’s returned to De Witt to find his lost love, asking them for food in exchange for the boat. The boys oblige, only to find that the law also has it out for their new friend. Meanwhile, Ellis has entered a delicate phase, leaving him to question his moral standing on love and good and evil.
Mud adheres to the charm and sensibility of Stand By Me, met with the mild burn of Southern Comfort. It’s really quite mushy if you think about it – Ellis is witnessing each stage of love lost, whether it’s his parents’, Mud and Juniper (Reese Witherspoon), or his soul-crushing encounter with his first lady-friend. Of course, childhood love stories are boring without a little gunfire.
As wonderfully shot as it is acted, Mud is an incredibly enjoyable film wrought with originality.
I hate the play this card, but all of the women are the cause of all the pain and misery to be had. The only saving grace is when Ellis’ father tells him, “Women are tough. They’ll set you up for things.” We then proceed to witness a more dynamic shift in the mother’s portrayal in order to make her more empathetic.
Granted, Ellis spends the most time with his father and they’re going through a separation, so obviously Senior’s view is going to be skewed. Then again, both Ellis’ girlfriend and Juniper do some mean, nasty things – poor Ellis can’t seem to catch a break.
The Alright, Alright, Alright
Despite my beef about the ladies, Mud is a great watch. Even through the grit and heartbreak, the end of Mud’s story is nothing short of satisfying.
Brandon Cronenberg, son of the one and only David Cronenberg, has finally (okay, two years ago) made his full-length directorial debut, Antiviral.
In a society obsessed with celebrity culture, adoring fans have no resorted to paying for infectious diseases, in order to bring themselves one step closer to those they admire. Syd March (Caleb Landry Jones) acts as a disease-mule who works at the only clinic that offers ailments straight from starlet Hannah Geist (Sarah Gadon). When Hannah suddenly dies, Syd is cast into his own personal hell, caught between devotion and survival.
Personally, I think that the trailer was better than the movie.
Stylistically, this film’s golden. The choices of light and composition clearly reflect a materialistic world with an eerie underbelly. The visuals (and physical props) are admirably grotesque, but made me yearn for more. Additionally, given the pleasure of at least one fever-dream sequence, but not much else.
At first glance, the grim celeb-obsessed future plot seems kind of interesting, but it doesn’t carry the story at all. In fact, there’s very little story to be had. I can’t even describe the protagonist that well. He’s a creepy ginger fellow…and Jones does a great job at faking sick.
His obsessions are only acknowledged in dream-form, and even then we’re not given much more to work with. Maybe that was the point – people are so obsessed with other people that there’s literally no individual personality left in the world? The character design would seem to suggest this, but it just comes off as kind of lame and misguided.
Like I said, gorgeous composition. I really wanted to know more about this world and how society and science took this perverted turn. I loved the grotesque visuals and sci-fi involved here – more of that, please.
Unfortunately, when you have a story that is about obsession and only obsession, it gets old kind of quickly. It’s clear that the plot/ending was only going to turn into a gory shock-factor, and that’s really a dirty shame.
Antiviral had the oomph, only to flop over as a one-trick pony.
When I first saw this trailer for Berberian Sound Studio, I was completely enthralled. I waited and waited, then procrastinated a bit, and finally caught it on Netflix. I think it’s fair to say that I was not disappointed.
Built on the mythos of 1970s Italian giallo films and the visceral nature of sound, Berberian Sound Studio conveys a beautifully nightmarish atmosphere, blending the lines between fiction and reality by playing with elements such as entrapment and gradual disillusionment of time. The audience also never actually sees any footage from the film itself – much like Pontypool, it’s what you don’t see that frightens you.
In addition, we also witness a fantastic transformation of character, considering what we have to work with. I say this because we really don’t know much about Gilderoy (Toby Jones) to begin with, other than he’s meek, polite, lives with his mom, and is a fantastic sound engineer (or at least good enough to be brought in by an enthusiastic director). Suddenly he is brought in to a completely foreign environment, working on a genre he’s never approached before. Despite being disturbed by the content of the film, he finds solace in his work – until he’s forced to take part in the foley work. From this point on things get increasingly hostile, as well as bizarre. As foretold in the synopsis, fiction and reality intertwine, and Gilderoy is thrust into his own private hell – inevitably mutating from witness to perpetrator.
The meta nature of Berberian Sound Studio is something to admire. Perhaps it’s because I really enjoy films about filmmaking, but this one particularly struck my fancy when it came to audience immersion. We’re trapped with Gilderoy in his reality, or lack thereof – so are these people really as rude as they seem to be? Considering some of the actresses’ woes, yes, probably, but it leaves Gilderoy’s interactions up to interpretation for the most part.
With its seamless editing and intangibly stirring qualities, Berberian Sound Studio is a film you simply have to experience.
Finally, a movie about sound design and engineering that is entirely enthralling!
I really wish the footage we do get to see didn’t look like it was shot hi-def with an added film-grain.
This is a film that speaks solely in subjective terms, therefore, we’re only dealing with pure human nastiness.