DVD Reviews Archives - Can't Stop the Movies
Can't Stop the Movies

Isle of Dogs (2018)

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A boy falls downward
Among abandoned canines
They will soon fight back

Wes Anderson wrote the screenplay for and directs Isle of Dogs, which stars Bryan Cranston and Koyu Rankin.

Wes Anderson's niche of whimsy by way of dry dialogue and meticulous visuals already found a successful animated venture in The Fantastic Mister Fox.  After Isle of Dogs, I would be content if Anderson never made another live-action film.  Isle of Dogs is - without question - his most brutal film and a surprise considering his humor lends more to melancholy than violent reality.

Anderson's appreciation for world cinema has never been more thoroughly integrated into the substance of his film. There's an extensive list of Akira Kursoawa references throughout Isle of Dogs, but Anderson is not content to rest on the laurels of one Japanese master. In Anderson's unblinking look at violence I thought most often of Masaki Kobayashi, whose samurai films and humanist epics rivaled Kurosawa in length, style, and the depths humans must go through to adhere to their moral codes.  The moments of quiet recall Yasujirō Ozu alongside a quiet running gag of cats appearing in the corners were Ozu's red teapot might have. Anderson goes beyond Japan, calling on The Plague Dogs (the British-American animated follow-up to the childhood-wrecking Watership Down), 101 Dalmatians, and the food preparation of Korean cinema à la Oldboy.


Won’t You Be My Neighbor? (2018)

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Morgan Neville directs Won't You Be My Neighbor?, a documentary about the life and work of Fred Rogers.

Won't You Be My Neighbor? could have embraced Fred Rogers' teachings in its presentation.  The stillness and beauty he inspired is too often interrupted by talking heads on or off-screen.  This disrupts Mr. Rogers' serenity and, in its worst moments, director Morgan Neville and editors Jeff Malmberg and Aaron Wickenden craft montage that comes across as insincere instead of heartfelt.  Worse still, there are aspects of Mr. Rogers that are brought up only to be lightly brushed aside to keep up his aspirational image.

Still, this is a documentary about Mr. Rogers and you'd be hard-pressed to find another film this year that provides a comparable amount of sincerity, catharsis, and vulnerability.  The near wall-to-wall keys plunked down in the music by Jonathan Kirkscey along with choice selections from Mister Rogers' Neighborhood find an easy home with the older and more recent footage.  There are insights, some I had a sneaking suspicion about and others I was not prepared for, that keep intrigue up even when treading well-known territory.


Hereditary (2018)

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The Grahams know no peace. After Annie's mother dies, she fills the vacuum of conflict and emotional pain by sniping at her husband Steve, son Peter, and daughter Charlie.  As Annie's wounds fester in the handcrafted details of her miniature art she begins the cycle of trauma once more for the next generation.  Ari Aster wrote the screenplay for and directs Hereditary, which stars Toni Collette, Alex Wolff, Milly Shapiro, Gabriel Byrne, and Ann Dowd.

Toni Collette, and - to a lesser extent - Gabriel Byrne, sensed a tremendous horror film inside Hereditary.  Both function as stars and Executive Producers working in front of and behind the camera of writer / director Ari Aster's debut film.  That's a mighty twosome, and when Hereditary centers specifically on Annie (Collette) it conjures an unpredictable edge that rivals similar traumatized home horror film The Babadook.

The rest of Hereditary could use some of the unpredictable energy Collette brings to her role.  It's rigorously composed with the steady sway of the camera attempting to lure the audience hypnotically into the Graham family's tense and empty home.  Hereditary always looks excellent, but the aesthetic served to keep me at a distance from the open nerve of trauma.  Right up until the end, the traumatized Grahams function mostly as gruesome puppets in a sterile home with the artifice of the former unfortunately highlighted by the cautious framing in the latter with the threads of horror's past wafting into view.


Revenge (2018)

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Richard is looking forward to his annual hunting trip with friends Dimitri and Stan. He's also anticipating debauched times with his mistress Jen.  These are men who will have their way by whatever means necessary, and they're about to learn Jen will respond to their sins in kind.  Coralie Fargeat wrote the screenplay for and directs Revenge, which stars Matilda Lutz, Kevin Janssens, Vincent Colombe, and Guillaume Bouchède.

Upfront, let's dispense with the idea that Revenge subverts the exploitation film - something I've read too many times in relation to this and other films.  Every new flavor of the month piece of cinema with a bit of self-awareness in style seems to get the subversion label slapped on without a second thought.  Revenge is exploitative.  Richard (Kevin Janssens) indulges Jen's (Matilda Lutz) fantasies of being in control while stringing her along as a bright toy.  After Richard's friend Stan (Vincent Colombe) rapes Jen, Richard chastises Stan like Stan smudged his favorite action figure.

What creates the wide gulf of quality between a film like Quentin Tarantino's exploitative low-point Death Proof and Revenge writer/director Coralie Fargeat's powerfully successful approach is a matter of emphasis.  Exploitation film comes with a bit of nudging to the audience, a whisper of, "You bastards are enjoying this - aren't you?"  Tarantino would linger on enjoyment. Fargeat lingers on bastard.


Changing Reels Season 2 Episode 11 – Eve’s Bayou (1997)

Hailed by Roger Ebert as the best film of 1997, Eve’s Bayou is an astonishing work. We dive into Kasi Lemmons’ directorial debut and discuss the theme of memory, the lies adults tell children, and so much more. We also spend time with our short film pick 1982 by Jeremy Breslau.

Show notes:

  • 1:09 – 1982 by Jeremy Breslau.
  • 7:47 – Eve’s Bayou by Kasi Lemmons

If you like what you hear, or want to offer some constructive criticism, please take a moment to rate our show on iTunes or Google Play! If you have a comment on this episode, or want to suggest a film for us to discuss, feel free to contact us via twitter (@ChangingReelsAC), follow us on Facebook and reach out to us by email (Changing.Reels.AC@gmail.com). You can also hear our show on SoundCloud or Stitcher!

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