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Can't Stop the Movies
11Nov/180

Return of the Obra Dinn (2018)

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If this is your first time reading Pixels in Praxis or are averse to spoilers, check out our FAQ before proceeding.

Among the many pleasures and surprises in Return of the Obra Dinn lay an embrace of one truism working insurance claims.  When someone puts in a claim they may be using their insurance on the worst day of their life.  Between the rotted corpses, potential mutiny, monster attacks, and sickness rampant on the Obra Dinn it's unlikely you'd find a worse day in the lives of its passengers or crew. But the insurance adjuster must go on and work backwards to figure out what happened so the claims may be paid.

That truism embraced - I'm head over heels enamored with Lucas Pope's Return of the Obra Dinn as it seems custom-built to appeal to each of my loves and past work as an insurance adjuster (Fire claims for four years among other insurance duties). What Pope nails is the process of working claims.  The damage has already been done and it's up to you, playing the adjuster, to piece together the events that brought the Obra Dinn to its end.

10Oct/180

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.

20Sep/180

Dragon Quest XI: Echoes of an Elusive Age (2018)

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If this is your first time reading Pixels in Praxis or are averse to spoilers, check out our FAQ before proceeding.

Dragon Quest XI: Echoes of an Elusive Age (just Echoes moving forward) is almost as traditional and conservative as turn-based RPGs can be.  Any gamer familiar with the series will slide in comfortably to Echoes' skill system, patient battles, and spiritual story. There's no pretense to buzzword-heavy originality, only skilled hands who have made a consistent product for decades returning to the series for a single-player game for the first time in nine years.

Even with that familiarity, I was shocked at the number of times Echoes moved me to tears.  This is a humbling game that reminds me how unnecessarily bombastic and leaden turn-based RPGs have been the last few years (even Persona 5 could have used a touch of subtlety at times).  Echoes asks us to lay still with the faith of its characters, to sit in quiet contemplation of their decisions as time moves on without them, and explore a beautifully lived-in world.

17Sep/180

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.

7Aug/180

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.