Wyrmwood: Road of the Dead

PROGRESSING

Wyrmwood - Progressing

Let's admit it finally; the zombie genre needs to die....again....and again....and again. The days where zombies were a novelty are over, and part of that I blame on "The Walking Dead." And no, I'm not saying the show is bad, but it simply created the over-saturation of zombies everywhere, and to me, it's run its course as a horror fan. Here I am, of course, about to rain compliments all over a zombie film, what kind of person am I? This brings me to "Wyrmwood: Road of the Dead" yet another quality product from the Land Down Under, which also brought us "The Babadook" last year. What works in "Wyrmwood" is it's ability to be different, progressing the same old tired zombie flick, while incorporating the best from other zombie films.

Here's the skinny on this flick; The zombie outbreak has finally hit Australia and the Outback is in ruins. We have Barry and Benny, two guys trying to make it out alive, and we also have Brooke, Barry's sister, an artist who has been kidnapped by two soldiers and is being experimented on by a scientist with a penchant for KC and the Sunshine Band. Barry has been traumatized by the zombification of his wife and daughter, who he had to kill himself, while Benny is a wild and crazy Aborigine. That is the basic story, and to spoil other aspects of the film would be a disservice.

I know I said I didn't want to spoil anything, but *SPOILER BEGINS* skip ahead to the next paragraph, or better yet, skip this review for now, watch this flick, and come back and read the rest. What separates this zombie tale from others, is the way the zombies are created and what part they play in the film. While the origin of the infection is relatively tired and true (really, a meteor shower?) and the explanation a little hokey (Biblical) the actual literal fuel of the zombies is a interesting wrinkle to the genre. Basically, when the meteor show occurs, it creates an airborne event where everyone who doesn't have A Negative becomes infected and all fuel becomes useless and zombie blood becomes the new gasoline....yes, zombie blood is now fuel. It makes you wonder how someone thinks of this type of stuff, but if you are watching a zombie film, you should already be suspending enough belief. Oh, and there is also zombie telepathy. Again, who thinks of this stuff, but again, somehow it works. *SPOILER ENDS*

For genre buffs, "Wyrmwood" is the perfect example of "stealing from the best." You have the post-apocalyptic craziness of the "Mad Max" trilogy, the over the top gore of "Dead/Alive," the younger in cheekiness of "Shaun of the Dead," the screams of "Evil Dead," and the unrelenting zombie hordes of "Dawn of the Dead;" get the point? This film is every zombie lover's dream and is the proper homage to everything that has come before it. What is even more impressive is that this is director, Kiah Roache-Turner's first film and while he borrowed from the best, it's evident that he not only cares about the genre, but is also interested in expanding it and not just trying to create the same old carbon ops we've seen since 1969's "Night of the Living Dead," and "Wyrmwood" is far and away the most original and fun "zombie" film since "28 Days Later."

Bottom line, if you are looking for a take on the zombie genre that will both have you scratching your head at its ridiculousness and leave you with hope for the genre, Wyrmwood is that film. It's the perfect homage and shows that persistence and people that care can and will put on a product that fans can get behind and appreciate.

Fun Fact: The film took four years to complete since the cast could only shoot on weekends and holidays.

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Map to the Stars

HOLLYWEIRD

Map to the Stars - Hollyweird

Quick story about David Cronenberg; My earliest memory of his work is actually not even a film he directed, it's a film that he appeared in. As a kid I remember watching "Nightbreed" and being scared out of my mind. Sure there are plenty of monsters and mutants in the film, but the one thing that stood out to me was a guy in a mask with a zipper and buttons for eyes. Only later would I find out that man behind the mask was David Cronenberg, the same guy behind classics like "The Fly" and "Scanners." In the past decade or so, Cronenberg has taken a departure form the "body horror" that had made him famous, and has concentrated on more intimate character pieces like "Eastern Promises" and "Cosmopolis." Now, in what I might call his most interesting work in quite some time, Cronenberg takes on Hollyweird and all of it's kookiness in "Map to the Stars," starring Julianne Moore, Robert Pattinson, John Cusack, and Mia Wasikowska.

The skinny on "Map" is this; young Agatha (Wasikowska) arrives in town and is greeted by limo driver, Jerome (Pattinson). Agatha has just gotten into town via Jupiter, Florida and is looking for Benji Weiss, the young star of the "Bad Babysitter" series of films. Meanwhile, we meet Havana (Moore) the daughter of movie star who died in a fire who is receiving counseling from Dr. Stafford Weiss (Cusack). Havana gets word from her agent that a film is being produced about her mother's life and naturally Havana feels she is best actress for the role. The film plays out where we learn more about all of the major characters in the film and how weird do things get? Well, this is a Cronenberg film after all......

Based on reviews that I've been reading about "Map" this is really a love it or hate it flick. I've read that some people are disgusted about the insinuated and pretty much apparent incest connotations, as well as the casual nudity and dark subject matter. This is where I say "grow up!" Sure, some of the content is a little over-the-top, but you'd be a fool to not think things like this happen in Hollywood.

The interwoven plot is interesting and the film is a Chuck Palahniuk, David Lynch, and Bret Easton Ellis mash-up of insane and maniacal proportions. At first I thought this film was actually written by someone of Ellis' ilk, but upon further inspection the writing duties went to Bruce Wagner, who is best known for writing "A Nightmare on Elm Street 3: The Dream Warriors." It's odd for Cronenberg to go with a writer that has so few credits to his name, but the writing is actually very well done, visceral, and perfect for the film.

Now, a lot of people were in love with Julianne Moore's performance in "Still Alice," but I would go as far as saying that her turn in "Map" was vastly superior in it's weirdness and fearlessness. We all know that Moore is a great actress that has been overlooked for awards for years, but wouldn't it have been nice if she was rewarded for a role that required more than just having an ailment and having to overcome it? I'd say yes, but I'm sure a lot of people would go against me. Outside of Moore, the supporting cast is solid, and it's good to see that John Cusack is still getting work that matters and not falling into the same trap that has confounded Nicholas Cage for the better part of a decade. I don't know what it is, but Cage and Cusack to me are almost one in the same. "Map" also shows me more of the talent that I know is residing inside of Robert Pattinson. He had a great turn in "Cosmopolis" and showed me more in last year's under-appreciated "The Rover" and albeit a small role, he is still good in this film and his scenes with Mia Wasikowska are small, but tragic.

All in all, "Map to the Stars" is an interesting and dark take on celebrity and the toll it can take on those with weak constitutions. While this film does seem more in the wheelhouse of someone like Lynch, it's great to see David Cronenberg's take on Hollywood since he is mostly a director who is always on the outside looking in, on his own accord of course. And while I do like that he is taking more chances on projects like "Cosmopolis" and "A Dangerous Method" I would like to see him get back to his older, body horror work one day.

Fun Fact: Hollywood was established in 1853 with a single adobe hut just outside of Los Angeles, California.

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Simply Indie: Awaken

MUDDLED

Awaken - Muddled

I love it when we receive screeners to review, it's a lot of fun. It shows that people trust us enough to make a fair assessment of their film. However, here is the sticking point. There is a fine line when you are reviewing a film where you feel a duty of both congratulating a film for it's merits, while at the same time giving it constructive criticism. This is the crux that I have with 2014's "Awaken" a small independent film directed by Mark Atkins and starring Natalie Burn. While I do appreciate the production design and some of the performances, "Awaken" is a muddled picture where you have to take the good with the bad.

We begin the film on a mysterious island where we find Billy (Burn) waking up on a beach. Venturing into the jungle, we find out that she isn't alone. Instantly on the run, Billy meets Nick and Todd who tell her that she needs to meet Quentin, played by Robert Davi, who tells Billy the island isn't what it seems. Moving to another part of the island, we meet Rich (Jason London) and Kat (Christa Campbell) who are dabbling in organ trafficking and are awaiting the arrival of the mysterious "Mao." As the film progresses we find out more about Billy's history and how she made her way to the island as well as who "Mao" is and why she is heading to the island. I'll leave you in suspense.

So, "Awaken." I will say that much of the camerawork is fairly well done, including many of the flyover shots that highlight the island and the crystal clear water. The editing is pretty tight and the action scenes are shot fairly well, including the special effects of bones snapping and bullet hits. The acting is decent, and I especially enjoy seeing Vinnie Jones, who plays the tough-as-nails Sarge, and Daz Crawford who plays Stitch, a soldier that has already spent 44 days on the island, evading his captors. Burn also plays the role of the tough female protagonist quite well. While her character might be a little cliché, at least there is some fleshing out of the character. I'll also mention Jason London's performance as both goofy, but at the same time something right out of a 1980s film. It's hammy, but at least it's entertaining.

One of the biggest issues I have with "Awaken" is the way characters appear in the film, and are never heard from again. I understand that some of the characters are pretty extraneous, but the plot holes are a little hard ignore, especially Quentin's arc who is working with Rich and decides he is going to leave the island, and I guess he does, because after a conversation with Billy, Nick, and Stitch, he is never heard from again. I even stuck around after the end credits and I got nothing. The other plot line that ended abruptly was that of Daryl Hannah's Mao character. Similar to Quentin, Mao leaves at a moment of truth and is never heard from again. While I understand how story lines end and a character's arc can end, it's odd that it would happen without any explanation.

Overall, "Awaken" is a brisk watch that can be muddled at times, but there are also some memorable performances by Burn, Crawford, and London which will keep you interested. Atkins has a knack for framing and composes some really nice shots as well, but overall, "Awaken" is a pretty run-of-the-mill tale in the vein of TV's "Lost" and "Turistas."

For more information about "Awaken" check out the links below:
Awaken Film
Awaken Twitter
Natalie Burn Twitter
Natalie Burn

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The Guest

The Guest - Homage

HOMAGE

If anyone knows our site you know we have an unhealthy proclivity for the 1980s. It's what made us the animals we are today. Ultra-violence, one-liners, and many many more hyphenated phrases came from this glorious decade of excess. What's even better is that the people who are our age are now directing films and a lot of them have the same sensibilities as we do....what a wonderful world we live in. This brings me to "The Guest" another effort from Adam Wingard who has also worked on "V/H/S" "The ABCs of Death" and "You're Next." However, "The Guest" is his strongest effort so far and is a true homage to the 80s thrillers of yesteryear.

The film starts with a shot of a man running from something and, BOOM, title card. You already know this film is going to be good. Next, we meet The Peterson family who have recently lost a member of their family, Caleb, to war. There comes a knock at the door and enter David, the good-looking ex-soldier friend of Caleb who has been tasked with helping the family anyway possible. Rounding out the family, outside of the grieving mother Laura is Spencer, the father, daughter Anna, and bullied son Luke. Upon David's arrival in town things slowly start happening that both benefit the Peterson family and make them very uncomfortable. As tension reaches a boiling point, both the Petersons and their town will never be the same. Going any further with the story would be a disservice.

I'll preface before I continue. Yes, there is a story in this film, and it's rather weak and limited, but that doesn't mean it's not fun. So, "The Guest," yeah, this movie is awesome. It's an incredible, earnest throwback to anything made by John Carpenter, namely "Assault in Precinct 13" and the unstoppable force theme of "Halloween." There are also dashes of "Fear" and "Drive." What makes the film work, however, is the slow burn of "Guest." You have a feeling right off the bat that something isn't quite right with David and just when you think there is a logical explanation, the film takes a turn that isn't quite expected, and that's where some people might turn away and write the film off. However, if you know anything about thrillers in the 80s and early 90s, this was par for the course. You expected something ridiculous to happen, and eventually it does, with blood-soaked glee (hey, another hyphenated word).

On to more gloating about this film....the soundtrack. Again, if you love John Carpenter or anything other synth-forward (hyphenated again) 80s soundtrack, again, this is the film for you. I'll be the first to say that while I love the "Halloween" soundtrack, my favorite Carpenter score is by and far, "Christine." It's pulse-pounding, driving, literally, and incredibly unrelenting, very much like the soundtrack for "Guest." While there are some cheesy bits thrown in, the work by Steve Moore is impeccably 80s and it works with the tone of the film.

If I was to criticize anything from the film, it would be the thin plot, or lack there of a plot. This film is strictly for people well versed in 80s cinema, the pacing, and the style. Adam Wingard is obviously well-versed in what he thinks people wants to see in a throwback piece like this, and while some people might knock the film for that, and I understand, that doesn't make them right.

After singing the praises of "The Guest" nearly this entire review, is it worth the praise. Well, duh, of course it is. It's a great throwback film with a style all it's own and it's super entertaining. Is it zany and lacks sense, of course it does, but I wouldn't have it any other way.

Fun Fact: In the original screenplay, the story took place in Korea and it had far more action, including a car chase that was 50 pages long.  

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Open Windows

CLOSED

Open Windows - Closed

It's strange how a trailer can make you want to see a film, but upon seeing said film, you really have to question your judgement. This is exactly how I felt about "Open Windows." There is an interesting premise, smart camerawork, and a few other things that standout, but I feel like this could have been a made for TV Lifetime or CW movie.

"Windows" is the tale of Jill Goddard, played by Sasha Grey, who is doing a press junket for her latest film "Dark Sky." In the wings is Nick Chambers, Jill's biggest fan, played by Elijah Wood. Nick, having won a contest to meet Jill, receives the bad news from her "manager," Chord, that Jill is going blow him off for a night with her boyfriend. While Nick is heartbroken, Chord convinces him "don't get mad, get even." Add in a group of hackers, a case of mistaken identity, a kidnapping, a car chase, and some explosions, and that's "Windows" in a nutshell.

Where do I start with this movie. I'll say this, it's not a bad film per say, but the fact that it's so frenetic and there are so many things happening at the same time it's a little confusing and it really distracts from the movie. It almost seems like the director really wanted to show you everything he ever learned about the Internet, hacking, and spying, roll it into a webpage view, add shaky cam, and boom, you have this film.

While the production is messy, I actually liked the acting. Wood is effective as playing the same character he's been playing since he finished up the "Lord of the Rings" trilogy; the creepy looking man who still happens to look like a 16 year old kid. The other revelation is Sasha Grey, and I'm just not saying that because she is incredibly easy on the eyes, but she can actually act relatively effectively. Her portrayal as pretty much herself, is fun and just campy enough to be entertaining. Did I mention how good looking she is in this film.....

Overall, the premise of "Windows" has potential, but it trips all over itself with its technological thriller premise and editing style. If there is anything to watch it's Wood's desire to keep making small independent films that have promise, and of course, Sasha Grey.

Fun Fact: At one of the festivals the movie was screened at, the director, Nacho Vigalondo, said it was OK for the audience to slap him on their way out if they didn't like the movie.

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Foxcatcher

RELUCTANT

Foxcatcher - Reluctant

 As 2014 trickled away, the push for all the potentially Oscar nominated fare slowly arrives in my neck of the woods, or courtesy of the Internet. Until the day arrives that I begin to receive screeners to watch at my leisure instead of "borrowing" from other sources, this is the reality of the situation. Now that that little rant is done let's get to "Foxcatcher," a film that wants to be so good, and it is for the most part, but it's reluctant to be as good as it could be.

"Foxcather" is the true story of the US Olympic Wrestling program and John Du Pont, the eccentric millionaire heir to the Du Pont fortune. Leading up to the 1988 Seoul Summer Games, Du Pont wants to bankroll and make his estate, Foxcather, the official training facility of the US Wrestling Team. Du Pont invites gold medalist, Mark Schultz, and his brother, David, to help train for the Games, and while Dave declines as to not uproot his family, the Mark leaves to join du Pont and carve out his own Olympic legacy. Over the course of training, Mark's life and career begin to fall apart as du Pont blurs the lines between "coach", friend, father, and trainer.

Here is the thing about "Foxcatcher," the less you know, the better off you will be. Personally, I knew next to nothing about this true story and it helped my enjoyment of the film quite a bit. To be honest, it's the same well I felt when I was watching "Moneyball." The way that Bennett Miller weaves true stories into tales of mythic proportions is quite amazing and the level of performance he gets from his actors is also something to be applauded. However, unlike "Capote" and "Moneyball," I find "Foxcatcher" to be Miller's most reluctant work to date, and perhaps it's because he is dealing with a much more personal and tragic story, but it feels like something is being held back for much of the over two hour run time of the film.

This isn't to say that "Foxcather" isn't a good film; it's quite good, but similar to the issue that I had with another one of my top films of 2014, "Whiplash" the acting performances outshine the totality of the film itself. While both Steve Carell and Mark Ruffalo have been getting the bulk of the accolades, and rightfully so, it's Channing Tatum, whose turn as tortured Olympic wrestler, Mark Schultz, is the unspoken gem of the film. Tatum has been on a tear lately with great comedic turns in the "21 Jump Street" films and showcasing some real acting chops in "Magic Mike" but his acting in "Foxcatcher" is on another level. He is what makes the film go and his scenes with Carell's du Pont and Ruffalo's David Schultz, are amazing. He's come a long way from "Step Up" if I do say so myself.

Speaking of Carell, he continues to impress and has come a long way from his days as Michael Scott from "The Office." His take on eccentric millionaire John du Pont is haunting and reminds me a lot of Phillip Seymour Hoffman's take on Truman Capote. It's taut, creepy, and child-like as du Pont is truly a "man" in need of purpose and finds it in Mark until times get tough.

The last thing I'll bring up is the actual setting of the du Pont residence which gives "Foxcatcher" an almost horror movie feeling with a touch of "Fargo" thrown in. The Foxcatcher estate is creepy and whether covered in a thick layer of fog or a white blanket of snow, the hollowed grounds add a creepy element where you almost expected a masked killer with an ax to appear from behind tree.

"Foxcatcher" while great, is flawed, and it's mainly in the pacing. I feel like 15-20 minutes could have been cut from the film and the same story could have been told. With all that being said, however, I truly enjoyed the film and just the acting alone makes it one of the favorites of 2014.

Fun Fact: Wrestling was first introduced in the ancient Olympic Games in 708 B.

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The Interview (2014)

WAR

The Interview -War

There is something to be said about a film that pretty much destroys the trust and security of a movie studio, single-handedly starts a cyber war, and draws the ire of all social media outlets where everyone is suddenly a film critic and each have the best review, "well, it sucks because it sucks." I've always been a huge fan of those types of reviews. "The Interview" is that film and is by far the most polarizing "thing" to happen this year, besides maybe Kim Kardashian's "Paper Chase." Who'd of thought that a stoner comedy, at heart, would cause mass hysteria the likes that haven't been seen since, well, ever.

Out story begins with Dave Skylark and Aaron Rapoport, James Franco and Seth Rogen respectively, who host and produce "Skylark Tonight" a celebrity-trash interview show. After 1,000 episodes, Aaron is looking for something a little more meaningful in his journalistic career. As luck would have it, North Korean dictator, Kim Jong-un is a huge fan of Skylark's show, as well as "The Big Bang Theory." Feeling that this could be their big break to be taken serious, the duo setup an interview to take place in Pyongyang where Skylark will interview Jong-un. Upon catching wind of their impending interview, the CIA gets wind and wants in on the action, namely seizing the chance to kill the North Korean despot. Dave and Aaron travel to North Korea, and needless to say, hijinks ensue that include dick and fart jokes, while tossing in stereotypical stoner humor with a dash of "wink-wink-nod-nod" movie reference references.

The simple take away from "The Interview" is this; if you like "Pineapple Express" "This is the End" "Neighbors" or anything else that is within the Judd Apatow inner circle, you will enjoy "The Interview," it's that simple. Will this film get ripper apart by critics and the Internet? Of course it will. One, mainly because critics who sit in their ivory tower find it incredibly difficult to understand why a film like this would be a political touchstone. I mean, for a little bit there, it seemed like World War III was imminent. Critics hate when something takes over the consciousness of a people when it clearly shouldn't. Add in the pile on of Internet trolls who say the movie sucks, because well, the movie sucks to them, and you have the bait set for a film to become something that runs in a 24 hour news cycle days on end. Guess what people, you just got trolled by Franco and Rogen. If you didn't think this is the response they wanted, well, you need to get your head examined.

Sure, the film has plot holes, underwritten characters, is about 25-30 minutes too long, and has large gaps of just uselessness, but would you expect anything less? With that being said, I was never bored, I laughed throughout much of the film, and you can't deny the fact that Franco and Rogen like making films together and see film as fun and not just something that needs to be respected and cherished, and worst of all, a landmark event. Christ, the film is about two bumblers trying to save the world from a 3rd-world dictator, is there anything more ridiculous than that?

So, is "The Interview" worth the hype? Not at all, its a typical comedy in the Apatow vein that most people should be very familiar with. Is it a bad movie and does it "suck?" Of course not, it's very funny, absurd, and has plenty of quotable lines. Unfortunately, the film will be better remembered for the "war" it started, which when I think about it, maybe isn't such a bad thing after all.

Fun Fact:There is nothing fun about North Korea.....

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The Simplistic Reviews 2014 Year End Wrap Up Show (Ep. 35)

FOR MATURE AUDIENCES ONLY

You thought you might have heard the last of us this year.......uh, uh, uh.  The Best...The Worst...The Most Anticipated...And More!  The boys at Simplistic Reviews close off 2014 with a conversation about the best and worst films of the year. They also take a look into the future and geek out about their most anticipated films of 2015. Justin begs for movies in the future to make him laugh, Matt admits to having a thing for maniacs, DJ’s blood pressure spikes when talking about his most hated film, Julie makes an insensitive joke about North Korea, which more than likely prompts the site’s eventual hacking.  Download and listen...while you can.


NOTES
Sigmund Freud Joke Explanation

BB-8
Terminator Genisys Trailer

London Has Fallen

The Sony Hack & Leaks

MUSIC
Luchini by Camp Lo

House of the King by Focus

Head Over Heels by Tears For Fears

We Gotta Get Outta This Place by The Animals...OUR NEW 2015 CLOSING THEME SONG!

Check us out on Facebook, Twitter, YouTube, Letterboxd, and Pinterest

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Boyhood

TIMELINE

Boyhood - Timeline

Out of the three of us here on the site, I might be the most pessimistic when it comes to most things, Justin running a close second, and DJ bringing up the rear, as per usual. However, there are times when I watch a film, see a news nugget, or have a discussion with someone where my faith in people and humanity is slightly restored, if only for a moment. That moment came recently after watching "Boyhood;" boom, faith restored. While "Boyhood" might not be my number one film of the year, it's right on the cusp of that designation, and only now after watching it do I understand why this film is so important to so many people, but also an important milestone for film-making. It's a timeline of events that leads to something incredible and noteworthy and while the plot and storyline is something we've seen in several coming-of-age films, there is something special and endearing to behold about a film 12 years in the making, and in a landscape where everything is on Twitter and the Internet ruins everything, it's even more a wonder to only discover that "Boyhood" was actually a thing only prior to it's theatrical release.

The long and short of "Boyhood" is the journey of a boy named Mason, who we first see as a five year old kid in Texas, to a 18-year old man. On paper its a rather mundane story, but it's something that everyone can relate to. It's the small things in life that make you the person you grow into, no matter how important or how inconsequential. Along the way we also follow Mason's older sister, Samantha, played by Lorelei Linklater, his mom, played by Patricia Arquette, and his dad, played by Ethan Hawke.

Trying to break this film down simply is an injustice to "Boyhood." While the storyline isn't life changing and at it's base, the characters are simple to say the least...well...that's life. That is exactly what life is for the most part; simple, mixed with complicated choices. The journey that we go on with Mason is probably not that all uncommon. Many of us have gone though the pain and confusion of a divorce, having their parent remarry, the first day of junior high, the first note passed to you in class, your first camping trip with your dad, the list can go on and on, and the beauty of "Boyhood" is that we've all had a moment in this film that we can look back and remember, and some of those moments have shaped our lives.

Aside from identifying with moments in the film, the biggest risk/accomplishment for "Boyhood" is the time it took to make this film a reality. My first reaction to the trailer was disbelief; I couldn't believe the balls on Richard Linklater. Really, 12 years to make one film? This has to be a troll. How was this not on my radar, or pretty much anyone's radar. Usually if a film is 13 years in the making, people would have heard or spoken about it at some point. The other major point is the risk of filming for over a decade. What if any of the actors died? What if Linklater died? The gumption and balls to film for so long when in life nothing is certain, is a testament to this film, and literally the whole point. Nothing is life is certain, and even the ending line of the film, "Maybe the day seizes you" is a much better way of looking at life that has been hijacked by the YOLO generation and people's belief that you should seize the day.

"Boyhood" in my opinion, is the film of the decade. I dare there to be another film that not only captures childhood, adolescent, and early adulthood memories the way that this film does. While the film does clock in at nearly 3 hours, to be honest I could have watched a 7 hour cut and been fully engrossed. It's like the times when I would watch home movies with my dad of the family trip we took to North Carolina in 1992, or when I graduated the 6th grade and won and award, or graduating college, and of course getting married. Your experiences and memories are all you have at the end of the day, and "Boyhood" is the film that should stay with you for a long time and help you remember those little things that make you the person you are today.

Fun Fact: Had Richard Linklater died during the 12-year shoot, Ethan Hawke would have taken over the directorial duties.

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Under the Skin

Under the Skin - Alien

Sometimes I simply find it difficult to preface a film. So without further ado I'll jump right into it. "Under the Skin" is one of those films that defies preconceptions and to be honest with you, just might be one of those films that will surprise many, if said many are willing to give it a chance and really try to understand an alien concept; a woman who is willing to sleep with a man from Scotland.....(I kid, I kid).

"Skin" is the story of a mysterious woman, played seductively and as sultry as ever by Scarlett Johansson. She drives a van, lures men into said van, and leads them to their doom. She is followed by a duo of mysterious motorcyclists who seem to clean up whatever mess she leaves behind. Things start to spin a little out of control after one of her encounters has her letting loose one of her quarries and going on the run. This is where they say, "the plot thickens."

To go any further would be to do a disservice to the rest of the film, and going cold into "Skin" is one of the best things that you could do for this film. Director Jonathan Glazer, best known for "Sexy Beast" combines the best of art house cinema with trippy effects to create an engrossing, thinking-persons, science fiction weird-fest. What also stands out is the excellent score by Mica Levy, which plays like combination of Radiohead, Aphex Twin, and Wendy Carlos.

What I think has been missing from sci-fi flicks for a while is the notion that a setting needs to actually be alien, or cosmic, in order to make it a real sci-fi film. What I think is the most underrated aspect of "Skin" is the fact that the film takes place in Scotland. Let's be honest, how much do we all really know about that land of Scotland outside of "Highlander" and Sean Connery. The landscapes and dialect almost become a character in and of itself and add a wrinkle to the story you wouldn't expect.

Now the elephant in the room; the performance of Johansson, and I'm not just talking about her acting ability. One of the things that got a lot of attention leading up to the release of this film was the fact that Johannson shed all of her clothes for the role. While it's nothing new for well-known actresses to ditch the clothes and show the goods, it's a tad more newsworthy considering we are talking about an actress known for playing Black Widow in the Marvel Cinematic Universe. However, her disrobing shouldn't take away from her simple, yet effective performance. Most of her acting isn't done through dialogue, but rather her movements and body language, and I might go as far as saying this is her best performance to date.

Another misconception is that "Skin" is simply a "Species" rip-off with stronger feminist undertones. Yes, on paper the fact that you have a mysterious women seeking men out and later dispatching them is pretty "Species"-like, but the comparisons can stop there. "Skin" features a very strong female character whose intentions aren't truly discovered until close to the start of the third act, and even at that point we see that character's intentions shift after a chance encounter with a specific character she picks up and is ready to dispatch. However, while I do enjoy the power that Johansson wields over her quarry, the third act flips the script and changes who may or may not be in control. I know some of this sounds cryptic, and that is the point. My intention is to entice you to watch a film that is certainly worthy of your attention and is an interesting take on male/female relations and interactions.

So, with that being said; should you see "Under the Skin?" See above please, of course you should. It's one of the most original sci-fi films in quite a while, with a daring performance by Scarlett Johansson and some of the most "alien" cinematography of 2014. Sure we've gone to the far-reaches of the Marvel Universe, Earth under the rule of talking Apes, and even traveled back into Biblical-times on an ark, but the way Glazer created a practically alien world out of something that exists on Earth hasn't been done since Peter Jackson created Middle-Earth with the help of New Zealand.

Fun Fact: In 1979, Robert Taylor claimed to have been nearly abducted by aliens in Dechmont Law in Livington, West Lothian, Scotland in what has been called the Dechmont Law Encounter.

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The Simplistic Reviews Podcast (Ep. 34): December 2014 Holiday Edition

FOR MATURE AUDIENCES ONLY

Ho-Ho-Holy Sh%t!   It's December again and the boys at Simplistic Reviews has a show full of holiday cheer.  They've got partridges...pear trees....dreidels...Santa letters/threats...Olaf the snowman from Frozen...black stormtroopers...Kevin Feige: Stand-Up Comedian...megalomaniac Mickey Mouse...holiday movie spoilers...all that and more on the 2014 Holiday Edition of the Simplistic Reviews Podcast.

Show Notes:
Star Wars Trailer
Suicide Squad Casting
Spectre
Stand-Up Comedian from the 80s Fashion


Music Notes:
Christmas Is All Around Us By Billy Mack
My Flows is Tight By Lord Digga
Christmas Vacation By Mavis Staples
Christmas Time Is Here By The Vince Guaraldi Trio 

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Enemy

SURREAL

Enemy - Surreal

Gearing up for the end of the year, it's interesting to watch so many films in a short period of time. While 2013, was a bit of a stinker for film, it seems that there has been a minor Renaissance in the indie film genre where big actors, which isn't a huge surprise, are taking more risk on small films. Of course it's hyperbole for me to think that big actors never take chances on small film, but with the "big name actor" being replaced with more "well-known" and "character actors" it's great that the embrace of indie film is alive and well, especially out of the A24 Films. This has been somewhat of a banner year for A24. Following great reception for films like "The Spectacular Now" and "Spring Breakers" in 2013, 2014 has featured a wider assortment of film including "Enemy;" a surreal ride into, well, I'm still not really sure, but it's a ride that should be worth your time if your a fan of whatever "Enemy" actually is.

Adam, played by Jake Gyllenhaal, is a history teacher in Toronto, Ontario, Canada who lives a rather mundane wife, outside of his late night sex romps with his girlfriend Mary. Upon the suggestion of one of his colleagues, Adam watches the film "When there is a will, there is a way." While watching, Adam notices one of the actors looks like him, Upon further review, Adam discovers the actor looks exactly like him and his obsession begins. This is where I'll leave the synopsis, because half of what makes "Enemy" intriguing is the lengths that Adam goes to find his doppelganger, and figure out what is and isn't real.

The one word that you will hear a lot of people blurt out when it comes to "Enemy" will be "mindfu*k." Yes, "Enemy" is a bit of a mindfu*k especially when it comes to two scenes specifically with spiders involved. That is where the film takes that surreal turn that will either engross you further into the film, or will completely disconnect you. However, upon further inspection of the film, the use of arachnid imagery, and/or spiders and webs, is a major theme throughout.

Gyllenhaal's performance, as usual, is both creepy and wonderful. He has the "boy next door/psycho next door" act down and plays it up as both Adam, the milquetoast history teacher, and Anthony, the third-rate actor, very well. While not as great and effective as his turn as Lou Bloom in "Nightcrawler" Gyllenhaal's performance will still go down as the best performance this year by an actor playing multiple roles in the same film, sorry Jesse Eisenberg.

All in all, "Enemy" is an interesting take on duality, and the id, ego, and superego. The performance of Gyllenhaal sells the film, and the use of the city, it's landscapes and "web-like" infrastructce gives the film an added layer.

Fun Fact: "Enemy" is based on the 2002 novel "The Double" by Jose Saramago.

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Birdman or (The Unexpected Virtue of Ignorance)

EXPERIENCE

Birdman - Experience

Let's not get it confused; "Birdman" is not a superhero film in the traditional sense. Strike that, in barely any sense. If anything it's a study in our so-called worship of superheroes and superhero films. Of course, I'm getting ahead of myself. "Birdman" is a film experience that will either excite or confound, will awe or confuse; in short, it's not a film for the masses, but it just might be one of the most technical and well acted films in all of 2014.

"Birdman" stars Michael Keaton as Riggan Thompson, the former star of the superhero series "The Birdman." After having fallen on hard times after declining to star in a fourth installment of the franchise, Thompson hopes to reinvent himself on Broadway by directing and starring in a revival of  "What We Talk About When We Talk About Love." After an accident with one of his stars during rehearsal, Riggan is forced to hire method actor, Mike, played by Edward Norton, to fill in, which leads to Mike and Riggan clashing. If that wasn't enough, Riggan is also dealing with his new girlfriend possibly being pregnant, a daughter fresh out of rehab, and a Broadway critic looking to destroy his show with a bad review. And the cherry on top; Riggan is haunted by a voice tempting him into fate; the voice of his Birdman past.

At the surface, "Birdman" can be summed up very easily. It's the story of a man searching for something more, something that people don't see on the surface. Searching for a purpose beyond what has been expected of him for so many years, in essence, it's pretty much the true story of Michael Keaton. Look at Keaton's career post-Batman, outside of maybe "Jackie Brown" there really isn't much to write home about. "Batman" made his career, and after that ride was over, there wasn't much left. The fact that Keaton recognizes that "Birdman" is almost autobiographical.

The other thing that most people will notice about this film, are the extremely long takes that have become a staple for director Alejandro González Iñárritu. From "Amores Perros" to "Bitful" Iñárritu, much his his fellow Mexican filmmaker, Alfonso Cuarón, has made a living on the long take. While it's a risky decision, especially with the subject of "Birdman" which is essentially a play, the editing is perfect and gives the illusion that you are actually watching a one-take film. If you are a smart observer, you'll see the cuts and where the edits are made, but they are done extremely well and "Birdman" will definitely be in Oscar contention on it's technical merits alone.

Aside from being a technical film, "Birdman" is also able to be a film that is thought provoking, but also a little confusing for a lament. One of the biggest mistakes that someone might make going into this film is believing that it's a superhero film.....its not, in the traditional sense. What I do find the most interesting is that there are a lot of hints that Riggan Thompson might actually be a superhero, and it's all in how you interpret what you see. Without giving out spoilers, there are tons of ways to interpret "Birdman," and that could be a turn off to some people who were expecting something a little different.

All in all, "Birdman" is a film worthy of your attention. It has fantastic acting, wonderful directing, and it's just quirky and weird enough to demand more than one viewing. It's likely that both Keaton and Norton will be nominated for Oscars in addition to several technical nominations, notably direction, editing, and cinematography. "Birdman" certainly does fly, but it will make your brain work.

Fun Fact: Alfred Hithcock's 1948 "Rope" is an early example of the perceived "unbroken shot" technique.

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Nightcrawler

TURN

Nightcrawler - Turn

Coming off of the heels of my review of "Zodiac" I liken that review to more of a catchup and brush up on Jake Gyllenhaal and where he is as an actor. The more I see, or re-watch of his career I wonder why he isn't as popular as most other actors of his ilk. I really don't think there is an actor working right now that takes as many chances and transforms himself as often outside of maybe Christan Bale. He takes on difficult roles, owns them, and is still able to play someone that we the audience slightly relate to. This brings me to his latest role, another turn in his career that you could also call a career-defining role. That film is "Nightcrawler" a gritty neo-noir in the vein of "Drive" "Network" and a dash of "Collateral."

"Nightcrawler" takes the classic trope of following the American Dream to extreme, but somehow, necessary lengths. Louis Bloom (Gyllenhaal) is a small-time crook looking for a chance to prove himself. Fate knocks at his door one evening when he witnesses a woman being rescued from a burning car by two police officers. It's not the women's distress that catches his attention however, it's the cameramen who capture the harrowing rescue which appears on the news the next day. Being the go-getter that he is, Bloom procures funds to buy a camera and decides his calling is to "nightcrawl."

Finally capturing some useable footage, Bloom delivers the goods to late-night news director, Nina Romina (Rene Russo) and the two begin a working relationship much to the chagrin of Nina's co-worker Frank Kruse who finds the "if it bleeds, it leads" method of news broadcasting lacking. Bloom continues to thrive in his new calling and teams up with Rick, a homeless Angelino looking for a shot, just like Bloom.

The stakes reach their apex after Bloom and Rick witness a deadly home invasion which leaves three people dead. Sensing a breakthrough, Bloom puts all the pieces together in order to not only get the best news story, but to create the news himself.

There is a lot that could be given away in my synopsis, so I'll stop right here because all the fun of "Nightcrawler" is to actually go on this twisted journey that features some of the best acting to date from Gyllenhaal. His take on Lou Bloom, starting from a scab who is stealing manhole covers and reselling them to a scraper, to a video camera-wielding scab making real money and becoming his own boss. One scene which stands out is Lou and Nina's discussion about compensation for footage which Lou is trying to sell. While Nina tries to stonewall him, Lou knows everything he needs to say in order to shut her down and not only gets what he wants, but turns the tables in favor of his eventual endgame.

There is a lot of talk about "Nightcrawler" also being the "Network" for this generation. Well, having seen "Network" I say that is a pretty easy comparison being that this film is namely about the sensationalism of violence in our society and the apathy that news directors have in order to keep showing up the worst of humanity. Russo's turn as Nina Romina is very similar to Faye Dunaway's turn as Diana Christensen. Both are cutthroat newswomen, but unlike Christensen, Romina, while she thinks she is in control, is overtaken by Bloom who knows much more than she thinks he does. This also brings up a good point; how we obtain information in this day and age. Unlike 1976, there really wasn't a precedent for the Internet and the sharing of information at a massive scale. Lou is able to position himself where he knows more about Nina than Nina almost does which gives him all the advantage he needs in an situation, which leads to some of the film's best, and intense, scenes.

The Gilroy trio of Dan, Tony, and John, who direct, produce, and edit, respectively, create a vision of Los Angeles that is lively, dreamlike, and something out of a horror film all at the same time. However, my one minor gripe is the score of James Newton Howard. The score simply doesn't seem to fit the setting of this seedy underbelly of LA. It's a little too.....chipper? And this isn't even to say that the score is bad, it just doesn't fit.

Overall, "Nightcrawler" is everything it sets out to be; a social commentary with top-notch acting, solid action sequences, that looks great to boot. As it stands now, Gyllenhaal's performance is by far my favorite of the year, and it will be a shame if he's not one of the five nominees for an Oscar this year.

Fun Fact: Gyllenhaal lost over 20 pounds in order to obtain the gaunt look of Lou Bloom.

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Yet Another 31 Nights of Halloween: American Horror Story: Freak Show

FINALLY

AHS: Freak Show - Finally

I would have written this article the week this show premiered, but the more I write reviews about the pilot episodes for shows, the more I realize that that is a pretty flawed review, case in point, my initial take on "Marvel's Agents of SHIELD," but there are also times when I'm right, case in point, "The Bridge." This isn't about me being right and wrong however, this is about me finally getting a show that I thought I would like, and low and behold, despite a few flaws here and there, I actually enjoy, albeit, I can only enjoy it for one season. "America Horror Story: Freak Show" combines the mythic qualities of the traveling side show, an interesting cast of characters, and of course, one of the creepiest depictions of a clown since Pennywise. I'm finally on the "American Horror Story" bandwagon.

"Freak Show" is essentially the story of murder and mayhem in a small Florida town in the 1950s. The added twist is that Elsa Mars' Freak Show is in town, making them the prime suspects. Meanwhile, conjoined twins Bette and Dot Tattler are under investigation for the murder of their mother, but are spirited away by Elsa to join her troupe of freaks. What we find out that no one else knows yet, is that the actual culprit of the murders, or at least most of the murders, is Twisty, a wandering clown who loves magic tricks, juggling, stabbing people with scissors, and abducting children.

The main complaint that a lot of people have about "AHS" is the extreme violence, and radical psycho-sexual aspects of the show. I mean, people, you kind of know what you are getting into when watching a show about depraved and disturbed people; you are going to see some crazy sh*t, it's just the way it is. Growing up watching horror my whole life, there is very little that can disturb me, but I guess since the (mainstream) horror genre has, for all intensive purposes, been de-balled, it's all the more shocking to see shocking things on TV. But I mean this is FX, their motto is literally "No Limits." Where is the surprise here people?

If you are a seasoned "AHS" vet, there are plenty of actors that you'll recognize from previous seasons, including Sarah Paulson, who I think steals the show as the conjoined Tattler twins, Jessica Lange, who is going all out in her final season of "AHS" as Elsa Mars, and Evan Peters as Jimmy Darling, the Lobster Boy, who has probably already given a few ladies a new idea to try in the bedroom. One of the bigger additions to the cast, no pun intended, is Michael Chiklis, who plays circus strongman, Dell Toledo. Being a huge fan of "The Shield" it's great to see Chiklis back on a network that gave him his most well known character, Vic Mackey. What gives the show even more cred is the use of actual "freaks" in the cast.

In an ultra-PC world that is so sensitive about the perceived needs and wants of those less fortunate, it's an interesting idea to use actual sideshow performers as many people I'm sure see this as a form of exploitation. When Todd Browning's "Freaks" was released in 1932, the uproar was unprecedented. Normally people would have to go to an actual circus freak show to see this assortment of oddities, but Browning put it right in everyone's face on the silver screen. Over 80 years later, we are seeing the same thing on Hulu, VOD, and live on Wednesday night right now FX. The other humorous thing is that you would think that people would be up-in-arms about the exploitation of real "freaks" on a show, but the real backlash is from actual clowns about the portrayal of Twisty the Clown. Zeitgeist of the times is most certainly at its funniest when people are worked up more about clowns than what people used to find reprehensible nearly a century ago.

While I generally enjoy "Freak Show" so far, there are a few things that I find simply off-putting, namely the misguided and just plain weird musical numbers. Not knowing much going into this season, the first musical number to me sounded natural and fit in with the era the show was working within. However, the next musical number, which was a re-working of the Fiona Apple "classic," "Criminal" complete with a mosh put and a midget crowd surfing.....yeah. I assume this will be a theme throughout this series, and it really takes me out of the moment. Combining the "Glee" elements with this show just seems like pandering to a few fans.

Where this season will go, and how far it will go, intrigues me to no end. The characters that are being created are rich and seem to have a lot of history to tell and the simple contrast of peaceful suburban life in the 1950s being disrupted by a serial-killing clown and a troupe of carnies creates a mood of dread and excitement.

Fun Fact: In 1991, Jim Rose Circus, a modern day Freak Show, plays the Lollapalooza Festival, starting a new wave of performers and resurgence of interest in the genre.

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Rant Corner (Ep.1) - "Gotham" or: How I Learned to Stop Caring for anything on TV and Developed a Drinking Problem.

In chemistry, beer is an organic compound in which the hydroxyl functional group is bound to a saturated carbon atom. At Simplistic Reviews we take that chemistry and mix it up with a RANT!

Funny writing that Dr. Stranglove title brought me back to a date I once was on.
Do you have time for a story?

Go to    (1) for Yes       (2) for Get on with it!

(1) Okay good...Well on my date, the girl asked me about my favorite movie. I told her, "Back to the Future". She said her favorite was Dr. Stranglove. I explained I loved that film dearly including its beautiful hilarious long title. She responded with Stranglove? "Well, yes the whole thing" I said with a fork placing the chicken in my mouth. She said, "It's not that long". I in a state of wtf said, "Yes, or How I Learned to Stop Worrying and Love the Bomb". She responded with, "That's not the title, its Dr. Stranglove..." I waited for the "or how I stop". It never came just like a god bless you after a sneeze. I got up and walked away. Never to speak to her again.

I'll have to tell you about the Back to the Future Date next time.

So Saturday and Sunday Cartoons are no more. Don't worry we have something to fill up that time slot for ya, how about a Drunken Rant?!

Justin pops open some Firestone Double dba why because it's vintage bitch! And since it's our first episode of our Rants, we figure we spend a little more money on the production value because we love you and we at Simplistic Reviews love all that is intoxication. Yes some say its a problem we say it adds to the production, and you need it especially when dealing with Fox's, Gotham

(2) Oh...god... do you need that alcohol when watching that thing called a show.

P.S. I was pretty loaded in this, enjoy! 

FOR MATURE AUDIENCES ONLY

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The Simplistic Reviews Podcast (Ep. 31) October 2014

FOR MATURE AUDIENCES ONLY

As fall descends across the land, the Simplistic Reviews Podcast is the funk of 40,000 years. In this month's edition, the boys spring forward and fall back to poking fun at Shia LeBeouf's childhood proclivities, Urban Dictionary's more interesting entries, and Jeremy Renner's lackadaisical attitude toward his career. All while still having time to pay a little John Singleton penance.

As you might remember, Justin and Matt were unlucky enough to lose a game of Simply Quotable a couple of month's back and had to watch the 2001 hood classic, Baby Boy. To make a long story short, there is dick sniffing, Snoop Dogg shooting, and men-inside-giant-wombs talk.

The boys also tackle the news Bob Barker style in a new segment called Simplistic Showcase. There is big money, big prizes, and a variety of obscenities.

All of this, plus our take on Fox's Gotham, how Boardwalk Empire is doing so far, and soooooooo much more, on this month's Simplistic Reviews Podcast for October.


Show Notes:
Blumpkin
Tetris Movie
Charlie Countryman
Baby Boy got the sniffles
Inherent Vice
DJ's Hidden Princess Bride Reference
Matt's Hidden Big Lebowski Reference
Slaughter Film Action Movie Time Machine

Music Notes:
Birds & Brass By Sort Of Soul
Lawyers, Guns, And Money By Warren Zevon
Game of Thrones Theme Remix
White Lines By Grandmaster Flash and Melle Mel
My Flows is Tight By Lord Digga
Pure Imagination By Gene Wilder

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Simply TV: Gotham (Pilot Episode)

BURN

Gotham - Burn

How can you go wrong with a show that takes in a universe in which Batman exists? There shouldn't be anything wrong with that......right? Well, how about a universe in which Batman MIGHT exist one day, but in order to get to that one day you have to reside in a universe where you get to follow around a young Jim Gordon, his wise-cracking partner Harvey Bullock, and a bunch of villains who are either not yet the villains you know and love yet, and a female gangster named Fish Mooney. It will clearly be a slow burn for Fox's "Gotham;" the newest take on the Gotham City and it's residents. This opening is not meant to bash the show, it's to clearly state what you are getting into when you prepare to dedicate multiple seasons to a show where you will follow around a young Jim Gordon who is likely not going to fight any "big" villains from Batman's rogue's gallery, but hey, I could be wrong.

So "Gotham" or at least the pilot episode, opens with that fateful night; the death of Bruce Wayne's parents to a mugger's bullet. The added wrinkle in this origin story is that the murder is witnessed by a young girl who has the slightest resemblance to a cat. Of course we know who she will become, but it's never mentioned. Moving from Crime Alley, to the GCPD, we meet Jim Gordon and his new partner Bullock. The two couldn't be less alike, classic case of good cop, bad cop. We also discover that Jim's father was the former DA of Gotham City. Bullock and Gordon arrive at the scene of the Wayne family murder and while Gordon comforts Bruce, Bullock is trying to find a way to dump the case since he knows something is rotten in Denmark. As the show progresses we meet Renee Montoya, who works for the Major Crimes Unit, Jim's girlfriend, Barbara Kean, and I might add those two have somewhat of a history, and it's leaning on the lesbian side, which I can appreciate for obvious male-pig reasons. Along the way we also meet a young Oswald Cobblepot, Edward Nygma, and finally Carmine Falcone, played by "The Wire" alum, John Doman. In my haste we also meet the new Alfred Pennyworth, who delivers one of the funnier lines in the episode as well.

If it seems my synopsis is all over the place, well, that's because the episode is all over the place. While it's a slow burn, it's also a pretty messy burn. There seem to be a few things that you are going to have to get over if you are going to enjoy "Gotham." One, give up on seeing Batman anytime soon. Unless the show begins to rely on flash-forwards, or skips into the future after the first season, or two, there will be no Batman. And yes, I get it, the show is called "Gotham," not "Batman" but when one thinks of Gotham City, there is really only one person you think of, but yeah, I get it.

Two, "Gotham" feels like something that could have been called "Gotham High." Seeing villains like The Riddler, Penguin, and Catwoman as younger versions of their selves just seems odd, and wrong. Of course, this is all based on a pilot where things can change drastically and could improve, but I'm not into it as much as I feel like I should be. While I don't agree with the direction of Penguin, I have to admit I like how he is being portrayed by Robin Lord Taylor. It's quite a departure from what I'm used to in my Penguin character, from Danny DeVito's take in "Batman Returns" to even the comic books, but building up Penguin as a big bad for the future is ballsy, albeit, a slow burn.

Three, I really hope they change how they use Harvey Bullock. Bullock was one of my favorite characters from "Batman: The Animated Series," and the crooked-cop take on his character, at least to me, is a little too cliched. You're always going to have one of this bad cop-types characters in a show, but why make Bullock that character? Donal Logue, who I think is vastly underrated in anything he acts in, gives Bullock a certain attitude that I appreciated, but I want the slovenly, fat, fast food eating Bullock, not this Bullock. Again, I like Logue, but I'm trying to figure out this take on the character. Of course, I'm sure there will be an arc where Bullock has to make a choice to do the right thing or the wrong thing, possibly during the season finale, where he will become the Bullock I've come to know and love.

To finish up the rants, some of the music and camera work and simply weird. I can't help but think when I'm watching something in the Batman universe, I imagine listening to either Danny Elfman or Hans Zimmer; Graeme Revell isn't who I would expect to score the "Gotham" TV show. And nothing again Revell, I loved his portion of the score for "Sin City" and if we got more of that in "Gotham" I would have no complaints, but alas. It just doesn't seem like the score reflects what I would expect from a pseudo-gritty take on the history of Gotham City.

There are some other nit-picks through the pilot, but as a hopeful viewer, I think some of these things should get addressed. I still don't buy Ben McKenzie, or Detective O.C., as Jim Gordon, but he has shown he's got the chops, see "Southland" as a good example. I really hope the show doesn't push a Selina Kyle/Bruce Wayne teen romance angle, that would just come off as needlessly cheesy. Finally, don't create and add characters just to create and add characters. If the show is really going to push the "Rise of the Penguin" and Carmine Falcone/Fish Mooney angle, let those angles flesh out and concentrate on making that the best plot line you can make.

Overall, like "Arrow" and I'm sure "The Flash," "Gotham" will go through it's growing pains, similar to Bruce Wayne. The biggest thing for "Gotham" is that when you hear Gotham, you think Batman. But how long will that last with audiences who want to see the Dark Knight, not the Adventures of Jim Gordon vs. Fish Mooney. Name recognition is the biggest thing the show has going for it right now, and the fact it's on Fox, a network notorious for axing shows if they don't perform up to snuff, it will be interesting to see how long of a leash "Gotham" will have.

Fun Fact: Before he was hitting the street as Gordon, McKenzie was behind the cowl, voicing the Dark Knight in the animated feature, "Batman: Year One."

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Frank

SCARY

Frank - Scary

Don't let the word above fool you; in no way is "Frank" scary, in that classical sense. It's scary because of the fact that in the race to be cool and different there are so many pitfalls and things that can trip people up in their way to either being famous or noteworthy that it's extremely easy to forgot that not everyone has to agree or be like you, but in a world ruled by social media and who yells the loudest or gets the last word in, it's easy to lose your way and want to be the loudest, and pardon my language, be the biggest dickhead in the room. So I guess the scary part is how close Frank is lampooning the social media culture we live in right now. Other than trying to make a point, Frank is weird, charming, and all together great.

Frank is the story of Jon, a would-be musician with about 20 Twitter followers. As fate would have it, he meets the band Soronprfbs as the keyboardist attempts to drown himself. After discovering that Job can play a few chords on his keyboard, Don, the band's manager invites Jon to play with the bad that night, which eventually turns into an invitation to help the band record their new album in Ireland. As time progresses, Jon records footage of the band's daily routine which bolsters his Twitter account numbers and rewards him with an invitation for the band to play at SXSW. Upon arrival in Austin, Soronprfbs discovers that they might not get the reception they anticipated on the eve of their first big performance.

There is no doubt that Frank is a strange film. Every characters has an odd personality quirk and while that could run stale quickly, the manic performance of Michael Fassbender distracts you from a film that could get dull and a little too weird quick.

Speaking of the eccentric cast, aside from Fassbender, everyone else is able to hold their own, especially Maggie Gyllenhaal, who plays pretty much every musical archetype that people probably hate. She's moody, hateful, emotional, and best of all, real. While not all musicians are like this, one of my long-time friends is a musician and he is reasonably normal, but Gyllenhaal plays it up very well, and the reference made later in the film comparing her to Syd Barrett is perfect.

Of course what would be a film about a band be without music, while I have a love/hate relationship with mumble-core, noise-core, post-hardcore indie rock, I actually like all the music in the film. It's as if Captain Beefheart and Mr. Bungle ran a music school and Soronprfbs were their prized pupil. The best comedic beats of the film feature montages of the band practice, but they are also some of the most heartbreaking looking back.

Frank is essentially a love it or hate it film, despite what you might see on Rotten Tomatoes or other film arrogate sites. While I found it quirky, fun, and distressing all at the same time, that is something that might turn off the average viewer expecting a film about a musician wearing a paper-mâché head and his weird band-mates. There are some funny moments in Frank, and the way that Jon, played by Domhnall Gleeson, is able to ground the film before it gets a little too weird is a nice touch, but there are also some very dark, and scary, moments that are jarring, especially when it comes to the third act.

All in all, Frank is an interesting take on fame, music, and social media-driven success. Grounded by some great acting and music, Frank might not be one of the most conventional films this year, in fact, it's far from it, but it could very well be the "Her" of 2014.

Fun Fact: Frank's head is based on the story of Frank Sidebottom.

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The Simplistic Reviews Podcast (Ep. 29) September 2014

FOR MATURE AUDIENCES ONLY

The boys are back, and ready to slap you, your momma, and your whole family in the face, literally.  I mean you've heard the things they say, having your family slapped would be the least of your worries.

This month the boys have a rapid fire edition of talk in the new segment "Can You Dig It?" And they fantasize about what might be in the pockets of film characters in the newest game "Get Your Hand Out Of My Pocket."

Plus, since The Simplistic Reviews is world renown, the guys get visited by Kevin Feige, Guillermo del Toro and the incomparable Al Pacino.  No, really.  Well...not really.  But kinda really.  That, Jessica Chastain hate, concern for Hayden Panettiere and what Keith David pulls out for air in this month's Simplistic Reviews Podcast.

Show Notes:
Keith David not pulling it out for air

Toht from Raiders of the Lost Ark

Malcolm X

Can You Dig It!?

Preggo Hayden

Pacino in a Marvel Movie?

Matthew Nable as Ra's al Ghul

FF4 Pics?

Slaughter Film Action Movie Time Machine

Music Notes:
Birds & Brass By Sort Of Soul
Lawyers, Guns, And Money By Warren Zevon
Sweet Georgia Brown By Brother Bones
Can You Dig It By IllMind
Plain Jane By Sid Phillips

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