What do you get if you cross The Secret of NIMH (1982) with Watership Down (1978) and try to tell a gritty noir with cats? You get the bizarre German cartoon Felidae (1994). While I don’t count this as a good film, I can give it some points for trying something offbeat and I did want to know where the story was going. My beef: you can be an adult animation without being so forced and unnatural about it. The unintentionally awkward cursing and gory violence is so over the top at times that it feels more like South Park than Chinatown. The serial murder mystery itself is a bit of a letdown and our protagonist, Francis, is so feckless and flat that it barely registers when he’s fleeing danger or having casual sex with feral felines. It doesn’t work, but as a curiosity, it’s not a total waste of time and the animation isn’t bad.
Toby Jones (The Mist) stars as an English sound engineer working on Italian horror flicks in Peter Strickland’s Berberian Sound Studio (2012). It’s a slow, seemingly plotless movie that lingers on one timid sound man’s gradual descent into a subtle madness. It takes its time and you may want it to do more or go deeper, but I was engaged enough with the character that I didn’t mind not knowing where it was going…or if it would go anywhere at all.
Gosh, is it that time in Bill Murray’s career already? I love Bill Murray and nearly all Bill Murray movies and, while I can’t say the same for Theodore Melfi’s St. Vincent (2014), I won’t say it’s not passably amusing. Murray plays a crotchety old war vet who reluctantly befriends a precocious young boy (Jaeden Lieberher) in this schmaltzy dramedy that seems intent on hitting many of the predictable indie beats. Despite it’s familiar formula and a few questionable accents (my brain knows Murray too well to accept the NYC brogue he dons), the charm of the cast (including Melissa McCarthy and Naomi Watts) makes you forgive a multitude of contrivances.
In the spirit of Forrest Gump (heck, Little Big Man too), a lovable but somewhat simple old man recounts his wild history-romping life with peaceful detachment in Felix Herngren’s The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared (2013). Allen Karlsson (Robert Gustafsson) decides to escape the nursing home and embarks on a lackadaisical adventure full of stolen money, gangsters, car chases, new friends, and at least one elephant. Throughout the modern day shenanigans, Allen tells of his life as a haphazardly globe-trotting self-taught demolitions expert devoid of political affiliations (he’s on every side of history from revolutionaries to Franco to Stalin to Truman). It’s a light-hearted comedy with a refreshingly pensive pulse.
Francis Ford Coppola (Apocalypse Now) directs Gene Hackman (The French Connection) as a surveillance expert whose own past and the potential futures of those he spies upon addle him in The Conversation (1974). This is one of those gritty 70s movies your film professor talked about and I’m only just now getting to it. It’s a gradual descent into paranoia and ethical dilemmas. Also features John Cazale (Dog Day Afternoon).
Gregg Turkington stars as a burnt-out comedian (in the spirit of his Neil Hamburger character) hitting gig after depressing gig in the Mojave desert in Rick Alverson’s Entertainment (2015). The characters are unpleasant and dim and thoroughly exhausted. The film itself feels Lynchian in its elliptical oddness. The weird insights we get into these unlikable people and their circumstances speaks more to our own human interactions than our demand to be entertained by a clown.
Rick Famuyiwa’s coming-of-age tale of three high school kids from Inglewood who wind up with a bag full of unwanted drugs is a colorful breeze. Dope (2015) hits a lot of familiar genre marks, but, like St. Vincent, gets by on its style, wit, and charisma of its lead (played by Shameik Moore). It may not be the most original story, but its attitude covers a lot.
Coraline (2009) and ParaNorman (2012) were marvelous stop-motion fantasies with edge and flair to spare. Laika Studios’ The Boxtrolls (2014) is another cinematic gift brimming with imagination and style. A young boy, raised by the hunted subterranean creatures, must rediscover who he is and unite the warring civilizations. An amazing voice cast (Sir Ben Kingsley, Jared Harris, Richard Ayoade, Nick Frost, and more) and spectacularly realized hand-crafted visuals make this family adventure a memorable treat.
For people who like the 80s and like awkward indie flicks and like hilariously over-the-top gore, Turbo Kid (2015), directed by François Simard, Anouk Whissell and Yoann-Karl Whissell, is a blast and a half. In a post-apocalyptic 1997, Mad Max-ian marauders on bicycles rule the wastelands. Where Kung Fury (2015) ran out of steam minutes into its short runtime, Turbo Kid maintains a straight face and continues to present absurd visions of violence, wild characters, and wacky dialogue delivered in earnest with unyielding confidece. It looks great and the cast does a fine job with the bonkers material. Laurence Laboeuf in particular shines as the unflappably weird Apple.
I took the Kool-aid. J.J. Abrams’ Star Wars: The Force Awakens (2015) is a great big-budget science-fantasy speeder chase down Nostalgia Lane. There’s plenty stupid to the plot, but the cast shines (Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Lupita Nyong’o, Harrison Ford) and the special effects scintillate. It’s amazing how much more immersive and tangible models, puppets, animatronics, real locations, and constructed sets are. And humor. And engaging characters. And emotional depth. And recognizable stakes clearly established in each lightsaber and spaceship altercation. While it’s an extremely busy story and it does retread a lot of the original film’s plot points, it also just feels good to be back in the Star Wars universe. This is the movie fans have been waiting for since 1983.
It may be hard to explain why I liked Miguel Llansó Crumbs (2015) so much. In a post-apocalyptic Ethiopia, a hunchbacked scavenger named Candy (Daniel Tadesse) embarks on a private adventure to request Santa Claus (Tsegaye Abegaz) to allow him to reclaim his Kryptonian throne and board a perpetually hovering spaceship with his woman. It’s slow and surreal and might best be described as Turbo Kid as imagined by Werner Herzog. It may not be for everyone, but it has enough innovative and clever details to entertain an odd person like me.
For some reason, this weird film has not left me. David Cronenberg (Videodrome) directs Jeremy Irons (Lolita) as a pair of identical twin gynecologists in this enigmatic thriller, Dead Ringers (1988). When they split sexual duties with a famous client (Geneviève Bujold) it opens up the doors of insecurity in both of them. When she discovers the trick they’ve been playing on her and ends it, the brothers begin a spiraling journey into obsession, addiction, and a longing to understand the nature of their individual identities. It’s a disturbing slow-burn, but worth it if you get Cronenberg and you want to see one of Irons’ best performances.