The Monkey.

Review #2347: The Monkey.

Cast: 

Theo James (Hal and Bill Shelburn; Christian Convery as young Hal and Bill), Tatiana Maslany (Lois Shelburn), Colin O'Brien (Petey), Rohan Campbell (Ricky), Sarah Levy (Ida), Adam Scott (Capt. Petey Shelburn), Elijah Wood (Ted Hammerman), Oz Perkins (Chip), and Danica Dreyer (Annie Wilkes) Directed by Oz Perkins (#2230 - Longlegs)

Review:

"The thing with this toy monkey is that the people around it all die in insane ways. So, I thought: Well, I'm an expert on that.' Both my parents died in insane, headline-making ways. I spent a lot of my life recovering from tragedy, feeling quite bad. It all seemed inherently unfair. You personalize the grief: 'Why is this happening to me?' But I'm older now and you realize this shit happens to everyone. Everyone dies. Sometimes in their sleep, sometimes in truly insane ways, like I experienced. But everyone dies. And I thought maybe the best way to approach that insane notion is with a smile."

Well, everybody dies. As I recall, 1000 Ways to Die put a bit of spooking in my mind when it came to strange deaths, exaggerated or not (well, as much as one can do when on a network named "Spike" that rolled with accidents such as exploding breast implants or death by sex); yes, some people die weird rather than, say, diabetes or murder. So anyway, The Monkey. The original story, as written by Stephen King, came out as a booklet in Gallery magazine in 1980. A lazy reading of a synopsis of the story (by me) reveals that it actually didn't have a twin brother in the first place, merely having flashbacks to an only child finding a monkey (which banged cymbals rather than drums) that clapped its cymbals before a calamity followed before he foolishly believes he can throw it in a well to stop it. Of course, that one had the curse strike animals (cats, and, uh, fish). It isn't often a director mentions their parents dying in "headline-making ways", but here we are. Perkins elected to eschew the proposal to make a serious adaptation of the story for his screenplay, listing various "patron saints" from Richard Donner to John Landis, to Chuck Jones and most specifically, Robert Zemeckis' Death Becomes Her (1992). 

Okay, work with me on this one. This film is basically Final Destination (2000) if it was actually competent. Death is an unseen force in both movies, if you think about it...except this film at least leans in with having a sop for a lead presence that you might expect from someone troubled with the specter of death that they get to see around them that you cannot really truly beat. Truthfully, the gore in violence is sometimes more amusing to see play out more than the actual attempts at humor, and this seems apparent here, which is still a compliment for a movie that manages to find new ways to turn the screw on looking at the strange qualities that come with death rather than try to chill it to the bone. In short: guilt all you want, sometimes it can be amusing to see weird stuff happen to people for no reason, such as say, cutting to a funeral after someone has used the drum that resulted in someone getting trampled to death. Spooky or not, it at least hits enough to strike for some queasy amusement to be had for 98 minutes to at least make for a suitable viewing alongside certain Stephen King adaptations. Even with its twin settings of 1999 and 2024, one does have this weird, warped feeling where it isn't exactly beholden to a specific time or place (for instance, a phone book page gets used at one point). It is interesting to see twins played by the same person in two different ages with James and Convery, to see those differences in what one does in the face of impulse at the expense of being alone with the pit of one's soul. Others are there for bits and pieces, such as a semi-amusing Maslany or O'Brien, who does fine with playing the one stuck in the middle of what you might call a family tradition in "choices" (the intro features Scott in a semi-amusing cameo after all). It sets up its misfortunes of death with stark execution that doesn't just splatter some red on the screen for the sake of it but instead makes its moments zing with cruel efficency, particulaly for its final cut. Admittedly, its hit-or-miss attitude can be a bit cloying enough to where I get where someone could just find it fine, because not everyone will find bemusement at two pathetic brothers that spend much time with a toy and playing the man of death. To each their own. As a whole, The Monkey is a worthwhile horror comedy in slick execution that has a few zingers within the terror in the randomness of death that will prove right up the alley of people who can chuckle with the best of them for gooey times.

Overall, I give it 8 out of 10 stars.

Eternal Sunshine of the Spotless Mind.

Review #1201: Eternal Sunshine of the Spotless Mind.

Cast: 
Jim Carrey (Joel Barish), Kate Winslet (Clementine Kruczynski), Kirsten Dunst (Mary), Mark Ruffalo (Stan), Elijah Wood (Patrick), Tom Wilkinson (Dr. Mierzwiak), Jane Adams (Carrie), David Cross (Rob), and Deirdre O'Connell (Hollis Mierzwiak) Directed by Michel Gondry (#451 - The Green Hornet)

Review: 
Memories are a funny thing. Whether they are ones that we prefer to reminisce about or ones that we look back on with a tinge of regret, this is a film that likes to play with memory while dealing what it means to live with emotions that can come from a relationship - whether it involves pain or pleasure. Imagine a person in your life that you loved or cared for at one point in time and having them disappear from your memory just like that; the film certainly creates a world where it feels pretty routine (with one line involving someone trying to have the procedure for a third time in a month), where people map out memories of someone, go to sleep and then awaken to the disappearance of the heartache and faded memories left behind. With different hands, one could probably have made a horror film with the concept of erasing someone from your mind (or perhaps a straight-forward romcom), but it is the handiwork of Charlie Kaufman, Michel Gondry and Pierre Bismuth that make such a clever and original story worth spending time with. It plays itself into numerous genres, such as romance, science-fiction, and comedy-drama. It is a fascinating film to watch play out, particularly with its main performances from Carrey and Winslet. It plays with the audience and their expectations without feeling like a cynical (or sappy) cheat, having plenty of emotion alongside a few interesting effects and a bit of improvisation. Carrey, playing against type, does a wonderful job, being quite entertaining to watch in a shy yet capable role that never seems too sullen or annoying to be around. Winslet is quirky, unpredictable, unfiltered, and quite right for her role, having plenty of range and intensity to her performance, whether when interacting with Carrey in memories or beyond; their chemistry is what makes the film work as well as it does, being snappy and interesting without falling prey to cliches or being undeserving of its moments, particularly with its final scene. The rest of the cast is also quite good, with Dunst and Ruffalo being charming in their scenes together (such as when they jump on the bed in the middle of the memory procedure; Wood and Wilkinson are fine to watch, both handling their parts in memory erasure with varying results that make them handy to see. What makes the film stick out is its willingness to play with its structure and unfold the way it wants and have the audience make sure to pay attention and not simply let things pass by. It doesn't present high stakes, but that is because it wants to aim for something engaging in actuality - to paraphrase from a quote from the film, it is looking for its own peace of mind. Films can often inspire debate and discussion over its meaning or intent, and this is an easy one to inspire exploration for. Fifteen years after its release (which resulted as a mild success with audiences and an Academy Award for Best Original Screenplay), Eternal Sunshine of the Spotless Mind is a wildly entertaining ride that proves just right for numerous types of curiosities and tastes, tugging with emotion without going overboard in all the right places to make a winner.

Overall, I give it 9 out of 10 stars.

Movie Night: Happy Feet.

Review #392: Happy Feet.

Cast
Elijah Wood (Mumble), Brittany Murphy (Gloria), Robin Williams (Ramón and Lovelace), Hugh Jackman (Memphis), Nicole Kidman (Norma Jean), Hugo Weaving (Noah the Elder), and Carlos Alazraqui (Nestor) Directed by George Miller (#380 - Mad Max)

Review
Happy Feet to me is a bit of an odd shell compared to other animated films. But hey, I have a soft spot for weirdness as long as it works out well and manages overcome awkwardness. Does this do that, or not is the underlying question. And it...mostly does. It starts out okay, even if it contains my least favorite cliche of the moment where "the character different from everyone else" is embarrassed which goes slowly and annoys me, but that could just be a matter of opinion. The film gets better as it goes on, skipping over speed bumps, and having an entertaining value to it, with some good dancing, which was done by motion capture, which isn't creepy, as it shows that motion capture does have some benefits. Elijah Wood does good, certainly a million times better from his last performance reviewed here (#363 - North), and Murphy does well. Robin Williams does stand out, even more given he plays two characters, and he does an alright job, not annoying, just fine. The animation is good, as it does a good job being a centerpiece, but no the whole thing to, a developed animated film that works well, and it can be entertaining, with some fine song choices all in all. Countdown to 400 Reviews: 10, 9, 8...

Overall, I give it 8 out of 10 stars.

Movie Night: North.

Review #363: North.

Cast
Elijah Wood (North), Jon Lovitz (Arthur Belt), Matthew McCurley (Winchell), Alan Arkin (Judge Buckle), Jason Alexander, Julie-Louis Dreyfus, Dan Aykroyd, Reba McEntire, John Ritter, Abe Vigoda, and Bruce Willis. Directed by Rob Reiner (#108 - This Is Spinal Tap, #180 - Stand by Me, #232 - The Princess Bride)

Review
It's sad, a cast that looks recognizable, and a director with a good record on the reviews all got together to make this. The only reason I know about this film is due to Roger Ebert and his review of the film, absolutely destroying this film. But does the film have ANY respectable thing going for it? Does it have anything that makes it any better than something like, say The Room? Well........No. Kind of expected, actually. But hey, it-No wait, it really can't be that worse. The film starts and ends...with Bruce Willis. Seriously, he pops up seven times, and not one of them makes any sense. Is he his guardian or does he really just pop up for no reason? It's sad that that this is my first review of Elijah Wood (Okay second counting 9, but first live action film.), and he actually does a decent job, not annoying. That goes to Matthew McCurley, who oddly enough reminds me of Macaulay Culkin, but he's actually worse, not having one degree of subtleness or even a smudge of actual character.  What's sadder for me is that Rob Reiner directed this, a director who's last three films reviewed here got scores of 8, 9, and 10 respectively, and he churns out a painfully unfunny film. I wondered who they made this for, who would possibly like this. Kids? Maybe, but then they would grow older and hate this film and tell others to stay away. I figured this would be easy to watch, given it's scant 88 minute run time. I was wrong. While the film does boast showing locations from Alaska to...South Dakota, it practically has a checklist of what things to make "fun" of, none of them working. What's even stranger is that this was based off a novel named "North: The Tale of a 9-Year-Old Boy Who Becomes a Free Agent and Travels the World in Search of the Perfect Parents" by Alan Zweibel, and this film was even co-produced and screenwriten by the author. Clearly, this isn't a case of "Bad novel adaptation", this is a rare case of "Bad movie coming from possible bad novel", which is extremely rare. Clearly this film was made for the sole purpose of having exotic film locations to film in more for vacationing than actual good movie making. But to close this review, I will let a definite judgement of the film come from someone else more experienced for over 45 years sum it up: "I hated this movie. Hated, hated, hated, hated, hated this movie. I hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it." Roger Ebert, everyone.

Overall, I give it 2 out of 10 stars.

Movie Night: 9.

Review #321: 9.

Cast
Elijah Wood (9), Jennifer Connelly (7), John C. Reilly (5), Crispin Glover (6), Christopher Plummer (1), Fred Tatasciore (8), Martin Landau (2), and Alan Oppenheimer (The Scientist) Directed by Shane Acker.

Review
This is an unusual film, with a different kind of animation than usual and a decent set of characters. While it does feel shorter than it could've been (Seems to be a cliche that some animated films don't last longer than 79-90 minutes), it is imaginative and very deep in its intended roots of being a dark tale not just for kids (at least I hope that is the intention), and it makes sure not to be a disappointment. The voice acting is fine, not being embarrassingly odd, just doing a fine job of establishing the characters (though odd they may be), which is a benefit. I like the fact that the film manages to have some sort of pace, always keeping you in check and making sure not to be slowed down. In the end, it's a decent film, with some sort of focus and imagination, and I'm mostly glad I watched (and reviewed) it.

Overall, I give it 8 out of 10 stars.