IN JULY (2000)

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Written & Directed By: Faith Akin 
Cinematography By: Pierre Aim 
Editor: Andrew Bird 

Cast: Mortiz Bleibtreu, Christiane Paul, Branka Katic, Idil Uner, Mehmet Kurtulus, Jochen Nickel, Briol Unel, Sandra Borgmann

Daniel is a young teacher, who in contrast to everyone else plans to stay in Hamburg for the summer. Juli, a girl at the flea-market, wants to get known to Daniel and manages to sell him a Mayan ring with a sun on it, foretelling him that he will meet a girl with a sun. One day later Daniel is already on his way across Europe. It seems the prophecy came true somehow.

A romantic fantasy that is whimsical and much lighter then the directors later films.

It begins with a bit of misdirection as a framing device.

Director Faith akin has kept his heart with characters like these throughout his films. Hopeless romantics to a degree and the hardships of reality they must face. He has developed more of a style since this film to really explain and develop his ideas. His next two films after this one HEAD-ON (one of my favorite films of all time) and EDGE OF HEAVEN are more dark and dramatic before returning to his kind of lightweight film with SOUL KITCHEN

This film runs on the premise of many screwball romantic comedies with a mix of spiritualism, fortune and fate. Only here not played for laughs as much. It stays fun while being a bit dramatic and serious but keeps ant darkness to itself and stays in the shadows. The film stays in it’s perimeters. Where it and we know where it’s going, but with wonder how it will get there. Only knowing it will be colorful and different. As obstacles and other amounts are thrown in the way it seems like fare and the sense of free will, will prevail. The film stars Mortiz Bleibtreu who seems to be a regular when it comes to German cinema happily the films he tends to be in that I see are good and noteworthy (RUN LOLA RUN, DAS EXPERIMENT) he returns to faith akin in the film SOUL KITCHEN.

A film that is as light and free spirited as it’s female characters. In fact the film uses a similar photo montage from run Lola run. The film feels in spirit more like the female lead to cover exposition

At first the film seems to be a set up of miscommunication and lost chances then it seems like a modern foreign Preston Sturges film without the brilliant dialogue by making it seem like good and bad in the world and characters around them are willing to help shape their future and throw obstacles at them to guarantee the romance springing the characters. Mostly him into action as she plays more the grinning car who watches as she has feelings for him, but has pointed him far from the target. Watching how far he is willing to go for love and her at certain points. While he begins realizing slowly his own deeper feelings for her. Which he into thinks is camaraderie and friendship.

At least not all the characters they cross are good hearted by somehow always mean well. The film feels at times like it wants to be part of magical realism.

Think is this as a more fun and responsible THE SURE THING.

When Daniel and Juli are traveling through Romania, only photos are shown instead of real film footage. The reason for that is the Romanian government didn’t give permission to film in their country, so they had to take photos instead.

It’s like the universe is forcing him into a romance for his own good. He is the only person who doesn’t realize it as he chases his ideal his perfect is by his side and has been throughout this journey. constantly blind to the obvious around him.

A little rough around the edges but you can tell he is coming into his own. Nice to see such a film that is a bit different in Presentation. Yet traditional in it’s heart. That leaves you warm and charmed.

In fact love and it’s boundaries has usually been at the heart of his work. It is rare that he ventures into romance fully and lightly. This is the latest of his films that I have seen even though it is his first one. I can say not as an insult mind you. It is one of his lesser films so far, but still good and a great experience.

Though each film plays more or less magical and spiritual. This film seems more to be under the influence of it’s time. Though worldly seems more of a product of 90’s cinema. As it came at the end of that era and at the beginning of a new generation of era in cinema.

Originally, Daniel and Juli were supposed to sing The Cure’s “Friday I’m In Love”, but the rights were too expensive. When the music supervisor was able to secure the rights for “Blue Moon” instead, the script was changed at the last minute to include a conversation on oldies.

All the female characters are gorgeous. So that you can see when his character is so distracted and conflicted. While each woman he meets takes him in a new and different journey as they all have their charms and strengths yet reasons why they are not meant for one another. But yet when their time together ends it leaves him With little direction once away from them. Also it shows his feelings are not about looks alone as all of the females are good looking so there is a deeper connection with his intended.

The moment when Daniel sees Melek for the first time, the walking scene is shot reverse for Melek and played backwards to make a more charming introduction.

SPOILER

Though towards the end it is confusing that once he meets the object of his affection. They seem happy and she seems romantic towards him. Yet disappeared to find out he is in love and then as things become full circle seems more of a convenience for a happy ending then natural

SPOILER END

A frolicking adventure and fun ride. Definitely a crowd pleaser. It’s so lighthearted it’s hard to find something to dislike or completely hate

Though this feels like it loses more meaning at heart and more to say then SOUL KITCHEN which seems more fascinated with the directors interest and fascinations as well as distracted with the soundtrack. More fun than challenging or passionate.

Grade: B+

HOST (2020)

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Directed By: Rob Savage 
Written By: Rob Savage, Gemma Hurley & Jed Shepherd 
Editor: Brenna Rangott 

Cast: Haley Bishop, Jemma Moore, Emma Louise Webb, Radina Drandova, Caroline Ward, Alan Emrys 

Six friends hire a medium to hold a seance via Zoom during the lockdown, but they get far more than they bargained for as things quickly go wrong. When an evil spirit starts invading their homes, they begin to realize they might not survive the night. What it might lack In originality it makes up for In Inventiveness and chills.

It catches you by surprise as you didn’t expect much and the movie knows that takes it and runs with it and Impresses the audience without making it loom like it is barely making a sweat.

This is what filmmaking is supposed to be about a general sense of wonder and fun as well as discipline and being. At least the strings and work put into.

What is interesting is that the making of is just as Exciting as what is happening on the screen, Like an amusement park ride, you are ready for certain. Actions and can’t wait while you see the setup but then As it goes along it actually angers to affect you even though you believe you know what is going to happen and by the end you are fearful yet it feels like fun.

This film actually manages to scare you and not through cheap theatrics ok, Maybe a little bit also through General mood and atmosphere. This is definitely not a film to watch alone in the dark and especially not to watch it on a computer or smartphone.

The film was filmed in quarantine which it references and makes the whole experience much more impressive. As it leaves you just as interested in how it was made As what you are seeing.

As not only do you have to film the movie but have to have to Direct the cast remotely and have them do some of the effects themselves and instruct them on that. Which gives the film a kind of BLAIR WITCH PROJECT vibe. Only this might be preferred as it doesn’t wear out it’s Welcome as fast. This film is just under an hour long.

It might also remind some audience members of the UNFRIENDED films. Only this doesn’t come off as glossy or seem as dependent on technology and the fact it’s being filmed mostly on home computers. As this seems more a result of conditions rather than the original premise. It just happens to work in the film’s favor.

As always the film leaves us with the message to never mess around with spirits and it’s a premise where the character knows better but having just one mistake leads to the downfall of everyone. Out of disrespect really.

The films goes so far In close claustrophobic settings and still manages to feel bigger then it is and a bit glossy. Managing to do a lot with what looks like so little.

That the film comes off a bit like JAWS where some of the best creativity can sometimes come under limited resources. The characters come off as goofy and believable lie real friends rather than just types. We get to know a bit about them And their personalities. –The film definitely makes it’s presence felt.

Grade: B+

SPREE (2020)

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Directed By: Eugene Kotlyarenko 
Written By: Eugene Kotlyarenko & Gene Mchugh 
Cinematography: Jeff Leeds Cohn 
Editor: Benjamin Moses Smith 

Cast: Joe Keery, Sasheer Zamata, David Arquette, Kyle Mooney, Mischa Barton, Frankie Grande, Sunny Kim, Jessalyn Gilsig 

Thirsty for a following, Kurt Kunkle is a rideshare driver who has figured out a deadly plan to go viral.

A kind of modern-day take on the French film MAN BITES DOG. That was about a documentary crew following a serial killer that blurs the lines in the last act but filled with dark humor.

This film is kind of like that only obviously more modern, American and has fewer victims and chooses to have no real responsibility. Where as it shows the horrible nature of his crimes we don’t wallow as much or feel as much sympathy for the victims.

This is a film like the recent thriller NERVE that is candy-colored and neon that plays everything as almost a game. That shows desperation to be popular.

A film that tries to condemn online Culture and social media. By showing how most of us have a dependence on it. What it might inspire. How far you might be willing to go for followers. How you feel like you don’t exist or matter.

How the main character has a dependence on it as he has no real friends or outlet and the few he does have are more popular and make fun of his desperation. So this is his way of fighting to be noticed and considered. So he can feel like he matters. Creating a happy go lucky sociopath. Who is egged on by some mysterious follower who promises him fame as he goes along and follows his instructions.

The film’s humor is dark but tries to keep a cheerful tone. As the film is full of energy and tries to stay inventive.

The film tries to make the lead less hateful and maybe a little likable by having his first kills be more unsavory characters. We won’t like so their deaths are more anticipated by the audience. If we aren’t already looking forward to them.

Though slowly the victims become a bit more innocent. Really only a few are sympathetic. The fishes seem to get what they deserve or at least a brand of karma catching up to them in it’s most lethal. Luckily? The more innocent character’s deaths seem to happen off-screen with only some of the aftermath shown.

This film shows that most of the characters are synch phonic and all are dependent on social media and at heart are bastards themselves to a degree.

The movie seems to think itself clever though while it talks a bunch. It never makes a clear point. It seems most of its points are to be cynical and take us on a joyride. While at the end the film presents an apology of an artist achieving fame they sought so hard for coming true only in the afterlife. While offering a meta ending.

The film does have a lot of energy but never quite goes as deep as it could and while offering more comedy. It does manage to hold your interest even in scenes where there is no death or killing. As the character seems to go on a suicide mission where part of the irony is that barely anyone is watching. So while he is practically sacrificing himself and randomly praying on other just to get viewers it backfires for the most part

Grade: C+

READY OR NOT (2019)

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Directed By: Matt Bettinello-Olpim & Tyler Gillett 
Written By: Guy Busick & R. Christopher Murphy 
Cinematography: Brett Juktkiewicz 
Editor: Terel Gibson 

Cast: Samara Weaving, Adam Brody, Andie Macdowell, Mark O’Brien, Henry Czerny, Melanie Scrofano, Kristian Brunn, Elyse Levesque 

Grace couldn’t be happier after she marries the man of her dreams at his family’s luxurious estate. There’s just one catch-she must now hide from midnight until dawn while her new in-laws hunt her down with guns, crossbows and other weapons. As Grace desperately tries to survive the night, she soon finds a way to turn the tables on her not-so-lovable relatives.

There are just some films you don’t have to worry about. As they end up being exactly what you were expecting in a good way of not exactly In The same rhythm or moods that you were hoping for, for me this was one of those films.

The film is technically a horror thriller but at heart, it is more of a dark comedy with plenty of violence. Though throughout it is played as mostly a game. That has a dark edge yet feels like the movie CLUE without the grand histrionics.

This is more a dark comedy dressed up as a horror film. Had this film been made in the 1970’s it probably would have been much darker. Though as it stands it is a rather fun movie that feels more like a survival adventure.

The film is predictable somewhat but you go along for the ride. While it throws twists and turns yet stays inventive. That is as playful and dangerous as the game it shows.

The film already makes lead actress Samara Weaving standout as she is dressed all In White in her wedding dress with bright blonde hair being hunted by her in-laws all In Dark colors and all brunette except for a white-haired aunt.

The film feeds into the new conspiracies and theories of the rich being Satanists and through a deal with the devil to be rich and successful and most remember what they owe by making sacrifices every once in a while.

The film feels familiar a bit as it has Samara weaving playing a lead in a film that is based around a game inside that sadistic and leads to chaos just as the films she has been in previously MAYHEM and GUNS AKIMBO only here she is more the innocent victim. Though this is as pulse-pounding and intense as those previous films.

Though the film is smaller scaled it might remind you of survival fo the fittest movies such as SURVIVING THE GAME, THE HUNT, THE RUNNING MAN, and HARD TARGET the same Cynical stance with humor only without the action movie edge.

She is beginning to become somewhat of a scream queen. It’s a showcase to her talents that even in similar films. She is always different never repeating herself though the films all endorse the theme of the haves versus the have nots.

The shocks in the movie are heavy but usually meant to be humorous and while most of the cast are more types you kind of wonder what their stories are or how they got involved In the family in the first place. Not to mention what games did they need to play to join the family.

The film So directed by the team of Matt Bettinello-Olpim & Tyler Gillett who are noteworthy short filmmakers and made the extraordinary short in the VHS anthology that really stood out in that movie. Here the film has its style of humor, but not as many stylish tricks though it does have plenty of styles.

It’s hard to take much seriously in this film But you aren’t me at to except for the thrills. This is a film to more experience than anything else 

Grade: B

MELANCHOLIA (2011)

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melancholia1_0

Written & Directed By: Lars Von Trier
Cinematography By: Manuel Alberto Claro
Editor: Morten Hojbjerg & Molly Marlene Stansgard

Cast: Kirsten Dunst, Charloette Rampling, Charloette Gainsbourg, Brady Corbet, John Hurt, Udo Kier, Alexander Skarsgard, Stellan Skarsgard

On the night of her wedding, Justine is struggling to be happy even though it should be the happiest day of her life. It was an extravagant wedding paid for by her sister and brother-in-law who are trying to keep the bride and all the guests in-line. Meanwhile, Melancholia, a blue planet, is hurtling towards the Earth. Claire, Justine’s sister, is struggling to maintain composure with fear of the impending disaster.

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THE TAX COLLECTOR (2020)

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Written & Directed by: David Ayer
Cinematography: Salvatore Totino
Editor: Geoffrey O’Brien

Cast: Bobby Soto, Shia Lebouf, George Lopez, Cynthia Cardona, Jose Conejo Martin, Cheyenne Rae Hernandez, Cle Sloan, Elpida Carrillo, Lana Parilla, Neomi Gonzalez, Gabriela Flores

David Cuevas is a family man who works as a gangland tax collector for high ranking Los Angeles gang members. He makes collections across the city with his partner Creeper making sure people pay up or will see retaliation. An old threat returns to Los Angeles that puts everything David loves in harm’s way.

This film is very disappointing and it didn’t have to be. As the filM has some good elements the cinematography and the violence is over the top and brutal.

Though the story is typical and the characters are very thin and so is the story. They are more skit there to connect the things the film Seems More interested In The violence and more the machismo and rules of the streets.

Which at this point Writer-director David Ayer has made his career off of though on other projects the street code seemed more to go with the film. Here he more chooses to bathe the whole film in it. Even though it might not be as necessary except to tell a kind of gangster tale told more by the characters who are enforcers more than the boss.

It gives Shia Lebouf a role to play vicious and threatening as he does come off as imposing but it also feels very punched up. As we see how intense he is and even how threatening he is a bit we rarely see his character actually be violent and dangerous. It also feels like he is more chewing the props in as far as he calls attention to himself in the movie.

There is a scene with him dragging a body and him in a hazmat suit that takes place in the ost and is supposed to show how much of a butcher and mad man he is. We only see him dragging a body and smoking afterward. It seems there for no real reason or at least makes no real impact maybe if it was an imitation or done on the day’s events it would have made one. 

It boils down to where is this character is supposed to be memorable if not iconic but we never see him actually do what seems promised eventually. So that there is all this build-up and no real follow through a tease. Which is how this movie also comes off.

He seems to be maybe a David Ayer stand in as a caucasian who grew up around people of color and was taken in by them so he comes across as one of them and has similar characteristics. As David Ayer has said in the past he has. Though lebouf is not the stR of the movie and more comes across as a name star to put in the movie and help get funding. As it works he gets to stretch as an actor and only ends up being a smaller supporting role rather than the lead and it doesn’t rest on his shoulders. He is shocking at first int he roe bit settles Down.

The film Doesn’t offer anything you haven’t seen before. It does offer representation but unfortunately, all the characters are gangsters or work for them in an illegal manner. So there is very little positive here except that the lead character is religious and a man of god. So he does have a belief system that is practically spelled out in the beginning.

The film feels like a big waste of time. If it had been more structured or offered something different or original the film Might be worth it, but it is bathed in cliches and things we have seen way too much. The closest it gets to different is by having stand up comedian George Lopez play a dramatic role as a street boss. 

The first half of the film plays more like a gangster tale the second half plays more like a revenge tale. Now if that is what you are looking for plain and simple this is the film For you. As this is David Ayer making. A smaller-scale project after SUICIDE SQUAD and BRIGHT. As this is more in the vein of HARSH TIMES. These are the films he seems to prefer to make. At least there aren’t as many cops as he usually has in his films usually. As this is a straight-up organized crime only. 

Again do this offered something different this would be welcome but all this ends up being. Is an action gangster tale. Nothing more nothing less other than some credible cinematography and tough talk and brutal violence.

Either way somewhat entertaining as you watch though might have some problems

With it and once it is over quickly forgettable.

Grade: C-

LA ORIGINALS (2020)

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Directed by: Estevan Oriol
Written by: Brian Maya & Omar Quiroja
Cinematography: Francisco Pugliese
Editor: Sofia Belgeri, Guille Gatti & Jonathan Smeke

Featuring: Mister Cartoon, Estevan Oriol, Brian Grazer, Cypress Hill, Eminem, Scott Caan, Snoop Dogg, Michelle Rodriguez, Travis Barker, Clifton Collins Jr, Theo Rossi, Terry Crews, Wilmer Valderama, George Lopez, Danny Trejo, Paul Rodriguez, Kobe Bryant, Ryan Philippe, Eva Longoria, Shepherd Fairey, Paul Rosenberg, Mark Hoppus

Photographer Estevan Oriol and artist Mister Cartoon turned their Chicano roots into gritty art, impacting street culture, hip hop and beyond.

Seeing the culture grown around the two subjects and being part of it. Allows you to constantly feel like an insider throughout this documentary.

As we watch and get to know them as they earn an education. Traveling and getting to see the world. While being backstage with rising hip hop artists. Where we are not supposed to have access to. So this is a rare glimpse. 

Luckily they seem to have taken plenty of pictures and videos to archive it all and through this and their talent that became an art they were able to find fortune and fame. Through their raw natural Talents. As well as become style Gurus and artists themselves. Even bigger than some of the ones they worked for. 

They never had to sell out. They might have had to travel outside of their comfort zones, but they built a business while there and bring others from there to their own comfort zone and made then travel and pay to be there. If not part of it shone somewhat on them to be part of the culture. As they make Keep making money off of the beauty and art of their own culture around them. 

Giving back somewhat, but finding Their way in the world through what they enjoy doing.

Traveling outside of their comfort zone seeing the world. They end up helping each other out from being trapped mindset. Letting them then see beyond their environments as they come up.

Even if they found more access exposing their surroundings and showcasing beauty in the every day and gritty. That there is an amazing art in places some choose not to look.

Mister Cartoon helped tattooing from being a niche into a true art form and given a sense of pride. Helping it more become part of the mainstream. 

He finds fame because of his art and access to rappers who show off his handiwork as he provides original pieces on Their skin. Which ends up becoming his canvases and starts a fad and provides a need. So that it is a rag to riches story. Directed by one of the subjects.

So some subjects are glossed over like Estevan’s drug addiction. Which is more mentioned then delved into. As this is more a congratulatory glossy documentary. The success we see we their loved ones but again never get too deep into those relationships.

There are plenty of celebrities throughout. Some are surprising like producer Brian Grazer who we never know why or what his connection with them or any of the story.

Feels like you are enjoying their company. Though they are tight-lipped you more see and hear about their actions. 

Luckily Estevan seems to have had the Vision to film everything early. This is what helps put them on the map and luckily for us get to see this archival footage from backstage and onstage as we know can’t be there but can witness as he seems to get the best shot each time. We wonder how. 

It’s dramatic and meaningful how many you have to go through to get that perfect one. That you won’t find out there Perfectly addressing the handling, maintenance, and control of their business 

It also shows that they might have helped start gentrification of their neighborhoods by setting up shop there and giving access to more and more young hip crowds of people who decided to start buying up cheaper properties around them. As they helped build up the neighborhood. 

It also shows How they try to give back and help less fortunate around them.

Grade: B 

STUBER (2019)

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Directed by: Michael Dowse
Written By: Tripper Clancy
Cinematography: Bobby Shore
Editor: Jonathan Schwartz

Cast: Dave Bautista, Kumail Nanjiani, Natalie Morales, Mira Sorovino, Iko Uwais, Betty Gilpin, Karen Gillian, Steve Howey, Jimmy Tatro 

A mild-mannered Uber driver named Stu picks up a grizzled detective who is hot on the trail of a sadistic, bloodthirsty terrorist and finds himself thrust into a harrowing ordeal where he has to keep his wits, himself unharmed, and work with his passenger while maintaining his high-class rating.

This is a buddy film rather than a buddy cop as only one character is actually a cop, but the film is centered around taking down a crime syndicate. So maybe it can count as a buddy cop film.

For a film that is supposed to be more comedic and stays that way through most of the film. It is surprisingly violent in parts graphically. 

This film is more random when it comes to the buddy dynamic. Usually, you try to get stars who have different types of audiences to be ina fil. Together hoping the audience will mix and match. Here you have two actors one who is more known. As a stand-up and Dave Bautista who is more of an action movie actor. Here it offers each of them to try genres they are not usually in or at least show skills in a different genre. Showing each as versatile.

Just as how the characters and actors seem forced together. As two different elements combined into a familiar formula. The film feels that way also where we know what is supposed to happen and will happen. Only here it seems that the film is more viewed and conceptualized to include more modern and current culture into the story and references. Which is understandable as the film’s

The title is a play off of not cab’s or taxi’s (as we already have a movie named and based off of that) but the new version of those Uber (and obviously not being a film about that company had to make a play on the name for the title)

Just as some trends are memorable what this film is based on and how the film plays. This film is instantly forgettable not bad or horrible as it is entertaining a bit while you watch it, but easily forgettable by the end.

Which is a shame as the cast is likable and eclectic. Even casting Iko Uwais as the villain. Where as most action films he is the hero. He has that badass fighting style that makes him a believable match for Dave Bautista. Even if for some reason they give him dyed blonde hair. Guessing that is to more recognize him throughout.

The funniest scene actually takes place inside a male strip club. It’s Not genius or well thought out but is funny. It is also very colorful.

You immediately know who is supposed to be a villain or end up being one. As they have way too big a name to play a minor role and it seems ominous especially in a scene In the middle of the film and it seems like the score goes to bad guy theme as the person walks in but really doesn’t nothing bad or evil. So later when revealed to be the villain you are barely shocked. 

This film is enjoyable as long as you don’t expect much and don’t come looking for much. You pretty much know what’s going. To happen so if just looking for something that moves and might be a fun time. Try this film 

Grade: C

FORMULA 51 (2001)

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Formula51

Directed By: Ronny Yu
Written By: Stel Pavlou
Cinematography By: Hang-Sang Poon
Editor: David Wu

Cast: Samuel L. Jackson, Robert Carlyle, Emily Mortimer, Meatloaf, Rhys Ifans, Ade, Sean Pertwee

Elmo McElroy is a streetwise American master chemist who heads to England to sell his special new formula – a powerful, blue concoction guaranteed to take you to ‘the 51st state.’ McElroy’s new product delivers a feeling 51 times more powerful than any thrill, any pleasure, any high in history. But his plans for a quick, profitable score go comically awry when he gets stuck in Liverpool with an unlikely escort and his ex-girlfriend and becomes entangled in a bizarre web of double-dealing and double-crosses.

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