Tag: Alicia Silverstone

Y2K (2024)

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Directed By: Kyle Mooney 

Written By: Kyle Mooney and Kevin Minter

Cinematography: Bill Pope

Editor: David Marks 

Cast: Jaeden Martell, Rachel Zegler, Julian Dennison, Daniel Zolghardi, Lachlan Watson, Eduardo Franco, Kyle Mooney, Mason Gooding, The Kid Leroi, Alicia Silverstone, Tim Heidecker, Miles Robbins 

Two high school nobodies make the decision to crash the last major celebration before the new millennium on New Year’s Eve 1999. The night becomes even crazier than they could have ever dreamed when the clock strikes midnight.

 this film feels like Something that was written by a teenager in the 1990’s as their opus and then 20 years later dusted off discovered and written through a modern lens to be both nostalgic and have a kind of recent commentary

As it feels poem a guilty pelasure of that decade and can see this film being a guilty pleasure for certain aidnece members. As it seems to be for writer-director and performer Kyle Mooney making his second film here after BRIGSBY BEAR from 2017

The film Plays like a worst case scenario nightmare of the y2k bug from 1999 where it was feared that once it turned to the year 2000 most electronics would either fail or malfunction

At first, the film tries to smother us in the pop culture of 1999 and drown those of us who remember it with the nostalgia and laughs of how ridiculous it was. as well as touching that universal truth of you of high school crushes parties, bands, being the outsiders having an identity that is defined by what your into not really knowing necessarily who you are or only coming into your own, and beginning to form will be of age such as that

No, as it tries to get into that territory, more concerns itself with its plot of a group of teenagers trying to survive as technology rebuild itself to take over the human race and become simulators and the antics that happened while trying to survive

The film has an eclectic cast which it seems meant to as the characters they play are those who have known each other for years, but never really bonded or gotten to know one another and seem to be separated by social class. 

Julian Dennison being the brave comedic relief in the film is truly the heart and fun of this film and when he leaves the film. It truly makes its complete change to another genre. Though it tries to keep the laughs coming. 

I will offer this one spoiler if you are not a fan of the rapper musician known as the kid Laroi you might enjoy his fate in this film.

The film Also features a comeback of a certain entertainer from that period whose 2024 was greet with a role here and in a cricucally

Acclaimed cult film that premiered in 2024 

The film might have a built-in audience, though for some of its originality it does feel like a letdown of sorts as it’s not really too deep and it’s fine for what it is, but there’s nothing that impressive about it again it stays entertaining though you wish either did more or had more to it. As the film falls short from what it seems it has the possibility of doing or where it seems headed. As even with a 15million dollar budget it look so much lower budgeted. So it seems most of the money went on thebsoecialmeffects which are mostly practical butbfirnall the innovations made also loom like 1990’s visual effects one is sure it was planned that way, but still could have been a bit more smooth

Approach this film with caution. As it’

Cute but feels more made for teens though seems marketed to the now middle-aged teen crowd of the 1990’s.

Though it also plays like some long lost unseen self declared classic movie that the stoner video store clerk played by Kyle Mooney would recommend. Like a mash up no one Requested and feels forced.  

Grade: C

KRAZY HOUSE (2024)

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Written & Directed By: Steffan Haars & Flip Ban Der Kuil 

Cinematography: Joris Kerbosch 

Editor: Rene Van Henegouwen and Flip Ban Der Kuil 

Cast: Nick Frost, Alicia Silverstone, Jan Bijvoet, Gaite Jansen, Walt Klink, Kevin Connolly,

Chris Peters, Matti Stooker 

Set in the 1990s, Krazy House follows religious homemaker Bernie and his sitcom family. When Russian workers in Bernie’s house turn out to be wanted criminals, Bernie has to man up and save his imprisoned family, while slowly going crazy.

This film plays like an extended and demented adult swim short film. Only trying to be as cynical and nasty as it could be well also being anti-religious.

At first, it comes across as a satire of living inside a kind of fantasy sitcom world. Before getting darker and darker a bunch of criminals are introduced into this fantasy and start to literally wreck everything..

This causes the father character head of the family to Sometimes flash into a reality that is much slicker, but also much more violent and cruel. 

The lead glimpses into the main character’s fractured psyche. then can easily figure out what will happen when he finally breaks more often.

Though the film is 90 minutes, it takes so long to get there. It feels like punishment for the audience, as well as the characters finally have the bad guys get their comeuppance.

It still manages his surprise at times it would help if we cared enough about the characters once eight finally starts to move.

This film just feels very low rent, even though the filmmakers have made a cult comedy series of movies with the new kids in gross Norwegian exploit of comedies. 

They also made another horror film starring Nick Frost, who stars. The other film GET AWAY Fairs, is much better as it is a bit more conventional and traditional with a twist. Nick Frost co-wrote that film. This film feels more experimental and inspired to try an expand on an idea and material and not quite being successful at it

Grade: D+

PERPETRATOR (2023)

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Written & Directed By: Jennifer Reeder
Cinematography: Sevdije Kastrati 
Editor: Justin Krohn

Cast: Kiah McKirnan, Alicia Silverstone, Christopher Lowell, Tim Hopper, Audrey Francis, Ireon Roach, Josh Bywater, Melanie Liburd, Taylor Kinkead 

Jonny, a wild and impulsive teenage girl living precariously in a town where young women continue to go missing, and the power she’s forced to unlock to survive.

This film is quite interesting as it has an amazing amount of ambition. Yet it tries to be low-key about it and treat what happens as business as normal. Even though we in the audience realize that everything is just a little off. Even the so-called normal scenes.

The film comes across as campy but at odd times. As it will go through a terrifying or dramatic scene and then just go off on its own. At first, the film is mysterious, but as it introduces teen characters it gets predictable. 

Especially Alicia Silverstone’s performance and character. She is a delight though she seems like she is in another film which helps keep this one off-kilter. She plays a pivotal role but comes across more as a guest star. 

Just as Christopher Lowell seems game for whatever is thrown at him. His character changes personalities and has varying intensities so often. 

This film floods itself with different stories and issues and it tries to solve as many as it can in its time. While still leaving other mysteries. So that it feels like the first of a series.

One can appreciate that not everything is tied up in the end. Those problems persist, but a new phase has been entered allowing the protagonist to understand herself more. 

That there is a mystery that drags you along and creates others. The film mines small-town weirdness and high school once again. 

Director Jennifer Reeder has a David Lynch-like command of direction. A mastery of soundscapes that are haunting but tend to intrigue the audience. While this has similar beats and owes to Lynchian suburbs and weirdness bubbling underneath the normal.

The film has a great soundtrack that allows for atmosphere and a bit of attitude. It sets a mood. 

Though some details leave you guessing. As in a majority of scenes, it seems like this is an all-girls school, but then there will be a random boy in a scene there. 

Some of the special effects can be lackluster but more so when they are digital rather than practical. 

The film seems to want to say a lot about body image. As even a guidance counselor throughout the film seems to be there to advise the young students but it always seems to be in recovery from one cosmetic surgery or another. This would also explain the constant body horror themes and scenes of various bodily Fluids splattered about. It gets gooey and is disgusting at times.

For all the surreal mayhem though explained at times it never quite comes together cohesively. Though as a film about coming of age and metamorphosis, it does go hand in hand as material. Metaphors themselves. 

After it’s over it does haunt you. as it gets you thinking about it and leaves plenty of questions. Though it is likely to frustrate most. 

Grade: C 

THE LODGE (2020)

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Directed By: Veronika Franz & Severin Fiala Written by: Veronika Franz, Severin Fiala & Sergio Casci  Cinematography: Thimios Bakatakis  Editor: Michael Palm

Cast: Riley Keough, Alicia Silverstone, Jaeden Martell, Lia Mchugh, Richard Armitage 

A soon-to-be stepmom is snowed in with her fiancé’s two children at a remote holiday village. Just as relations begin to thaw between the trio, some strange and frightening events take place.

The film’s Style is what becomes more memorable. As it seems set by the directors. The style and story feel similar to their first feature GOODBYE MOMMY. As this also is a slow burn thriller that seems to have an adult and two children secluded in close quarters with one another and seemingly needing each other to survive.

While one is up for a good slow burn in a thriller especially if it has a worthy pay off. This film comes off as dull. As it has many twists and turns that are shocking but also once we get to the end. You wonder why and the reasoning for the twists and turns make no sense and depends on the audience’s suspension of disbelief or the old adage kids will be kids. 

Though when dealing with a character who survived a horrific incident even before we are introduced to them. First of all, you wonder why the father would bring someone they were dating and knew had mental problems around their children who are already traumatized but then also leave them with her alone.

Sort of like the opening scene where we see the familiar face of Alicia Silverstone dripping ehr kids off to their father who tells her he wants to go through with the divorce and she just immediately locks herself in a room and Killa herself with little to no explanation. We in the audience are just left to assume she has problems with such an extreme act 

This film tries to be THE OTHERS only in reverse it feels. 

The film isn’t bad as Riley Keough again. Gives a shattering good performance. The rest fit eh cast do what they are supposed to do and the direction is on point but the script needs a bit of work. 

As the script seems made to fit the direction more than the story here. As it feels more conceptualized then lived in. This leaves the audience wanting more or at least to show the worm in supporting the film’s plot points. As the film comes off too vague then just ends.

Where as by the end. One can’t help what they enjoy or are entertained but here it feels like this film’s praise is more for style over substance. Even if in the end if for all the ingredients that work. It comes off as a letdown. 

Grade: C

CATFIGHT (2016)

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catfight

Written, Edited & Directed By: Onur Turkel
Cinematography: Zoe White 

Cast: Anne Heche, Sandra Oh, Alicia Silverstone, Amy Hill, Ariel Kavoussi, Damian Young, Tituss Burgess, Jay O. Sanders, Peter Jacobson, Jordan Carlos, Ivana Milicevic, Dylan Baker, Craig Bierko, Myra Lucretia Marcel 

The rivalry between two former college friends comes to a head when they both attend the same glamorous event.

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THE CRUSH (1994)

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thecrush

Written & Directed By: Alan Shapiro
Cinematography: Bruce Surtees
Editor: Ian Crafford 


Cast: Alicia Silverstone, Cary Elwes, Jennifer Rubin, Kurtwood Smith, Amber Benson, Matthew Walker 

Nick Eliot, a 28-year-old newspaper reporter, moves into the guest house of the Forresters. Everything goes fine until he meets 14-year-old Adrienne, the Forresters’ only child. When she develops a crush and is rebuffed, she retaliates with vengeance.

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