Tag Archives: drama

Circle (2015)

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Outside of it showing up on one of the random tabs of movies that Netflix wants me to endlessly scroll through, I have never heard of Circle. And yet, whatever the description said and / or the Netflixised movie poster looked like was sufficient for me to add it to my queue. And now, an unknown number of years later, here we are.

So, as to what it actually is? It’s a weird amalgam of 12 Angry Men[1] and Survivor[2], with lightning bolts. See, there are dozens of people who wake up standing on white circles in a black room, and also they themselves are arranged in a circle[3]. And then they start dying. And then they start realizing why they are dying, and start bargaining to live longer.

The movie proceeds in real time, and could have been a play or a single take, except for all the special effects involved making that seem like sheer misery for everyone involved. It has no payoff as to what is going on or why or what happens next, but if you are in it simply for the human drama of seeing who will do or say what, a microcosm of people trapped under glass like ants, going about their lives (if their lives were spent weighing morality versus survival), then it works pretty well!

I both liked it and would not especially recommend it. I semi-wonder if watching a second time knowing the outcomes would make me walk away with a different take, but that’s not going to happen.

[1] the 1957 movie, or take your pick as to a newer version or stage version instead.
[2] the reality show
[3] Imaginative Titles R Us

Like Me

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When I read the description of Like Me on Shudder, what I imagined was a chick in a spree murder movie, and spoiler, that is not what it actually is.

Instead, it is at times a psychedelic romp[1], at times a buddy road trip movie, at times[2] a meditation on social media fame and infamy, at times almost a comedy, and at times shockingly violent[3].

I think I’m glad to have seen it, but I’m simultaneously not convinced it is worth the effort for anyone else to.

[1] As movie reviewers like to say so that they can be quoted on posters and DVD covers
[2] And unfortunately the most boring times, since you can tell by the title that this was the point they were driving at
[3] This makes no sense. It’s nominally a horror movie! But something about the YouTube lens of the thing made the actual violent moments feel a lot more real than I’m used to when just watching a movie or TV in general, much less a horror movie in specific.

Colossal (2016)

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Colossal is a movie that is very easy to spoil, so I’m going to be careful for a little while here, and it’s going to be tricky because most of the things I want to talk about fall squarely into that territory. So first, a brief plot summation.

Anne Hathaway gets drunk a lot, so her boyfriend kicks her out of New York City, and she has to move back to her parents’ home (they’re dead already and the house was just left empty I guess?) and figure out how to be a person again, or else get a job at a bar and continue her life-destroying alcoholism. Meanwhile, a giant monster is stomping around Seoul, destroying infrastructure and killing people. These facts are completely unrelated, OR ARE THEY?

I nearly and mostly liked it, despite my complaints below the cut, for which this is your warning that spoilers are forthcoming. I think the more I think about it, the more the scales will tip from the “nearly” side to the “mostly” side.

Spoilers ahoy!

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Bushwick (2017)

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I’ve been to New York City once, in the late ’90s before things got “cleaned up”, whatever that means. So I saw Central Park when it was scary, and based on the looks I got in my giant cloak, apparently I was the scary person in the park. Which is okay. And I saw all the peepshow spots on what I have to assume some 20 years later was 42nd Street. The posters in the windows say “a quarter”, but you cannot get into those places for a quarter. Which is false advertising, but “cleaning them up” for false advertising seems a little harsh. About the only other thing I did was, because I was young and foolish, go to the Hard Rock Café. I’m cooler now than I was then, in most ways.

Nevertheless, I have a point to make with all of this, which is that despite my well-traveled worldliness as documented just now, most everything that I know about New York City, I know from Marvel comics. And a place Marvel has never put a spotlight on, at least as of winter/spring 1985, is the Bushwick neighborhood in Brooklyn. So this is definitely a sort of “today I learned” moment, for values of today equal to a couple of days ago.

Anyway, Bushwick is a neighborhood kind of story, in which blonde grad student Lucy emerges from the subway into a war zone. Why are there black helicopters and commandos everywhere, blowing things up and shooting people? Between the targeted violence and the random opportunism, can she make it the few blocks to her grandmother’s house? Will Dave Bautista save her? Will she save him?

The funny thing is, this comes across as a high octane pulse-pounder, when really it’s a quiet portrait of two people just trying to get along in a quiet portrait of an urban neighborhood that Mayor Rudy forgot to “clean up”, except that the quiet introspective moments that fill the portrait are punctuated by explosions and gunfire. I can see why this is a movie that would make fans of exactly no genres happy, but for me, it was a very rare kind of mash-up, and I dug it.

Into the Forest (2015)

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Into the Forest was sold to me as an apocalypse movie, and I’m not quite sure that’s right. It’s a (usually) quiet family drama about young adult sisters and their father living in a remote but fancy home in the forest, with technology that still codes as “near future” even though the film is five years old. Only, some kind of long term power outage strikes[1] and all the fancy technology is no longer quite so useful.

Which reminds me of the speech on every Walking Dead graphic novel about being forced to start living now that we no longer have all these modern conveniences. So I suppose in a way it is an apocalyptic movie after all, despite the lack of zombies and/or regularly paced explosions? Mostly, it’s daily life plus survival in a quiet but never quite empty world.

It was also described as a feminine take on an apocalypse, insofar as masculine takes involve trying to Get to Somewhere and Solve Everything, whereas this is about staying in one place and staying alive. I’m not sure that’s quite right either, at least the motivational gender split, but I agree that it was definitely a non-traditional take, and also that it was created by and largely populated by women, so maybe that one is more fair than I’m giving credit as well.

Either way, it was a worthy way to spend a few hours. Downside for you: it will only be on Netflix for a few more hours, and after that, man, who knows?

[1] the state? the coast? the nation? the world? Who knows, when the lack of power and rapidly dwindled gas supply means news is not really forthcoming.

What Remains of Edith Finch

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I played another entire game over the past few days. This is so so weird. (Which I say every time I finish a game, I know. But it is! Especially relative to how long it’s been since I finished a book[1].)

This time, What Remains of Edith Finch, which is another plot-heavy / game-light exploration game in which … you know, I’m not sure I’ve ever seen a game like this, except, minimally, Gone Home. Edith Finch has, um, returned to her ancestral dwelling after the death of her mother and the receipt of a mysterious key, which grants her access to the majority of the house, which has been sealed up and inaccessible since before her earliest memories.

What follows is an exploration of generations of Finch family history and the simultaneous exploration of a truly ridiculous plus awesome house, with mysteries galore. There are elements fantastical, elements tragic, and elements personally very uncomfortable. If you want trigger warnings, you should expect that most things people get triggered by (besides inflicted violence) will be in play.

It’s barely a game in the way that all the things which fall into this genre are, in the sense that there are minimal choices to be made; you only move forward through the sparse and lonely plot. But it was a plot full of people and events I cared about, which is what I was looking for.

[1] Outside of a specific reading schedule

Mulan (2020)

I am growing ever more cynical, a fact of which I am not fond. Especially in a world where I have offspring. (Which this one seems to be.)

The thing about Mulan is, it’s a good movie. It’s got a good heart, a lot of fantasy Chinese combat[1], a cast full of characters worth empathy on virtually all sides of the conflict, and a message worth embracing. I never saw the original animated version, nor do I know if it is based on any actual legend? But there’s a girl, and a war, and a conscription. One male from every family to join the Emperor’s army and save China from, y’know, the Bad Guys. Except in the case of the girl’s family, the only male is her father, still crippled by the last war. So, rather than let him go to a certain death, she takes his place!

Plot twist! (or not), it turns out the Chinese warriors in the age of the Middle Kingdom[2] aren’t cool with the idea of womenfolk fighting, and they will almost certainly kill her if they find out her secret. This is the heart of the movie, and it is also where my cynicism springs to the fore.

The problem is this: as much as I liked the movie, and wanted to like the movie, I couldn’t bring myself to believe in the outcome. This is what 2020 has done to me, I guess. Ugh.

It’s good, though, and it’s okay to be heartwarmed instead of cynical, if you can swing it. I mean, it’s not like it’s only heartwarming, for that matter. Every beat in the movie is earned, even if I didn’t believe it. The failure is in me, and my willingness to be open to the magic of people watching reality play out in real time and change their opinions as a result.

[1] for which there is a term but I forget what it is. I thought it was wuxia, but that does not imply fantastical elements, only the martial arts themselves.
[2] This is a term I have plausibly heard, or possibly made up, and which in any case could have nothing whatsoever to do with the time period in which the movie is actually set. I just want to sound informed without doing any work. The truly sad part is, in the time it took me to type this, I could have just looked it up instead.

The Next Karate Kid

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Cobra Kai arrived on Netflix a few weeks ago, and now that I’m back at work (a future month of paternity leave yet remains to me, which I will use later, hooray) I have a lot more time to watch TV[1]. Which means I watched all four of the Pat Morita Karate Kid movies this week, three of which I had previously seen. (And all three of which I would recommend refamiliarizing with prior to Cobra Kai, which I also recommend. It pays off, is all I’m saying.)

Then there’s The Next Karate Kid, in which Pat Morita is hanging out in Boston with the wife of a deceased WWII buddy after a big 50th anniversary of their war heroism ceremony, and then for reasons that do not bear looking at too closely, he’s left in charge of her high school granddaughter for a few months. If you guessed that what she really needs is the kind of discipline and confidence that karate can provide, well, that has pretty much covered every salient point of the movie.

That said, Mr. Miyagi is a hell of a character, and the monk interludes are worth the price of admission, even if plot points such as “why was this a good idea, conceptually, to leave a Okinawan stranger in charge of a teenaged girl” and “how could any school possibly allow a random military guy to put his own private student army in charge of the other students” are truly inexplicable.

I’m not saying go watch it, but there’s good stuff in there if you did. I miss Miyagi all over again, thanks to this big giant rewatch fest.

[1] Unless it has subtitles. I actually am working, and you can’t watch the screen nearly enough to keep up with a subtitled show or film. That’s just math.

Blue My Mind

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Another week or so, another movie or so.

This time, a not-particularly-horror movie that combines teen angst bullshit[1] with a modicum of weird body horror, which for the most part seemed out of place, to be honest? 15 year old Mia is going through puberty, which means she doesn’t like her parents, does like the mean girl clique at school, and wants to have all the sex and drugs and cigarettes it is possible for a nearly-legal German teen to have.

But also, strange things are afoot with, uh, her feet. And the family goldfish. What can it all mean? Was she adopted like she thinks, or did she just fall in with the wrong crowd, like her parents think? Does the body horror have any place in this movie? I can answer that one: no, but it did give them a way to wrap things up, instead of just trailing off into disaffected adulthood like most people making “bad” choices end up in fiction. So… yay?

I’m carefully avoiding the spoiler at the center of Blue My Mind, mostly because it was impossible to not know it from the presentation on my streaming service of choice, and the expectation that it would turn out to matter is mostly what ruined the movie for me. Counterpoint: I probably wouldn’t have watched it without that expectation. Counter counterpoint: would that have been so bad?

[1] but no body count

Cold Skin

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Remember that weird-looking (or perhaps I mean surreal-looking) movie about the people in a lighthouse dealing with mermaids? So, I never saw the one you’re thinking of, but I did see Cold Skin, which is as far as I can tell the same movie but a few years earlier. Probably there are differences?

In this case, anyway, the narrator arrives on a remote island to document a year’s worth of weather patterns, because it’s 1914 and that’s how people learned things back then. Via British people with notebooks living in cabins on remote islands. Only, the prior year’s weather documenter is nowhere to be found, and the only witness is the lighthouse keeper, who has armored up his lighthouse like a medieval fortress with multiple layers of those pointed stick emplacements you use to keep out zombies or armies of such size that forward pressure from the soldiers in the back ranks impales people until the sticks aren’t a problem anymore.

Thereafter follows a rollicking good monster movie which is also a meditation (and an unexpectedly timely one at that) on how people cope with isolation. And a number of other things that it would be very spoilery to go into, but I was surprised by just how much I liked this. Then, later, it turned out to be an adaptation of a Spanish novel, and I became less surprised, as sure enough it is in retrospect a very literary movie. In tone and pacing, I mean. And also in depth. (This is, to a minimal extent, also a pun.)