EDIT: I've managed to find a better article from /Film. I have much more confidence with this, since the writers had a script that was apparently good but unproduced, and Jody + Co.'s Rogue House Pictures is for them to get films with their brand of humor out there, so we should have less to worry about in how it'll play out. Rejoice, friends!
Another note about the screenwriters: apparently they have written a complete script about two friends participating in a "daring heist" on Comi-Con San Diego, which is totally a move I'd watch no matter what, because of it's ridiculous premise. I think the screenplay these guys will pull out might possibly be pretty awesome!
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Jody Hill's career so far has been pretty strange, with his 2 movies, Foot Fist Way and Observe & Report, finding a lot of lovers and a lot of haters. The TV show he and his cohorts worked on, Eastbound and Down, has been very successful and loved by lots. Though he's garnered a lot of hate and such, Jody apparently is cool as long as he has a fan base, which he surely does. Well since Observe and Report, he's been kind of quite about everything; both TV Show and his directorial career. But today, guess the hell what, friends!
Yeah Jody has another movie coming up, but this time he's gone the current Kevin Smith route, and is only directing, with two cats named Michael Diliberti and Matthew Sullivan writing the screenplay. As well this is the first film from Rogue House Pictures, a branch of Mandate Pictures, whose last GOOD film was Stranger than Fiction, headed by Jody, Danny McBride, and David Gordon Green. The film has been named "L.A.P.I" and it's description is that it's an action comedy about a beaten down private investigator in L.A. Also yeah, Danny McBride is playing the protagonist. Of course, I'm glad Jody is back in the director's chair, but this is scaring me.
It'll be awesome to see another one of Jody's messed up protagonists and such, but man, I think there is a breaking point here. I'm sad to say that I see an insanely small possibility of Jody becoming a one trick pony. Complicated main characters, who are pretty much assholes, are broken down to depression then come up with an awesome redemption. It's an awesome structure, but come on man. Hey, we don't know what the essential plot is, so I will hold off judgement from now on.
I just find it scary that Jody could be headed down such a road. But who knows, really. The protagonist could be a real straight-laced guy or something. I could be completely wrong and it could be an awesome movie. Plus, we still don't know how good of writers these dudes are. They both pitched the idea and essentially the Rogue House Pictures dudes loved it, so I have faith in it. Plus, Jody is a smart guy and would not allow a bad script to be made into a full fledged film. This could go one of two ways.
1) It will be good like the rest of the stuff the guys do, but in a different way from their past stuff. 2) It will be good, but too much like their past stuff.
Regardless, I have faith that it will be good regardless, considering whose attached and that they accepted such a concept. I just hope they'll be able to change it up a little bit, and that Jody will have a fair share in the script, because I love his work. Then again, it might be a big action comedy in the vein of Pineapple Express, rather than Jody's past stuff... which could be cool, I suppose, but that leaves me more suspicious. The dark, mean-spirited comedy writing and auter visual style of Jody has been to unique to put to waste on a Pineapple Express rip-off. Again, I'm making assumptions; I just got to excited after reading this news. I'll keep you folks posted, even though maybe 4 people here would be moderately interested.
I don't know. Let's just all hope we're not treated with this:
Imagine this poster, but with a guy in a suit with a magnum. I hope that that isn't where this is headed. 3 Comments
Get Him to the Greek is the first semi-sequel of an Apatow Production, using one character from Forgetting Sarah Marshall; the loud, crass, "sexy" british rock star Aldous Snow. Of course, you remember him for being a calm guy and always talking about his sobriety, but it seems the life of the common rock star got to him, and he's back on the booze and drugs. Strangely enough, even though Jonah Hill had a small role in Forgetting Sarah Marshall, his character in this one is totally different from the slacker Aldous Snow fan Matthew. Now he is some sort of record intern whose job is to get the coked up, buzzed up Aldous Snow to the Greek Theater in L.A for an anniversary performance, since the music industry is going down the toilet (the trailer said it, and it sounded confusing to me.)
That 2 minutes up there isn't that bad. I had a few laughs, especially from P Diddy's character, and the writing seems well adapted and intertwined with the regular improv you'd expect from an Apatow Production. I feel the same satirical tone that Forgetting Sarah Marshal gave off, and that's a good thing because it was really well done in FSM. I hope that Aldous' drunken/drugged up rampages and such don't go way overboard, and that the movie will give Jonah some more screen time. I also hope that he isn't annoying in this one either.
I personally think that this will do well, giving a good second start to Apatow Productions this year, so they could recover from Year One. Man was that a bad movie. Do you look forward to seeing this? Did you like Forgetting Sarah Marshal (I sure as hell did)? Do you like Judd Apatow Productions in general? Are you still looking forward to a Pineapple Express/Superbad sequel? Were you even looking forward to such a thing in the first place? Discuss!
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"Meditation is good and all, but have you ever heard of it saving someone from a gang-rape type situation? Meditate on that... rape."
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After watching the movie for the first time, I had to do some research to see director Jody Hills true intentions. Some of his own words will be used here from various interviews and such, just to give you a feel of what he tried to pull off here. Also, if you want to know what Jody Hill looks like, he's the dude in the video above this.
Thank you -NOFX4208 (enjoy the review!)
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There is a lot of baggage on a filmmaker when making a comedy; a pathetic set of rules (paraphrased from Jody Hill's interview on The Treatment.) It seems like most filmmakers working on a comedy don't bother taking the time to show emotion or a vulnerable, human side, or they just don't ever care to do so. They "must" concentrate on including laughs every few minutes or seconds, like-able protagonists, light-hearted scenes showing a character growing in wisdom, morals, no depressing or disturbing aspects, etc. Now of course, tons of movies, mainly good ones, ignore those kinds of rules, but if I could describe how the Foot Fist Way does things is that it says screw standards, then steps all over what you are used to. It's originality and voice is one of innocence and rebellion. It's low budget and quality charm is made visible with it's "screw it" style which just does what it can do with what they have. It will break down it's protagonist and bring him to a state of depression, showing you his true nature; our true nature. It's vulgar, loud, and most of all, hilarious in a way I've never really seen before. This isn't a movie for everyone, but those who do embrace and accept what it is and what it is trying to do will love Foot Fist Way.
He's a little too overconfident in thinking that he's a badass. Foot Fist Way is about Fred Simmons, a tae kwon do teacher who works a suburban mini shopping center found in central Concord, North Carolina. Fred is a cocky guy, very rude, too proud, and kind of a creep. Fred has a wife Suzie is also a little loud and rude, but occasionally knows how to be proper... even if it consists of her using the f word. Suzie gets a new desk job and constantly complains of the problems she has there, such as "a chinese b*tch telling her she can't talk on the phone" and her not knowing how to properly operate certain equipment. Fred consistently doesn't comfort her, except for when bringing her to Captain Olandears (a Red Lobster like restauraunt) when they have special deals nights, and instead begins heavily flirting with one of his new students. One day, Fred comes home and learns that Suzie is cheating on him with several of her co-workers. Distraught, Fred is sent into a downward spiral, causing him to lose his cool and ultimately lose all of the power and control he once had, or thought he had.
Despite this being a movie about tae kwon do, there isn't much slapstick to be found here; virtually none. The comedy is purely character driven. What I've noticed is that director Jody Hill tries to stray away from cliche jokes and bits, and works with anecdotal stories and situations, keeping everything feeling real. Jody brings genuine emotion into the story, with no artificial crying or hatred. Things get ridiculous and question-worthy, but it almost doesn't matter because of how interesting of a venture it is. What he tries to do here seems to be like a character study with comedic points. His humor is unique and comes with a certain taste. A lot of people will hate how this movie plays out. It's not constant dick and fart jokes, and it isn't necessarily "smart" comedy, but it has merit, and is really special. It is humble and rhythmic in strange ways that just happen to make so much sense. Everything just pays off so much better in the end, not leaving you disappointed if you even bothered to finish it. What Jody Hill has done here is brilliant and well constructed. He managed to succeed in being so different from almost everything else, leaving you satisfied with all of the drama and laughing... hard.
Other than managing to have a great comedic voice, Jody is also talented behind the camera. The way he shoots this is very raw and personal, keeping you close to the story, much like that of a documentary. But the style in which things movie is much like an auter like Wes Anderson or Stanley Kubrick, with quick cut aways, shaky but not speedy camera, slow motion, zooms, etc. He knows how to be artistic and I sure do like what he's done here. While he is comparable to other directors, he definitely isn't ripping them off or making huge homages. It just seems Jody just likes films that look that way, so why not make his feel that way. And you know what? It totally works, blending realism with interesting cinematography and technical aspects. Even though it is very low quality, what they've made with their limited budget and time looks great. It doesn't look crystal clear, but it's cheapness kind of adds to the charm. Jody made the best of what he had, and to be honest, he did an amazing job balancing two great types of filming styles.
Without a lot of money, getting music would be a tough job for sure. But luckily enough, several members of the filmmaking crew were members of a band named Pyramid. Along with some classic slow rock, strange guitar solo work, and awesome drum solos, they recorded some wonderfully parodying 80's synth anthems. They're funny, but it all sounds good and in the end it helps make a big impact, no matter how ridiculously hilarious it sounds. Some other contributing bands also have great music specifically picked for scenes, and they fit well, both as background muzak and set-piece themes. Jody does a damned good job of picking and placing music, making sure each scene is treated well.
A great cast of buddies. For an indie film, the acting is far from bad. Nothing seems serious, yet you can feel the honesty in their actions and voices... even Mike McAlister. Danny McBride, yes, Red from Pineapple Express, is the true star here. He occasionally does some of his stunts, and really knows how and when to be funny. He's an improv king, being able to pull anything out at anytime. Plus he just has a look to him that makes him perfect for the cocky semi-asshole role. Where he really shines is in the scenes where he bares all... emotionally. When he's angry, he truly shows his anger through fits, violence, and words. He actually seems frightening at points. And when he's hurt, oh It's so heartbreaking. You really feel bad for him when he loses his fights or is just being hit with low blow after low blow, no matter how unlike-able of a character he tends to be. He knows how to cry. He's genuine in all of his actions. He does an amazing job and proves that he can do more than be a hilarious guy.
Secondary cast like Jody Hill, playing Mike McAlister, and Ben Best, playing a tae kwon do superstar named Chuck "The Truck" Wallace (hey, guess who that is referencing), are all funny and differentiate from each other in big ways. All characters are memorable in their own special way. The extras even kick a lot of ass. All of them were actual students, so nothing looks or feels fake. Kudos to the entire cast overall. They all poured their hearts out, and all knew how to not over do anything. Even when things to get a little ridiculous, everything plays out in good taste and with purpose. It was clear how weird things were getting, and it's kind of done in parody of any other martial arts or underdog movie; it's funny. Fist bumps all around; the bouncing back and forth between hilarious to serious had a good rhythm, without any blatant beat out of place or missed.
He drops a lot of knowledge... half of the time, it's pretty frightening. What Jody Hill tried to do here was beautiful, and he basically succeeded in my eyes. People might call me crazy for what I saw in this film, but under all of it's vulgarity and mean spirit, there's something amazing to be found. The movie manages to be freaking hilarious in such a fresh way while not taking any risks. They show you a raw side that ranges from violent to depressing. There's crying. There's fighting. There's hatred. It is so real, and yet so much of it is satirically funny and ridiculous. It's a subtle mix of poingiancy and controlled immaturity. The movie knows what it's doing, and is totally in charge of balancing itself, which it does well. Of course, no movie is without flaw, it seems that Jody and gang did such an amazing job with the script, story, and overall filmmaking that you can easily look past such problems, and dislike it for how it plays out (if you do dislike it), rather than small problems.
I see good things in the future of Jody Hill. It seems like almost everything will do will find it's own audience, and maybe become a cult classic. Then again, I could be wrong. But something tells me that he'll make it big. He did an amazing job here, and if you have the tolerance and time, definitely check out this movie. It's a love or hate thing; literally, you will either love the sh*t out of this movie or hate it's guts. It is just one of those movies you have to give a chance. You might miss out on something amazing here, or just another bad movie. You can't really lose much other than one hour and twenty minutes. Give it a shot. I'm glad I did, because I love this damned movie.
5 out of 5 for what it does and for it just not giving a f*ck. Like this guy: HE JUST DOESN'T GIVE A F*CK!
Next review: Moon [2009, starring Sam Rockwell and Kevin Spacey] 9 Comments
First impressions are key in my book. This applies to everything really. New, up-coming directors must make a good first impression both on the audience and studios. Wes Anderson and the Wilson brothers manage to do so with precision and style. Bottle Rocket, their first full movie, is a unique one. The characters are hilarious and interesting, the story catches your attention pretty well, and everything just flows really well. With great work from James Caan, Robert Musgrave, Andrew Wilson (the third Wilson brother), and Kumar Pallana, even the secondary cast is teeming with power and humor. Wes introduces his style of directing, technically and story wise, as well as a few of his own motifs, like top down shots of reading material, drum solos, unique clothing/outfits, etc. And as actors in their first movie, Luke and Owen Wilson pull off great roles that are tragically true to human nature at times, as well as being so fresh and unique from other characters. Everything they throw at you is so unlike something you’ve ever really seen in a comedy that you can’t help but notice the lasting impression the filmmakers left.
True Winners.Bottle Rocket is based on and basically an expansion of Wes Anderson’s and The Wilson Brothers’ short film by the same name that managed to get some recognition at Sundance (irrelevant, but trivial!) It’s essentially about two friends, Anthony and Dignan (Luke and Owen Wilson), who check out of a voulentary mental hospital (and yet one of them thinks they are escaping.) Once “on the lamb”, Dignan, he's the crazy one if you haven't guessed it yet, plans out their lives for at least the next fifty years. They will become professional criminals and join up with a former employer of Dignan’s, Mr. Henry (played geniusly in a Jack Nicholson insane way by James Caan.) After, hiring a third to their team is their next move. Enter Bob Mapplethorpe (Robert Musgrave), potential get-away driver and disgruntled brother of “Future Man”, his slightly more successful, bully brother (played by Andrew Wilson.) Now that the team is formed, their first mission is to rob a book store, in which after they do so, they’ll go on the run from Johnny Law and meet up with Mr. Henry, who will surely put them on "the team", right? And as Dignan says, “It ain’t no trip to Kansas.”
My only real problem with Bottle Rocket is that it will get a little boring at points and bring on little sub plots that while they’re funny, they’re pretty pointless, and some of them don’t even play out to anything except for an excuse to bring in or out characters. Other than this flaw, the writing is superb, and everything flows like bright blue Bioshock hacking fluid (yeah… I went there), in this Quentin Tarantino-esque way. The dialogue is quick and sometimes lines trip over each other with ease. Kind of like moments in early It’s Always Sunny in Philadelphia episodes where everyone is talking over each other; controlled chaos, but less so, in a way. Almost all of the humor comes from the dialogue. Wes’ characters (I also acknowledge that Owen Wilson co-wrote the script) are known for their attitudes and he manages to create these wonderful people who you actually root or boo for. They especially get better with creating these characters as time goes by.
MVP Everyone who acted in this film did ridiculously well in their own ways. Everybody shined, even the small characters. Regardless of how different and interesting the characters are, they manage to have an insanely human and vulnerable side to them; a kind of innocence, which really shines through Owen Wilson's semi-insane character Dignan. This is definitely a team effort, with everyone giving their best, no matter how big the role is. Notably, I truly loved the roles of Lumi Cavazos as Inez the house cleaner, Andrew Wilson as Future Man, James Caan as the comedically frightening Mr. Henry, and most importantly, Kumar Pallana as Kumar, the safe cracker thats as wise as your grandfather's ass crack. None of these characters ever have you rolling your eyes or being impatient for the next scene. All of them are so much fun and just manage to leave you wondering about them after their parts end. They're all just so well thought out and played out, and I'm being forced to use the word again, but they all have a certain charm to them, keeping everything interesting as the story goes.
Then comes in what I love the most about this movie, it’s style. I am a huge Wes Anderson fan, even though he signed a petition warranting Roman Polanski’s release from prison (seriously?) While I don’t think he has fully found his footing in Bottle Rocket (he does so in Rushmore, I think), he manages to put in a lot of his quirkiness and cinematographic craziness. There’s the slow motion scenes, fun to obscure sixties and seventies music, as well as an original score from Devo’s Mark Mothersbaugh, which has this charming bell set tone set with some latin feeling muzak and nice guitar work, keeping everything charming and a little cute, like the movie is at times. The unique characters and clothing, some dead pan humor, and moments of intensity that are portrayed as so are also presented in wonderful fashions with precision, leaving everything for the viewer to just bask in. Wes has also been known for depth in his comedy and placement of set pieces. It is clear as crystal in Bottle Rocket, with stuff in bed rooms, houses, etc. Sometimes not only the writing and acting will make you laugh, but the small things done so technically and through his editing/cinematographic work will bring up some humor, like quick pans and shots that just make you laugh. It’s such a unique style, and it’s pretty innovative in the sense that it’s inspired such directors like Jody Hill and Jared Hess. It’s the start of something new, and it’s pretty freaking brilliant. It gives you a chance as the audience to look for and notice such things. And when you do see them, I guarantee you'll chuckle because of how small and mundane such things end up being shown as. Also, bold futura font; Sexy.
I can describe everything in Bottle Rocket with one word: unique. Sure, I may be a devoted Wes Anderson fan, but I think this is the perfect film to start with if you want to check out his style. This is a film anyone can really enjoy, as opposed to his later stuff which is pretty genius, but mainly loved by specific crowds and "meh"d by others. There's comedy, a hint of openness, leaving it possible for the audience to relate with the characters no matter how strange or different they may be, and a straightforward plot that's easy to follow. Sure, it can drag on a lot and have some meaningless aspects pop in and out, but honestly it shouldn't be a problem looking over these, since the rest of the film is brilliant in it's own special way. Top notch comedic performances from a bright cast, complemented with great writing and an awesome technical aspect keeps the film ridiculously enjoyable, regardless of any flaws. This is indeed Wes Anderson's least ambitious film, but there is something very special about Bottle Rocket. Go ahead an seek this out at a Blockbuster, or a Boarders/Barnes and Noble... they usually have copies there. You're walking straight into a movie that you'll most likely never forget, even at any subconscious level, or at least want to.
4.5 start out of 5 for being so *hand movement* different.
I like this Criterion Collection poster better, since the original is a little boring and this one utilizes Wes Anderson's brother's art, which is used for almost all of his movies (that are in the Criterion Collection, at least.) 6 Comments
I like hints of symbolism in movies, no matter how deep it is. Sometimes you can tell something is symbolic because it is so surreal and might not even make too much sense. But other times it can be so subtle and stealthy that you wouldn't even see any depth what so ever. Do you (yes, you) know of any films thats existence is held by constant metaphors symbolism?
My two favorite films that work out in such a way are the Darjeeling Limited by Wes Anderson and Synecdoche, New York by Charlie Kaufman
There's a scene like this, but a little kid is holding a .357 revolver to Adrien Brody's head. Yup. Now, without looking into the symbolism of the Darjeeling Limited, you'll be left with a semi-dull dramatic comedy with nothing to really offer and a strange ending. Wes Anderson obviously wanted something more out of this film, and he manages to do so, with a story that can catch some attention (mostly from Wes Anderson fans.) The use of luggage, clothing, personal belongings, stories, and events bring so much life the past of these characters, having you feel and know that something has gone down and these people are hurt or have been hurt. It's a deep picture, that I still want to study, because I still feel that there is something else that it has to offer. Plus, it's kinda funny.
There something big going on here. I was going to review Synecdoche, but it's frighteningly hard to understand... or maybe i'm just a little too slow. I don't know, but when the characters are discussing stuff but talking to the wrong people and mentioning things that have been mentioned far earlier in the movie again, making it seem completely irrelevant tends to be a little rough to comprehend. And yet, I do know that Philip Seymour Hoffman does a tremendous job as the tragic Caden Cotard, and Charlie Kaufman managed to pull of a great direction role without that much help from old directing friend Spike Jonze, who I'd like to see him work with again. It's just that the film might be getting a little too surreal for it's own good, just leaving us dumbfounded without any reason, unless I'm just missing something... and I think I am. This movie is deep, son. Also, many of Charlie Kaufman's other movies have symbolism and themes, like Adaptation, which is a beautiful movie on it's own.
LEAVE ME THE HELL ALONE! Another movie that is deep, while not necessarily symbolic, is Observe and Report; YES I'M GOING THERE. There is a hidden layer of depth in this movie, ranging from the message that anyone can be anything with the right attitude and spirit, to acceptance of people who are different. Ironically (or not) enough, I found the most depth or even symbolism in the ending scene than many other movies have even bothered to have or express... yes... to those who have seen the movie, you know that scene I'm talking about.This movie has much more to offer than it's vulgar and mean spirited humor and excessive violence. Also, a lot of people just really think it's bad, but to each his own, I suppose (seriously, I'm not sh*tting you that I love this movie.) Jody Hill has something to prove... and I'm sure he'll get there.
I digress. So, anyone know of some films that are symbolic all the way to the teat or are just significant beyond belief?
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I'm an aspiring filmmaker... and kind of a journalist. So if my reviews seem amateurish or mediocre... well... I'm still trying to find my footing. Constructive criticism is definitely welcome!! and Thank you for reading :D
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"Ernest Hemingway once said 'All I want to do is write one true sentence'... he also tried to scratch an itch on the back of his head with a shotgun."
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The redband trailer can be found in the comments section (Thanks Milkman!)
1) There is a much better quote that I could've used, but I want to save that for people who actually watch the movie. 2) This is the most misleading trailer ever, while it is still pretty funny.
This movie is literally a dark comedy. Some people don't like this genre (while others praise it), some don't think it's an actual genre, and etc. But after much speculation... I realize that calling World's Greatest Dad a dark comedy is the only way to really describe it. The movie starts out crass, strong, semi-depressing, and vulgar. Most movies like this end up staying (and maybe even dumbing down a little) this way until the end with the "big" payoff. This movie is different in which it goes off the rails and becomes pretty f*cked up... it's shockingly messed up. But the plus side is that the movie manages to get so messed up, and yet manage to stay hilarious when messed up and when not messed up... it's the perfect balance. Several points of the humor comes from the special place of satire. A lot of the characters really make fun of kids you knew in high school and people around your workspace... it's insanely well done and brilliantly written in a subtle parody sense. Along with all of this, the movie pays off so well emotionally and basically overall. The ending feels so good and perfect, that I can call it genius. This is what Jody Hill (Observe and Report, The Foot Fist Way) is basically going for; a vulgar, dark comedy that brings people down to base and depresses them, until leading to and with true, heartfelt emotion. Sorry to side track like that, but it's just a comparison... and a way for me to bring up Jody Hill... damn he's going to make it big (I hope.) I digress. World's Greatest Dad is a satirical dark comedy that I wish I could spoil, but it's too special and important. There's a hidden layer of depth found here, and yet, the movie still manages to be hilarious and F*CKED UP (in aspects)... but it has a heart.
World's Greatest Dad is about Lance Clayton, an author who has not been able to get any of his 5 books published. Lance has a girlfriend, who is technically cheating on her The Rock look-a-like successful teacher boyfriend. Lance also has a son, who I can only describe as a huge piece of sh*t. This kid is disrespectful, loud, annoying, disgusting, vulgar, purely rude, and overall just a terrible individual. I'm not sugar coating it here, man. This kid is f*cked up and is just so mean to everybody, even his best friend Andrew (who's a vegetarian.) Yes, Lance's life is a subtle mix of miserable and semi-smooth. I truly wish I could continue with the story, but that would ruin the movie's charm kind of. You must come into the movie with an open mind of anything to happen other than small background information like I just gave you. The story goes bananas and in insanely strange directions which range from depressing, hilarious, and even heartwarming. Yes, despite all of the vulgarity and shocking moments, the movie can be considered and should be considered heartwarming. The movie actually gives off messages and themes, believe it or not. It's technically about greed and the people you surround yourself in everyday. Lance is faced with some moral choices which would lead him to an even more depressing life or the one he's always wanted. It's all about if what he chooses is right or wrong, and for who. In the end... it's almost poetic, the way this movie is written and shown off. I'm insanely proud of this film and director Bobcat Goldthwait (which is the best name I've heart in quite some time.) What Bobcat and crew did here is hilarious and truly beautiful.
I like the way this movie looks and feels. Bobcat never backed down from being I guess edgy and messed up. He manages to bring so much loud, curse filled, innuendo consisted comedy into this already depressing story and gets away with it. He doesn't apologize for anything, and it's genius in that way. Another way he manages to be funny is with the way it's shot. Some of the camera movement and editing add subtle humor, as well as just looking much better than many other movies. You can tell Bobcat wanted to not leave out the cinematography aspect out of the picture and have some movement going on (like Judd Apatow's Funny People and Kevin Smith's Clerks II.) The movie is so well rounded in almost every genre and aspect (even romance... shockingly.) And right by him, man. Everything looks good, especially the scenes of struggle and montages (which are ridiculously well cut, edited, and put together in a humorous yet devastating manner.) Even some still scenes were shot at great, random angles and with the camera bobbing around like a documentary, letting you feel like you're with the characters. It's this kind of stuff that give off an artistic sense that isn't just bullsh*ted, but rather well placed. There is also one specific scene that is so well done that it makes this movie a 5/5 from the way it's told and how it's shot. It's similar to Observe and Report's ending where it is damned hilarious and yet there is something there that is deeper and more profound than anything you've probably seen (well... than most things you've seen.)
The score and soundtrack is a mosh pit consisting of Napoleon Dynamite-esque keyboard muzak, indie piano rock, It's Always Sunny in Philadelphia bright almost holiday like music, Bruce Hornsby, and very interesting and well picked indie music. The use of the music is tragically brilliant, in the sense that almost every song used is either perfectly tuned for the emotion of the scene or just so contradicted of what the scene is giving off that it's kind of funny. It's strange having semi-happy music playing while such depressing stuff is occurring on screen... it's genius. The pacing of the scenes are so well matched with each piece of music... it feels like the music is the one controlling the scenes they're a part of. It's quite humorous at points, and even intense. The people in charge really knew how to slow down and show emotion at proper times (along with ones that are unexpected.) They know how to tug on your heartstrings. It's actually very heartwarming at times... even if it is such a small aspect that barely becomes huge for the movie, it affects it in a small but strong way when you hear it... especially the ending. Everything is well placed and timed... which just adds to the movie's ability to be so well rounded and interesting.
Kudos to the entire cast, honestly. Such a great job from everybody, even the overdone charicatures of high school students, like the jock, nerd, and goth (hell, there is a red-haired girl with glasses whose name is literally Ginger.) Honestly though, Robin Williams and Daryl Sabara (yup... the kid from Spy Kids) were the true stars. Robin's role of depressed but trying to be happy for others is so true to the people who actually have to act like this. How he deals with disappointment and shock is very human and honest, as well as the rest of how he acts. It's just so much like a regular man being dealt a terrible hand of cards (similar to Bryan Cranston in Breaking Bad... but less meth.) He's knowledgeable, and passionate about the stuff he loves, like zombie movies and in general writing. And when he relates to someone about such things, he's a smooth guy and knows what he's talking about... it's kinda cute. And most of all, Lance is a tragic character, mainly because he can be so much like someone you know, especially a father (C WAT I DID THUR?!) And it's hard seeing someone so similar to a close one to you being hurt badly and doing such strange things. Daryl's role as Robin's son is... is a brave one. The awkwardness around girls, the constant cursing and anger toward others (even ones you kind of love), the obscure ways of and consistent masturbation... it's such a strange role that requires a fearless one to do such things. In short, he's damned hilarious even if he is a little asshole... it's just funny how big of one he is. You might never meet such a kid in real life who is so offensive and disgusting... it's insanely unique and just mixed on how you feel about his character. You will hate him with a passion but find him kind of funny at points... then again the reason you'll find him funny is because he's such a big douche bag. I really don't know how to finish this off without saying any more... because damn Robin's and Daryl's roles are so well done that it makes the movie so much more interesting. It's great in so many ways.
I made the parallel to Jody Hill and his films several times already, and that's because they're insanely similar in how they will attract viewers. This movie will not be for everybody, but you must at least try it because if you end up liking it, you'll love it. This movie will offend people with it's harsh words, but for people who can look past this, you will find something truly beautiful (yes, I thought Observe and Report was beautiful.) I could've gone more in depth with the story, but honestly... such a small step into it here, and I would feel like I've ruined it for you. This movie feels important and people must see this, for as satirical as it is, it has some stuff that will be a wake up call for a lot of people who need to find happiness or even people who are hurtful to you and others and just don't know it. ...THIS MOVIE IS PRETTY DAMNED F*CKED UP. I've said this before, and I'll continue to say it. Hell, I say "genius" and "heartwarming" a little too much, but I just can't but help over emphasize it... this movie is really freaking good. Only some parts you'll see first and see as messed up, but as the story progresses, it just feels so wrong for many of the characters and their actions. And man how depressing it can get... director and writer Bobcat Goldthwait (I will never get tired of saying that) is a subtle, messed up genius. Despite all of this, it's freaking hilarious in it's writing, cinematic aspects, and actions. World's Greatest Dad is such a shocking movie... and yet is has something to say and show that is really beautiful and touching. Also, the ending is AMAZING... *cough*... sorry.
I can't say much more... go to a Best Buy and buy a copy of this movie. You must not miss out on this film.
Visioneers is the first movie done by the Drake Brothers, Jared and Brandon. At first though, I imagined the duo to be much like the Coen Brothers (just out of pure coincidence), but in all honesty, they really pulled off the feel of a movie done by Charlie Kaufman and Spike Jonze... which is a really good thing. After I finished this movie, I immediately pointed out many parallels to a Kaufman and Jonze venture. The little action it had was captured in a great, organic way, the story was kind of abstract but posed an ultimate message and theme relatable for all of us, and in most of all, it's a great f*kcing movie! The humor is subtle and doesn't over power any of the drama, which is just exuded so damned well because of the circumstances given to the characters. Zach Galifianakis... Allen from the wonderfully overrated The Hangover, knows how to emote and portray a man going crazy. He does such a good job of not going overboard and ridiculous, staying relatable and human, that I'm surprised he doesn't do any more dramas (other than his roles in Into the Wild and Up in the Air, no matter how small they may of been.) And the music... oh the music. The score sounds like Jon Brion's work on Eternal Sunshine of the Spotless mind, but a little less quirky, but still really emotional and makes each scene really... unique, in a way (especially the ending, Jesus Christ that ending...) It's an amazing start for the Brothers Drake, and I'm way too excited to see more of what they can do (probably at film festivals more than anything.)
The world shown in Visioneers comes off as this not to distant future where true happiness and having dreams (sleep and otherwise) lead to you spontaneously combusting... exploding. The only way to really be "happy" is really shown through people listening and doing almost everything that Oprah-esque women are doing on their daytime TV shows, listening to everything advertisements tell you (like Fried Chicken being good ways to be popular amongst people, I sh*t you not), or participating in bullsh*t programs with bullsh*t material leading to artificial happiness. It's... it's really shocking and it's almost comedic, until you see it truly hurt some of the characters. The main story follows George Washington Winsterhammerman, played by comedian Zach Galifianakis (and extremely well, might I add), who is a Level 3 Visioneer, or tunt (worker), at the Jeffers Corporation, where people are greeted with middle fingers and a computer tells them how many minutes they have left until work is done, or until the weekend. Think of an over-exaggerated version of Initech from Office Space. George has a wife (played by Judy Greer, or Kitty from Arrested Development... she's not.. ugly in this one) who never listens to him, but listens to Sahra, who is basically Oprah minus a live audience. George also has a son, who never comes out of his room after he gets home from school (he studies wolves.) It's a drab, depressing world, and George thinks he is getting closer of exploding. The majority of the movie follows George on his journey to happiness and enlightenment, while still trying to deal with his dead-end job, family, and society.
It's interesting that the characters are kind of stuck in this world, because it is kind of a good way for the director/writer to concentrate on only one or two characters and how they progress... which is what they did. There is a character who goes against all of what society wants him to do, and he continues to rally people to rebel or just live the way people were intended to, but rather than the character managing to change over time, he is the result of the change our actual main characters will go through. George's wife seems to be the dependent factor in the story, as while George changes as for the better and society for the worse, she goes through her own cycles, and reaches the breaking point in the end. George's determination to find how to live a happy life and be free constantly shows him getting closer, then farther, and his general struggles with ups and downs. He sometimes is in denial, and others he knows how ridiculous everything is around him. The character is really well done and isn't too abstract or obscure, in fact he isn't. He's very clear about how he is. That's the great thing about this movie. It doesn't necessarily hold your hand in telling you it's themes and morals, but it shows you them in a nonchalant way that has you thinking. And while it is a thinking mans, movie, it doesn't go for extremely obscure or surreal characters and settings all the time which can drag movie like this down. The surrealism doesn't go in the way of what the story wants to convey, in the same way the humor is subtle. The only real problem here is that they sometimes try to pack in too much to think about, that you get lost on the story or even the main theme, if there really is one big one. Regardless, It's really well crafted, and I give the directors major props. I know what kind of movie they wanted to make, and they managed to not fall victim to overdoing different aspects of dark, comedic think pieces.
The acting is great as mean for all participating in the film. Zach does what I think is an amazing job as a protagonist that we're supposed to relate with, and we do in huge ways if you pay attention. There are some instances where I kind of cringe at one of the characters when we finally see her in person, but honestly, it doesn't matter, I just don't like people with accents trying to mask it. Even George's wife gets on my nerves sometimes when she's a little... robotic... I can tell she's acting. But that kind of goes along with her character in a way, who is basically a sheep. Performances from secondary characters like Chris Coppola (the fat guy you see in almost every Uwe Boll movie), James LeGros (who I didn't know before the movie, but his Jesus like character and enigmatic energy just pulls me in and has me laughing and loving him every time he's on screen), and D.W Moffett (the antagonist, but in a Bill Lumbergh sense, where he is funny but kind of menacing every time you see him) are great additions, and give good company and background status for the story. For the most part, you'd think a lot of them are irrelevant, but shockingly they all have a big say, whether it's silent or not, in how the story will progress. The writing that compliments the acting is strong, and ingeniously done. Every word said that has a deep meaning felt like it was written with strength and purpose, and the comedic moments were obviously not the main point of the project, and when they had good ideas for comedy, they successfully brought it down a good 3 notches, keeping it in tone with the film. While it is well written, I get the feeling that the brothers had all of these events that were perfect and such, but they had no filler. For quite some time you might get a little bored, depending on how engulfed into the story you are. But they made an effort, and it bridges some great scenes and moments together in a decent fashion. The Drake brothers did not bother speeding through this movie with comedic intentions, like a lot of ads say, and I'm kind of proud of them for doing such a good job with every line of dialogue and making sure the actors did their job right.
I can sense the Drake brothers being considered auters in the future, but in a quiet sense like some other beginning directors with style. The movie doesn't really have a unique look, but in the same sense of the game Darksiders, it takes some really nice aspects of other director's camera work and cinematography and uses them in a way that does not scream rip-off. I'm going to go back again to parallel of Spike Jonze, because the way things are shot in specific action, it has a fast paced feel without anything being really speedy... more like organic. There are dream sequences, and they're done well with a nice filter over the camera and it's kind of filmed like a high school history project. There are fast cut-aways from loud moments and such, shaky camera movement when it there is action and when not being pretty still, staring at specific points at interesting positions like a Wes Anderson scene. The way everything is shot, you don't feel disconnected. There's a sense of being there in specific scenes, and while it isn't breaking the fourth wall over your f*ckin' head, it feels and looks good. The movie is great in the sense of having you being there are relating. There are parts where people are in huge, open office rooms with like 3 desks, and you can tell that it's kind of cold in there, and some times the characters would be a little sweaty and their jackets are off, implying that it's hot, and you can really sense that. They have good, small set-pieces like weird pictures, strange background stuff that ranges from funny to just f*cking weird. The detailing with this sense of filmmaking is so carefully crafted and placed, that you feel comfortable when watching it, and even impressed.
The atmosphere of the world these characters live in also comes in the form of the score, done by Tim DeLaughter, feels depressing yet optomistic, much like the entire attitude of the movie. This is a small aspect of the movie, but rather than just having background muzak like in an elevator and music that just feels irrelevant, the score feels like it's playing with each scene. It has the same attitude as the characters and compliments the settings and things being discussed at times. And, like a movie that doesn't piss me off, it doesn't constantly use music. Now, I don't mind that, as long as the music is good. But the way the music comes in and fades out feels just right. The music is brilliant. You will love the score, there's no annoying aspects of it that are overdone and obnoxious, and it just sounds beautiful at parts, and brilliant at parts.
Visioneers is an amazing starting point for the Drake brothers. While there isn't a lot of uniqueness to the look or the GENERAL story, what they go for is pulled off amazingly and shows a hint of originality. They will definitely show their brighter colors in the future. Then again, I don't know if they wanted to be huge auters at the start or even at all, but I have a feeling that these guys have something special up their sleeves (kind of like Wes Anderson after Bottle Rocket... I mean... we all saw Rushmore... right?!) Just in general a beautiful movie that is so well done and significantly detailed and crafted to get their message across as well as tell a bittersweet story. I don't blame a lot of people for not liking it, since it caters to a specific crowd and is misleading with the cast (especially on Zach's behalf), but please give this movie a chance. I know I may constantly compare this to so many other movies and filmmakers, but it's totally not just stealing ideas, or giving off that vibe. Really it feels like an homage packed inside of this dark, comedic satire with a sad yet up-lifting and attention grabbing story. This is all especially because of how ridiculous the movie will come off at times, which isn't loud, rather stealthy and nonchalantly. It's shocking, funny, heartbreaking, and purely interesting. You won't regret watching this.
I like when this happens, and I've been trying to find more examples, just to level my collection of DVD's out. Here are some examples of what I'm talking about
Patton Oswalt in Big Fan Jim Carrey in Man on the Moon, Eternal Sunshine of the Spotless Mind, A Christmas Carol Adam Sandler in Reign Over Me, Punch Drunk Love, Funny People Bill Murray in The Life Aquatic with Steve Zissou, Lost in Translation, Broken Flowers Seth Rogen in Observe & Report, Funny People Zach Galifianakis in Visioneers, Up in the Air (his 2 minute cameo)
Anyone else know of other movies/actors that/who have gone in this direction?
I reckon a lot of you here like Fight Club... that includes me, really. I also liked Choke a whole lot, even though the novel was much better than the movie (imho) To those who like his novels or the movies based on his novels, according to IMDB, 2 more of his novels are being adapted:
Survivor: directed by Francis Lawrence (Constantine, I Am Legend, some music videos) Haunted: directed and adapted by Koen Mortier (uhh... Ex Drummer?... I don't know, he's german)
2 interesting choices; one being kind of obvious, and the other shocking me tons.
This was my response to reading "Guts"
I'm seriously scared about how Haunted will turn out. If ever, it would of been better as like an HBO series with guest directors (that would've been really cool, actually). But with this out of no where director and full feature format, I'm scared with might turn out not that good. Especially with the consideration that some stories might not be allowed to be shown due to it's... intense nature (like Guts... oh God Guts...) But who knows, really? This guy could be a revelation, and make one of the best horror/thriller movies in a while.
It has planes! After reading Survivor, I knew this would be the next best book for an adaptation. The story is interesting, the characters are strange in a good way, and it has an awesome ending that can be jaw dropping if done right. I don't mind the 2 movies Francis Lawrence did... honestly; I thought Constantine was okay, and I Am Legend was kind of cool. But the story of Survivor can kind of drag, so we'll see if he can manage to keep it interesting, with good tone, atmosphere, and the perfect amount of satirical material.
How do you Palahniuk fans feel about this? Any casting hopefuls? I personally think that Rainn Wilson would be perfect for Tender Branson in Survivor, and I don't know, Robert Downey Jr. as Adam Branson. Discuss!
EDIT: for those who are interested, here is the short story from Haunted titled "Guts". Please.... read at your own risk, it's graphic, and pretty f*cked up lol http://chuckpalahniuk.net/features/shorts/guts
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If you haven't heard of The Room... well... I guess I can explain it. The Room is a terrible, terrible movie down to the teet. Now... that's not anything special, but it is so bad that it's hilarious and has gained a huge cult following. The director/producer/writer/leading actor Tommy Wiseau says that all of the scenes are done intentionally... not too sure what he was going for, but he was serious during the entire movie. Yet as people mock it.. he just goes with it and calls it a black comedy instead of a drama, because that aspect failed from the get go.
Yup, this is a serious-ass movie. I'm almost leaning toward the possibility that this is all a joke and Tommy Wiseau is just a comedic genius... either that or he's just a bad, bad movie maker.
This movie is old for me, and I still love it when I need something to do with a friend, but I just wanted to hear some opinions on the movie from the Giant bomb community. Anyone been to the NY or LA screenings? Supposedly they are loud and just a whole load of fun. Do you look at this film in a serious way and see it as just bad? Discuss!
Also:
Along with the atrocious dialogue and horrendous acting/direction, I have a feeling that almost all of the dialogue was done in ADR. Does anyone else sense this, as well? Also, all of the roof scenes in this movie (there are quite a few) were done with a green screen......... amazing
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