Posts Tagged ‘Melanie Lynskey’


I Don’t Feel At Home in This World Anymore

We typically have to wait almost a year — or more — for the public at large to see the big winner from the Sundance Film Festival. But not only is “I Don’t Feel At Home in this World Anymore” out less than two months after snagging the Grand Jury prize in Park City, its also viewable from the comfort of your home due to Netflix scoring the distribution rights.

Starring Melanie Lynskey and Elijah Wood, IDFAHITWA sees a woman shaken out of a rut after a break-in at her home triggers a compulsion to pursue justice. It’s also the directorial debut of Macon Blair, best known for his acting collaborations with director Jeremy Saulnier (Blue Ruin, Green Room). Blair borrows from Saulnier’s style of minimalist, organic and unflinching violence, but also injects his feature with a heavy doze of sardonic humor. The result is something like a marriage of hipster comedy and Coenesque drama and shows a lot of promise for an emerging multi-hyphenate storyteller.



If you’re a fan of Christopher Guest…well, you’ve probably seen Mascots already. But otherwise you should know that the team behind the mockumentaries Best in Show, A Mighty Win and Waiting For Guffman have a Netflix Original film about the cutthroat world of competitive Mascot-ery.

To  be sure, Mascots is a lesser-Guest. But it is still hilarious in its survey of bizarre, pseudo-surrealist characters, like Chris O’Dowd’s Tommy ‘Zook’ Zucarello, who performs as “The Fist” for a hockey team, and whose every action in the musculatured foam hand suit is a master class is sight gags.


Burn After Reading

Speaking of Coenesque, and lesser-entries, “Burn After Reading” may not be the strongest entry in the Joel and Ethan Coen canon, but don’t let that stop you from its unique pleasures, number one on that list being that fully-committed and unbelievably ludicrous performance of Brad Pitt as a pompadoured buffoon of a personal trainer.

Combining gym rats, DIY sex toys and international espionage in a way that only the Coens can, “Burn after Reading” wrings gallons of humor out of a few ounces of its characters poor decision-making.


It Follows

The horror genre is experiencing something like a creative renaissance, and just in the nick of time. After 2004’s “Saw,” there was a decade in which horror producers were arms-racing each other to up the ante on torture porn. Thankfully, the trends are showing sign of shifting back toward risk-taking and storytelling, and there’s perhaps no better example of that New-School thank the incredible “It Follows” (which, as you may recall, was among my picks for the 10 best films of 2014).

As both an homage and a satire of classic scarers, It Follows takes the trope that in horror, sex = death, and stretches it to its logical extreme. Its antagonist is a loosly-defined specter that relentlessly pursues its victims as they pass its curse from one to another through sexual intercourse. You can survive by passing “it” on to someone else, but if “it” gets them, then you’re back at the top of the list, being followed again.

The device is incredibly effective as “it” shapeshifts through various forms, visible only to the infected. It causes the viewer to dart their eyes around the screen, looking for anyone who seems out of place, or a little *too* determined in their gait. Layer on top a gorgeous, pulpy style full of neon lighting and synth-pop atmosphere and you have a cinematic experience that leaps above the rest.



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*Note: This review was originally published during the 2014 Sundance Film Festival

Writer-director Joe Swanberg isn’t one to hit you over the head with plot. His films, of which there are many but particularly 2013’s “Drinking Buddies” and now “Happy Christmas,” tend to be more naturalistic portrayals of everyday drama and humor that come across as minimalist and largely improvisational.

In Happy Christmas, Swanberg reunites with Buddies’ Anna Kendrick to tell the story of Jeff and Kelly (himself and the perpetually underrated Melanie Lynskey), a young couple who take in Jeff’s sister Jenny (Kendrick) after her break up with a boyfriend. Jenny is a charming (it’s Anna Kendrick so, natch) albeit stunted and self-interested person who is acting out and prone to moments of immaturity, which makes Kelly nervous about her presence in the house.

But as the advent calendar on the mantel ticks off the days to Christmas the family bonds and Jenny’s presence prompts a series of small evolutions within Jeff and Kelly and their already-strong but novice marriage.

The film is filled with moments of simple delight, particularly in the form of Swanberg’s real-life infant son Jude, who steals every scene that he’s in. There are character arcs and conflict and resolution but the film is largely a peek into the life of three people who feel as real as any person you might pass on the street. It comes to an abrupt ending, making loose ends of otherwise minimal plot points, but provides a refreshing portrait of marriage and family without the cynicism or pandering of most similarly-themed films.

Grade: B

*‘Happy Christmas’ opens in Salt Lake City on Friday, August 1.

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