Posts Tagged ‘Raw’

I’m still a few weeks out from completing the due diligence for this year’s list. Living in Salt Lake City doesn’t help things, as several of the big December titles won’t make it to Wasatch Front theaters until January (sigh).

But the end (of the year) is near, and inevitably there are more films warranting recognition than fit onto a Top 10 list. Sure, I could write a longer list, but ain’t nobody got time for that.

Here’s a few favorites from the year that you should check out if you haven’t already.

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Best January Surprise: “Split”

Welcome back M. Night Shyamalan. The pop culture world had rightfully written off the erstwhile-wunderkind behind The Sixth Sense and Unbreakable after a lengthy string of mediocre to downright awful films.

Wisely, Shyamalan gave up on trying to be blockbuster director (remember After Earth? Ugh) and went back to his smaller-scale roots, crafting a low-frills, eerie thriller about a man with multiple personalities, some of whom like to kidnap young girls as offerings to “The Beast.” James McAvoy anchors the film with his playful and committed performance, and the signature twist at the end is a whopper for fans of Shymalan’s filmography, setting up ever more exciting things to come.

Stream it on: HBO Now/Go

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Best Box-Office Flop: “Free Fire”

“Free Fire” to put it mildly, was not a successful film. It had a limited, art house run and while not an expensive film to produce (online reports say roughly $7 million) it made decidedly less than that in ticket sales.

And that’s a shame. It takes a fairly traditional set up — a gathering of criminals erupts in violence after a deal goes bad — and churns out a funny, exciting and entertaining-as-hell bottle episode of a movie as the various characters (played by Cillian Murphy, Armie Hammer, Brie Larson and Sharlto Copley  try to gun their way out of a bad spot, shifting alliances and betraying hidden motivations as they go.

Stream it on: Amazon Prime Video

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Best Binge: “Okja”

Netflix is inching closer and closer to having it first bonafide film smash. It’s original television shows have already broken through, but it’s original films have yet to cross that Rubicon. In 2015, Beast of No Nation was a critical success, but wasn’t exactly a water cooler conversation, and the streaming giant is putting a lot of weight behind next week’s “Bright,” starring Will Smith in a more traditional (and likely underwhelming) fantasy-adventure role.

But all of that makes Netflix’s acquisition of “Okja” all the more interesting, and commendable. In no world was a surreal drama about a South Korean girl trying to save her pet giant pig from the slaughterhouse, and directed by the guy behind “Snowpiercer,” going to achieve mass appeal.

Okja is like nothing else you’ll watch this year. It’s got both Jake Jake Gyllenhaal and Tilda Swinton in roles that almost seem to be competing to out-crazy the other and a legitimately hard-to-watch scene of forced animal reproduction, all in service of a larger allegory on the meat processing industry. It’s out there, like *way* out there, and it’s great.

Stream it on: Netflix

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Best Foreign: “Raw”

Written and directed by Julia Ducournau, “Raw” is a French film about a vegetarian woman at veterinary school who develops a compulsion for raw meat after a new-student hazing ritual. That compulsion becomes intense, to put it mildly, eventually leading to fatal results.

It’s a dressed-down approach to what could have been a campy, neo-Zombie/Vampire retread. If there is anything supernatural at play, Ducournau only hints at it, instead preferring to tell a human story of addiction, which just happens to involve the consumption of human flesh. The movie is also deft in its use of gore and practical effects, making quiet scenes hang in the air with apprehension — a particular sequence involving the main character’s sister, a botched bikini wax and a pair of scissors stands out.

Best to watch it on an empty stomach.

Stream it on: Netflix

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Best Superhero: “Logan”

As far as superhero films go, 2017 was an embarrassment of riches. Warner Brothers, which has little to show for its DC efforts so far, scored a major victory with Wonder Woman, the long-overdue superheroine movie we’ve all been waiting for. Marvel had two successes by embracing the weird in Guardians 2 and Thor: Ragnarok. And even Sony got into the game with it’s Spider-man: Homecoming, which put Peter Parker back in high school where he belongs.

(The less said about 2017 *other* big superhero movie, the better).

But the biggest risk, and subsequently greatest reward, was Fox letting writer-director James Mangold go out on a limb with the studio’s marquee character, Hugh Jackman’s Wolverine. In “Logan,” Wolverine is nearing the end of his long life, his healing powers of near-immortality waning, and is living off the grid as a limousine driver in a post-mutant world while caring for an ailing Professor Charles Xavier.

For long stretches of the movie, you might forget you’re watching a superhero film. It has little of the computer-generated phantasmagoria that have come to define the genre, instead putting its characters in actual dirt, covered in blood and sweat. It also does what most of these mega-franchises are too afraid to do: it ends.

Stream it on: HBO Now/Go

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Best Documentary: “Chasing Coral”

Climate change is no longer something that can be safely ignored (in fact, it never was) and yet the nonsensically controversial and unnecessarily partisan “debate” drags on. Meanwhile, the Earth’s oceans get hotter and hotter, literally cooking the plant and animal life that make up a largely-unseen but crucially important ecosystem beneath the waves.

That effect, happening in real time, is what “Chasing Coral” captures, by sending a team of divers with underwater cameras to document the bleaching of the Great Barrier Reef. The footage is striking, showing the decimation of once-vibrant areas over a matter of weeks, and making it abundantly and undeniably clear that our oceans are burning we all fiddle with the politics.

Stream it on: Netflix

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Best Horror: “It”

The horror genre took a decidedly indie-dominated turn a few years back, with films like “The Babadook,” “The Witch,” and “It Follows” generating buzz while mainstream fare puttered along with diminishing returns.

But there’s no denying the particular alchemy of “It,” which managed to take one of the biggest titles in horror history and update it. With all deference to the great work by Tim Curry, the old “It” doesn’t hold up very well, and it was high time somebody take another stab at adapting Stephen King’s signature work for the big screen.

Enter director Andy Muschiett, working off great writing by multiple screenwriters and equipped with a cast of capable child actors (including Stranger Things’ Finn Wolfhard). The script moves the action up a couple decades to capitalize on peak-80s nostalgia and wisely trims some of King’s more problematic impulses. And deserved credit to Bill Skarsgård, who is faced with the task of filling Curry’s shoes while making the character of Pennywise his own. He succeeds.

Stream it on: N/A

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Best Indie: “It Comes At Night”

Few films stuck with me after I left the theater the way “It Comes at Night” did. Set in a thinly-defined post apocalyptic world, ICAN is focused on a family who live in solitary isolation in a boarded-up cabin, barricaded to keep out the unspoken menaces of a communicable ailment and the people who might bring it with them. After a man invades their home, ostensibly in search of supplies, the family is forced to weigh their safety over the risk of exposing themselves to other people.

It’s a quiet, dark and moody film with an omnipresent air of menace. So much is left abstract, with blurred lines between nocturnal dream sequences and diurnal reality, and only whispers on the wind and the fear on the characters faces communicating the stakes. The conclusion is haunting and begging for interpretation and it left me shook like few films can.

Stream it on: Amazon Prime Video

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The 2017 Wood’s Stock Balls-To-The-Wall Award: “Mother!”

The saying is “Nothing ventured, nothing gained,” and by God, did “Mother!” venture. A challenging and provocative film by Darren Aronofsky, operating as an allegory on religion and the creation story (I guess?) “Mother!” would likely have been best served as a limited art house release, but distributor Paramount decided instead to go all-in on a nationwide roll-out.

That meant a lot of surprised and frustrated audiences, earning a rare “F” grade from CinemaScore (akin to exit polling, but for theaters) and a lot of “What were they thinking?” from the entertainment press.

But all of that noise distracts from the actual movie, which is bonkers and beautiful and dangerous and confusing and incredible. A synopsis would be pointless, suffice it to say that an artist and his wife find their country home increasingly invaded by strangers who adore the man’s work, culminating in a hypnotically gonzo sequence that follows Jennifer Lawrence through an escalating hellscape of violence and destruction. It’s a boldly executed, jarring film, the sheer ambition of which left my jaw on the floor.

Stream it on: N/A

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Colossal

Anne Hathaway stars in this pseudo-monster story, in which an adrift woman moves home after a break-up and discovers that she shares a mental link with a Kaiju terrorizing the people of Seoul, South Korea.

It sounds like the set-up to a quirky dark comedy but “Colossal” remains paralyzed between genres, managing only to be too serious to be funny and to offbeat to be taken seriously. The result is an off-putting mishmash of tone that wastes what minimal goodwill is brought by the cast, including Jason Sudeikis and Tim Blake Nelson. The plot itself hinges on a series of plot contrivances that make less and less sense as the conclusion nears.

Grade: C-

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Raw

In “Raw” a bright, talented and unflinchingly vegetarian student, Justine, enrolls at a veterinary school and struggles to find her place amidst a tradition of byzantine and tiresome hazing rituals. After one such task requires her to eat a rabbit kidney, Justine takes a liking to the taste of meat, which slowly escalates to an insatiable and (ahem) taboo extreme.

It’s an impressive slow-burn and an increasingly unsettling piece of work by director Julia Ducournau. It take a minimalist approach to the grotesque, creating squirm-inducing images with an air of high art. Under a different director, particularly an American one, “Raw” would likely be a vapid, gore-porn slog. But with its European sensibilities and restrained amusement in the unpleasant, the film makes for something truly special.

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Ingrid Goes West

Think of it as “Instagram Millenials: THE MOVIE!” Aubrey Plaza stars as Ingrid, a delusional and social-media addicted stalker who, after seeing a magazine profile of a California socialite (Elizabeth Olsen), decides to move to Los Angeles and become best friends with her new internet obsession.

“Ingrid” keeps things light, plumbing the comedy out of its protagonist’s mania, while also keeping a hard edge that churns under the surface of its characters seemingly blase narcissism. Olsen, who got her start in the excellent and Sundance-premiered “Martha Marcy May Marlete” is able to flex dramatic muscles that have been kept in a box while she endlessly hand-waves in Marvel Movies. But her character is largely caricature, leaving a vacuum for supporting actors Wyatt Russell and O’Shea Jackson Jr. to steal every scene they’re in.

Grade: B

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Oklahoma City

The 1995 Oklahoma City bombing is the worst act of domestic terrorism in American history, and in “Oklahoma City,” it gets the documentary treatment it deserves.

Director Barak Goodman’s piece is a disciplined, thorough and haunting examination of the event itself, while also paying due diligence to the connect the threads that led to the killing of 168 people in the Alfred P. Murrah Federal Building. From Ruby Ridge to Waco, Texas, Goodman connects the threads with elegance, showing the rise of anti-government extremism and white nationalism that motivated Tim McVeigh, all backed up with an impressive catalog of archival footage and first-person testimonials.

Grade: A

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Killing Ground

A couple on a camping trip arrive at a picturesque bend in the river, with a tent standing where another group is camping nearby. But when those campers fail to return to their possessions, the couple begins to worry that something has gone wrong.

The set up is great, as is much of the execution. One tracking shot, in particular, is perfect, shifting from Act I to Act II like a bolt of lightening.

But the film is also too eager to show its hand, doling out information in abundance when mystery should be preserved. The fate of the other camping group, best left for a later reveal, is all but disclosed immediately in broad strokes, leaving nothing but the specific details to work out. “Killing Ground” also makes several wise choices with the relationship of its central characters, but those strengths are undercut by brutally violent scenes that tend to distract more than strengthen investment in the story.

Grade: B-

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Before I Fall

In this mashup of “Groundhog Day” and “Mean Girls,” based on the YA novel of the same name, Zoey Deutch stars as sam, a high school senior who is trapped in a one-day time loop after her friends are involved in a car crash after a party.

The device allows for the type of evolution you would expect, as Sam is forced to reevaluate her loyalty to her rude and WASPy best friend and her treatment of her family and classmates. But what “Before I Fall” does well is allow for all of its characters to evolve, from two-dimensional archetypes in the first act to sympathetic and layered personas by the film’s end. It’s still hobbled by its YA mood, where high school is life and death and mean girls are dictators, but it has more in its head than its peers and Deutch is a winning lead, making for an altogether positive results that exceeds expectations.

Grade: B

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L.A. Times

Much like “Ingrid Goes West,” “L.A. Times” has a lot to say, and mock, about modern young adults, but doesn’t quite have the substance to hold it all together. There’s plenty of smart parody and satire to justify the price of admission, but it never quite adds up to anything.

Telling several separate stories simultaneously, “L.A. Times” follows a group of friends as they navigate today’s dating scene. One couple breaks up after comparing themselves to seemingly successful relationships, another woman fights off the impulse of a bad relationship while being consistently stood up by her cousin’s coworker. The plot is largely irrelevant, and it’s used to serve up commentary on love and living by writer, director and star Michelle Morgan, who is not as clever, nor as good an actress, as she thinks she is.

Grade: B-

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