Aubrey Plaza needs more dramatic work. #Ingridgoeswest.
Plaza plays Instagram stalker, Ingrid. After a stint at a mental hospital, Ingrid becomes obsessed with Instagram model Taylor Sloane (Elizabeth Olsen) and moves to Los Angeles, stalking Taylor in the process. They become friends (Taylor’s oblivious to Ingrid’s behavior), but what happens when Taylor’s punk brother Nicky (Billy Magnussen) enters the picture? Also, who’s really the villain?
Ingrid Goes West starts as a sharp, darkly funny satire. With its jabs at hipster culture and avocado toast, I found a few good laughs. I also was blown away by Plaza’s brave performance as Ingrid. She’s funny, scary, sad, and brutally honest.
Ingrid is a complex character ; an unhinged person who wants what we all want – happiness. Can we blame her for leaving behind her old life for a better one in California? Despite the wrong reasons, no.
Olsen also turns in another great performance this year (check out her work in Wind River). As Taylor, Olsen plays the phony celebrity gracefully. Taylor’s friendship with Ingrid is one-sided and we can see that Taylor only hangs out with her for her own benefit. We root for Ingrid since she’s too delusional to see Taylor’s true colors.
The satirical edge fades in the second half as Ingrid Goes West turns into a standard romantic comedy. Give me less of Ingrid’s relationship with the Batman fanboy Dan (O’Shea Jackson Jr.) and more of the psycho thriller/dark comedy moments. Dan starts as a sweet, quirky love interest, but after the millionth Batman Forever reference, I got bored of their romance.
Ingrid Goes West briefly returns to its dark roots in the final act with a strong message on social media and loneliness. It’s just unfortunate that it went off the rails in its uneven second act. Regardless, I still recommend Ingrid Goes West for Plaza and Olsen alone.
By the time Taylor Sheridan’s (writer of Sicario and Hell or High Water) Wind River concluded with an informative caption, I was devastated. Sheridan writes and directs a brutal modern-day Western about a subject that needs our attention.
US Fish and Wildlife Service agent Cory Lambert (Jeremy Renner) finds a murdered teenager in the Wind River Indian Reservation. Rookie FBI agent Jane Banner (Elizabeth Olsen) is assigned the case and is unprepared for the harsh weather and violence that await. With Lambert’s help, Banner hunts for the killer. Lambert, however, has his own reasons for taking the case.
Wind River has taken the title of 2017’s feel-bad movie (who would have thought Detroit would be dethroned?). I haven’t seen any other film this year that’s either as provocative or visceral as Wind River. Sheridan is on a role with the cynical and grim Westerns.
While Sicario was nihilistic about the war on drugs and Hell or High Water about banks, Wind River isn’t nihilistic. It’s brutally honest about missing Native American women and how there are no statistics. No one knows how many are missing; this is a fact that floored me.
MILD SPOILERS AHEAD!!!
Lambert takes the case as a form of catharsis. His daughter has been missing (and possibly dead) for years and he aids Banner to help exercise his aggression. Lambert doesn’t hold back his rage during the climax, resulting in some shockingly violent moments. Renner delivers a taut performance as Lambert; he’s a likable-yet-troubled cowboy overwhelmed by pain. With one beautifully written monologue about grief, Renner is a guaranteed Best Actor nominee.
Olsen plays Banner with a certain level of innocence. She isn’t afraid to draw her weapon or take charge of the situation, but it’s obvious that this is her first homicide case. This is emphasized in the final act when she breaks down over the case’s grisly outcome.
Wind River is Sheridan’s sophomore directorial effort. While his aesthetics are slightly uneven (using voiceover narration in the prologue and title cards in the epilogue), he is one to keep an eye out for. His poetic screenwriting, dark commentary, and use of violence make him a standout auteur.
After a four-year absence from filmmaking, I’m happy to see the versatile Steven Soderbergh (Traffic, Magic Mike, and the Ocean’s trilogy) return with Logan Lucky. It’s nice to see a lighthearted comedy after two months of dark, violent films.
Jimmy (Channing Tatum), Clyde (Adam Driver), and Mellie Logan (Riley Keough) are a trio of bumbling siblings who believe they’re cursed. Jimmy comes up with a plan to reverse their curse – rob Charlotte Motor Speedway during the Coca-Cola 600. With the help of incarcerated thief Joe Bang (Daniel Craig), they put their plan in motion.
There’s a line in Logan Lucky’s second act that describes the heist as “Ocean’s 7-11.” This sums up the film in a nutshell. Soderbergh crisply shoots, edits, and directs Logan Lucky, successfully making us root for a group of ne’er-do-wells.
The Logans aren’t the brightest bulbs, but they have good intentions with the heist (mostly family-related). Jimmy keeps a check list on his fridge reminding him important rules for the job, which adds charm and even comes into play during the heist’s surprise conclusion. Tatum, Driver, and Keough all have great chemistry as the Logan siblings, playing their characters with charisma and heart.
Daniel Craig deserves a Best Supporting Actor nomination as Joe Bang. He’s cool, enigmatic, and insane in this role, often showing some comedic talents. Bang’s the biggest schemer behind the heist and often provides some hilarious and shocking moments.
It’s suspected that Soderbergh wrote the script for Logan Lucky considering no records or interviews can be found with credited writer, Rebecca Blunt. I wouldn’t be surprised if this is the case since Soderbergh is an auteur who craves full creative control. And I say give Soderbergh the full creative control since Logan Lucky is a fun, harmless time at the movies.
Hello! So, in between The Dark Tower and IT, I thought I would share my top 5 best and worst Stephen King adaptations. The Best got the popular vote leading into The Dark Tower, so here we go!
5) Misery (1990) – Kathy Bates’s terrifying performance is enough to watch this disturbing psychological horror flick. Misery is the tale of a fangirl who takes her obsession with an author one step too far.
4) The Dead Zone (1983) – Want to watch a thriller that’s politically relevant? Look up David Cronenberg’s classic supernatural thriller The Dead Zone. It tells the tale of a psychic teacher (a restrained Christopher Walken) who realizes that the popular presidential candidate (a terrifying Martin Sheen) tends to start WWIII.
3) The Shining (1980) – Stanley Kubrick’s horror masterpiece is far different from the novel and that makes it a special gem. Kubrick’s adaptation is superior to King’s work, thanks to haunting imagery and an amazing performance from Jack Nicholson.
2) The Mist (2007) – Which was better? Stephen King’s horror novella with an ambiguous ending, or Frank Darabont’s no-holds-barred adaptation that polarized audiences? I’m going with the adaptation! The Mist is an unsettling film about good versus evil and features the most twisted ending of any horror film.
1) Stand By Me (1986) – I didn’t pick a horror film or The Shawshank Redemption, so sue me! Rob Reiner directed a funny, sad, and nostalgic film about growing up. I watched Stand By Me several times growing up and was touched every time.
That’s it for my top 5 best Stephen King adaptations! What are yours? And stay tuned for reviews of The Dark Tower, IT, and my top 5 worst list coming between this weekend and early September.
I was relieved when I realized ten minutes into David Lowery’s “A Ghost Story” that it wasn’t a remake or ripoff of the Patrick Swayze classic “Ghost.” Wait. I knew that.
I’ll keep the plot synopsis short and sweet; the film is about a ghost that spends eternity observing various residents living in one house. It commits various horror movie tropes like open doors, knock over books, and tamper with lights. But why is it behaving this way? What is the ghost’s purpose?
“A Ghost Story” is an unforgettable cinematic experience. Lowery writes, directs, and produces the film with an extraordinary vision. He explores themes such as life, death, time, love, and attachment with great depth. His narrative and aesthetic choices make him an auteur to watch out for.
The ghost is a person wearing a bed sheet. This is an odd choice that risks being silly, but the eyeholes on the sheet make it expressive. Through its eyes, I can tell the ghost was sad, angry, and curious throughout its journey. The film is also shot on a small ratio of 1:33:1; Lowery confirmed he did this to make the viewer trapped in time. This results in some visceral and hunting moments.
Lowery also takes advantage of the small frame and long takes to draw out specific moments, both heartwarming and tragic. In one standout scene, we’re forced to watch a grieving M (Rooney Mara) stress eat an entire pie in a 5-minute unbroken shot until he vomits. This is one of many moments that is an emotional roller coaster as I felt curious, sad, and then finally nauseous.
The best part of “A Ghost Story” is it debunks the haunted house mythology. Lowery addresses that just because a spirit wreaks havoc in a house, it’s not trying to possess or terrorize a family. It can be angry, confused, and human. I can’t recommend “A Ghost Story” enough.