Angela (1995)

Movies are hardly ever made about mentally disturbed children. I think it's because people envision childhood as some kind of Eden before they grow up, and life gets messy- people get jobs, come of age, and possibly lose their minds- but before that, life is rosy and carefree. Angela, a dark dreamy film from first-time director Rebecca Miller, proves just how wrong they are.he eponymous character (MIranda Rhyne,) who could be diagnosed with any number of psychological ailments, has moved to a ramshackle house with her parents and younger sister Ellie (Charlotte Eve Blythe.)

The girls' mother, Mae, seems to be Bipolar- dark moods come over her unexpectedly and her daughter's would do anything in their power to make her happy. Solemn pre-teen Angela, however, is having internal struggles of her own. Obsessed with religious imagery and sin, she is visited by Lucifer, a pale winged man who tempts her with promises of a better life. When young Ellie sets the curtains on fire, Angela puts her in a protective circle surrounded by dolls to purge her of her sins and save her from eternal damnation.

All right, I'll be downright controversial here- this movie shows how damaging extremist religion can be for children. It is hard to argue (but some people will, anyway) that young children shouldn't be troubled by these things. By the time they can read 'are you saved' slips, even those not born of fundamentalist families will wonder what lengths they should take to follow the right path. This and a chemically unbalanced mind tend to take these things to an obsessive level.

Okay, now that I've offended two-thirds of he audience and driven them away, I'll get to the technical aspects of the film. The sound, as you might of hard, is really bad. This may or may not only apply to the Netflix Instant version of the film, but the actor's mouthes move discordently with the dialogue so that you hear the sound effect ten seconds after the said action occurs. For a low-budget movie, the acting is pretty good, and the little girls do decent jobs. There is some child nudity, which could be artistic or offensive depending on your point of view, but bothered me a little bit- can't these girls afford bathing suits?

I liked Peter Facinelli as the devil- sly rather than overtly threatening, and easy to confuse with a good angel (but watch out for those coven hooves.) Lastly was the sudden, tragic ending, whose implications were more disturbing the more I looked into them. If you like arty, deliberately paced dramas that fly under the radar, this could be a good choice for you. It has a moving message about the psychological vulnerability of children, especially unstable ones, and what happens when they go unnoticed (Rated NR.)

28 Days Later

28 Days Later might be one of the last non-sequel zombie movies, excluding George A. Romero. Oh, and it does take the zombie film mighty serious, not only using the plot line for flesh-eating chaos but for the depths of human depravity. And are those zombies fast. They do not come at a slowly labored trudge a la' Shaun of the Dead, but go sprinting- not running, sprinting(1)- toward the victim, roaring and vomiting blood. Sound unpleasant? You don't know the half of it.

During the beginning of the movie, two members of my family started pointed out all they deemed inaccurate in the film. "Yeah, like those corpses wouldn't stink over a few days." "I love it how there are so few cars in a crammed city." Blah, blah, blah. I was stupefied. It's a zombie movie, people. And unless, like my brother, you seriously consider the possibility of the zombie apocalypse in our lifetimes, complete and utter realism isn't really what you're looking for in a film like this.

So, anyway. The film begins in an laboratory, where animal rights activists who accidentally unleash a virus, called rage, freeing a caged chimpanzee. The peciluair primate proceeds to dispatch one, who immediately turns zombie. Sooner or later, they all die. The prologue is somewhat corny, with shrieking monkeys and dark corners, and the viewer shouldn't pay much mind to it if they want to maintain a serious view of the movie.

The next scene shows Jim (Cillian Murphy,) the protagonist, lying in a hospital room in a dissipated room. He leaves puzzled and unsure if he is dreaming, and, to his astonishment, discovers that all of London is in the same condition. He has several high-speed encounters with the walking dead a is thrown into the care of Mark and Selena (Naomie Harris,) two survivors. An unfortunate fate befalls Mark (poor guy doesn't have a lot of screen time,) they pick up a father and daughter (Brendan Gleesan and Megan Burns) and head toward a army base, where they were promised safety via radio and where their 'saviors' may not have the purest intentions.

The movie is a steady mix of good, bad, and sometimes inane. One of the plot lines that fall into the latter varieties is the relationship between Jim, and Selena. In the first twenty-five minutes, Selena tells Jim that 'she will kill him if she has to.' Now, quick, guess... (a She will kill him, (b They will remain platonic friends, or (c they will hook up. Possible? Uh, yes. Predictable? Hell yeah. Selena is kind of a lame character who screams forced female empowerment. My favorite was the teenage girl, Hannah (Megan Burns,) who was vulnerable but strong, and kept herself together despite tremendous losses without being 'tough.' The scene where she plays mind games with one of her human aggressors and watches him turn to butter is a joy to watch.

The strongest assets are the cinematography, which is flashy, tense, and reminescent of Rennt Lola Rennt, the performances, and the undercurrent of philosophy running throughout the film. The gang mentality of the soldiers is shown in their bullying of Private Jones (Leo Bill,) and their taunts against one another. Are these he kind of guys the jerks you avoid at the coffee shop, or are the people you like and admire, who become something darker under stress? After all, many people respect the military, but who knows what crimes some of them are committing over in Afghanistan or Iraq?

But I honestly think zombies have hokey overtones and work better as comedy, and Zombieland and Shaun of the Dead work better as movies. And yes, it is a efficent piece of work, not really as frightening as interesting, and as a social commentary. But "Scary as Hell"? I don't believe so (Rated R.)

*1) Reference to Zombieland*

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Vera Drake

Mike Leigh's 2004 effort, Vera Drake, is sure to be controversial, but not for the reasons you might expect. rather than shock value (and the blood and guts of franchises such as Saw and Hostel,) Vera Drake takes a hot-button topic and looks at it it from a much-maligned perspective. It may cause you discomfort or make you angry, but it's hard to deny that the film is well made.

The eponymous Vera is a jolly 1950's housewife who lives in post-war Britain and works cleaning other people's homes. She is the proud mother to two adult children, sarcastic Sid (Daniel Mays) and excruciatingly shy Ethel (Alex Kelly) and wants to find a eligible bachelor for her isolated daughter. She is happily married to moustached mechanic George (Richard Graham).

In secret, Vera is an abortionist, terminating women's pregnancies for no pay. She uses the same soothing rhetoric for every incident and is not once caught. The procedure is relatively clean and safe, and as far as she is concerned she does no wrong. I didn't always like Vera. She was blind to the implications of her acts, cheery to a fault. Yet she always tries to do the right thing. I think something horrible happened in her past, but it was never fully explained. Yet, life goes on.

Vera and George find a possible "eligible bachelor," Reg (Eddie Marsan) an introvert highly affected by the war. Vera continues her operations, with women who have been put into contact with her by Lily (Ruth Sheen) who has untrustworthy motives. But when a near tragedy occurs, Vera is put out in the open and ages ten years in a strenuous couple of days.

Possibly more interesting than Vera are her kids, Ethel and Sid. Ethel holds herself hunched and quiet, with zero self-esteem. She meets her match in Reg, who seems as unsure of the courtship as she is. I wasn't quite sure where their relationship would go. Sid and his friend Ronny (Leo Bill) discuss post war issues and try to score a dance at a party, and Sid is the one to reasonably question his mother when the doody hits the fan. The film has a strong sense of place. A rape scene occurs, and it is handled tastefully (as tastefully as a rape can be), Imelda Staunton gives a great performance, going from a cheery confident woman to a slumped person who can barely drag her feet across the floor.

Vera is not a liberal Wonder Woman, a superhero who keeps her powers of cheerful strength no matter what. She is vulnerable and fallible, and she can be and will be broken. But somehow, I wasn't as involved, the second time I watched it, as I could have been. I think the director was pushing me too hard with the tragedy of it all, with what a great person Vera is. That never helps. You've got to hand it to Sid, though. With everyone else referring to the operations as taking care of "trouble" and "problems," Sid offers the first humanizing word: "babies."

El Bola (Pellet)

Shortly into El Bola, the twelve-year-old protagonist overhears a woman at his family's shop tell his father that 'if we were Pablo's age, we wouldn't have any problems.' If only that were true. Not only is that false on general terms (cartoonist Bill Watterson on said that "People who get nostalgic about childhood were obviously never children,") but Pablo is living with an unbearable load for anyone, in a household where breathing could get one beaten.

El Bolais a full-blooded film about child abuse, yet lacking cheap shock value (Joan Crawford smudged with face cream, screaming "NO WIRE HANGERS!" while her little daughter cowers, comes to mind.) Instead of a larger than life (not to say over the top) performance as the crazy parent that wins a Razzle, this movie concentrates on the children affected, nay, not only that, but directs them well, which is hard to do.

Sad-eyed Juan José Ballesta, as Pablo, is the emotional center of the film. Pablo calls himself 'pellet,' named after a little ball he keeps for luck, which doesn't seem to do him much good. He harbors an almost doglike desire for a close friend, not the group of kids he plays a dangerous game on the train tracks with, further jeopardizing his safety, This security is found with Alfredo, the rough-around-the-edges son of a tattooist, who doesn't take to him at first when he finds his pleas for friendship desperate-bordering-on-the-creepy. They bond a little quickly at an amusement park, but it takes us to the main conflict in the film, which is when Pablo's sadistic pop Mariano finds his aloneness threatened, and tries to drive other people out of his life

Alfredo's family's a wonder, to a kid who has never known a homelife without violence and painful punishment. A Liberal, playful bunch, they talk about just about anything and joke and laugh at the dinner table, a far cry from Pablo's family, with his mother yelling at his incontinent grandmother and his father constantly comparing Pablo to their other son who died in a car crash. But Alfredo's life is far from perfect. His father has a temper as well. His gay godfather is dying from AIDS, and he isn't allowed to see him due to the state he's in.

The amazing thing about this film, which won the Spanish Academy Awards, and the child actors who have chosen to work in it, is the naturalness. The kids are not dumbed down, nor made into pretentious little douches who must read the dictionary every night before bed. They're living, breathing, thinkinghumans (I'll leave the thinking part in underline, for future filmmakers to pay close attention to. They talk about death, about sickness, about food and phallic tattoos (Can you get one? I don't know, and I suspect they don't either.) The dialogue seemed rarely scripted, and very natural.

So what? I won't give a four-star rating, because, well, the character development isn't quite strong enough, but it's certainly a impressive debut with kids, who, now that they're grown, are on the way to becoming great actors. It's very much worth watching. The question is, are you up for it? (Rated NR. Although it is rather perversely catagorized as a 'father-son children & family movie' on Netflix, it is definitely not for kids.)

Trailer Not Available

Me and Orson Welles

You needn't know much about Orson Welles to see (or like) this movie. Nor do you need to devour Shakespeare. As an unsophisticated and non-well-read viewer, I found Me & Orson Wellesto be an enjoyable and unpretentious period piece, by Richard Linklater, the director of the also enjoyable, unpretentious, but more comically oriented The School Of Rock. But now, instead of the manic Jack Black, Linklater has cast Zac Efron in the lead, a controversial decision considering many non-twelve-year-old girls consider him a pretty boy unfit for anything past High School Musical. But don't worry, the guy doesn't seem limited to teenybopper franchises, and he does fine here, in a film he rather self-importantly deemed the first of his roles he was actually interested in.

He is backed up by virtual unknown Christian McKay, Eddie Marsan, and talented but typecast Leo Bill, who is forever willing to play the nerd, misfit, psychotic, or pervert. Efron plays Richard Samuels, an ambitious and slightly naive 'almost eighteen-year-old' living in new York City in 1937, who regularly skips school, much to the chagrin of his disgruntled mother, and gets a part in the Mercury Theater's production of "Julius Caesar" after publicly singing an awful song about cereal. Womanizer Joe Cotten (James Tupper) and womanizer-in-training Norman Lloyd (Leo Bill,) both of which have their minds on only one thing (and it's not theater) show him the ropes as well as Assistant Sonja (Claire Danes,) who Richard promptly develops a crush on.

The show revolves around keeping Orson happy, a self-obsessed terror set on his own talent. Richard won't be being paid. You must not argue. The actors laugh as a knee-jerk reaction at Orson's unfunny jokes. What does he earn for all this? "The chance to be sprayed by Orson's spit." Why does Richard keep the job at all? He has hope he can make it in the acting business. It's better than going to school. Sonja might be a big part of it. Norman and Joe classily comment that 'every man in the show wants to get into her pants,' then make a bet- the first one get five dollars. It is easy to guess that Sonja will be furious and broken-hearted that Richard made the bet, but it doesn't happen, which highlights the unexpected turns the movie takes.

The rest of the movie concentrates on the quirks of the cast and Orson's ego, as well as Richard's realization that whatever turn the show takes,he wants to be a 'part of it all.' This is well done, except for occasional bad line. For instance? "What's it like to be a beautiful woman?" Richard randomly asks Sonja. *Wince* What gutter did they pull that from? The only saving grace is that Sonja receives it as a bad line. Zac Efron starts out rather awkward in the first five minutes, delivering such off-kilter lines as 'you play with real feeling.' The heavily romanticized dialogue just doesn't feel natural, and it's a relief when the lines become smoother and wittier.

Christian McKay plays Orson Welles as perfectionistic, hard-headed, and childish. When he gets in a fight with his actors, he hollars at the top of his lungs, trademark spit spurting out of his mouth, "I am Orson Welles! And every single one of you stands as a adjinct to my vision!" Mm-kay... His unfailingly reasonable agent John Houseman (Eddie Marsan) tries to get through to him, but the bottem line is nothing that Orson Welles doesn't want to do will even be brought to the table. He is great character, and you see something sympathetic in him, then he throws you for a double loop. Me & Orson Welles is a historical film for people who don't have the time and patience for historical films, and establishes Zac Efron as an actor worthy of some respect (Rated PG-13.)

The Men Who Stare at Goats

At the beginning of The Men Who Stare At Goats, a confiding message beforehand says that 'more of this is true than you might think.' Maybe so, maybe not so much, but it's an entertaining black comedy, involving guns, drugs, and goats based on the also apparently true memoir of the same name by John Ronson. The film, given only lukewarm consideration by the critics, takes very near to awkward dives between lightness, very dark humor, and compassionate drama, turns out unscathed, if not exactly on top.

Bob Wilton (Ewan McGregor,) a journalist, is dumbstruck when his wife has a revelation over the fragility of life after the sudden death of a co-worker. Instead of taking an Eat, Pray, Love expedition, leaving her baffled husband to go to India and so on, she dumps him, apparently deciding life is too short to spend time in his company any longer. After a rather childish tantrum where he breaks dishes and yells at her and her one-armed boyfriend, Bob goes to equally childish lengths to impress her.

"I'm in Iraq, covering war stories," he says in a comfortable American hotel. "I've seen things you shouldn't. "Bang-bang-bang!" He kicks the head of the bed and exclaims, "I've got to go." He then decides that it would be best if he actually did some research there, forgetting just walking into a war-torn country with a camera is not worth it to win back a girl who's clearly gotten over him.

Then he meets Lyn Cassidy (George Clooney,) who's unlike anyone he's ever met- impulsive, smart, and completely convinced the minority he follows is in the right. Sound like somebody you know...? And he says he's a psychic spy, trained by the millitary to read thoughts, drive blind folded, and dissapate clouds with the power of his mind. Hmm.

This takes Bob back to meeting Gus Lacey (Stephen Root,) a member of the same group Lyn joined that he interviewed for a piece in the paper. Gus lives with his who-knows-how-old mother, who serves him drinks, and speaks of his military job in the New Earth Army whimsically. "We were trained to kill animals," he says. "With our minds, that is correct." Bob is shocked. He is serious, in that deadpan way Stephen Root is good at. Gus then shows Bob a video, to prove it, of himself telekinetically killing his pet hamster. What Bob sees is... the hamster acting wonky, yes, but hardly dying.

Lyn takes Bob on a sort of adventure (if you can call it that,) thanks in part to random fate and in part to Lyn's total belief in his psychic powers. Finally they find the New Earth Army base and meet stoned out Bill Jango (Jeff Bridges,) who ran the place for some time, and Larry Hooper (Kevin Spacey,) who took over. Interspersed with the journey are flashbacks so you have met the characters before you actually met them.

In the end, The Men Who Stare at Goats (with it's abundance of deliberate quirky-isms) is not an epic achievement, but it is funny and witty, and though a streak of oh-so-dark humor pervades, admirably entertaining. In this day and age, I think we kind of need New Earth Warriors, who strive to 'fight without killing,' minus those poor goats. You'll see what I mean (Rated R.)

In the Bedroom

One of the most interesting things about Todd Field's In The Bedroom is the way it slowly unravels, not discharges with a bang, a downward spiral of grief and hopelessness. It is so easy to portray life as a utopia before tragedy strikes- in this, the said event reveals hidden repressions and resentments, and tears the lives of the victim's families apart. It is based on the short story The Killings by Andre Dubus, a former captain of the marine corps who eventually wrote about gun-related tragedies and the double sided nature of revenge. This film permeates vengeance- each time, some body gets hurt (or killed) and not a single person wins.

I see In The Bedroom tagged as 'melodrama' on Imdb. According to my film-based book 'melodrama' is 'bold and passionate drama, with distinct lines between good and evil' (not a direct quote.) Although the film is made up of victims, perpetrators, and passive bystanders, with a victim inevitable turning the tables on the perpetrator, it's anything but simple, armed with a certain ambiguity that sets it apart from the others. No one is selfless, and the dimwitted, impulsive killer, though not with much going for him, is not the typical unkillable Halloween psycho.

The film follows two families, the Fowlers and the Strouts, living in contemporary Maine, whose lives are going in very different directions.Matt Fowler (Tom Wilkinson) is a doctor, and is concerned about a job for his son Frank (Nick Stahl) that reaches his full potential. Frank is an affable young man whose ambiguous attitude towards his future are causing Matt and his wife Ruth (Sissy Spacek) some headaches. He is gifted at architecture, with elaborate drawn structures all over his walls, but he includes working on a boat catching lobsters

This is partially because he is unsure if he wants to be what his parents want him to be, partially because of Natalie Strout (Marisa Tomei,) an older woman and well-intentioned mother of two boys, who he has fallen for. Natalie has just suffered a violent break-up with Richard (William Mapother.) The is an implication that Richard has physically abused at least one of their two sons, Jason and Duncan, and Natalie wants out of that relationship.

One day Frank is beaten, and he comes home with black eye. He doesn't want to call the police, says Frank. It will just scare Natalie's boys. The next time Frank encounters Richard, the Fowler parents are thrown into a guilt-ridden nightmare that will strain, bend, and perhaps break them. Matt halfheartedly continues to participate in life, whereas Ruth sits quietly, almost comatose, smoking cigarettes on the chair. Ruth mistakenly confuses Matt's attempts to reacquaint himself with life with not grieving, and the event unearths discontentment and suspicions.

There are only a few faulty scenes One involves claustrophobic close-ups and buzzing sound effects seem to have come straight out of Edgar Wright's Shaun of the Dead, which served it's purpose of slightly surreal humor in the latter. Here it is odd and uncomfortable in a not remotely riveting way. The acting, on the other hand, is very good. The commendable performences and realistic rappor t between family members make one care about the characters and where the plot is going, which you know, thanks in part to me, is nowhere good (rated R)