GenReview Has Moved (For Now)

This blog has moved to WordPress for the time being, as a trial of sorts to see how it performs there. So anyone who reads this blog (does anyone? no, I joke), should check out the link below. Let me know your thoughts, or remain silent, because that can do the job as well, but we will see how well it works moving over. On the plus side, the WordPress version features a new look and a reinvigorated rating style (out of ten now, instead of four, and it also features a new category: Impact). All the comments from here have moved, so its like nothing changed... I think. Thanks all.

http://thegenreview.wordpress.com/

Inception

It has taken me awhile to dissect Inception, a film so layered and complex, that I wasn't even sure how I was going to write about it. There is so much to analyze, to mull over, and to generally appreciate (or not), that the task seemed daunting. But the time has come, and I think Christopher Nolan has crafted himself one hell of a film, one that I hope will continue to be deconstructed and discussed for years to come.

Inception is a film about dreams, at least on the surface, but it is also about the nature of reality and what one perceives as reality. Is there really any difference? The plot is complicated, to put it mildly, and because the reality vs. perception argument fuels the film, from an audiences point of view at least, you have to question everything you are given and everything you see, because none of it may be "real." Nolan delves into his characters subconsciouses, going deeper and deeper into dream worlds that it is hard to maintain a grip on reality. There are some truly meta ideas hidden within Inception, which, instead of drawing the viewer out of the film, allows them to question their own perception of reality, drawing them deeper into the film. This was the most interesting aspect of the film, and ties into most conversations regarding the film when friends will discuss it, even if they are unaware.

But that is just a bunch of rambling on why I enjoyed Inception, though there are certainly many other reasons. Nolan's directing, combined with the editing and filming of the film, is utterly perfect, and there are a number of scenes that stand out above the rest. There is none better than the hallway fight scene between Arthur (Joseph Gordon-Levitt) and a nameless, faceless gunman, as the two struggle for dominance in the hallway whose gravity is constantly shifting, sending the two up and down walls and onto ceilings, all in crisp, clear shots. It's a stunning technical achievement to be sure, but it's also damned exciting to watch.

Along with Nolan, his cast does a wonderful job, especially Leonardo DiCaprio. The film rides on his shoulders and he carries it without any strain, which helps the audience watch Cobb in a way that is cold and observational, but still allows for sympathy. And the players around him populate a world that is exciting and mysterious, which would be less impactful if the cast was any less stellar. Joseph Gordon-Levitt and Tom Hardy are the two supporting members that really need to be watched, as they stand tall in a story packed with ideas and characters constantly threatening to be more interesting than anything that came before it.

The praise can continue, and end, with the script, which Nolan has been working on for nearly a decade. It took the success of The Dark Knight to get Inception made, because at its core, Inception is a heady, sci-fi, actioner that manages to fit into both in an epic and thoughtful category, which challenges audiences but still excites them. Nolan proves you can combine intelligent story-telling with stunning action, but this isn't his only example. It wouldn't mean much to present the story here, even in synopsis form, because it is better to know as little as possible about Inception prior to seeing it, and it would be exceedingly difficult to do it in a manner that didn't appear convoluted and exhausting. Suffice it to say, Inception is well worth your time.

Genre - Action (4)

Screenplay (4)
Acting (4)
Production (4)
Directing (4)

[Rec] 2

Where [Rec] was the Alien of hand-held, first-person horror, [Rec] 2 follows more closely with the action-heavy Aliens. Both sequels, while respecting their horror roots, amp up the intensity and focus on the action, relegating scares to a close second. [Rec] and Alien are horror films through and through, wanting to scare you more than excite you, and their sequels are really action films that maintain a thrilling and frightening atmosphere. There are more similarities than this (the fact the follow-ups focus on military teams the most obvious, something fellow action-horror sequel 28 Weeks Later does to the original 28 Days Later), but the similarities are more homage than rip-off. What is important is [Rec] 2 is a damn fine sequel and film in its own right.

The film begins just minutes after where the first finished, with a small SWAT team moving in to infiltrate the apartment building quarantined to control the deadly virus that killed nearly everyone off in [Rec]. They are joined by a doctor/priest who seems to know more than they do about the going-ons of the virus, as well as some random kids who appear towards the middle of the film. In all honesty, [Rec] 2 is not a character driven film, instead, directors Jaume Balaguero and Paco Plaza keep their eye on action and deliver thrill after thrill. This may be the films major fault, though it isn't really a detractor at all, mostly because we don't have time to care that we don't really care or no about these people we are watching. [Rec] 2 compliments [Rec], where the first film spent more time building dread and letting the audience get to know some of the characters, the second film tries to advance the plot, aka the mystery, surrounding the virus.

Which leads us to the second biggest change from [Rec] to [Rec] 2. What began as a film featuring a virus changing people into living zombies, we are now treated to (spoiler?!... not really) a supernatural action-thriller. The virus is more than just a bad case of rabies, it now has ties to some freaky demonic stuff. It could have been a silly and ridiculous premise, but Balaguero and Plaza pull it off, keeping the developments coming and employing a few tricks to expand the universe and environment they set up in the first film. Luckily, the addition of the supernatural element juxtaposed nicely with [Rec], which hinted at some of these developments, so whether the directing duo planned this from the beginning or not is up for debate, they do manage to make it work.

The actors all do a decent job of seeming real, but because they aren't all that important, at least on a personal basis, the focus should be applied to the camera work. [Rec] 2 simply makes filming what is happening important and essential to the story, so it doesn't feel forced to have a camera around all the time. And, in another Aliens homage, the SWAT team uses helmet cams, which allow the main cameraman to tap in to these feeds at will. It allows for more to happen and to be seen, while still maintaining the first-person narrative. So credit once again to the directors.

[Rec] 2 is exactly what you want from a sequel, especially one stemming from the horror genre, and it gets so much right in its limited runtime that any faults are hard to notice/complain about. It feels like a cap to the story, keeping everything contained in two films, but should there be a third, it seems that it will dramatically change what we are used to for this series. Let's hope this finishes it, where it can remain on top.

Genre - Horror (3.5)

Screenplay (4)
Acting (2)
Production (4)
Directing (4)

Predators

The opening of Predators may be my favorite part. Thrust into the middle of action, free falling through the sky, disoriented... like Adrian Brody's character, we have no idea what is happening. And that disorientation, that confusion, lasts the running time of the film. That's not to say that Predators is confusing, or even all that complicated, but the story itself leaves so much open to interpretation (or presents potential future franchise entries plot lines) that you, the audience, kind of have to roll with the punches and accept what you are being shown.

So much of Predators draws from the original Arnie starring Predator, but I never felt like it was ever too much. Sure, Brody slathering himself in mud was stretching homage a bit far, though it did show that he could pull of badass without seeming all too silly. Predators is as basic as your monster movies get, with a random assortment of strangers getting picked off one by one, which is exactly what Predator did and to much acclaim, at least from genre fans. Neither film really draws their characters all that well, so we are left with fairly basic people, some of whom deserve far more backstory and explanation than we will ever receive. It's hard to get to know these people, but they aren't unlikable assholes for supposedly being unlikable, hardcore assholes. Personally, I wanted more on the Japanese Yakuza character, but his mystery certainly works enough for the purposes of this film.

There is plenty of violence and action and blood to satisfy, and the familiar beats may satisfy fans who might have been ready to write this off after a lacking sequel and two atrocious (or so I hear) AVP films. Nimrod Antal does a good job visually, directing a fine B-movie that can at least stand proud next to the original inspiration. Predators is a fun, fast sci-fi actioner that showcases some serious predator mayhem. This is what Avatar might have been like if the alien species there weren't a bunch of tall, blue-skinned, environmental pussies (I kid! Really).

Genre - Action (3)

Screenplay (3)
Acting (3)
Production (3)
Directing (3)

Stand By Me

There are certain movies that hit the fun and turmoil of growing up squarely on the head, never delving too deep down the mopey well, but knowing it has something to say on the process of transitioning out of childhood. Stand By Me is one of those films, because it balances the deeper insights with some humorous, crazy stuff. And to know the film was based off a Stephen King story... well, it may not be surprising over twenty years since its release, but it shows that the man has something to say, that he can do more than genre fare.

Rob Reiner's film is a wonderful adaptation of the source material, treating it with respect, but embracing the filmic nature of the medium. He sheds light on Gordie, sure, but he also remembers there are three other characters that need development, and we get them subtly throughout. Chris, Teddy, and Vern are all wonderful characters, and because they are all so important to Gordie's growth, it is important that we understand why. Stand By Me is based of Stephen King's The Body, and it is that body, as much as the four of them, that is responsible for their coming-of-age.

The script is tight and draws heavily from the novella it is based upon, and leads to classic moments like the Barf-o-rama, the leech attack, and Kiefer Sutherland's unnerving performance as Ace, among others. As the gang travel to find the dead body of a boy hit by a train in the woods, they face a number of trials that proves to test them, alluding to a far more dangerous adult world than they might have known. Which is hard to say, with each of them with their own fair share of troubled childhoods.

In terms of acting, the young kids hold the movie together well, so adults watching can focus more on the story of the process of growing up, and less on the fact that some of the actors are not holding up their end. Luckily, everyone does an incredible job, credit due to River Phoenix, Kiefer Sutherland, and the whiny, chunky Jerry O'Connell. Not to say Corey Feldman and Wil Wheaton don't do a good job, but they are slightly out-shined. And they can all handle the comedy as well as the drama, be it the hijinks of guarding their camp at night or the somberness of finding the body itself. Also, there is the whole thing with the deer, which is as stereotypically deep as the film goes, and because it is brief, the scene is welcome.

Genre - Drama (4)

Screenplay (4)

Acting (4)

Production (4)

Directing (4)

Tucker & Dale vs Evil

Tucker & Dale Vs Evil isn't the first horror film to employ comedy to set it apart, and it isn't the first to use that comedic base to satirize and turn the genre on its ear. But it is certainly one of the more fun examples, taking a well-worn concept and transforming it into something new and exciting. The hillbilly killer convention of the horror genre is so universal and tired, as is the cabin-in-the-woods subgenre that has its place in T&DvE, but Eli Craig, the writer and director, has turned the perspective around, making those frightening, redneck hillbillies the heroes of the film and the teens they should be hunting...well, they are still douchebags.

So Tucker and Dale, the titular rednecks, are really just a couple of sweethearts from the country, wanting to spend time at their newly purchased "vacation" home, to spend some time drinking beer and fishing. That would have been easy enough if a group of teens hadn't set up camp nearby, fearing the two men and assuming the worst. T&DvE is a film that is really about assumptions and prejudice, about human nature and its ability to judge others who are different from us, without ever attempting communication in order to understand those very people. Which sounds a lot deeper for a comedy than this one actually is, but it's important to know that it is, indeed, there.

Eli Craig's script and direction are solid throughout, giving us exactly what we'd expect to see, only presenting it in a different light. The set-ups are largely the same as you'd find in a typical horror film, with chainsaws, wood chippers, sharp sticks, and ineffectual cops enough to have even an amateur horror fan know what is being parodied. But this isn't a Funny Games dissection of the genre, so it embraces the blood, the gore, and the silliness you hope to find. With the teens essentially their own enemy in this film, because they are the ones who must do all the evil, the endless ways they are dispatched bring something fresh to a time when watching teens die isn't as fun as it used to be.

The real champions here are stars Tyler Labine and Alan Tudyk, who a handful will recognize from cult shows not enough people watched. They fill their hillbilly roles with a grace you wouldn't expect to find, and their ability to handle comedy is astounding. Tyler Labine, who seems as nice a guy in person as his character is onscreen, has a small love plot with one of the teen leads, and where that should normally fail, he pulls it off with aplomb, making it seem natural and real. The teens are really pretty one-note, but that is to be expected, so it doesn't really hurt anything, because they aren't the ones we are supposed to care about. Labine and Tudyk really make the whole film worth it, and I can only hope this sees wider distribution in the future.

Genre - Comedy (3.5)

Screenplay (4)

Acting (4)

Production (3)

Directing (3)

Action: GenReview Awards

Best Picture: Watchmen

I wasn't sure if it would work, but Watchmen stayed true to the graphic novel and was also an action-packed movie. Plus, we get to watch Jackie Earle Haley kick all sorts of ass playing Rorschach.

Best Screenplay: Crank 2: High Voltage

There have been few action films as intentionally ridiculous as this. Some action films have indeed been more ridiculous, but they weren't trying to be, so they lose.

Best Actor: Robert Downey Jr. (Sherlock Holmes)

Like Tony Stark, Downey Jr. makes Sherlock Holmes a flawed and fascinating character. His charm cannot be denied, so stop trying. He really makes the movie.

Best Production: Avatar

Here, Avatar gets exactly what it deserves, which is credit for its amazing technical achievements. Despite being a live-action Pocahontas, Avatar really rocks the graphics, so well down James Cameron.

Best Director: Zack Snyder (Watchmen)

He may love slow motion, but Zack Snyder also likes making movies. He respects the source material of his adapted works, and has a genuine love for making film a truly spectacle medium.

Sci-Fi/Fantasy: GenReview Awards

Best Picture: District 9

What sci-fi films should be. District 9 made aliens and not-entirely-subtle racial discrimination issues fun again. It's got enough going on to hold the interests of those seeking only action, but it is also layered enough to appeal to those higher-minded sci-fi types.

Best Screenplay: Where the Wild Things Are

Because it made a 20-sentence book into a feature-length, heart-filled movie, that's why.

Best Actor: Sam Rockwell (Moon)

He was essentially the only actor and he played a number of different versions of himself. The man has some serious acting chops and he made Moon a delight. Or badass, whichever fits better.

Best Production: Star Trek

Here we have a reboot that pays respect to the original series, yet sets of in a new direction for a new generation. Everybody wins, and the special effects were pretty stunning. Stellar (of the star variety, but it works both ways) battles have been sorely missed.

Best Director: J. J. Abrams (Star Trek)

The man can do television and film in equal measures. J. J. Abrams makes space exciting again, as well as Star Trek. So thanks.

Comedy: GenReview Awards

Best Picture: A Serious Man

This exploration into a Jewish man's crumbling life is hilarious, even if that sounds cruel. The Coen Brothers based this loosely on their own father, and because Larry Gopnik doesn't really do anything to deserve the trouble that seems to seek him out, it allows us to sympathize him, while still laughing.

Best Screenplay: In the Loop

In the Loop is a political comedy that takes the concept of chaos and runs with it. It's an equally hilarious and twisting mess that is never fully understood by either the audience or the characters. But that feels real, doesn't it?

Best Actor: Zack Galifianakis (The Hangover)

Another surprise comedy in the sense that it didn't suck as much as it probably should have. And Zack Galifianakis deserves a lot of the credit, proving himself an actor that can be consistently funny and still pulls his own weight.

Best Production: (500) Days of Summer

If only for the scene where actual events play out against what is desired, showing how sad and miserable love can be. But it also shows how much love truly means, so there's that too. Also deserving for the post-coital dance number.

Best Director: Sam Mendes (Away We Go)

Here is an experienced director keeping a comedy from getting too heavy and bogged down in melodramatic pregnancy gunk. Mendes moves the story along briskly, letting the laughs develop organically rather than forcing them down the audience's throat.

Horror: GenrReview Awards

Best Picture: The House of the Devil

This one came out of left field, but it did so with style. There were higher profile horror films this last year, but The House of the Devil was far and ahead the best of them, despite not being all that well known.

Best Screenplay: Drag Me to Hell

Sam Raimi is back. Or so it seems. He went back to the horror well after spending nearly a decade on Spider-Man, and his love and appreciation of the genre is still there. He packs Drag Me to Hell with tons of jump scares, humor, and gross-out gags. If only we can get more like this from Raimi.

Best Actor: Stephen McHattie (Pontypool)

McHattie carries this small, Canadian thriller, set entirely in a remote radio station in the Great White North. It's an eerie film and McHattie's gravely voice would not only make an excellent radio host, but also serves the horror genre well.

Best Production: Last House on the Left

This is home invasion flick turned on its ear. The film has subject matter most mainstream horror wouldn't touch, but Last House on the Left handles it well and delivers some exciting scenes that seemed to appeal to a broad audience... or as broad as horror audiences get.

Best Director: Ti West (The House of the Devil)

Ti West's breakthrough belongs to the 80's and I couldn't mean that as more of a compliment. It's a slow builder and the payoff is exciting, making The House of the Devil an atmospheric thriller. Truly fantastic work.