Underseen Movie: ‘What If’ – A Romantic Comedy I Actually Enjoyed

Okay, this is getting scary. I’m starting to enjoy romantic comedies again, and that is so not like me. Recent years have given us a few actually worth watching like “Obvious Child” and “Trainwreck,” both which went far beyond my expectations. This all started to happen as the genre began finding itself suffering from burnout thanks to a lot of banal movies which have made me roll my eyes on a regular basis, many of them adaptations to Nicholas Sparks novels. Then there was “What If” (or “The F Word” as it is known in certain circles) which is by no means an original romantic comedy. It owes quite a bit to “When Harry Met Sally” among other classics, and it does follow a lot of the same conventions I have come to expect from this genre. But what keeps it from feeling ordinary is a terrific screenplay, smart direction and wonderful performances from its two undeniably adorable leads: Daniel Radcliffe and Zoe Kazan.

Radcliffe plays Wallace, a medical school dropout who has been in one failed relationship too many, and this makes him take a long break from the game of love. But while at a friend’s party, he ends up bumping into Chantry (Kazan), an animator with a sparkly personality which more or less matches his own. After walking her home, Chantry informs Wallace she has a boyfriend named Ben (Rafe Spall) whom she has been with for a few years, and that she would love for her and Wallace to just be friends. Wallace agrees, but as time goes on, he wonders if they can be more than just friends. Lord, I have had many friendships with women where I wondered the same damn thing.

The questions of whether or not men and women can be friends still seems to come up from time to time, and that’s even though the answer should be a resounding yes. But there is always that one friend who belongs to someone else whom you endlessly pine for. “What If” really digs into this state of mind to where I could not help but feel Wallace’s passionate longings which he tries to cover up with a seemingly cynical take on love. We all have had crushes on others, and we are constantly aware of how painful crushes can be when they turn into shattering examples of unrequited love. It all reminds me of some dialogue from John Hughes’ “Sixteen Candles:”

“It just hurts.”

“That’s why they call them crushes. If they were easy, they’d call ’em something else.”

I was reminded of this while watching “What If” because, unlike other romantic comedies, I really found myself desperately rooting for Wallace and Chantry to become a couple. A lot of it is thanks to the fantastic chemistry between Radcliffe and Kazan as they bring this movie to such vivid life. Both play off one another wonderfully, and once you see the two discussing the ingredients of a Fool’s Gold sandwich (Elvis Presley’s favorite sandwich of all), you can tell they were made for each other.

Radcliffe may always have the shadow of Harry Potter hanging over him, but it’s really past the point where we have to recognize what a truly talented an actor he is. As he heads from one genre to the next, the young actor shows all the on-the-job training he got from playing J.K. Rowling’s unforgettable wizard has really paid off. While Wallace tries to put a solid front in an attempt to show how love has not gotten him down, Radcliffe shows what’s going on beneath the surface without ever having to spell it out for the audience.

Kazan has a uniquely adorable beauty about her, and she continues to do great work in every project she’s in. As Chantry, she gets the opportunity to take a character who appears to be comfortable with where she’s at in life, and we follow her through a journey of self-discovery which is honestly long overdue. She has a nice boyfriend and doing the work she loves to do, but throughout “What If” we watch her as she begins to discover what she really wants out of life. As she makes these subtle changes in her character, Kazan shows us just how wonderful an actress she can be.

There’s also a great scene-stealing performance from Adam Driver as Wallace’s best friend, Allan. Always giving bad advice on women and yet having a lot more success with them than Wallace, Driver has a wonderfully dry sense of humor here which is irresistible, and it’s a blast watching him stumble over his words on a regular basis.

I also have to give credit to Rafe Spall who plays Chantry’s boyfriend, Ben. This could have been the usual douchebag boyfriend who deserves to be dropped flat, but Spall makes him a good hearted man who just doesn’t have his priorities straight.

“What If” was directed by Michael Dowse whose other films include the two “FUBAR” movies, “Goon” and “Stuber.” While he doesn’t go out of his way to reinvent the romantic comedy wheel here, he does freshen up the formula and gives us something which does not feel like something you have seen a hundred times before. Along with screenwriter Elan Mastai, who based this screenplay on the play “Cigars and Toothpaste” by T. J. Dawe and Michael Rinaldi, he does a good job of keeping us emotionally involved in the plight of these should-be lovers all the way up to its end.

I still have issues with romantic comedies from time to time, but “What If” shows what good filmmakers can do with a formula that has been done to death. Even though I have seen this kind of film so many times before, this one proved to be a lot more emotionally involving than I ever could have expected it to be.

* * * out of * * * *

CHECK OUT THE VIDEO BELOW TO VIEW THE EXCLUSIVE INTERVIEW I DID WITH DANIEL RADCLIFFE ON “WHAT IF.”

Underseen Movie: ‘Music From The Big House’ – A Glorious Prison Musical

Music From The Big House” follows Rita Chiarelli, or “the goddess of Canadian blues” as she is known, as she visits what is considered to be the birthplace of blues music: Louisiana State Maximum Security Prison (a.k.a. Angola Prison). What she finds once there is a number of inmates who have long since found solace through their love of music, and this leads her to stage a concert at the prison with them. But unlike when Johnny Cash did his performance at Folsom Prison, Chiarelli performs with the inmates instead of just for them.

Cinematographer Steve Cosens originally filmed this documentary in color, but the decision was later made to show it in black and white which suits this documentary perfectly. McDonald goes over the history of this prison which was at one time known as the bloodiest in America. The descriptions given to us of how it operated years before gives you a picture of what hell on earth must seem like. The fact the filmmakers and Chiarelli were allowed access inside this prison is amazing to say the least, and it almost seems like a miracle they made it out of there as well.

We get a chance to meet the individual inmates who end up playing in the concert, and they are a fascinating bunch. It is not until the very end when we are told what crimes they have committed which got them sentenced to time behind bars, and this was a smart move on the part of the filmmakers. By not learning of their crimes right at the start, we are forced not to judge them ahead of their musical performances. Some of them do allude to their crimes without too many specifics, and one in particular hints at how he isn’t apologizing for what he did because he’s not sure he is yet.

Some might consider this project to be a self-serving one for Chiarelli so she can get good press and sell a lot of records, but that is not the case. Her love for blues music is never in doubt, and those who have seen her perform live can verify what a powerful musical presence she can be. Those not familiar with her work will be blown away by her performances, and there is no forgetting her once the lights go up. There are also moments where Chiarelli questions why she is doing this concert as she’s not blind to what these felons have done to earn long prison sentences. Still, none of it deters her from performing with them in what turns out to be a joyous occasion, and the kind many do not expect to see from hardened inmates.

Speaking of the concert, we do get to see a lot of it here. The musical numbers are utterly invigorating, and the audience I saw this documentary with couldn’t help but clap along with the music. They even applauded at the end of the songs and for good reason; the music is incredibly thrilling to take in even if you are not a fan of the blues. I haven’t been to many movies over the years where the audience really got into what was onscreen, so this is not a cinematic experience I am going to forget any time soon.

“Music From The Big House” is one of those small movies, let alone documentaries, which deserves a bigger audience than it has already received thus far. While you could just get away with buying the soundtrack (and please do buy it), this documentary invites more than one viewing, and it would make a wonderful double feature with the Talking Heads concert film “Stop Making Sense.” You will not be able to keep your feet still while watching either film, nor should you.

* * * * out of * * * *

Underseen Movie: ‘Let Me In’ – A Better Than Expected Remake

Let The Right One In” did not need a remake. The 2008 Swedish film was a brilliant atmospheric piece of cinema, and I find it endlessly frustrating when American audiences can’t embrace foreign movies more often. Do subtitles really have to be an impediment when they come across so much better than dopey English dubbing?

Regardless, its American remake “Let Me In” turns out to be a big surprise. Just when I was convinced Hollywood studios would simply dumb the story down to attract a youthful demographic, Matt Reeves’ take on John Ajvide Lindqvist’s novel, which in turn inspired Tomas Alfredson’s movie, is amazingly respectful to its source material. Moreover, you can see throughout how the story deeply affected Reeves and how he personalized the actions of the characters on screen.

The story remains the same, but the characters’ names have been changed to protect the original. The setting has been moved to Los Alamos, New Mexico which, amazingly enough, appears to be as snowy as Sweden. The year is 1983 and Ronald Reagan is President of the United States, talking about the “evil empire” on television. The advantage of this film being set in the 1980’s, however, is that the characters don’t have to worry about not getting any cell phone reception because they don’t own cell phones. This makes it especially lucky for the filmmakers because they won’t have to make any stupid excuses for cell phones not working.

Owen (Kodi Smit-McPhee) is a 12-year-old boy who lives with his alcoholic mother (we never get a clear view of her face) and has no real friends to speak of. At school, he is constantly harassed by bullies who thoughtlessly subject him to even more humiliating tortures than what Oskar dealt with in “Let The Right One In.” Eventually, he comes in contact with Abby (Chloë Grace Moretz), a girl who looks to be around his age, who has moved into his apartment building next door to him. Although she tells Owen they can’t be friends, a strong bond soon forms once he gives her his Rubik’s Cube to play with. She ends up solving it in a way which doesn’t involve cheating. My brother would have just taken the stickers off the cube and put them back on with the colors altogether.

I really do mean it when I say the humiliations Owen endures here are even worse than what Oskar went through to where I came out of this remake believing Oskar had it easy. Reeves, who has directed “Cloverfield,” “Dawn of the Planet of the Apes” and “War of the Planet of the Apes,” really captures how kids can be utterly cruel to one another, and it will bring back memories for those of us who were humiliated in ways which left a wealth of psychological scars. Seeing him practice his revenge on the bullies all by his lonesome makes made me sadder as what we imagine doesn’t always jive with reality. While the kids at times put up a tough façade, their vulnerability is clearly evident in their eyes.

As the movie goes on, the fact Abby is a vampire, or a bloodsucker if you want to call her that, becomes a side issue. She and Owen are just two kids, one whom is older than they appear, who are struggling through the painful awkwardness of growing up. When they come in contact, they for once have someone they can relate to. Both Kodi Smit-McPhee and Chloë Grace Moretz are perfectly cast, and each has moments where their faces say more than words ever could.

McPhee previously starred in for “The Road” where he played Viggo Mortensen’s’ son, and he inhabits Owen with all the isolation and helplessness the role has to offer. Chloë Grace Moretz did this after her amazing breakout performance in “Kick Ass,” and as Abby shows a strong maturity beyond her years. But I really have to applaud the adult actors who, while they don’t have as much screen time as their younger colleagues, give depth to characters that could have just been simple clichés. Richard Jenkins, still one of the most dependable character actors, plays Abby’s guardian, Thomas. Through his scenes with Moretz, he shows a caring man whose relationship with this girl has lasted longer than we could ever imagine. Jenkins makes us sympathize with this man even as he commits horrible acts for the sake of Abby’s survival. When we first meet Thomas, he has become wearier with the passing of time and the dark deeds which have weigh heavy on his soul.

Equally impressive is Elias Koteas who plays a police detective whose name never gets mentioned. The beauty of his acting here is how incredibly subtle he is to where he fully inhabits his character with what seems like relative ease. This could just have been the typical policeman whom the audience is manipulated into despising, doing all the stupid things cops do in movies. But Koteas instead gives the character a deep humanity to where you respect him even as you fear what he will do this Romeo & Juliet couple in the making. This is just a regular guy doing his job, and this makes his eventual fate all the more tragic.

“Let Me In” is not your typical jump-out-of-your-seat horror movie. There are a few jump scares, but the horror comes out of what cruelty people are subjected to, be it on the playground or anywhere else in town where you get your blood drained (and not by the Red Cross mind you). It also comes from where the line between what’s right and wrong becomes blurred as we ask ourselves if we can pull away from the people we love so much just to set things straight. What would we give up in the process?

As an American remake of a foreign film, I figured Hollywood would just change the story to where the good guys get the bad guys and justice wins out in the end. You know, the typical kind of plot designed to make us all feel good. To my astonishment, Reeves never veers in that direction once, and he has made a film whose climax is left up to the viewer to interpret. Nothing is ever easily spelled out for the audience, and I admired him for staying true to the source material.

If there is a drawback to “Let Me In,” it’s that in being respectful to “Let The Right One In,” not much has changed. For those who loved the 2008 movie as much as I did, there is much to admire but few surprises to be had. Many of the situations remain the same as before while certain characters in the background get more or less depth than they previously did. And there is all that snow like before, but it looks very beautiful and it’s a character of sorts in this movie. While Reeves doesn’t break new ground with this interpretation, we can see how deeply he relates to Lindqvist’s novel and its characters. In the end, “Let Me In”’ is not a vampire movie as much as it is one about childhood and how rocky a road it is for some more than others, especially for those who don’t grow old. It’s Reeves’ depth of feeling which informs this film, and it gives this remake a power I never expected it to have.

Oh yeah, there is 1980’s music to be heard throughout, but I kind of wished they put some more of it in here. I still love listening to music from that crazy decade, and it would have been cool to see some bloodletting done to the music of REO Speedwagon, Hall & Oates, or even Journey. How about something by Air Supply or Chicago? Oh well…

* * * ½ out of * * * *

Underseen Movie: ‘JCVD’ – The Muscles From Brussels Lays Himself Bare

I have never really been a fan of Jean-Claude Van Damme. He has the moves, but he has never been much of an actor. I still vividly remember watching “Cyborg” with my brother and a friend of his on the family VCR years ago. My dad even watched it with us, and he could not stop bagging on Van Damme throughout the whole monstrosity which was made by those creative geniuses from Cannon Pictures. This is some of what he said:

“This is the single worst actor I have ever seen in my life! His face is completely immobile! He’s like Stonehenge!”

Oh, the memories! You’d figure after us seeing “Cyborg” that none of us would ever bother watching a Van Damme movie ever again, but he was everywhere for much of the late 80’s and early 90’s. “Bloodsport” was nothing extraordinary, but those fight scenes were pretty awesome.

“Death Warrant” was one I only saw because my best friend from high school wanted to check it out. It was alright, but this is probably being generous. I got a little pissed when that nerdy kid with glasses wanted to watch “Star Trek,” but the hot lady played by Cynthia Gibb did not want to bother. She would rather be screwing Van Damme’s character while he was taking a break from working undercover in a prison to catch a killer. Seriously, not all “Star Trek” fans are this geeky!

But following the commercial failure of “Universal Soldier: The Return,” Van Damme went from being a Hollywood star to being thrown into the hard to escape realm of straight to video movies, and he also went through drug problems and several divorces. I always wondered how people like him or Steven Seagal deal with going from big Hollywood action movies to direct to video crap which continues to define their careers to this day. I imagine they are not happy being in this movie star limbo. On one hand, they are still making a living, but at the same time I keep thinking they must miss where they were before Hollywood abandoned them in the wake of several box office disappointments.

JCVD” is a fictionalized answer to this question, and is not your typical martial arts ass kicking epic. Van Damme plays himself, and we can what years of drugs, court battles, and many B movies, most of them lousy, have done to him and his face. As the movie opens, we see him arguing with the director of his latest movie, but the director is more interested in throwing darts at a postcard with the Hollywood sign on it then in listening to a man whose only distinction is getting John Woo to come to America and make “Hard Target.”

We see Van Damme at court fighting for custody of his daughter (played by Saskia Flanders), and his ex-wife’s attorney presents his movies as arguments against him as a person. They pile up so high to where he excuses himself to go to the bathroom while the titles are still being read off. His problems keep mounting as he can’t get cash out of the ATM, and his lawyer calls saying he still owes him money. Then his custody suit hits an impasse when his daughter says she doesn’t want to live with him because, whenever a movie of his is on television, she gets picked on by all the kids at school. Even worse, he just lost a film role to Seagal just because he offered to cut off his ponytail.

So, Van Damme heads back to Belgium to reconnect with his roots and where he came from (hence his nickname “The Muscles from Brussels”). He is still treated as a big star and a hero back home, and as a man who helped put the country and its people on the Hollywood map. But soon after, a hostage situation erupts at a nearby post office and, yes, all hell breaks loose. At first, it looks like he is robbing the post office, but events are seen from different perspectives, and it turns out he has arrived at the wrong place at the wrong time. This time, he can’t rely on his martial arts moves to get him out of this situation. Van Damme is not seen as an action hero here, but as a regular man who is caught up in a situation not of his making.

“JCVD” is presented as a comedy/drama hybrid, and while the tone is a bit uneven, there are some very funny moments. We see one of the robbers buddy up with Van Damme and talk to him about his movies, and he even gets him to show off one of his classic moves. While the other robbers couldn’t care less, this one wants his autograph. In the meantime, the townspeople have come out in force to support the fallen celebrity for what he is doing. In many ways, the movie is a look at the crazy nature of fame and a celebrity is forever trapped in a prison because of it.

The big question I had when I went out to see “JCVD” was this; has he gotten any better as an actor. Even Los Angeles Times film critic Sam Adams in his review of this movie said that “most of the acting in Van Damme’s films takes place below the neck.” Surprisingly, the answer is yes, he has. In fact, in “JCVD” he is really good playing a fictionalized version of himself. My dad’s description of him as “Stonehenge” does not apply to him here, and while he will never be Laurence Olivier or Sean Penn, this movie is a big step up for him creatively speaking.

The movie has one tremendous moment of pure raw emotion from Van Damme when he suddenly rises above the film set and starts talking directly to the audience. His monologue lasts for several minutes, and he talks about how he always wanted to be a movie star. All these years later, he feels as though he is being punished for it. Granted, he admits to his mistakes like taking drugs, and I felt like he is still paying a price for his usage even while he is staying clean. The star never fakes a moment during this scene, and the scene is alone worth the price of admission. Van Damme has said doing this movie was like therapy for him, and I have no doubt about that.

The concept of “JCVD” is by no means original. We have seen many movie stars play themselves and have jokes played at their own expense to show they have a healthy sense of humor about their image. But while we have them take this route like John Malkovich did in “Being John Malkovich,” I can’t think of any others who have put themselves on the line like this. I can’t see Chuck Norris doing this as I am certain he would rather do an action movie where Mike Huckabee is President and he has to rescue him from being held hostage by pro-evolution terrorists.

If there was one big problem I had with “JCVD,” it’s that its subtitles were at times almost impossible to read. The movie, directed by Mabrouk El Mechri, is shot in a grungy style which is very close to black and white but not quite. As a result, the subtitles which are presented in white lettering almost blend completely into the background, and I had to keep leaning forward to better see what was being said. Considering how many of my friends hate subtitles and would rather watch movies dubbed in English, this certainly does not help.

You really have to give Van Damme a lot of credit here. Not many action stars would even risk being seen like he is shown in “JCVD.” Here, he lays himself bare to show us the man he has become through many mistakes and bad movies. I came out of it with a renewed respect for him, and it makes me want to see him get better. “JCVD” is not a great movie, but it is fun and kept me enthralled throughout its running time. Where he goes from here remains to be seen, but hopefully some good will come out of his performance here.

* * * out of * * * *

Underseen Movie: ‘Killer Joe’ – The WTF Movie of 2011

WARNING: DO NOT EAT FRIED CHICKEN BEFORE OR WHILE WATCHING THIS MOVIE.

William Friedkin’s “Killer Joe” got my vote for the WTF movie of 2012. It wallows in the sheer depravity of its deliberately idiotic characters without apology, and it is one of the most darkly hilarious movies I have seen in some time. Seriously, I would put this film on a par with “Bad Lieutenant: Port of Call New Orleans” and “Observe and Report” as they are equally fearless in the places they dare to take us. “Killer Joe” also marks the second collaboration between Friedkin and playwright Tracy Letts whose play “Bug” Friedkin previously adapted into a motion picture. With this film, neither is out to show the audience any mercy as they challenge them in a way most filmmakers don’t bother to these days, and it wears its NC-17 rating with pride.

The movie takes place in Texas and features some of the dumbest or, to be polite, the most dimwitted characters on the face of the earth. Chris Smith (Emile Hirsch) is a drug dealer who is in debt to his suppliers by several thousand dollars, and his solution is to have someone murder his mother as she has a $50,000 insurance policy. His father, Ansel (Thomas Haden Church), shows only the slightest moral opposition to this plan as he divorced Chris’ mother a long time ago and has since gotten married to the conniving Sharla (Gina Gershon), and Chris already has one person in mind to carry out this cold-hearted assassination.

That person is Joe Copper (Matthew McConaughey), a police detective who works as a hired killer on the side. Now Joe demands an upfront payment of $25,000 for his services, but Chris and Ansel can only pay him after receiving the insurance payout. As a result, Joe ends up taking a retainer to make up for that: Ansel’s daughter and Chris’ sister, Dottie (Juno Temple). As with all crimes based on greed, all the careful preparation cannot keep these characters from falling into the nasty realm of disaster. But long before the movie’s end, you will agree they have all earned the fate they ever so thoughtlessly brought on themselves.

If this seems like an unusual movie for Oscar winning director Friedkin to make, it shouldn’t. Friedkin’s movies in general, with the exception of “The Exorcist,” have never contained characters easily deserving of redemption. “Killer Joe” will be seen by many as a bold motion picture of his, but his movies show he has never passed judgment on any of the characters inhabiting his movies. He is also a brilliant filmmaker as he surrounds himself with a cast of actors who don’t easily judge their characters either.

McConaughey has been on a roll ever since he gave up making those dopey romantic comedies for movies like “The Lincoln Lawyer” and “Dallas Buyers Club.” With “Killer Joe,” he ends up giving one of the bravest and boldest performances of his career as Joe Copper is as immoral as characters can get. We never learn why he decided to get into this line of work while being employed as an officer of the law, but it doesn’t matter. McConaughey gives us a mesmerizing portrait of a character who is more than aware of how evil he is, and he is not about to apologize for it.

The other actors like Emile Hirsch and Thomas Haden Church deserve a lot of credit as they portray the dimwitted characters perfectly without ever just playing it for laughs. They play each character as being serious in what they say and do, and this makes us laugh uncontrollably at certain moments because we almost won’t believe how badly they screw things up. They also invest their characters with a history which shows on their faces and doesn’t need to be spelled out for the audience.

A special badge of courage, however, needs to go to Gina Gershon who plays Sharla as “Killer Joe” shows just how deep into a role she is willing to go. Her character thinks nothing of opening the front door without wearing anything from the waist down, and this is not to mention what McConaughey ends up making her do with a piece of fried chicken. Even as Sharla wears too much makeup to where her mascara runs down her face, making her look like the Joker from “The Dark Knight,” Gershon gives a truly fearless performance as someone who thinks she’s better than the people around her. But of course, Sharla finds out in the worst way possible that she is not.

The one person who really caught my eye though was Juno Temple who portrays the youngest child of the Smith family, Dottie. You may remember Temple as Selina Kyle’s street-smart friend from “The Dark Knight Rises,” and she makes Dottie a fascinating enigma. Her character is at times willfully innocent, seemingly naïve, but she actually becomes the only member of this trailer park family with anything resembling intelligence. Temple is utterly beguiling in “Killer Joe,” and I look forward to seeing more of her in the future.

“Killer Joe” was already earning infamy before its release with the MPAA giving it the dreaded NC-17. Did it earn this rating? Well, yes and no; this is certainly no movie to take your kids or impressionable teenagers to see. Then again, if “Killer Joe” were released by a major movie studio, it would have somehow gotten an R despite its content. Whatever you think this movie deserves the NC-17 rating or not, the hypocrisy of the MPAA remains maddening and never ending.

Friedkin has been leaving in the shadow of his most famous work for years as if no one would ever let him get past “The Exorcist,” “The French Connection” or even “Sorcerer” which is now being seen as the masterpiece it always was. The truth however is he has not lost his talent in setting up scenes which contain tremendous suspenseful impact. This is especially the case whenever McConaughey is onscreen because when he appears you know things are going to get really bad. Friedkin also is well served by his collaborators such as cinematographer Caleb Deschanel who finds a twisted beauty in such utter depravity, and composer Tyler Bates gives the most suspenseful and horrifying moments a strong atmospheric quality which makes the story all the more claustrophobic.

It’s hard to say where exactly “Killer Joe” ranks on William Friedkin’s long resume of work, but it is safe to say it is far more accomplished than his other works like “Deal of the Century,” “The Guardian” and “Jade.” With this film he gives willing audience members an experience they will not easily forget, and he directs Matthew McConaughey to one of the best and most explosive performances of his career. Those in the mood for the most disturbing of black comedies should not pass up “Killer Joe.” Just remember, it may be a while before you find yourself eating fried chicken again after you watch it.

* * * ½ out of * * * *

‘The Social Network’ Remains an Unforgettable Statement on Where Society Is

So, why was this particular David Fincher film called “The Social Network” instead of just “Facebook” or “The Facebook Movie?” When going into the movie theater back in 2010, I figured this film would be all about how Facebook came into existence and of how its audience grew so quickly, but it was not just about that. Looking more closely at “The Social Network,” I think the title is meant to be intentionally ironic as it describes the key individuals who got it off the ground, particularly Max Zuckerberg, as they were more antisocial than they cared to realize. Max was clearly more comfortable being up close and personal with a computer screen than in interacting with real people. The Facebook phenomenon may have brought people closer together than ever before, but ten years later after this film’s release, we are reminded of how it also succeeded in keeping us further apart. And in the year 2020, this is more apparent than ever before.

The beginning of “The Social Network” quickly illustrates Max Zuckerberg’s (Jesse Eisenberg) antisocial behavior as we watch him talk with his girlfriend Erica Albright (Rooney Mara), and it quickly devolves into an increasingly awkward conversation to say the least. Max can’t look her in the eye, and he ends up insulting her without even realizing it. It looks as though his mind is moving at 100 miles a minute to where he never really slows down enough to take in the reactions coming his way. This is our first look at the young man who has long since become the youngest billionaire in America thanks to his bringing about the world’s most prolific social networking website, and he is proving to be anything but social. Erica makes her frustration with his one-track mind and insensitive nature perfectly. Max fears that unless he gets into one of Harvard’s exclusive clubs, he will never be taken seriously and will just be some techno nerd in everyone’s eyes. Erica, fed up with his attitude, tells him people will keep their distance from him because he is a jerk, not because he is exceptionally bright.

Well, love has a very strange effect on us all, and instead of trying to reconcile with Erica right then and there, Max instead heads straight back to his dorm room and creates a page along with his roommates called “Face Mash.” With this page, he allows students to pick which female students at Harvard are the prettiest by comparing them to one another. Of course, this is right after Max cruelly disses his now ex-girlfriend Erica in a number of ways which includes describing her bra size. “Face Mash” ends up bringing in so many viewers in one night to where Harvard’s computer network crashes completely, and Max becomes one of the most vilified individuals on campus, by girls mostly, as well as one of Harvard’s most ingenious students. In record time, he exploited the network’s vulnerability in a way Harvard never saw coming, and the university is quick to cover their own ass as a result.

This all leads to an invitation by identical twins Cameron and Tyler Winklevoss (both played by Armie Hammer) along with their business partner Divya Narendra (Max Minghella) to program a new website they want to put together called “Harvard Connection.” The way they see it, it will be a great way for the students at Harvard to connect with one another. Later, Max meets up with his best, and only, friend Eduardo Saverin (Andrew Garfield) and proposes putting together a website he calls “The Facebook,” an online social networking tool which would be exclusive to Harvard University students. Eduardo agrees to help finance the site, and thus begins a phenomenon which just about everyone has a profile on except for those who have long since had their fill of anything with the name Zuckerberg attached to it. But from there on out, battle lines are drawn and lawsuits are underway as the Winklevoss twins and Narendra claim Mark stole their idea, Eduardo ends up suing Max for cutting him out of the whole thing even though he was a co-founder, and friends and acquaintances soon become the most bitter of enemies.

“The Social Network” jumps back and forth between different perspectives of what actually happened. We watch events progress as Max gets “The Facebook” up and running, and of the reaction his supposed business partners have when their friends set up profiles on it. You never know exactly where the film is going as it goes from one event to a litigation between an annoyed Zuckerberg and the infuriated Winklevoss twins and the deeply bitter Divya Narendra. It goes even further to another lawsuit Eduardo files against Max which illustrates how this endeavor forever terminated their friendship. Even if you know everything there is to know about the creation of Facebook, this film succeeds in intensifying the hurt feelings of everyone involved ever so vividly. We know this house of cards will soon collapse on all the main people involved, but you just don’t know how hard the hits will affect you and everyone else.

Now Fincher and screenwriter Aaron Sorkin working together might not sound like a match made in heaven, and it’s easier to expect them trying to strangle one another in the process of making “The Social Network.” But together, they make cinematic magic as Fincher’s razor-sharp direction more than complements Sorkin’s brilliant dialogue and story construction. This represents some of their best work, and there is nary a false note to be found here. The visual elements never upstage the script and vice versa. It’s a perfect marriage of sights and sounds in a story of friendship, power and betrayal.

Ever since Sorkin’s unforgettable work on “A Few Good Men” and “The American President,” he has mostly worked in television where he was best known for “The West Wing,” my big brother’s favorite TV show. But his screenplay for “The Social Network,” which was adapted from Ben Mezrich’s non-fiction book “The Accidental Billionaires,” is full of some of the most creative dialogue I have heard in any film I have ever seen. One standout scene comes when the Winklevoss twins meet up with Harvard President Larry Summers (Douglas Urbanski) to discuss their desire to sue Max. Watching Summers dryly dismissing their accusations and politely tearing them a new one as if they had no reason to bother him in the first place is so indelibly clever to where the exchange merits a whole play unto itself.

But much of the credit for “The Social Network’s” success belongs to the actors, all of whom were perfectly cast. At the top of the list is Eisenberg who, as Max Zuckerberg, is never afraid to make his character less than likable, and I admired how he and the filmmakers were never looking to whitewash him for the sake of good press. Eisenberg makes you see how fast Max’s mind is moving and of how his single-mindedness keeps him from realizing who he is as a person. You do find yourself admiring Max in spite of himself, and Eisenberg really succeeds in creating a believable sense of empathy for him. It’s this empathy which makes us all want to follow along with this alienated genius all the way to the very end. It’s a tough role, but Eisenberg nails it perfectly while delivering Sorkin’s rapid-fire dialogue without missing a beat.

Rooney Mara only appears in a couple of scenes as Erica Albright, but her presence on the screen is quite powerful as she wounds Max for all he is worth. This proved to be a stronger showcase for Mara’s talents as opposed to her appearance in the remake of “A Nightmare on Elm Street,” and it made me all the more excited to see her performance as Lisbeth Salander in Fincher’s “The Girl with the Dragon Tattoo.” The fact her performance as Lisbeth was so brilliant was hinted at in her work here.

Then you have Andrew Garfield who, at the time, was more well-known for the role he was cast in as Peter Parker and his alter-ego in “The Amazing Spider-Man.” In many ways, Garfield gives this film’s best performance as the most well-meaning guy of the bunch who becomes the biggest victim of all. As we watch him lose control over something he helped create, Garfield makes us feel Eduardo’s vulnerability and pain of being so thoughtlessly cut out of this internet juggernaut all the more vivid and wrenching to witness. We relate to Eduardo’s situation as we have all been duped once or twice. This could have been a performance which might have come across as hopelessly melodramatic and manipulative, but Andrews makes his character so achingly real to where there is no forgetting him once the film has ended.

With Justin Timberlake, “The Social Network” proved there could be no denial of his acting talents with his revelatory performance as Sean Parker, founder of Napster. Fincher made Timberlake screen test for this role a dozen times, and it looks like all those times he hosted “Saturday Night Live” are giving him dividends he truly deserves. Yes, he gave terrific performances in “Alpha Dog” and “Black Snake Moan” beforehand, but his performance here feels all the more astonishing as he seduces not just Max Zuckerberg, but the audience as well. Timberlake slyly turns Sean into the guy who gets inside your skin to effortlessly take advantage of you as he can clearly see what your soul cries out for. Sean makes you believe that the world can be yours and that anything and everything is possible for you and only you. Timberlake is exquisite in Sean seem all the more appealing to be around while making you completely forget he is a back stabbing snake looking to get Eduardo Saverin out of the way.

A lot of praise is also in store for Armie Hammer who portrays the Winklevoss twins, Cameron and Tyler. It helps that Fincher chose an actor most people were not familiar with at the time because, for a while, I honestly thought it was two different actors playing these roles. Seeing an actor playing twins is nothing new, but it hasn’t been done this well since Nicolas Cage played two sides of Charlie Kaufman in “Adaptation.” Hammer nails all the specific nuances of each brother down perfectly to where you can easily tell them apart, and credit also needs to be given to Josh Pence who was a stand in for Hammer. You never catch yourself witnessing special effects whenever Hammer is onscreen, and this makes his work all the more impressive.

Seriously, even the smallest of roles in “The Social Network” are acted with the upmost skill, and no character could ever be mistaken as an easy throwaway. Actors like Max Minghella, Joseph Mazzello, Brenda Song, and Douglas Urbanski all make great use of their time onscreen, and each leaves their mark on our minds.

Trent Reznor composed the score for “The Social Network” along with Atticus Ross, and their music captures how the world around the characters becomes more and more mediatized as the world keeps turning and technology keeps advancing. The electronic sound Reznor is best known for serves to also illustrate the divisions which emerge among everyone here and of how their emotions end up being drained through anger and hurt feelings which may never be fully repaired. Fincher was convinced Fincher and Ross would not receive an Oscar nomination for their work, but they did and eventually won the Oscar for Best Original Score in a way the filmmaker did not see coming. This would lead to a remarkably creative working relationship between these three as they have composed to other Fincher films including the deliciously twisted “Gone Girl.”

“The Social Network” is not meant to be the definitive story of who is truly responsible for the creation of Facebook. Indeed, no one will ever fully know what went on other than the main people involved, and while hefty settlements were made out of court, there does not seem to be a consensus as to what truly happened. Clearly, neither Fincher or Sorkin were interested in getting down to the truth as much as they were in observing the effect this behemoth of a website had on everyone and of how Facebook came to make an inescapable mark in the realm of social media.

Frankly, I don’t give a damn if the movie is completely accurate as there is always a good dose of dramatization in movies dealing with non-fiction stories. What does matter to me is this all makes for a highly dramatic experience which holds our attention from the start to the very end. There are no gun fights or car chases to be found in “The Social Network,” but the emotionally damage inflicted feels every bit as visceral and brutal as any action picture.

The film’s last scene with Max Zuckerberg sitting alone in an office in front of his laptop computer pretty much defines what we have all become in the past decade; a slave to technology and the world wide web. It makes you wonder if we will ever be able to live without such technology as it has long become an inescapable part of our lives. Can we even remember what the world was like before the internet? These days, we are more comfortable being up front and close with our computers than we are with other people, and this was the case before the current global pandemic. Still, there is still a part of us yearning for human contact which we all need, and the fact we are more removed from it than usual is a sad statement on humanity.

* * * * out of * * * *

Underseen Movie: David Cronenberg’s ‘eXistenZ,’ a Cerebral Version of ‘The Matrix’

David Cronenberg’s “eXistenZ” is a film I like to describe as being the cerebral version of “The Matrix.” It gets you to question the reality the characters are in all throughout the movie, and it continues Cronenberg’s exploration of the blurring line between reality and fantasy. With “The Matrix,” it was clear what was real and what was not. But with “eXistenZ,” you can never be sure what is truly real, and its ending will leave you guessing for a very long time. But to quote the title of a certain U2 song, one has to wonder if everyone here has found something which is even better than the real thing.

“eXistenZ” stars the always awesome Jennifer Jason Leigh as Allegra Geller, a well-known game programmer who we first see about to try out her latest game which is said to be like no other. While most new game consoles come in these big metal boxes, Allegra’s box is more of an organic creation as it looks like a sizable piece of human skin which looks to be living and breathing when activated. To play the game, you have to hook a cord, one which looks eerily like an umbilical cord, into a port in your back which connects the game to your spine. Like many a Cronenberg movie, “eXistenZ” deals with the degradation of the human body as well as the human soul.

In the course of testing out the game to an excited crowd, Allegra is nearly assassinated by a man who is intent on eliminating what he sees as a threat to reality. From there, it becomes clear a war has begun between those who want to preserve reality by destroying the gaming industry, and those who want to preserve games and see them be taken to another level of advancement. Allegra is forced to go on the run, and coming along with her is a young marketing trainee, a shy nerd of a man named Ted Pikul. Pikul is played by Jude Law, and it is a role no one could probably see him playing these days. Ever since he showed off his tanned body on the sunny shores in “The Talented Mr. Ripley,” he has become a sexy god to so many. There’s nothing sexy to this character he plays here or, at least, not right away.

In the course of the attack, Allegra’s gaming pod is damaged, so she has to play the game to see what needs to be fixed. She encourages Ted to play it with her, but he is not terribly enthusiastic about doing so as he is a virgin to these kinds of games. He has never played them before, and he does not have a bioport in his back which is essential to playing the game. Moreover, he does not like things like bioports or needles being inserted into his body. But Allegra eventually encourages him to play along, and he does get a bioport jack hammered into his back courtesy of Gas (the always reliable Willem Dafoe). From there on out, Allegra’s and Ted’s voyage through the game will challenge their perceptions, and it has them wondering where they really are in all of this.

I remember seeing “eXistenZ” at an art house movie theater in Orange County when it was first released. Along with the characters, I was ever so eager to experience what they were experiencing when they played this game. While it felt like it took forever to get to their game experience, it turned out to be nothing like I could have ever expected.

With our infinite advancements in technology, the story is now far more frightening than ever before. Cronenberg is questioning how far we will go in our pursuit of the high which is virtual reality. Once we have experienced the game, will we even want to leave it? Will it make our “normal” reality feel more unreal? Everyone seems to be stuck in jobs they hate but have to work at, and they always dream of a better life for themselves which they constantly wait for instead of making it actually happen. Could this be accomplished through a game? Maybe not, but with the way technology continues to advance, anything is possible.

The other fascinating thing about “eXistenZ” is how it looks at the moral boundaries these characters cross. The games we play on the latest PlayStation or Xbox console seem to have this effect, but we can easily see we are indulging in a fantasy which makes everything okay. But as the line between reality and fantasy blurs all the more, the consequences seem all the more brutal and fiercer, and these characters end up crossing a line they can never undo. When we cannot tell reality from fantasy, how can we justify the horrible things we do to others?

Cronenberg’s movies have a look all their own, and “eXistenZ” has his signature touch throughout. What other director could come with an organic pod for game playing, or with a gun made out of animal bones with teeth used as bullets? Even in the game the characters are playing, the violence is still pretty vicious, and no death ever looks pretty. This is also typical with Cronenberg’s movies as we see faces blown off to where certain people look like Harvey “Two Face” Dent from “The Dark Knight.

Leigh and Law are always terrific in just about everything they do, and their work in “eXistenZ” is no exception. Leigh, who usually plays characters who are anything but pretty, is an alluring presence throughout as she not only manages to seduce Law, something which cannot be all that hard to do, but she also succeeds in seducing the audience into the world her character inhabits. This is what her performance needed to accomplish in order to make this film work, and it should make one admire her acting skills all the more.

If “eXistenZ” were made today, I’m not sure we would be seeing Law in this role as he would probably seem too cool to play such an awkwardly social character. People get used to seeing you in a certain way, and it can get to where no one wants to see you as anything else. It’s a shame because Law truly is a great actor, and seeing him go against type here as a man who has to overcome his phobias and aversions in order to play the game and help Allegra is endlessly enthralling. The effect it has on him is immense as it unlocks unconscious desires which quickly rise to the surface. Law portrays this evolution of his character very effectively, and he has great chemistry with Leigh from start to finish. Heck, is it possible for Law to not have good chemistry with any actress?

The ending of “eXistenZ” will leave you with more questions than answers. This may frustrate a lot of audiences, but Cronenberg has not always been one to give you conclusions which tell you all you need to know. You come out of his movies thinking about what you have just witnessed, and this makes his work stay with you long after the end credits have concluded. It is not an action-packed film like “The Matrix,” and you won’t see a lot of actors wearing skin clad leather costumes and wearing cool sunglasses here, but this movie stands on its own as an examination of where technology is taking us. Like “Videodrome,” it threatens to be a very prophetic film as we head further and further into the new millennium with technological discoveries which put us into the action and other realities more than ever before.

We are still all on a search for something which is even better than the real thing, and it’s never gonna stop. But after watching “eXistenZ,” I am reminded of the need for limits on things as many, especially in America, continue to act like children instead of being the adults they have been for some time. Facts should be indisputable, but a reality other than our own is always far more appealing than what our current existence resembles.

* * * ½ out of * * * *

Underseen Movie: Alan Parker’s ‘Birdy’ Starring Nicolas Cage and Matthew Modine

Birdy” is a great movie and a deeply felt character study about two young men who grow up together, and who are forever changed by the war they are drafted into. The movie is based on a book by William Wharton which chronicles two characters who are thrown into World War II. For the film, it was changed to Vietnam as the screenwriters, Sandy Kroopf and Jack Behr, wanted to work with their own youthful experiences. The story starts out with the two main characters who are now out of the Vietnam War, but who are forever scared by it permanently. In the end, they see all they have is each other.

Events move back and forth in time as we first see Nicolas Cage’s character of Alfonso “Al” Columbato coming out of the hospital following a bomb explosion which seriously disfigured his face. Bandaged like a Frankenstein creation, or like Michael Myers at the beginning of “Halloween 4,” he is no longer the ladies’ man we see getting to first base in scenes from his past. From there, Al travels to another army hospital where Birdy (Matthew Modine) is holed up in a cell not saying a word. After the damage the war has done to him, Birdy (we never learn his real name) has seemingly accomplished what he has set out to do – to become a bird in his own mind.

“Birdy” then shifts to their high school years in Philadelphia when Al and Birdy first met. While they initially seem like complete opposites, we come to see they want the same thing in life: to fly away from their problems. With Al, he has an abusive father to deal with who thinks nothing of smacking his son around when he screws up, and being on the high school wrestling team helps him deal with his utter frustration of not being able to stand up to him. With Birdy, he has a tough as nails father who is nowhere as sympathetic and understanding as his janitor father, and who is always taking away the baseballs that the kids unintentionally keep batting into her yard. Both Al and Birdy keep coming up with schemes to make money while hoping for an escape from their meager existence. But when it comes to flying away, Birdy is a far more literal about it.

Al really represents Birdy’s strongest link to the outside world as he falls deeper and deeper into his obsession with birds and in wanting to fly like one. He never shows much interest in anything you expect teenagers to indulge themselves in like girlfriends, making out, or being normal. One of the funniest expressions Birdy has is when he talks about how bad he feels for women as they have to have breasts which they just have to carry around and how they flop all over the place. I can’t think of anyone else who would make such a ridiculous argument, man or woman.

The scenes in which Birdy spends time with a beautiful yellow canary he gets and names Perta are some of the most memorable to found here. This is not just some National Geographic special you are watching as we see him studying birds ever so closely, almost making love to them. There is one amazing sequence where he dreams he is flying like a bird and director Alan Parker shoots the scene from a bird’s eye view as we go around people and fly over cars and then way up into the sky above. All this done to the instrumental version of Peter Gabriel’s “Not One of Us,” and this is one first movies to make use of the Skycam which is used to incredible effect.

While all this may make this movie sound like a nostalgic journey to the past, it is really a very hard-hitting movie which has its funny and nostalgic moments and also many awkward and painful ones. Seeing Birdy going to a prom, only because his mom threatens to get rid of his birds if he doesn’t, is painful in terms of how much we know he doesn’t want to be there, and you feel for his date who has the biggest crush on him. Hell, I would have killed to date the girl he goes out with! And seeing at the start how these guys are now at living in a time where they are forever changed, we know they are on an emotional descent which may permanently rob them of what is left of their humanity.

Seeing these two actors early on in their careers reminds you of just how talented they are. Cage’s role of Al is one of my favorites of his as we see him as a fun-loving guy, and then as a frightened war veteran who is terribly uncertain of what lies ahead for him. Having to spend so much of this movie in bandages could seem so limiting to many actors, but not to Mr. Cage. Before production began, it was said he had his wisdom teeth removed and without Novocaine. Learning this really made my mouth hurt! Talk about suffering for your art! Still, it did make his performance feel rawer and more genuine, and I still look forward to seeing more work from him like this even as he continues to dwell in the direct to video realm.

Modine has an especially hard role to play because he could have played it far too broadly, but he makes Birdy’s love for birds seem so real to where it is perfectly understandable why he has since withdrawn from reality. When we see him at the hospital, he is almost completely speechless and has to convey how he feels through his eyes, something actors need to learn if they want to be great at their job. This is one his best performances as well, and it led him to a career where he has played many different roles, and he continues to do so.

This is one of Parker’s best movies, and it stands alongside his strongest efforts including “Midnight Express” and “Mississippi Burning.” With “Birdy,” he has not just made some simple antiwar movie about how unnecessary and brutal war is, but of the bond of friendship and how it can never be completely broken, especially when you are in need. In essence, the scars, both physically and mentally, which have been inflicted on these two men bring them together because it seems like no one else can ever truly understand them. The heart of this movie is in the way these two men lean on each other, and how they recognize each other’s strengths. Parker gets this and makes it the main thrust of this excellent motion picture. In the end, most of his movies deal with people in a place which seems so alien and unwelcome to them, and of the rough and tumble journey to get back to the land of the living.

And, of course, I cannot complete this interview without mentioning Peter Gabriel’s film score as it has provided me with a soundtrack I never get sick of listening to. While it may seem weird to compose music to a period movie with electronic instruments, his music fits perfectly into the themes Parker deals with here. Like the characters, it is in its own world and dwells in both the beauty and pain of life. The music is cribbed from a lot of Gabriel’s other albums (which he has he freely admitted to many times), and it would have been interesting if he did include some of the lyrics to the songs used here like “Wallflower” as they illustrate the mental health obstacles these two men have to overcome.

Seriously, I love “Birdy,” and when the name Alan Parker comes up, this is one of the first movies of his I think of. It also contains one of the best endings of any movie I have ever seen, and you have to watch “Birdy” all the way through to the end in order to fully appreciate it. Trust me, it is worth the trouble, and it makes this Grand Prix Spécial du Jury prize winner from the Cannes Film Festival all the more unforgettable.

* * * * out of * * * *

Underseen Movie: Jonathan Glazer’s ‘Under the Skin’

Jonathan Glazer’s “Under the Skin” is, in a word, hypnotic. Shot in a clinical fashion which would have made Stanley Kubrick proud, it puts us in the shoes of a nameless and mysterious young woman, played by Scarlett Johansson, who spends her days driving around Scotland and seducing lonely men for what seems like a night of much needed sex. But we eventually discover she is not of this world as she lures these oblivious men to a dark void where their bodies are sucked into a deep dark abyss of liquid. From there, their bodies are consumed and sent off to a bright red light which I can assume represents the alien world she originates from. But while she may seem like an evil parasite, her travels on Earth result in her going through a process of self-discovery she was never meant to experience, and it leads to an endlessly fascinating motion picture which has stayed with me ever since I first watched it in 2014.

I was amazed at how Glazer almost fashioned this as a silent film. There is dialogue here, but not much of it. Johansson doesn’t speak until she finds a lonely male walking the streets all by his lonesome, and it is then that she shows us just how good her Scottish accent really is. It is also surprising to learn that most of the characters we see here are portrayed by non-actors who more or less improvised their dialogue. This gives “Under the Skin” a down to earth feel which helps to make Johansson’s character (we never do learn her name) seem all the more out of her element.

Visually, the movie has a strange beauty in its depiction of darkness and light, and there’s a scene in particular where we see what happens to the bodies of the men Johansson seduces which proves to be both eerily beautiful and simultaneously shocking. While many people might look at Glazer as if he is just totally ripping off Kubrick, he really has given this whole movie a unique feel as I still find it hard to compare it to others of its genre.

“Under the Skin” may end up frustrating a lot of viewers as it does not provide much in the way of answers. Glazer has opted to leave a lot of what we see to our imaginations, and I am always excited when a filmmaker challenges his audience to think about what they are seeing. Not every image we see necessarily deserves a straightforward explanation, and we live in a time when people are desperate for others to give them a definitive answer without thinking critically about what just took place.

Johansson is mesmerizing to watch from start to finish. Her character is a very tricky one to play as she has to come off as emotionally cold, but she eventually finds herself in a state of self-discovery where she experiences a number of things for the very first time. This is where she really could have gone overboard with moments which could have screamed out, “nominate me for an Oscar!” But her performance here ranks among her finest to date, and her reactions to experiences her character is put through are enthralling to witness.

Another thing which really stands out is the amazingly original music score composed by Mica Levi, better known by her stage name of Micachu. She composes mostly experimental music, and her soundscapes and bizarre musical design perfectly meshes with Glazer’s haunting visuals. I haven’t heard a film score quite this unique since Jonny Greenwood worked his musical magic on Paul Thomas Anderson’s “There Will Be Blood.” I did not even hesitate to buy the soundtrack once I left the theater.

Glazer burst onto the scene with his feature film debut “Sexy Beast” in which Ben Kingsley gave us one of the most frightening, and unhappy, gangsters on the planet, but he was absent from cinema since his follow-up film “Birth.” It turns out he started working on his adaptation of “Under the Skin” back in 2004, and it took him a decade to get his vision onto the silver screen. It was great to have him back behind the camera as he has an amazing visual style which just sucked me right in.

“Under the Skin” is filled with so many haunting images which have stayed with me for a long, long time. The black void where Johansson’s character lures her male victims to, the white void where she dresses in another person’s clothes, a man racing his motorcycle through a lot of hazardous weather at an alarming speed, Johansson’s character reacting to the piece of cake she has just eaten, etc. This film absorbed me in a way few other movies did back in 2014, and it was great to see something so cinematically daring as. The fact it got made feels like a miracle.

Yes, it did prove to be divisive among moviegoers who were easily bored by its languid pace, and perhaps they were instead yearning for the latest bombastic action spectacle from Michael Bay. Regardless, I’m really glad that “Under the Skin” has provoked such passionate responses because it takes chances and doesn’t conform to the Hollywood norm which filmmakers cannot always escape from. It provides one of the more unique experiences I have had at the movies, and it was great to see Jonathan Glazer back behind the camera after a surprisingly long hiatus.

Besides, Scarlett Johansson, Black Widow herself, stars in this, and she is currently the highest paid actor working in movies. Shouldn’t that be enough of a reason to watch this striking piece of cinema?

* * * * out of * * * *

Underseen Movie: Michael Haneke’s Shot-For-Shot Remake of ‘Funny Games’

There is no in between with a film like this. You will either like or hate it with a fervent passion. Reviews for “Funny Games” have gone all over the place from praise to vicious hatred. Some will describe it as a completely immoral piece of work which revels in what it despises. Others will look at as very strong suspense film which does not hide from the ugly reality of violence. After seeing this film, I can’t help but think this is what director Michael Haneke wanted. Alfred Hitchcock was once quoted as saying, “I love playing the audience like a piano.” So does Haneke.

Truth be told, Haneke must be reveling in getting us into such an emotional state as he did the same exact thing in the past. “Funny Games” is a shot-for-shot remake of his original suspense thriller of the same name from 1997. I actually did not realize it was a remake until around the time it arrived in theaters. But since this is a virtual duplication of another film, I’m not sure how necessary it will be to see the original.

Haneke wanted to remake “Funny Games” for an American audience because he felt it was in essence an American story in which he sees its citizens being giddily in love with violence onscreen and in the media. While there is something rather condescending about him thinking this, he does have a point. Every once in a while, we need a film which reminds us of the brutality of violence. While we may fiend for gun battles on the big screen, violence in real life is scary and something we should be eager to avoid. “Funny Games” was the first ironically titled and truly polarizing movie of 2008. It is anything but entertaining, and in the end, it is not meant to be. Some movies are made to be experienced, and this is one of them.

“Funny Games” revolves around the married couple of Ann and George Farber (Naomi Watts and Tim Roth) whom we first see driving down the highway with their son Georgie (Devon Gearhart) and their sailboat in tow. When they finally arrive at their destination, they are met by two young men, Paul (William Pitt) and Peter (Brady Corbet), both of whom look like well-bred preppies equipped with very nice manners. Brady’s character comes to borrow eggs to give which Watts gives him kindly. But on the way out, he accidentally drops them and won’t leave until he gets some more. Soon, both husband and wife are trying to throw these two guys out, and then the two show their true intentions when they take a golf club and smash one of George’s kneecaps.

With the family held hostage, Paul and Peter reveal their heinous plan; they bet that in 12 hours, the whole family will be dead. From there, it becomes a game of survival for the family as the games these two force them to play get increasingly dangerous. One of the major criticisms I have heard leveled at the killers is they have no motive. Sometimes not knowing why people do the things they do makes things much scarier. When “Silence of The Lambs” was first released in theaters, we were never told why Hannibal Lecter was a cannibal. But here, these two evil schmucks do have a motive which is senseless and viciously cold: they are torturing this family for the thrill of it and for what one of them calls “the importance of entertainment.” The director has given us two psychos whose motives, as he puts it are not “easily explained by societal factors.” They look to enjoy the power they have over this helpless family.

This phenomenon of people getting a high off of violence and torture feels like it is growing at a horrifying rate. There have been movies like “Henry – Portrait of A Serial Killer” and “Menace 2 Society” that have moments where the characters commit violent acts which have been intentionally or unintentionally videotaped. We later see these same characters watching their hideous acts over and over. There was an episode of “Homicide: Life on The Street” which featured a scene with one man filming his friend as he goes over to a nearby bus stop and shoots an old lady to death. No reason is given, other than the fact they find the visual so incredibly entertaining.

Like those characters, Paul and Peter are utterly repellent individuals. But the thing is, you should be repelled at what these guys are doing. They are without morals, and the rules of society are nonexistent to them which makes them all the more threatening and dangerous. The comfortable conventions of the normal suspense thriller are thrown out here. If they are employed here, then it is only for us to see them overturned when we least expect them to be. Unlike other Hollywood thrillers, the violence here feels much more real than you would expect it to be.

Another interesting thing is while this is technically an ultra-violent movie, there is actually not a lot of violence shown onscreen. Most of the violence is committed offscreen, making it all the more terrifying. There’s another moment where Ann is forced to disrobe completely, but you never see her from below the neck. It’s a moment where Haneke dares you to wonder why the camera isn’t showing us more here. You may end up hating him for that, but you cannot deny your mind went down to that dark and dirty place.

Like “Cache,” Haneke likes to film shots in long takes. This succeeds in trapping the viewer in with this family as we wait to see if they can escape their fate. One shot lasts a good five minutes or so as Ann desperately tries to break free of the tape which binds her hands behind her back. There are a lot of static shots here which are free of overly clever camera moves, and they suck us in to the action while generating strong suspense. There are points where we are not sure when these two psychos threaten to strike next.

Haneke goes even further by having Paul break the fourth wall between the characters and the audience watching this movie. Many found this device to be annoying, but I wasn’t bothered by it because it made the movie seem even creepier than it already was. It probably would have been an unnecessary device had it been overused, but the director uses it sparingly and to a powerful effect.

There is also a moment a rewind of events is employed. It is as brilliant a move as it is done to completely frustrate the viewer as it completely eschews the formula of movies like these. Haneke doesn’t hesitate to subvert our expectations, and trap us into a reaction we cannot hide.

Whatever you think of the movie, there is no denying the superb work done by the cast here. Tim Roth does strong work, and I can’t remember the last actor who made the pain of broken bones feel so vivid. I also don’t want to forget Devon Gearhart who plays Georgie Jr. as he has a very unenviable role as a child caught up in the worst of situations. He is asked to do things we would rather not see a child actor do, and he makes his sheer terror seem all the more horrifyingly real.

Michael Pitt makes Paul into such a cleverly cold character to where some have compared Paul to Alex in “A Clockwork Orange.” This is a young actor who has made a strong impression in movies like “The Dreamers” and “Bully” among others. He excels in roles like this which play on his charm to an incredibly unsympathetic effect. Brady Corbett plays the seemingly Peter, and he also has done memorable work in “Thirteen” and “Mysterious Skin.”

But in the end, this movie really belongs to Naomi Watts who has long since proven to be one of the bravest actresses working today. She has portrayed characters so naked in their vulnerabilities onscreen to where I constantly wonder how she gets through these roles without having a nervous breakdown. Her performance in “Funny Games” is no exception as she puts herself in situations so difficult to make seem real, but she succeeds here in making us believe just how terrifying her ordeal is.

“Funny Games” is one of those movies which make me want to ready everyone’s reaction to it. Like I said, this is without a doubt a very polarizing motion picture which people will either admire or despise. The again, if many did not have a negative reaction, then Haneke would have failed in his mission to completely unnerve us. No, it is not an enjoyable movie, but it is an experience which cannot easily be ignored as you walk out of the theater. It is a thought-provoking as it in no way allows for a neutral opinion. For my money, it is a very strong exercise in suspense which never lets up throughout its two-hour running time.

While it is not the most disturbing movie I have ever watched in a theater (“Requiem for A Dream” takes the cake there), it sure does come close. The violence presented here is of a real kind, and it does not offer the typical feeling of escapist entertainment. The best advice I can give you is if you don’t want to subject yourself to a very disturbing cinematic experience, then don’t see “Funny Games.” You have been warned, so take the R-rating seriously.

* * * ½ out of * * * *