Escape from Tomorrow (2013)

2015 #189
Randy Moore | 90 mins | streaming (HD) | 16:9 | USA / English | 15

Escape from TomorrowDisney meets David Lynch in this arthouse-y psychological thriller, best known for being shot on the QT (i.e. illegally) in DisneyWorld.

The high-contrast black-and-white cinematography is stunning, quite apart from the marvel of how it was captured. It depicts a “not for everyone” experience: a freshly unemployed dad starts to ignore his family, stalk two jailbait teens, get into bizarre scrapes, and possibly lose his mind.

Some find it aimless. Perhaps. The end certainly sinks to gross-out-comedy-level depravity. Others say it’s poorly made. I disagree. It’s at least a strong technical achievement… even if it’s a slightly-too-long, thoroughly peculiar one.

3 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

The Informant! (2009)

2015 #133
Steven Soderbergh | 104 mins | streaming (HD) | 16:9 | USA / English | 15 / R

The InformantMatt Damon turns whistleblower (or does he?) in this amusing romp based on a true story of complicated corporate fraud.

Director Steven Soderbergh is clearly having fun: despite the ’90s setting, the aesthetics harken back to the ’70s and its political exposé movies; while Marvin Hamlisch’s fun score references Bond during mundane stuff but offers tunes you’d expect from a farce during undercover FBI business.

If you want to follow the ins and outs you have to pay attention, but the main thrust is conveyed in the flow. Besides, such specifics barely matter to the farcical fun Soderbergh largely achieves.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

Ed Wood (1994)

2015 #134
Tim Burton | 127 mins | streaming (HD) | 1.85:1 | USA / English | 15 / R

Before he descended into self-parody, Tim Burton made movies like this: a biopic of the eponymous ’50s filmmaker, renowned for his so-bad-they’re-good productions. Burton still contributes his trademark dark quirkiness, but it conjures a subject-appropriate tone rather than aimless Burtonesqueness.

It’s the same with Johnny Depp’s lead performance: affected and childlike, as usual, but here to depict a naïve, deluded, optimistic oddball human-being, rather than a self-consciously outrageous fantasy figure.

The result is a true story whose themes and moods are enhanced by stylised moviemaking — much more interesting than either the genre’s regular staid realism or Burton’s later empty theatrics.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

Blue Ruin (2013)

2015 #171
Jeremy Saulnier | 91 mins | streaming (HD) | 2.35:1 | USA & France / English | 15 / R

This neo-noir revenge drama with a twist has received such acclaim from critics and bloggers alike that it’s practically set up to fail.

Its guiding principle is neat: a semi-comedic version of what would actually happen if an Ordinary Joe tried to enact violent vengeance on murderous criminals. So the action is less Taken and more that fight from Bridget Jones, but with guns and a real-world aesthetic.

Frankly, I admired rather than enjoyed it. It’s a one-hit premise that doesn’t scratch the same itch as a ‘proper’ revenge actioner, nor fulfil the more rewarding aspects of a ‘proper’ drama.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

The Dark Crystal (1982)

2015 #124
Jim Henson & Frank Oz | 89 mins | TV | 2.35:1 | USA & UK / English | PG / PG

High-fantasy adventure about some elves trying to stop a crystal from destroying their planet.

It’s by Jim Henson, so there’s fantastic puppetry and strong design… but the story and the manner of its telling — the dialogue, structure, and characters — alternate between boring, annoying, and laughable. The hero is irritating, the dull villains are given too much focus, the plot borders on nonsensical, it takes forever for barely anything to happen, and the sequence where our heroes accidentally share their memories has to be the cheesiest thing since fondue.

Some people properly love this, but I thought it was just awful.

2 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

You’re Next (2011)

2015 #172
Adam Wingard | 91 mins | TV (HD) | 2.35:1 | USA & UK / English | 18 / R

From the makers of The Guest, a horror-thriller that’s really a dark comedy.

Murderous home invaders get a surprise when one of their targets is a secret badass. She’s cool; everyone else is thinly sketched. I’d’ve liked more character development; some viewers think it’s already too slow getting to ‘the good stuff’. That’s very violent, but imaginative and funny — the lead villain suffers an exceptionally inventive amusing demise.

You’re Next isn’t all it could be, but is pretty fun. My score errs towards generosity — those with no taste for horror, or laughs derived from murder methods, will like it less.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

sex, lies, and videotape (1989)

2015 #147
Steven Soderbergh | 100 mins | streaming (HD) | 1.85:1 | USA / English | 18 / R

Four acquaintances partake in duplicitous relationships and candid sexual discourse in writer-director Steven Soderbergh’s debut drama.

All four actors are good, covering every base on the spectrum of sexual openness, but, at the two extremes, James Spader and Andie MacDowell are excellent. They get the wealth of the material, the latter as a repressed, neurotic housewife, the former as an oddball whose truth obsession makes him both the strangest and most idyllic character.

26 years on, our world and attitudes have changed plenty — there are now whole websites dedicated to Spader’s weird, private obsession — but this is still strikingly frank.

5 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

They Live (1988)

2015 #123
John Carpenter | 94 mins | streaming (HD) | 2.35:1 | USA / English | 18 / R

Sci-fi parable about aliens controlling us via subliminal advertising.

There’s action, including a comically lengthy fight between lead good guys Roddy Piper and Keith David, but the meat is satire. Thirty years on, it remains thematically relevant; perhaps even more so. That no one’s actively considering a remake suggests how Hollywood has lost its political teeth. I’m not saying they should remake it, just, y’know, Hollywood.

In fact, considering the apparently-victorious ending is kinda bleak if you think it through, perhaps they should make a sequel with the status quo unchanged decades later. It might be rubbish, but there’s potential.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

The Decoy Bride (2011)

2015 #155
Sheree Folkson | 89 mins | streaming (HD) | 2.35:1 | UK / English | 12 / PG

This is not a well-reviewed film — Little White Lies described it as “possibly the worst thing ever in world history.”

Obviously they’re being intentionally hyperbolic (well, I hope), but it’s not merited. Okay, it’s a standard rom-com, of the form we’ve seen dozens of times, but it’s no worse than most and better than plenty. Kelly Macdonald and David Tennant are appealing leads with some chemistry, “TV director” Folkson’s work is cinematic enough, and there are decent laughs in the screenplay by Sally Phillips.

There’s nothing special about The Decoy Bride, but it’s pleasantly entertaining. It could be much worse.

3 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.

Life Itself (2014)

2015 #166
Steve James | 121 mins | streaming (HD) | 16:9 | USA / English | 15 / R

Roger Ebert was an influential, respected, beloved critic for decades, and one with an interesting life: he began in old-school newspaper journalism, defined TV movie criticism, and eventually spearheaded the profession’s move online. So it merits recounting in this documentary by the director of Hoop Dreams, a film Ebert championed.

Based on his memoir, it tells Ebert’s story while also documenting his final days — as filming began, his long-standing illness worsened. The result serves as a tribute, but it’s no hagiography: his darker sides are explored, making the film more truthful (something Ebert would have supported) and better for it.

4 out of 5

This drabble review is part of the 100 Films Advent Calendar 2015. Read more here.