Review: PARANORMAL ACTIVITY 2

It’s a pretty typical Hollywood story: low budget, independent film becomes a surprise success; big name studio buys the rights for dirt cheap; franchise is born. Such is the case for Paranormal Activity, 2009’s small “found footage” horror flick that is powered by two unknown actors and a video camera. Now, a year later, Paramount has given birth to Paranormal Activity 2, assigning a new director and a more bloated budget to the task of producing quiet, resonating terror.

Paranormal Activity 2 is both a prequel and a sequel, its plot working in conjunction with last year’s sleeper hit. This time around, home movies and surveillance footage follow Kristi Rey (Sprague Grayden) and her family as they experience-yep, you guessed it-paranormal activity in their home. So, how does this follow-up coincide with its predecessor? Kristi is both neighbor and sister to Katie (Katie Featherston), the victim of demonic torment in the original film. However, Katie has yet to fall victim to evil because Paranormal Activity 2 begins a few weeks before the first film...and she was never meant to fall victim in the first place.

I’ll admit it: this film unnerved me, but it wasn’t because of its relentless jump scares or its run-of-the-mill central storyline. The way it answers questions I never even thought I wanted answers to (despite the “winking” exposition it uses to get from point A to point B) is what left me chilled as I walked out of the theater. That being said, it was the only thing that left me chilled. The rest of Paranormal Activity 2 plays out far too predictably, with two-dimensional stock characters who only serve to move the plot along and constant spooks that become more annoying than frightening half way through. Paramount hardly lets this quickly produced follow-up remain subtle like Paranormal Activity proved itself to be and because of that, it suffers immensely.

Do the terrors outweigh the yawns? In my opinion, yes. If you are a fan of the first film, at the very least you will probably somewhat appreciate how this one intertwines with it. But be warned: it’s muddled with plenty of throwaway content and, though it goes without saying, it hardly breaks any new ground.

Rating: 2.5/5

Review: CATFISH

The new documentary, Catfish, has caused a near uproar regarding its validity. Is it really a documentary or is it just masquerading as one? Is it really “the best Hitchcock film that Hitchcock never directed” or will it deliver a lackluster outcome? Before you get too tangled up in hesitation, let me ask you this: does the story’s authenticity really even matter if the subject still rings true?

Unknown filmmakers Henry Joost and Ariel Schulman center Catfish on Nev Schulman, a 24-year-old photographer living in New York City, and his blossoming internet friendship with a family from Michigan. The correspondence begins when Abby, an eight-year-old artist, sends Nev a package containing an oil painting of hers based on a recently published photo of his. Nev gets in touch with Abby’s mother, Angela, on Facebook and starts to learn about their family, all the while sending his pictures to Abby for her to paint for him. He becomes friends with Abby’s father and brother as well and even strikes up a courtship with her older sister, Megan. However, Nev discovers inconsistencies in some of the family members’ stories and decides to step back from the situation and do some investigating, which ultimately leads him to Michigan and forces him to face the truth.

The controversy surrounding this film’s authenticity proves to be completely irrelevant because, whether or not it is actually a documentary,Catfish speaks volumes about how we as a culture so often blur the line between internet and reality. In a way, Nev takes a risk by placing himself in the in-between for the sake of mass revelation. The sole purpose of this film is to get its audience to ask questions and seek out answers, which I believe it does masterfully. Everything else that I love about the film-from its use of Google Maps as an aesthetic touch to its concentration on even characters’ most minor reactions-is merely a bonus.

Though I think Catfish has a shot at holding quite a bit of cultural value, if only temporarily, it will no doubt leave some viewers feeling less than satisfied. The marketing campaign behind this film indicates that it will be this year’s Paranormal Activity, however, it does not deliver any horrific scares and the “Hitchcockian twist” it boasts is only a plot development. Unfortunately, the film’s misleading insinuations will ultimately overshadow its true nature and keep it from resonating with disappointed moviegoers.

If you are interested in films that have something valuable to say, I highly recommend Catfish. It may not completely embody the tone it appears to upon first glance, but it still haunts, if only in the unusual sense of the term.

Rating: 4/5

Review: IT'S KIND OF A FUNNY STORY

Ever since the success of 2007’s Juno, Hollywood has been rapidly spitting out mainstream indie films in hopes of attracting the same praise. However, a pattern has appeared: only one film in the genre stands out each year. Last year it was 500 Days of Summer, a film that benefitted from its incessant commercial spots and likable stars. Attempting to follow in suit, will It’s Kind of a Funny Story garner similar praise?

It’s Kind of a Funny Story opens with 16-year-old Craig (Keir Gilchrist) biking to a New York City emergency room at five in the morning after waking up from a dream in which he commits suicide. The overwhelmed teen convinces the on-call doctor to help him out, thinking that a quick fix is available to him. However, he soon finds out that his stay in the third floor psychiatric ward will be a minimum of five days, setting him behind on schoolwork and tying him up in fibs to his friends. Though Craig feels out of place at first, he finds a confidant in Bobby (Zach Galifianakis), a love interest in Noelle (Emma Roberts), and a new appreciation for everything he has.

Every problem that I have with this film stems from its poorly written screenplay, which is essentially a mishmash of stale characters whose problems are given all-too-convenient resolutions. Craig comes off as a cliche, devoid of any unique traits that would at least make him a somewhat sympathetic character. In fact, all of the teenagers featured suffer from the same fate. Their dialog feels unnatural and makes clear to the audience that they are really actors playing teenagers who are trying so hard to be typical teenagers. With the exception of Bobby, who is allowed the chance to develop a distinct personality, the adults in the film are no better off than their younger co-stars. So much time is spent on these bland characters that the film’s central topic, depression, becomes a lighthearted afterthought and, in the end, gets treated like a fleeting speed bump standing in the way of a perfect life. If these elements would have been considered more thoroughly, It’s Kind of a Funny Story would have had a chance at being something fresh, but sadly, they were not.

Though I took issue with most of this 100 minute public service announcement, I cannot dislike it because it is just too nice. The mainstream indie style will have mass appeal, as will Galifianakis’s performance. My advice? See a matinee showing with your mom and little sister, but don’t be fooled: the story isn’t really as funny as you want it to be.

Rating: 2.5/5

Review: THE SOCIAL NETWORK

What do you get when you create a film based on the rise of one of the most popular websites in Internet history? A box office success. And if that film is the brainchild of David Fincher and Aaron Sorkin? A critical success. “The Facebook movie,” as it has been dubbed, has received acclaim from all directions, and for good reason.

The Social Network, as it is formally entitled, chronicles the rise of Facebook and how it affected its founders. Mark Zuckerberg (Jesse Eisenberg), a sophomore at Harvard looking to be accepted into one of the prestigious clubs on campus, makes his mark by masterfully hacking into the school’s computer system and creating a prank website with its content. His actions garner the attention of twin brothers Cameron and Tyler Winklevoss (both played by Armie Hammer), who offer him the task of programing a website they have been working on launching. Mark accepts the offer but deflects the brothers’ attempts at getting together to begin construction, all the while building on their idea and creating “the facebook.” With the financial help of his best friend, Eduardo Saverin (Andrew Garfield), Mark starts the phenomenon that earns him both followers and enemies.

This film proves to be nearly flawless in all aspects, the main reason being the collaboration between Fincher and Sorkin. Fincher knows how to capture tone with his camera, paying careful attention to the characters’ facial expressions and interactions with their settings. Sorkin’s snappy dialog never quits. In fact, the screenplay is so well written that it serves as its own outstanding performance, though it never once overshadows the actors’ achievements. Eisenberg delivers an especially memorable performance as Zuckerberg and is in good company alongside Garfield, Hammer, and Justin Timberlake (who plays the conniving founder of Napster, Sean Parker). To complete the package, the film’s score (developed by Trent Reznor of Nine Inch Nails fame) compliments the overarching theme of deceit with its ominous inflections, thus bringing Fincher’s vision full circle.

Despite being two hours of pure dialog, The Social Network stands as a compelling, relevant testament to this day and age. Its commentary on technology as it relates to social standing and human connection resonates long after the closing credits.

Rating: 5/5

Review: THE TOWN

A crime drama must be handled delicately. An overabundance of action can cheapen it; too many lines of dialog can make it drag. A balance must be found in order for it to satisfy. And if balance can’t be found, are nuns with machine guns enough?

After 2007‘s Gone Baby Gone, Ben Affleck is back with his sophomore venture, The Town. Affleck steps in front of the camera this time, playing Doug, a career bank robber from the rough neighborhood of Charlestown in Boston. He and his long-time friends-Jem (Jeremy Renner), Dez (Owen Burke), and Gloansy (Slaine)-hit a Cambridge bank and end up taking the manager, Claire (Rebecca Hall), hostage. Though they free her unscathed, Jem confiscates her driver’s license and employs Doug to follow her, making sure she doesn’t remember any details that will compromise their life of crime. Doug and Claire begin dating and Claire divulges her memories of the robbery to him, along with the fact that she has been in contact with the FBI agent handling the case, Frawley (Jon Hamm). With Jem planning more robberies, Frawley hot on his trail, and his feelings for Claire progressing, Doug finds himself caught in a game of cat and mouse when all he wants is a fresh start in a new place.

The tone of The Town is set by its well-paced plot and suspenseful action sequences. Affleck fluidly introduces characters and situations that let his audience know just what kind of hell Charlestown is, why anyone would want to flee but few feel like they can. Scenes packed with rapid gunfire are balanced by ones that are more dialog-heavy, keeping this crime drama on point with its genre. As for performances, Jeremy Renner takes the top prize with his turn as Jem. He clearly commits himself to the role, never losing sight of Jem’s motivations and desires. These natural, effortless elements give this film its edge.

Despite its strong, compelling beginning, The Town fizzle out due to how muddled it becomes. The plot is on point, but the writing leaves much to be desired. Seemingly important characters introduced in the first half-hour, most namely Krista (Blake Lively) and Fergie (Pete Postlethwaite), do not reappear in any meaningful way until the final 45 minutes, leaving them underdeveloped. An excessive amount of time is spent focusing on the relationship between Doug and Claire, a relationship that never really proves itself to be genuine. Doug spews out hokey line after hokey line trying to win over his damsel in distress, leading the film to a weak, sour ending. The audience is left questioning far too much.

The Town managed to win me over with its thrilling robberies and the men behind them, however, it left me wishing for a consistent script and believable bonds between characters. The flaws are apparent, but it still succeeds.

Rating: 3.5/5

Review: THE KIDS ARE ALL RIGHT

In light of the current state of gay rights in America, it is no wonder that Hollywood has boldly chosen to explore same-sex relationships. The Kids Are All Right takes on the topic by wrapping it in a pretty, indie package and delivering it to audiences in hopes of striking an emotional chord.

The Kids Are All Right aims to dissect an unconventional family as they come to terms with changing circumstances. Nic (Annette Benning) and Jules (Julianne Moore) are a lesbian couple with two children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson), from the same sperm donor. At her brother’s request, when Joni turns 18, she contacts the sperm bank in order to find their biological father. The man in question is Paul (Mark Ruffalo), a laid-back restauranteur happily living the single life. After their initial meeting, Joni and Laser decide to involve Paul in their lives, thus introducing him to their mothers and upsetting the family dynamic.

It should come as no surprise that Benning and Moore steal the show. Both actresses get what it is to be these two very different women in a long term relationship, struggling to retain their individualities without losing sight of their love for one another. They are inarguably the heart of this film. Central female performances aside, the overall aesthetic of The Kids Are All Right is captivating, marked by vivid colors and lush scenery. Los Angeles is virtually transformed by the cinematographer’s vision. Wide shots from Paul’s organic garden overlooking a smog-free city are hopeful but no doubt enhance the hip, modern tone of the film, therefore achieving their purpose.

For as rich and fleshed out as the roles of Nic and Jules are, the supporting cast isn’t given much to do in front of the camera. Wasikowska, Hutcherson, and Ruffalo all do the best that they can under the circumstances, but the fact of the matter is that all three are merely props aiding in the development of the film’s true stars. Joni and Laser dip in and out and Paul essentially falls off after causing conflict. Though I ate up every last minute of screen time given to Benning and Moore, I ultimately felt somewhat mislead.

See this one for the show-stopping women at the heart of it (especially Benning, who has received enough Oscar buzz to practically ensure her a nomination), but don’t be surprised if you find it a bit overconfident.

Rating: 4/5

Review: CYRUS

Very few film experiences will compare to the one I had when I first watched The Puffy Chair. One of the mumblecore movement’s most seminal texts, it introduced me to Jay and Mark Duplass, two brothers who set out to make real movies about real people, budget or no budget. In the case of Cyrus, their latest endeavor, budget is involved for the first time but the film does not fail to deliver heart.

In typical mumblecore fashion, Cyrus takes a painfully realistic look at relationships and their complications. Specifically, the film tells the story of John (John C. Reilly), a divorcee of seven years, as he begins a romance with Molly (Marisa Tomei). After a couple of hot and heavy dates, John decides to follow Molly home to see why she will not stay the night with him. The reason? Cyrus (Jonah Hill), her 21-year-old son who hasn’t yet flown the coop or seen his mom date. What ensues is a humorous rivalry between John and Cyrus and a sweet account of what it takes to accept people as they are.

Jay and Mark Duplass know how to write characters in true-to-life situations and Cyrus is no exception. With a small cast and tight focus, Rielly, Tomei, and Hill are given ample room to bring their own touches to their characters while still remaining true to the vision at hand. Rielly’s inflections, Tomei’s facial expressions, and Hill’s comedic presence have all been seen and heard before, but under the Duplass brothers’ supervision, they feel new again.

As Jay and Mark’s first bigger budget film, Cyrus does a fairly good job at finding a balance between mumblecore and mainstream. However, no matter how much I respect the integrity brought forth in the performances, I can’t help but believe that this film would have shined more brightly with at least one unknown actor in it. One of my favorite elements of mumblecore is the use of unfamiliar faces. That divide between movie star and moviegoer ceases to exist; the experience feels more authentic. My ultimate worry is that the more well-known the Duplass brothers become, the less present their style will be. I suppose only time will tell.

Cyrus ultimately proves itself to be a warm story with relatable characters. Despite my concerns for future Duplass films, I know that heart will always be palpable.

Rating: 4/5