Month: November 2014

REVIEW: Dodgeball: A True Underdog Story [2004]

Jared Mobarak

“So what are you dying from that’s keeping you from the finals?” I’m usually the guy who watches the trailer for a stupid raunchy comedy and instantaneously declares it unworthy of my time. For some reason, however, Rawson Marshall Thurber‘s Dodgeball: A True Underdog Story hit every mark necessary to have me believing it could actually be entertaining. I was unfamiliar with much of the cast save the three main leads—it introduced me to both Justin Long and Alan Tudyk—but something about the sheer absurdity of a major league, cable…

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REVIEW: Thou Wast Mild & Lovely [2014]

Jared Mobarak

“My lover knows how to love me” She is not kidding when she says: “To those who feel that their cruelty is too cruel, their sadness too sad, I dedicate this film: an embrace.” Writer/director Josephine Decker means every single word because she herself has laid bare her own cruelty and sadness with Thou Wast Mild & Lovely. Her characters are flawed, dangerous, and inviting—animals working the farm yet animals just the same. They each desire, take, and enjoy, suffering the psychological consequences after the fact, unregretful for what they’ve…

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REVIEW: Butter on the Latch [2014]

Jared Mobarak

“Because she sat on Pinocchio’s head” I’m going to run with this quote from director Josephine Decker: “I think an ending is much more exciting if even I don’t know what it ‘means’.” For all intents and purposes she’s giving permission for me to make of her fiction narrative feature debut Butter on the Latch whatever I want. What’s real? What isn’t? That’s up to my own personal understanding of her lead character Sarah (Sarah Small) and what occurs to her during this nightmarish descent inside herself. Honestly, isn’t that…

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REVIEW: Dumb and Dumber To [2014]

Jared Mobarak

“I don’t even know cursive” Nope. Not even the movie that started it all can save the fledgling career of the Farrelly Brothers. Despite reading an interview of them speaking about how great the sequel’s script was due to its being almost identical to the first, I entered their last film with an open mind. The same and more, they said? Come on—it’s been twenty years. They should have noticed by their diminishing box office returns this past decade that the comedy used to propel them towards A-list status in…

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REVIEW: Interstellar [2014]

Jared Mobarak

“Who’s they?” Say what you will about Christopher Nolan, the man knows how to make resonate blockbusters. He knows movies—plain and simple. There has always been a power in cinema that hits us at an emotionally deep level, a window into our souls through the characters onscreen we have learned to cherish as though extensions of ourselves. Nolan appreciates this truth and has proven to possess an uncanny ability to tap into that universal consciousness despite using inherently obtuse stories rooted in scientific fantasy and actual theoretical physics the layperson…

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REVIEW: RADHE RADHE: Rites of Holi [2014]

Jared Mobarak

“Oh Radha, you are voluptuous, pure and always forgiving, the source of life itself, our beloved, delightful as a blossoming lotus.” An art piece bridging Vijay Iyer‘s newest energetic composition as played by the International Contemporary Ensemble and stunning footage of Holi celebrations in the Braj region of India, RADHE RADHE: Rites of Holi proves an invigorating experience of cultural tradition. Inspired by the centennial of Stravinsky-Nijinsky’s The Rite of Spring, Iyer and director Prashant Bhargava looked to explore their own heritage’s demarcation of the season’s change through song as…

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REVIEW: Dumb and Dumber [1994]

Jared Mobarak

“You sold my dead bird to a blind kid?” It’s the film that brought us the high concept, gross-out comedy sensibilities of Peter and Bobby Farrelly and it has some of the most memorable laughs of the 90s. The filmmaking brothers would go on to create a mixed bag of obnoxious, offensive, and hit or miss work that steadily grew tiresome while revealing they were for all intents and purposes one-trick ponies. Just because the trick wasn’t able to sustain the public’s love, however, doesn’t mean it wasn’t riotous at…

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REVIEW: Always Woodstock [2014]

Jared Mobarak

“Don’t love anyone that makes you hate your art” The feature debut of writer/director Rita Merson is mired in convention. Think to yourself about five cinematic tropes that could be found in a romantic dramedy and I’ll bet you at least four are present in Always Woodstock. But that’s not telling you anything you wouldn’t already guess from a plot centering on a young wannabe songwriter stuck in a dead-end, soul sucking job meant to help get a foot into the music industry who finds herself escaping to the country…

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REVIEW: A Clockwork Orange [1971]

Jared Mobarak

“No time for the old in-out, love, I’ve just come to read the meter.” It didn’t take long for the theatrical experience to prove essential when watching A Clockwork Orange on the big screen. As Henry Purcell‘s March from “Funeral Music for Queen Mary” plays, the frame is filled with a solid bright orange so massive and enveloping that it pulsates to appear as though it’s spilling past the edges. This goes on for a full thirty seconds before “Warner Bros. A Kinney Company Presents” appears in white and by…

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REVIEW: Turist [Force Majeure] [2014]

Jared Mobarak

“You can’t run in snow boots?” Very rarely does an international name change occur for the better, but few titles are more perfect for their respective film than Force Majeure. The original Swedish moniker was Turist, a succinct and appropriate label considering the entire piece portrays a family’s five-day ski vacation in French Alps. Force Majeure, however, showcases the powerfully random event that changes the tone and dynamic of the characters involved as well as the story itself. The beauty of Ruben Östlund‘s creation is that this moment arising to…

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REVIEW: Maps to the Stars [2014]

Jared Mobarak

“… Liberty” There are many versions of Hollywood I would never wish to live within—including the real one—but it appears those crafted by Bruce Wagner might be the most nightmarishly hedonistic, vile, and depressingly pathetic. A man who grew up in Los Angeles via Wisconsin and probably experienced many of the selfish acts of depravity he cynically puts to paper first hand, it says something about his artistic merits that he was able to write and direct two films (both based on what must be a sprawling novel I’m Losing…

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