Category Archives: 2012 Films

2012 Films, Comedy, Dark Comedy, Political Comedy, Satire

God Bless America-2012

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God Bless America-2012

Director Bobcat Goldthwait

Starring Joel Murray, Tara Lynne Barr

Scott’s Review #1,543

Reviewed August 4, 2026

Grade: A-

Made in 2012, God Bless America is a satisfying experience for viewers who enjoy seeing assholes and mean people get their due.

Its central characters (the heroes) blow the brains out of those miserable human beings we meet every so often and can only fantasize about taking to task.

Shrouded in dark humor and satire, not to mention gore, director/comedian Bobcat Goldthwait revels in situations that fulfill a desire for justice.

He thereby makes his two prominent characters extremely likable, and the rest of the cast hated.

Frank Murdoch (Joel Murray), who lives alone in Syracuse, New York, is middle-aged and works as an insurance salesman in a depressing windowless office.

His colleagues are trite and superficial and lead meaningless lives, finding satisfaction only in talking about a reality show or something mindless each morning.

After being fired for sending a colleague flowers after obtaining her address, Frank is told by his doctor that he has an incurable brain tumor. In addition, his ex-wife Alison (Melinda Page Hamilton) has custody of their daughter Ava (Mackenzie Smith), who has become a spoiled brat.

Frank is sick of how America has fallen into a state of depravity based on pop culture, TV, the Internet, and talk radio. He fantasizes about killing his neighbors, whose screaming baby worsens his migraines and keeps him awake all night.

After his string of missteps, he goes off the deep end, fed up with the cruelty and stupidity of American culture. He meets teenage Roxy Harmon (Tara Lynne Barr), who shares his rage, and they team up to whack reality TV stars, bigots, and other repugnant creatures.

While the premise is not meant to be taken seriously, viewers who go along with it, get the jokes, and understand the crazy situations will find much satisfaction in God Bless America.

The characters who are killed are so completely over the top and raucously annoying that not even a shred of decency emits from their pores.

We cheer and celebrate their demise.

Frank’s stupid neighbors who talk about the most uninteresting and superficial subjects, like a reality show or an action movie, are trite and guzzle whatever little pleasure they can muster.

In the husband’s case, it’s a tacky bright yellow sports car.

Later, a self-absorbed reality star named Chloe (Maddie Hasson) and her equally obnoxious parents are offed in appropriate and satisfying form.

These characters are a representation of the idiocy of America, whose attention is caught by American Superstarz, a talent show craze featuring an intellectually disabled man named Steven Clark, whom the judges mock for his attempts at singing.

Watching the film in 2026, fifteen years after it was made, is powerful and telling.

Four years before the terrible reign of Donald Trump, who ruined American politics and the United States as a whole, who knew that the characters in God Bless America would resonate even more years later?

In a 2026 world of MAGA, ICE, and incompetence in the White House, the United States is even worse than God Bless America states!

After all, it’s the stupidity of voters who would actually elect a baffoonish reality star as their national leader.

You might say ‘it served ’em right’ if not for the other sensible and intelligent portion of the United States.

Goldthwait clearly falls into this bucket as he writes a clever and brilliant screenplay crackling with wackiness that sadly holds in real life.

The people who see God Bless America are largely those who get the humor and are intelligent enough to understand what Goldthwait is going for.

The rest won’t have a clue, which is the reason the film was made in the first place.

The film slows a bit when Frank and Roxy suffer from a misunderstanding and a lie about her past life comes to light. There’s also a bit of sentimentality, which is not the strongest part of the film.

These aspects are not as interesting as the scenes of the pair traversing the United States shoot-em-up style or the wonderful hostage standoff finale.

God Bless America (2011) is a satirical, well-written, and well-produced film solely made for smart people.

2012 Films, Drama, Favorite Film of the Year, Top 250 Films, Western

Django Unchained-2012

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Django Unchained-2012

Director Quentin Tarantino

Starring Jamie Foxx, Christoph Waltz

Top 250 Films #116

Scott’s Review #699

Reviewed November 26, 2017

Grade: A

Quentin Tarantino, the brilliant filmmaker, can do very little wrong in my opinion, and he releases yet another masterpiece with 2012’s Django Unchained, a western story centering around the delicate subject matter of slavery.

Like several other talented directors’ stories, the main focus here is a revenge-driven tale with plenty of bloody scenes and stylistic ferociousness, making Django Unchained yet another masterpiece in the Tarantino collection.

Certainly not for the faint of heart, the film will please fans of film creativity and artistic achievement.

As with many Tarantino films, a stellar cast is used, and each actor is cast to perfection- it seems almost every actor in Hollywood is dying to appear in the director’s films.

This time, Jamie Foxx, Christoph Waltz, Kerry Washington, Leonardo DiCaprio, and Samuel L. Jackson are the lucky ones, all featured in prominent roles- not surprisingly, the acting is top-notch.

An interesting fact to note is that whoever appears in a Tarantino film seems to be having the time of their lives- what creative freedom and interesting material to experience.

A comparable director to Tarantino, in terms of recruiting fine actors, is Robert Altman, who was also tremendously popular with talent.

The saga begins with clear Western flair as Django Freeman (Foxx) is led through the scorching heat of Texas with a group of other enslaved Black people, presumably to be sold by their abusive white captors.

The time is 1858, and the abolition of slavery has not yet occurred; the Civil War is still two years away.

Doctor King Schultz (Waltz), a former dentist and current bounty hunter, is on a mission to find and kill the Brittle brothers and realizes Django can help him find them.

To complicate matters, Django has been separated from his wife Broomhilda (Washington) and vows to find her and avenge her abductors.

As circumstances lead Schultz and Django to a vast Tennessee estate, the duo becomes business partners and friends. The race to rescue Broomhilda takes the pair to sunny (and equally hot) Mississippi- the home of vicious Calvin Candie (DiCaprio) and his dreaded “Candyland”.

The crackling heat and atmospheric nature of Django Unchained, combined with the revenge theme, make the film an immeasurable success.

An ode to spaghetti westerns of yesteryear, the film incorporates similar music and grit so that the result is a modernized version of those films, with lots more blood and violence.

Slavery is a tough subject matter to tackle, especially when members of the Ku Klux Klan are featured, but Tarantino does so effortlessly. As Django takes revenge on his tormentors, the audience gets a lot of satisfaction.

The indignities and downright abuse that several black characters suffer can be quite tough to sit through.

The climactic dinner scene in Mississippi is splendid and the film’s best sequence.

Schultz and Django dine with Calvin at his spectacular mansion. Calvin’s sinister and loyal house slave (Jackson) suspects a devious plan is about to be hatched, and a vicious shoot-out erupts between the parties involved.

The ingenious, drawn-out sequence is a cat-and-mouse affair, with all the characters tiptoeing around the others for fear of being revealed as imposters.

The scene is exceptional in its craft as we watch the characters dine on delectable food and drink, all the while motivations bubble under the surface.

Django Unchained is not for film-goers seeking either a linear story or a mainstream piece of blockbuster movie-making-Tarantino is not a typical Hollywood guy.

The film is exceptionally crafted and constructed a challenge the viewer to endure what some of the characters (specifically Django and Broomhilda) are made to go through.

This discomfort and horror make the inevitable revenge all the sweeter and more satisfying.

Quentin Tarantino has created masterpiece after masterpiece throughout his filmography.

Proudly, I can herald 2012’s Django Unchained as one of the director’s finest and will be remembered for decades to come for challenging, provoking thought, and satisfying legions of his fans.

Oscar Nominations: 2 wins-Best Picture, Best Supporting Actor-Christoph Waltz (won), Best Original Screenplay (won), Best Sound Editing, Best Cinematography

2012 Films, Comedy, Drama, Independent Comedy, Independent Drama

Magic Mike-2012

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Magic Mike-2012

Director Steven Soderbergh

Starring Channing Tatum

Scott’s Review #1,302

Reviewed September 28, 2022

Grade: B

In 2012, Channing Tatum was a major Hollywood star.

He was cast in starring roles that focused on his looks but also let him show sensitivity and even some acting chops.

Magic Mike (2012) takes Tatum’s beefcake body and turns his title character into a likable hero. He is not just brawn; he has intelligence and a worldly quality that is sometimes lacking in comedic roles.

Unfortunately, the screenplay isn’t well developed, and we get only a glimpse of what Tatum, the good actor, could do. Fortunately, two years later he would play his best role to date in Foxcatcher (2014).

Magic Mike teeters a tad too soft for my liking and gives the stripper world a glossy, lightweight haze.

Given the subject matter and the director, Steven Soderbergh, the film could have gone much darker as Boogie Nights did with the porn industry in the late 1990s.

Still, Tatum is a star and boogies and shakes his muscular body enough to warrant the price of admission.

Matthew McConaughey is also appealing and shockingly plays against type as an older and wiser former stripper, now the manager of club Xquisite.

By day, Mike (Tatum) works as a struggling employee doing odd jobs-handyman, car detailing, or designing furniture. But when the sun goes down and the hot spotlight comes on, Mike is the star attraction in an all-male revue.

Mike mentors a nineteen-year-old named the Kid (Alex Pettyfer) and teaches him the tricks of the trade. However, Mike’s blossoming romance with the Kid’s sister Joanna (Olivia Munn) is threatened when the drama begins.

Most viewers are not going to see a film like Magic Mike for the dramatic bits or any other measure of story. We’re not talking about The Conversation (1974), Chinatown (1974), or other heady, smartly written dialogue.

That’s a relief because the plot is banal. Who cares if Mike and the Kid are at odds or if Mike and Joanna break up, make up, or launch a mission to the moon?

No, the recipe of the day is flesh, and there is plenty of it. Nobody goes full Monty or anything, but between Tatum, McConaughey, Matt Bomer, and Joe Manganiello, who plays a character aptly named Big Dick Richie, the audience will be left aflutter and quite satisfied.

Soderbergh, an impressive director, knows this, and the best sequences occur on the stage.

There is music, lights, and razzle-dazzle, as the troupe dance and strip with gusto. With each tie or vest shed amid a shimmering dance routine, pulsating energy makes the sequences appealing.

As showy as these numbers are, and there are plenty of them, I longed for some down-and-dirty drug use or ‘gay for pay’ situations, but Soderbergh doesn’t dare copy Boogie Nights with any seriousness.

He intends to entertain, and he does.

I wanted more darkness and more investment in the characters. We know little about the supporting characters except for McConaughey’s Dallas, who sadly will never leave the industry.

In the end, I was okay with the stories being secondary. This one has plenty of buff dudes taking their shirts off, and more, for the camera.

And who doesn’t like that?

Magic Mike (2012) was followed by the disastrous and stupid Magic Mike XL (2015), which makes the former seem like a masterpiece.

2012 Films, Comedy, Dark Comedy, Fantasy, Gothic, Horror, Horror-Comedy

Dark Shadows-2012

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Dark Shadows-2012

Director Tim Burton

Starring Johnny Depp

Scott’s Review #1,203

Reviewed December 3, 2021

Grade: C+

Sometimes a great idea doesn’t pan out. On paper, relaunching the unique, gothic 1960s daytime television series Dark Shadows as a big-screen tribute with even bigger stars sounds wonderful.

The endless possibilities and the inevitable nods to history are head-spinning.

Sadly, the film version of Dark Shadows (2012) directed by Tim Burton is miscategorized and misunderstood by all involved.

It’s billed as a dark comedy rather than horror or even fantasy and comes across as more of a mockery than a real nod to the series.

It’s completely over-the-top and misses the wonder and spookiness that made the long-ago black-and-white show a daily adventure.

I don’t claim to have seen the entire series, but I have watched much of the first season and understand the appeal.

Fans will be disheartened by Burton’s botched attempts to recreate a great idea.

Depp, a frequent guest star in Burton’s film work, plays the iconic Barnabas Collins, an eighteenth-century vampire who awakens in the twentieth century, though he’s not as bad as he was when he feebly stepped into the Willy Wonka role in 2005.

Yikes.

The only saving grace is the creative and magical visual effects and set design, which provide enough imagination and macabre fascination to at least partly save this otherwise messy experience.

The plot gives a brief explanation of the history.

In eighteenth-century Maine, Barnabas Collins (Depp) presides over the town of Collinsport. A rich and powerful playboy, Barnabas breaks the heart of a witch named Angelique (Eva Green), who deviously makes him pay.

Angelique turns Barnabas into a vampire and buries him alive.

Two centuries later, Barnabas escapes his tomb when builders erect a McDonald’s and finds the 1970s Collinsport a very different place. His once-grand estate has fallen into ruin, and the dysfunctional remnants of his family have fared no better.

His resurrection creates complications and drama for the entire family.

Burton knocks it out of the park with the visuals.

The gothic mansion, in particular, is right up his alley, and he embraces the possibilities with gusto. Every creak or wind sound heard within the mansion aligns with the dark, dreary purples and browns.

Frequent candles set the mood, and exploring the vast number of rooms was something to look forward to.

Since the rest of the film sucked, I had nothing better to do than fully embrace the art and set design.

Heavyweights like Michelle Pfeiffer, Helena Bonham Carter, and Depp do their best but oddly overact in nearly every scene. Their direction must have been skewed toward comedy instead of adding any meat or emotional relevance to the characters.

The original series created something strangely dramatic and compelling on a shoestring budget. It had a delicious, haunting, gripping quality that made you anticipate the next episode and wonder who might fall victim to the vampire.

The film veers into a vastly different territory.

Burton and Depp’s Barnabas struts around, emitting one-liners for intended giggles. The other characters seem dressed for Halloween and are dumb and morose.

I got the feeling it was a retread of a situation comedy like The Addams Family rather than a horror soap to be taken seriously.

The sexual references and the occasional bloody vampire effects are okay but seem peppered in to justify the dark comedy.

Even an uninspired cameo by shock rocker Alice Cooper is perceived as a weak attempt to add something frightening or dangerous.

Unsurprisingly, Dark Shadows (2012) performed poorly at the box office and was derided by true fans of the series and almost every other film critic.

This sent Barnabas and his family slinking back into their coffins, possibly for good.

What a shame.

2012 Films, Action, Drama, Political Thriller, Thriller, War

Zero Dark Thirty-2012

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Zero Dark Thirty-2012

Director Kathryn Bigelow

Starring Jessica Chastain

Scott’s Review #1,133

Reviewed April 14, 2021

Grade: A-

Director Kathryn Bigelow, not far removed from her Oscar win for The Hurt Locker (2008), returns with a similar style of film centered on war and, more specifically, the emotional toll and psychological effects of not just battlefields but also dangerous missions.

The main character faces many conflicts, and the viewer inevitably does too.

Zero Dark Thirty (2012) is unique in the genre for having a woman in the lead role, and star Jessica Chastain is front and center and terrific.

She is calm, restrained, and in control. She is tough to rattle and a powerful, inspirational character to admire.

Chastain exudes cool in the face of danger.

Chastain does have a brilliant emotional scene at the end of the film. Her character, Maya, boards a military transport back to the U.S. as the sole passenger. She is asked where she wants to go and begins to cry. The emotion finally gets the better of her, as it would to anyone.

The film isn’t all Chastain’s to brag about, and there is little wrong with it.

Beautifully directed, Bigelow layers her film with enough tension and magnificence to enshroud the moral questions viewers will ask, specifically about torture.

It’s somewhat fictionalized, and in fact, Chastain’s character is made up, but Zero Dark Thirty is a gem nonetheless.

But we also know the events happened.

The film starts incredibly well and immediately grabs the viewer’s attention with a brilliant first scene.

Amidst a dark screen and soundtrack of actual calls made to the 911 operator from inside the World Trade Center Towers on 9/11, the scene is about as powerful an opening as a film can have and bravely sets the stage for what follows.

These include many scenes of Arab detainees being interrogated (that is, tortured) for information about Al Qaeda. Is this justified or unnecessary abuse?

The viewer is immediately saddened, in tears, and conflicted about whether the torture is justified, having just heard the 911 calls.

I know I was.

From there, the viewer also hears a summary that puts the pieces of the first scene together.

After the terrorist attacks of September 11, 2001, Osama bin Laden becomes one of the most wanted men on the planet. The worldwide search for the terrorist leader occupies the resources and attention of two U.S. presidential administrations.

This is the crux of the film and the story told.

Ultimately, a dedicated female operative (Chastain) proves instrumental in finally locating bin Laden. In May 2011, Navy SEALs launched a nighttime strike, killing bin Laden in his compound in Abbottabad, Pakistan.

We all know this, but troubling is the use of torture. I keep coming back to this point.

I think what I like most about the film, besides the riveting pacing, action sequences, and psychological appeal, is the controversy that surrounds it.

The fact that it ruffled feathers at the CIA and in Congress about whether the info was leaked to the filmmakers makes me think that at least some of it is based on facts, despite what other reviewers (likely with a strong political bias) might claim to the contrary.

But as a political junkie, that’s just my belief.

The film’s reproduction of enhanced interrogation techniques is brutal. Some critics, in light of the interrogations being depicted as gaining reliable, useful, and accurate information, considered the scenes pro-torture propaganda.

Acting CIA director Michael Morell felt the film created the false impression that torture was key to finding bin Laden. Others described it as an anti-torture exposure of interrogation practices.

I guess we may never know the truth. But the film compels and provokes feeling.

Bigelow is at the top of her game with Zero Dark Thirty (2012), crafting a genre film (the war one) too often told through a masculine “us versus them” mentality and leaving behind the fascinating nuances that can make the genre a more interesting and less one-note.

The masterful director does just that and makes us think, ponder, and squirm uneasily.

Oscar Nominations: 1 win-Best Picture, Best Actress-Jessica Chastain, Best Original Screenplay, Best Sound Editing (won), Best Film Editing

2012 Films, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, New York City, Romantic Drama

Keep the Lights On-2012

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Keep The Lights On-2012

Director Ira Sachs

Starring Thure Lindhardt, Zachary Booth

Scott’s Review #1,100

Reviewed January 16, 2021

Grade: A

With such a healthy dose of LGBTQ+ films released during the 2010s, enough independent productions exist to please nearly everyone striving for good diversity in film.

Over the years, it was tough to find specific genre films without having to hunt for subtle clues filmmakers incorporated.

LGBTQ+ films are now a dime a dozen, which is good but makes some films fall under the radar.

Keep the Lights On (2012) is a romantic drama, rather mysterious, about two men and the nine-year-long love affair they share. It’s not a happy watch because drug addiction is a large part of the story.

It portrays the men as human beings with passion and feelings, experiencing joys and pains, rather than as caricatures or comic relief.

This is progress, and worthy of much praise.

The only issue with the film is that by 2012, and the decade as a whole, so many similar films were being made that it’s hard to distinguish it from other high-profile works.

The LGBTQ bar was set very high with Brokeback Mountain in 2006, and recent offerings like Carol (2015) and Moonlight (2016) thrust the LGBTQ+ community into the spotlight.

Keep the Lights On has many positives, especially cinematically, but it risks getting lost in the shuffle against other genre films.

It’s worth checking out this gem.

It’s best compared to the exceptional same-sex love story Call Me by Your Name (2017). Both are character-driven and are both happy and tragic.

Keep the Lights On is technically an American film. It feels like an international film, though, because it centers around a Danish filmmaker who lives in New York City.

Erik (Thure Lindhardt) is a troubled, creative soul who struggles to complete a documentary about an artist named Avery Willard.

He meets and enters into a loving but complicated long-term relationship with Paul (Zachary Booth), a lawyer in the publishing industry who struggles with drug addiction.

That’s what makes their relationship so complicated. They are bonded but plagued with outside challenges. It began in 1998 and ended in 2006.

They meet via a phone sex chatline, which adds to the sexual mystique. Erik is gay and happily out, but Paul indulges in both men and women and is sexually conflicted.

He gets Erik high. Will he lead Erik down a dark path? Will Paul clean up his act or die? Erik and Paul bed numerous other men throughout the story. This is an intriguing addition to the complicated events.

Since the film is about a filmmaker, it should include cool, inventive camera angles and editing, and it does. Ira Sachs, an American director, delivers lush shots of New York City and looks through the lens of a true creative spirit, which justifies Erik’s character.

The story builds slowly, and plenty of times I waited for something exciting to happen. But real life is made up of many small moments, and I loved how the film is, instead of adding big, momentous scenes for effect.

The audience is meant to root for Erik and Paul to trot into happily-ever-after territory. This may or may not happen.

Keep the Lights On has a vague ending open to interpretation.

Erik and Paul look similar, which I found very interesting. They say that many same-sex couples are attracted to individuals who look like themselves. I’m not sure how true this is, but I wondered if Sachs had a point to make.

Can a person have multiple sides that they see in other people? Keep the Lights On is told more from Erik’s perspective, and he sees in Paul the dark side of himself.

The honesty that exudes from Keep the Lights On comes from Sach’s relationship with a publisher he met and fell in love with. The truthfulness comes across on screen, which is the main appeal of the overall experience.

I love the title, which can be interpreted in a few different ways, especially once the conclusion arrives.

I admire that Keep the Lights On (2012) was made, and the characters convey a longing and yearning that feels quite humanistic. It feels like it was created based on fact rather than a studio idea conjured up around a boardroom table.

Ira Sachs creates an excellent, quiet film about two men and the love story they share. Their troubles come and go, but their passion and bond never waver.

Independent Spirit Award Nominations: Best Feature, Best Director-Ira Sachs, Best Male Lead-Thure Lindhardt, Best Screenplay

2012 Films, Drama, HBO, Political Drama

Game Change-2012

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Game Change-2012

Director Jay Roach

Starring Julianne Moore

Scott’s Review #1,094

Reviewed December 23, 2020

Grade: B

Sarah Palin is an idiot. John McCain is not. We didn’t know that in 2008. We do now.

Somehow their different worlds collided as partners in crime for the 2008 United States Presidential election; she was the vice-presidential nominee to his.

McCain’s people wanted a fresh face, someone with charisma, who could help defeat the surging U.S. Senator from Illinois, named Barack Obama.

Game Change (2012), an HBO film, chronicles how an unknown female governor from Alaska was chosen as McCain’s running mate without proper vetting, leading to one of the biggest political fiascos of the twenty-first century.

The production is a well-acted, well-paced affair that makes even the most liberal viewer (me!) sympathize, ever so slightly, with Palin, who was thrust into the spotlight at lightning speed.

Julianne Moore takes center stage, giving the political figure empathy and some heart.

Woody Harrelson as the campaign’s senior strategist, Steve Schmidt, and Ed Harris as John McCain provide levity.

The acting is the film’s best part. Otherwise, the film might have been best served as a documentary (more about that below).

As believable as Moore, Harrelson, and Harris are, they feel like performances rather than authenticity. They try to give their best interpretations of the players instead of immersing themselves in their bodies.

Maybe that’s the point of the film?

I love how the film opens.

In 2010, after the debacle has ended, Steve Schmidt sits uncomfortably before Anderson Cooper from CNN.

He asks Schmidt whether Palin was chosen as VP because she would make the best vice president or because she could win the election.

The question is poignant and forms the basis of the entire film.

Another excellent sequence is set during the Republican National Convention. Palin’s speech is well received, bombastic even, and energetic, catapulting her as the potential saving grace of the party.

Sadly, for her, the campaign becomes concerned that she is ignorant about many political issues and grossly unprepared.

These scenes are the weakest- the audience laughably realizes she believes Korea is one country, and many other gaffes follow.

But, unless you’ve been hiding under a rock, this is common knowledge.

Game Change makes a mistake by editing too many snippets of real-life interviews and other news media moments. This detracts from the dramatization that is the intention and makes me wonder why a solid documentary wasn’t made instead.

Jay Roach, who directs Game Change, revels in close-ups, especially of Palin, perhaps as a nod to her being thrust onto every television station in the United States.

Danny Strong screenwrites the project.

The duo sets up the predictable situations nicely—Palin’s disagreements with McCain, the woman, not his choice. For reference, he wanted Joe Lieberman, a moderate from Connecticut who was considered “boring”.

Let’s give the most credit to Moore. The actress doesn’t exactly embody Palin. She is more like a dressed-up impersonator, hardly Charlize Theron flawlessly playing Aileen Wuornos.

But she does make the audience care about her and feel sorry for her. Palin had no idea what she was in for, nor did she know what she signed up for. Moore portrays the emotions well.

Moore carries the film. Palin became a source of venom and mockery after her embarrassing interview with Katie Couric, in which she couldn’t name any magazines.

She quickly became the whipping girl rather than the ‘it’ girl.

The message is competent without feeling preachy or overpowering, but Game Change feels a bit dull. Schmidt and Nicole Wallace chose Palin, making the enormous mistake of knowing very little about the woman.

Game Change (2012) is recommended for those who want to be entertained or who desire a history lesson without seeing the real people.

I still think a documentary would have worked better.

2012 Films, Action, Adventure, Comedy, Guy Films, Screwball Comedy

21 Jump Street-2012

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21 Jump Street-2012

Directors Phil Lord, Chris Miller

Starring Channing Tatum, Jonah Hill

Scott’s Review #992

Reviewed February 20, 2020

Grade: C+

21 Jump Street (2012) is a nostalgic ode to the general style of the 1980s, more specifically a popular television series that ran from 1987 to 1991.

The teen police drama launched actor Johnny Depp’s successful career.

He starred as the good-looking leader of a team of young police officers who can pass for high school students and infiltrate potential drug rings, prostitution circles, or other such shenanigans.

The film is hardly high art or cinematic genius. The gags are silly and trite, other times not funny at all.

But the film has a freshness that feels cool, sleek, and fun, with a throwback to a decade of materialism, and it never apologizes for it.

The chemistry between Jonah Hill and Channing Tatum turns a standard buddy film into something bearable to watch.

The film is formulaic, but not dull.

The filmmakers aim for an action-comedy hybrid, even though the series was mostly conventional drama and taught a lesson in each episode. They also change course and focus on two characters instead of a group, making it more of a guy movie.

Honor roll student Morton Schmidt (Jonah Hill) and popular, underachieving jock Greg Jenko (Channing Tatum) reunite seven years after graduating high school at the police academy, where they are studying to be cops.

Eager to leave their juvenile problems and their dislike for each other behind, they use their youthful appearances to go undercover at a local high school as part of a Jump Street unit.

As they trade in their guns and badges for books and bagged lunches, Schmidt and Jenko risk their lives to investigate a violent and dangerous drug ring.

They slowly realize that high school is nothing as they left it just a few years earlier, and they revisit the terror and anxiety of being a teenager again and all the issues they assumed they had left behind.

The film is mediocre; nothing is wrong with it, but nothing is outstanding either. As the setup suggests, Morton and Greg are opposites in every way and must come together to achieve a common goal.

This is a standard cliché told countless times in films such as Stir Crazy (1983) and 48 Hours (1982), and the reference is from the 1980s.

Speaking of the decade of excess, 21 Jump Street achieves what it sets out to do in this regard with a clever nod to a revived scheme from that decade.

Set in present times, the film is nonetheless a nod to teen films of the day.

Wild comedy and lavish adventures are in order in every high school situation imaginable. Dating, AP chemistry class, and the senior prom are heavily promoted so that any viewer above the age of twenty-five can reminisce.

A fun and necessary quality is the inclusion of a few of the original cast of the television series-Holly Robinson Peete, Peter DeLuise, and Johnny Depp all appear in cameo roles.

This is a treat for fans of the original series and a tribute to its creation, though nothing else is utilized very well, and no other history ever quite measures up.

Robinson Peete’s role is nice because she appears as a police officer.

While it does little to honor the television series it is based on, and instead churns out more of a male-cop film, the incorporation of the original cast deserves praise.

The lead actors are charismatic and clever in their roles, which saves the film from being a disaster.

21 Jump Street (2012) veers too far into slapstick instead of sending an important message to its audience, which it could have.

The box-office hit was followed in 2014 by an unnecessary remake, aptly entitled 22 Jump Street.

2012 Films, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Spanish

Angels of Sex-2012

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Angels of Sex-2012

Director Xavier Villaverde

Starring Astrid Berges-Frisbey, Alvaro Cervantes, Llorenc Gonzalez

Scott’s Review #934

Reviewed August 23, 2019

Grade: C

Angels of Sex (2012) is a Spanish LGBT drama that tries to build an intriguing romantic relationship between its characters but slowly teeters into a plot-driven soap-opera mess, leaving the viewer unsatisfied.

Casting good-looking actors and showing plenty of skin only goes so far before one’s attention span begins to wane and one starts yearning for more depth, which never comes in this film.

The filmmakers do get some props for crafting a diverse film, but the story ultimately sucks.

Set in Barcelona, Spain, the film follows Bruno (Llorenc Gonzalez), a student saved by karate instructor Rai (Alvaro Cervantes), as he begins to question his sexuality while the two men grow attracted to one another.

Throwing a wrench into their blissful affair is Bruno’s girlfriend, Carla (Astrid Berges-Frisbey), who is drawn to both men while shunning their romantic attraction to one another.

The three characters interact and have affairs with each other, leading to a series of emotions that shape their decisions.

The premise is intriguing at the beginning of the story, anyway, as a “straight man meets gay man” moment immediately occurs, and sparks fly between the men.

When Bruno accepts his attraction to Rai while also continuing his attraction to Carla, a unique bisexual premise is offered. Why can’t Bruno spend equal time with Rai and Carla? Which one will he decide to choose, or will he choose him? Will all three be okay with the arrangement?

These are the kinds of interesting questions the film offers until it slips about halfway through.

Each character begins to crumble, becoming banal and wishy-washy, especially Carla. She accepts the “time-sharing” relationship but then gets mad when she sees Rai and Bruno kiss, finally falling for Rai and having an affair with him. Huh?

This is character assassination 101. Bruno’s motivations become unclear as he hedges on nearly every decision, while Rai becomes more brooding and indecisive.

It’s as if the writers didn’t know which direction to take the characters, or thought their good looks would carry the film.

Other gripes include the title, which has nothing meaningful to do with the story and seems like a weak effort to gain attention (and viewers) by using a.

Another irritant was the constant inclusion of unknown characters break-dancing to the song. Was this necessary? Rai has an interest in the genre, we get that, but the needless scenes seem like attempts to fill time.

Better use of time might have been additional scenes of Carla and her mother. A passing scene or two and a situation involving Carla’s father cheating on the mother is limiting and could have been an interesting sub-plot, perhaps even figuring into the main story.

Carla’s group of friends add little to the film especially her slutty friend bedding two others in the group. The situation seems more like an add-on or a time filler than rich writing.

Props go to any film with the desire to showcase an LGBT-themed story as, despite the film being made in 2012, most LGBT films are still indie projects.

I hoped for and expected more from the film especially the culturally interesting location of a European hotbed of sexuality and parties.

Angels of Sex (2012) starts well until disintegrating into a bad LGBT episode of “As the World Turns” or “Days of our Lives” with poor character writing, unnecessary supporting characters and a feeble attempt at a twist ending that merely turns into a red herring and thereby a disappointment.

2012 Films, Horror, Independent, Independent Horror, Psychological Horror

Chained-2012

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Chained-2012

Director Jennifer Lynch

Starring Vincent D’Onofrio, Eamon Farren

Scott’s Review #627

Reviewed March 24, 2017

Grade: B-

Chained is a 2012 independent horror film directed by Jennifer Lynch, who is the daughter of the brilliant film and television director, David Lynch.

His influence is readily felt throughout.

The film is an exercise in cerebral, psychological horror, and is quite mesmerizing for most of the experience.

The ending, however, is the pits and, with its asinine, quickly wrapped-up conclusion, takes away from the enjoyment of the rest of the film.

The film is set in an unknown area- all the audience knows is a decrepit, isolated cabin in the middle of nowhere and that the shack exists in some proximity to a college town.

Since the film is shot in Canada, that is a good enough locale for me to accept.

One day a seemingly happy husband drops off his wife and nine-year-old son at the movies but implores them to take a taxi home as the bus is too dangerous.

When they heed his advice, they are accosted by a deranged serial killer, Bob (D’Onofrio), who drives a cab and whisks them away to his remote home.

After he kills the mother, he makes the son, whom he renames Rabbit, his slave, reducing him to household chores and a somewhat accomplice to the subsequent victims he brings home.

As the years pass and Bob continues to kill, he is determined to have a now mature Rabbit follow in his footsteps.

A large chunk of Chained (and the film is aptly named because Bob commonly keeps Rabbit chained) takes place in Bob’s lonely home, and Bob and Rabbit are all each other have for support.

Bob presumably earns a living by stealing the cash his victims carry.

Many scenes of a binding nature, albeit perverse, play out as the two kill time between Bob’s kills, almost like a father and son.

Jennifer Lynch wisely moves the film at a slow pace for appropriate build-up.

Bob’s psychologically troubled childhood is told through flashbacks as he is victimized by his abusive father and forced to have sex with his mother, who blames him rather than her husband.

As a result, Bob hates women and lures victim after victim into his cab and then slices and dices them back at his home.

Bob is sympathetic, like a wounded bird, and whether he rapes the victims before killing them is unclear, as much happens off-screen.

The cabin is deliberately suffocating, and when Bob teaches Rabbit facts and encourages him to read and study to become smart, it becomes a bonding experience.

Slowly, Bob trusts Rabbit more and more.

When Bob makes Rabbit pick out a young girl in a school yearbook to kill, the film kicks into high gear. Suddenly, it becomes vague whether Rabbit is loyal to Bob or still determined to escape. Will he help his intended victim instead of killing her?

David Lynch’s imprint is blatant in the film’s pacing and, more specifically, in the low-hum musical score common in his films.

Daughter Jennifer knows her father’s techniques as they continually come into play.

A nice homage to Mulholland Drive (1992) appears when a sweet older couple rides in the back of Bob’s cab, reminiscent of the older couple featured in Mulholland Drive.

The gloomy ambiance is highly effective in Chained, and the relationship between Bob and Rabbit, not sexual or overly violent, becomes rather sweet in some moments.

The rushed conclusion of the film is disastrous, and Lynch’s attempt at a twist goes haywire in the “makes sense” department.

After a compelling fight scene with Bob, Rabbit finally kills him, escapes his clutches, and returns to his father’s open arms (now newly re-married with another son) only to reveal to his father that he knows he orchestrated Rabbit and his mom’s abduction years ago and that Bob is Rabbit’s uncle!

To matters even more confusing, after a dramatic event, Rabbit is sent away yet again and returns to the cabin as his only safe place.

This final act is a real dog, makes little sense, and is tough to digest.

I will give some liberties to 2012’s Chained since the director is spawned from the great David Lynch and the mood and several characteristics mirror his work, but still with her unique vision an obvious characteristic.

Most of the film is a solid effort, but due to the ending of the film being such a letdown, the body of work seems incomplete.

2012 Films, Biography, Drama, Historical Drama, Period Drama, Political Drama

Lincoln-2012

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Lincoln-2012

Director Steven Spielberg

Starring Daniel Day-Lewis

Scott’s Review #476

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Reviewed September 10, 2016

Grade: A

Lincoln is a 2012 film, which received a slew of Academy Award nominations. However, opinions about the film itself differ.

Lincoln has audiences divided over whether it’s a brilliant film or a snoozefest.

My opinion leans decisively toward the former.

I recognize that (especially the first half) the film is slow-moving, but I found it engrossing and well-made.

Even the subtle aspects (costumes, art direction, lighting) are masterfully done.

I found Daniel Day-Lewis’s (Abraham Lincoln) lengthy stories intriguing, not dull, and a wonderful history lesson.

Steven Spielberg does what he does best- he creates a Hollywood film done well. He’s also done controversial, shocking, or experimental films, but mainstream fare is his forte.

This film isn’t for everyone, but if you have the patience, it will be an enlightening experience. If nothing else, a thing or two may be learned.

Oscar Nominations: 2 wins-Best Picture, Best Director-Steven Spielberg, Best Actor-Daniel Day-Lewis (won), Best Supporting Actor-Tommy Lee Jones, Best Supporting Actress-Sally Field, Best Adapted Screenplay, Best Original Score, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

2012 Films, Comedy, Romantic Comedy, Screwball Comedy

This Is 40-2012

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This Is 40-2012

Director Judd Apatow

Starring Paul Rudd, Leslie Mann

Scott’s Review #473

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Reviewed September 6, 2016

Grade: B

I must admit, I wasn’t looking forward to seeing this movie, and my initial thought was “typical dumb comedy” that’s been seen a million times before.

While This Is 40 (2012) contains those elements and is marketed toward a specific target audience, it’s surprisingly smart and intelligent overall.

I have not viewed Knocked Up (2007), but I understand it’s somewhat of a follow-up to that film, as the two central characters are now married and traversing through a different time in their lives.

Adulthood.

I enjoyed Paul Rudd’s, Melissa McCarthy’s, and whoever played the oldest daughter’s performances the most. However, Rudd has become the latest actor to play the same role over and over again.

I enjoyed the rock n roll elements and the confrontation scenes, as these were very cleverly written and nicely acted.

Sadly, at times the film relies on the standard bathroom humor done thousands of times before- a clear attempt at a laugh, and Jason Segel’s and Megan Fox’s characters are unnecessary to the main plot.

This Is 40 (2012) is a film that, at its heart, shows the trials and tribulations of generations of families, humorously, and done rather well.

2012 Films, Horror, Thriller

The Tall Man-2012

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The Tall Man-2012

Director Pascal Laugier

Starring Jessica Biel

Scott’s Review #457

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Reviewed July 30, 2016

Grade: B-

The Tall Man (2012) is a horror/thriller/message movie that stars Jessica Biel as Julia Denning, a nurse living in rural Washington.

The town’s children begin disappearing and are abducted by a mysterious creature named “The Tall Man”.

Is he a legend or a reality? When Julia’s son is the next victim, she sets out to solve the mystery.

The aging mining town of Cold Rock is the setting for the film, and it is perfect, with all the necessary elements: a remote, secluded location and creepy townspeople.

Additionally, The Tall Man has an interesting premise, and the ending is somewhat of a surprise, though rushed, so it’s an interesting experience.

The plot is so far-fetched and convoluted at times that it is tough to follow and take seriously.

I am not a fan of Jessica Biel, and I find her acting subpar, but she is adequate in her starring role and delivers a compelling performance as a haggard mom.

Given the actress’s good looks, I didn’t buy her as a blue-collar, small-town type.

Throughout the film, I felt something was missing, but I couldn’t put my finger on it.

A decent thriller, but nothing more.

2012 Films, Animated, Comedy, Disney, Horror, Horror-Comedy

Frankenweenie-2012

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Frankenweenie-2012

Director Tim Burton

Starring Charlie Tahan 

Scott’s Review #454

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Reviewed July 23, 2016

Grade: B

Frankenweenie is a very creative Tim Burton-made, stop-motion film that received a nomination for Best Animated Feature at the 2012 Oscars.

On the dark side, it is a pleasure to watch for the thought-invoked and left-of-center approach as compared to many safe modern animated features.

The story revolves around a lonely young man who experiments on his recently deceased dog to bring him back to life.

It is a black and white film, has nice horror references (Frankenstein, Bride of Frankenstein) and interesting characters.

It is also heartwarming as the child’s love for the dog is evident.

The movie is easy to compare to 2012’s ParaNorman in multiple ways (lonely male teen, both dark films).

As much as I give major props to this film for the creativity involved, somehow it did not completely connect with me (I liked ParaNorman better) and I’m not sure why, but I have great respect for the creative achievements it encompasses.

Oscar Nominations: Best Animated Feature Film

2012 Films, Animated, Comedy, Horror, Horror-Comedy, Independent, Independent Comedy, Independent Horror

ParaNorman-2012

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ParaNorman-2012

Directors Chris Butler, Sam Fell

Starring Kodi Smit-McPhee, Anna Kendrick

Scott’s Review #453

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Reviewed July 23, 2016

Grade: B+

ParaNorman (2012) is a highly imaginative and very enjoyable animated film that I admired a great deal.

Creative colors and images are key, and the film is stop-motion.

Despite being animated, it is not a kid’s movie but rather geared toward the teenage or older demographic.

It is among the strongest of the five films nominated for Best Animated Feature in 2012, along with Frankenweenie, a similar type of film.

ParaNorman is so similar to Frankenweenie that they could almost be simultaneously reviewed or watched on the same day.

Both center around an isolated young male coping with his surroundings, and both contain a light horror feel.

In ParaNorman, an army of zombies invades a small, suburban town, and our hero, Norman, a strange young man who can communicate with the dead, must save the day.

The film features sympathetic peers, but the adults present various obstacles.

I have gone on record as being not much of an animated film fan, but I do view the best of each year, and this one impressed me immensely.

Oscar Nominations: Best Animated Feature Film

2012 Films, Arabic, Documentary, International, International Documentary

5 Broken Cameras-2012

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5 Broken Cameras-2012

Directors Emad Burnat, Guy Davida

Starring Emad Burnat

Scott’s Review #452

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Reviewed July 22, 2016

Grade: B-

5 Broken Cameras is a 2012 documentary spoken in the Arabic language, which received critical acclaim upon release and heaps of award nominations.

A documentary about a Palestinian farmer, Emad Burnat, who recounts Israeli soldiers overtaking his land for several years; it became a Best Documentary Oscar nominee.

Non-political in his life, Emad is threatened as the Israelis build a wall through his land, which he refuses to part with.

As important as the subject matter is, it never really captured my attention, and I found it to drag a bit, which pains me to say because I was hoping to be really into it, given the topic.

This is just my opinion, since it is a critically acclaimed piece.

I would have voted for the far superior Invisible War, from the same year, for Oscar glory.

Oscar Nominations: Best Documentary-Feature

2012 Films, Best Documentary Feature Oscar Winners, Documentary

Searching for Sugar Man-2012

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Searching for Sugar Man-2012

Director Malik Bendjelloul

Starring Sixto Rodriguez

Scott’s Review #451

Reviewed July 17, 2016

Grade: B

Searching for Sugar Man (2012) is a heartwarming documentary that tells the true story of a forgotten rising Detroit rock singer (Sixto Rodriguez) from the early 1970s.

South African DJs rediscover him, and he becomes a surprising legend today.

The documentary’s main talking point is how an icon can be idolized in one country while living in utter poverty in another.

Thought to be the next great thing in the 1970s, his two released albums bombed, and he faded into oblivion until South African DJs, curious about his whereabouts, tracked him down.

Searching for Sugar Man (2012) is an inspiring documentary for any musician or music fan, since Rodriguez is a true artist.

He isn’t in it for the money or obsessed with attention or fame; he finally gets some recognition for his talent.

He is a free spirit, reminiscent of Bob Dylan, a poet, whose story is a courageous one.

Thankfully, this inspiring documentary has brought Rodriguez some notice.

Oscar Nominations: 1 win-Best Documentary-Feature (won)

2012 Films, Action, Crime Drama, Drama, Los Angeles, Thriller

End of Watch-2012

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End of Watch-2012

Director David Ayer

Starring Jake Gyllenhaal

Scott’s Review #447

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Reviewed July 8, 2016

Grade: B+

End of Watch (2012) impressed me much more than I was expecting. I expected a safe, by-the-numbers buddy/action movie, since the previews promoted it as such.

It was worlds better than that and threw me for a loop, in a good way.

The film stars Jake Gyllenhaal and Michael Peña as two detectives patrolling the streets of grizzled central Los Angeles, which are riddled with drug and gang violence.

The viewer is brought along for the ride as we see a day in the life, if you will, of their cop beat.

The one knock I’ll give the film is the implausibility factor of a cop videotaping everything. This seems silly and unrealistic.

Wouldn’t he be incredibly distracted? That said, some of the filmings were amazing, including the opening sequence.

The film has a realistic grittiness, and the Los Angeles locale is very effective.

End of Watch (2012) feels painstakingly real, isn’t always happy, and the dynamic between Jake Gyllenhaal and Michael Peña is evident; their friendship feels real.

The movie feels like a day in the life of an LA cop, sparing no edgy detail, and it doesn’t gloss over the lifestyle as many cop films do.

Independent Spirit Award Nominations: Best Supporting Male-Michael Peña, Best Cinematography

2012 Films, Comedy, Fantasy, Independent, Independent Romantic Comedy, Romantic Comedy

Ruby Sparks-2012

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Ruby Sparks-2012

Directors Jonathan Dayton, Valerie Faris

Starring Paul Dano

Scott’s Review #442

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Reviewed July 4, 2016

Grade: B

Ruby Sparks is a smart, creative, indie film released in 2012.

The film explores fantasy versus reality, as the main character is a troubled writer who imagines a character he created as real.

Is she real or isn’t she?

The film centers around a writer (Paul Dano) with writer’s block who creates an imaginary dream girl (Zoe Kazan), who magically comes to life one day.

This is an interesting premise, and the film has some big-name actors (Annette Bening, Eliot Gould, Antonio Banderas) in small roles, which is a delight to see.

The chemistry between the two leads is lacking, and the film leans too heavily into a typical romantic comedy.

Additionally, the film never explains whether it aims for seriousness or is purely the writer’s imagination, but I admire its creativity and thoughtful premise.

Independent Spirit Award Nominations: Best Screenplay

2012 Films, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, LGBTQ+ Comedy, LGBTQ+ Films, Romantic Comedy

Gayby-2012

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Gayby-2012

Director Jonathan Lisecki

Starring Jenn Harris, Mathew Wilkas

Scott’s Review #441

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Reviewed July 3, 2016

Grade: C+

Gayby (2012) is a sketch-type comedy about two best friends (a gay man and a straight woman) who decide to have a child together.

Both have reached a certain age and are unhappy that they haven’t found the perfect mate. The story is not novel and feels more like a Saturday Night Live sketch than a film.

The film also plays on the success of television comedies like NBC’s Will and Grace and the obvious dynamic between the central characters.

The two leads are quite appealing in a comic way, have wit (Jenn Harris is deliciously neurotic), and have great timing.

The subject matter is interesting, though as years go by and more LGBTQ+ topics are covered, it is becoming rather dated and no longer novel.

The negative is the frenetic, quick pacing of the film, ultimately making it rather off-putting and annoying, to say nothing of the irritating stereotypical supporting characters.

They are written so over-the-top that it is tough to take the film as seriously as it should be taken.

Independent Spirit Award Nominations: Best First Screenplay

2012 Films, Comedy, Independent, Independent Comedy, Romantic Comedy, Science Fiction

Safety Not Guaranteed-2012

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Safety Not Guaranteed-2012

Director Colin Trevorrow

Starring Mark Duplass, Aubrey Plaza

Scott’s Review #440

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Reviewed July 3, 2016

Grade: B-

Safety Not Guaranteed is similar in style to another 2012 independent film, Ruby Sparks, in that both pose the question, “Is this fantasy or reality?”

The film explores time travel.

The story centers on a magazine journalist who, along with two interns, follows a man convinced he is building a time-travel machine.

The story then develops into a romantic comedy of sorts, and the audience is unsure whether the guy is crazy or a true genius.

It’s an interesting concept, intelligently written, and Aubrey Plaza and Mark Duplass are both quite likable in the lead roles.

The one flaw for me was, at times, the movie dove into slapstick territory with a silly secondary story of a stereotypically written Indian character attempting to lose his virginity.

Besides that, Safety Not Guaranteed (2012) has intriguing intentions.

Independent Spirit Award Nominations: 1 win-Best First Screenplay (won), Best First Feature

2012 Films, Horror, Psychological Horror, Psychological Thriller, Thriller

House at the End of the Street-2012

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House at the End of the Street-2012

Director Mark Tonderai

Starring Jennifer Lawrence

Scott’s Review #438

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Reviewed July 2, 2016

Grade: B

House at the End of the Street (2012) is a perfect example of a horror/thriller film that has excellent effects and great potential, but the storytelling brings it down.

It is also a film starring Jennifer Lawrence before she became an Oscar-winning star. Her performance is adequate, and she does what she can in the lead role.

Lawrence is likable in this role and is clearly the film’s hero.

The film itself looks great. It has all of the necessary horror elements: a creepy house in the woods, darkness, and sudden scares.

The buildup in the first half is very interesting, and the audience isn’t quite sure what’s to come or what mysteries and secrets lurk in the title house.

During the final thirty minutes, however, when the twist is revealed, the film becomes predictable, by the numbers, and disappoints.

The story becomes so convoluted it hardly matters anymore.

The first half is great, but the second half fails.

I was happy to see Elisabeth Shue in this movie, as she has been out of the limelight for years; her character, though,  is quite one-dimensional.

Film summary: great-looking horror film, with mediocre writing.

2012 Films, Crime Drama, Drama, Independent, Independent Drama

Arbitrage-2012

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Arbitrage-2012

Director Nicholas Jarecki

Starring Richard Gere

Scott’s Review #437

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Reviewed July 1, 2016

Grade: B+

Arbitrage (2012) is an exciting, interesting, little indie thriller starring Richard Gere as a successful but troubled CEO whose life begins to unravel around him through a series of circumstances.

He is a billionaire, but he risks losing everything because of shady dealings and fraud.

The film keeps the audience guessing and never feels predictable. The plot slowly unravels into a tense pot-boiler.

Richard Gere stands out, delivering a wonderful, believable performance. Once known as little more than a hunky Hollywood star, Gere has blossomed in recent years, taking on more compelling and complex roles.

Arbitrage (2012) has some Hitchcock elements throughout its complexity, though Gere’s character is an anti-hero, whereas Hitchcock’s were often good guys in bad circumstances.

The car crash scene is brilliantly done.

I wish this movie had received more attention, as it is a fun, thrilling ride.

2012 Films, Biography, Documentary

Marina Abramovic: The Artist Is Present-2012

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Marina Abramovic: The Artist Is Present-2012

Directors Matthew Akers, Jeff Dupre

Starring Marina Abramovic

Scott’s Review #436

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Reviewed July 1, 2016

Grade: B+

The wonderful thing about documentary features is that they can introduce the viewer to a world of knowledge or offer an experience you might not ordinarily encounter.

This is the case for me with Marina Abramovic: The Artist Is Present (2012).

Knowing nothing about this inspiring artist beforehand, I had no idea who she was and had no exposure to performance art.

The film does a great job of telling Marina’s career history, extreme discipline, and the honesty of her work.

The documentary is also a biography, as it gives a history lesson of who she is and the various obstacles she has hurdled in her life.

Marina is portrayed as an extreme artist, and it was a wonderful experience learning about her.

Seeing a video of The Museum of Modern Art in nearby New York City was a treat since I have been to the museum before.

Independent Spirit Award Nominations: Best Documentary Feature

2012 Films, Drama, Independent, Independent Drama, Independent Thriller, Thriller

Compliance-2012

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Compliance-2012

Director Craig Zobel

Starring Dreama Walker

Scott’s Review #435

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Reviewed June 30, 2016

Grade: A

Compliance (2012) is a riveting ninety-minute experience that will leave you thinking, talking, and feeling for days or weeks after you watch it.

The film is that intense.

The fact that it is based on true events is even more startling. It is, at times, quite disturbing and unsettling to watch, and if one likes their movies happy and wrapped in a bow, this will not be for you.

If you want a truly emotional experience, check it out.

At times I wanted to scream at the characters, look away from the screen, and shake my head in disbelief.

A truly riveting experience.

Major props to actress Ann Dowd, who does a bang-up job as the restaurant manager and main character. What an amazing talent she is.

My range of emotions toward this character (sympathy, confusion, anger, disbelief) blew me away.

Compliance (2012) is one of the best modern films of late.

Independent Spirit Award Nominations: Best Supporting Female-Ann Dowd