SnoBorderZero
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Post by SnoBorderZero on Jul 28, 2016 0:39:16 GMT -5
Comedies are often viewed as a lesser genre in the realm of cinema. Sure we all have comedies we love because their main objective is to entertain us, but when you start analyzing the films in the same sense that you do other genres, comedies can often come up short. It seems like they can't balance laughs and plot for an entire running time, cinematography is a total afterthought and never has a unique aesthetic, and when elements of other genres are mixed in it generally falls flat. Enter Hunt for the Wilderpeople, a comedy that not only bucks the trend in regards to all of these classic pitfalls but does so with an impressive confidence that comedies rarely attempt. The film centers on Ricky Baker, a "troubled foster kid" that has come to stay in a remote part of New Zealand. He's instantly welcomed by his genuinely kind foster mother, but not so much by her gruff and cynical husband (Sam Neill). When tragedy strikes, Ricky runs away into the vast woods near the property, and what ensues is a hilarious manhunt filled with drama, action, and some surprisingly intricate thematic discussions that I was not expecting from a comedy. One of the initial takeaways of the film is how dedicated to an actual tone and atmosphere the whole thing is. The cinematography makes excellent use of natural light and soaring crane and jib shots that really brings out the daunting environment and breathes authenticity to the on-location shoot. I know a lot of films have been utilizing natural light more and more lately, but Hunt for the Wilderpeople really benefits from its stark silhouettes and long shots of the hills. Also, the editing was some of the best you'll see in any contemporary films, let alone comedies. For example, we think of montage from the Soviet silent-era as rapid cuts, which it technically is. Yet this film has multiple montage sequences with seamless cuts and 360 pans that made it clear director Taika Waititi was interested in creating much more than comedic scenarios with his film. There's excellent uses of bokeh, slow dissolves, long shot zooms from high angles, and more that is so well crafted despite its total subtlety. All of this is moved along by a terrific soundtrack that keeps the film lighthearted while maintaining its unique, Kiwi feeling. In regards to the comedy, this is a movie that had me constantly laughing from start to finish. It's more in line of comedies we see from other countries where the comedic delivery is deadpan and awkward as opposed to the general absurd and bombastic hoops that American comedies usually jump through. While it still has its ridiculous moments (I wasn't a huge fan of the way over-the-top CPS official, but she certainly had her scenes) the film is able to rely on its plot to create the jokes and scenarios as opposed to the other way around. It's essentially your typical story of "two contrasts forced to spend time together and then this happens", but I felt like the authenticity and attention in crafting the characters made it all work really well. The film even surprised me with some tense action and thriller sequences towards the end that I was not expecting to be pulled off in the manner that they were. This film actually had a better chase sequence than most thrillers do. Hunt for the Wilderpeople is a cinematic rarity in a great way; a comedy that's funny with a plot and can boast strong cinematography and direction as well. A lot of comedies are short-lived in both memory and cinematic impact, so when a film like this comes around it's pretty special. While it doesn't change the game in terms of its plot, Hunt for the Wilderpeople spreads out its areas of focus to every element that makes a film click, and does so in impressive fashion. A definite crowdpleaser for both the casual audiences and the cinephiles. 8/10
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Dracula
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Post by Dracula on Aug 9, 2016 18:50:35 GMT -5
Hunt for the Wilderpeople(8/4/2016)
There’s a sort of unofficial genre out there in the film marketplace, let’s call it the “family movie for kids with cool parents (FMFKWCP)” genre. These are movies that may or may not be made for children but which are semi-family friendly and are also made outside of the Hollywood system. These are movies that are made outside of the Hollywood system and which aren’t marketed directly to kids and aren’t made to have parents reluctantly drag their children to after having been begged for a week. Rather, these are movies that parents seek out and take their kids to whether or not said kids know what they’re getting into because the parent wants to expand their kids’ horizons just a little bit and have heard through word of mouth that whether the kids know what they’re in for they will appreciate the movie once they get there. The emperor of the FMFKWCP genre, from an American perspective anyway, is almost certainly Hayao Miyazaki but the “genre” usually takes the form of a live action film, often one from a director (usually a foreign director from an English speaking country) who’s known for more mature work but who’s decided to make something a bit more whimsical than usual. When I was a kid the film that filled that niche was an Irish-set John Sayles movie called The Secret of Roan Inish but I’ve seen other ones come along like Niki Caro’s Whale Rider, Danny Boyle’s Millions, and Stephen Daldry’s Billy Elliot. I would say that, while it skirts the line between family film and film for general audiences, the latest film from New Zealander Taika Waititi would also basically one for this strange little subset of film.
The film is set in rural New Zealand right on the edge of “the bush.” As the film begins a Child Protective Services agent named Paula (Rachel House) is bringing a twelve year old kid named Ricky (Julian Dennison) out to a remote farm where a woman named Bella (Rima Te Wiata) has agreed to take him in as a foster parent along with her husband who goes by the name Hec (Sam Neill). Bella is a wildly positive and endlessly patient if slightly dorky woman who is in many ways the best possible foster mother one could expect for a troubled youth. Hec on the other hand is sullen and impatient and less interested in the whole endeavor, but he’s not abusive or anything so much as he’s a bit withdrawn. Ricky initially hates it out in the boonies but comes to like it in large part because of Bella’s patience and love, but things quickly go awry when Bella suddenly dies of natural causes. Hec seems like a less loving foster parent but seems willing to stick it out, that is until child protective services decide that this is no longer a suitable home environment and give notice that Ricky will be taken away. Ricky isn’t having any of this so he decides to run away into the bush. Knowing that Ricky is completely out of shape and lacks survival skills Hec chases after him. With both of them seemingly missing, the authorities come to the conclusion that Ricky has been kidnapped and start chasing after both of them.
Taika Waititi was not a filmmaker I took all that seriously until fairly recently. Until last year he was probably most known for making strange comedy called Eagle Vs. Shark, but last year he directed and starred in an over-achieving horror/comedy called What We Do In the Shadows. That was a good movie but it still kind of made him look like a comedian with a camera rather than a great auteur but with this movie he seems to be stepping it up in a big way behind the camera. That isn’t to say that there isn’t still a lot of comedy here because there is, it just isn’t the kind of improvisational comedy that’s come to dominate what we expect from that genre today. In fact this is the kind of movie that has more laughs in it than the audience is likely to remember given that it’s only one part of the appeal rather than the main attraction.
Ricky and Hec make a good pair of opposites to put up against each other, partly because they both fit into archetypes while never being entirely defined by them. Ricky is labeled as a juvenile delinquent early on but you get a sense that a lot of his crimes are not terribly serious and while he fancies himself a “gangster” and names his pet dog Tupac the movie never overdoes it with the wannabe thug jokes and while it clearly views him as a wannabe it doesn’t ignore the legitimate plight he may have actually suffered. Meanwhile Hec also manages to be a bit more complex than he initially seems. At one point he’s jokingly called “Crocodile Dundee” but he isn’t entirely defined by that and he becomes increasingly interesting as you learn more about his past and his relationship with his deceased aunt. It doesn’t hurt that Sam Neil is doing some of his best work in a while, I hardly even recognized him at first given how button up he is in other movies like Jurassic Park and The Piano. The side characters are also a lot better than I expected them to be, especially the child protective services agent who is sort of the villain of the movie through her “principal in Ferris Bueller” level of obsession with this one case.
Hunt for the Wilderpeople poses something of a challenge for me as a critic because it’s a movie that really doesn’t do a whole lot wrong. For what it’s trying to do the thing hardly ever misses a beat… and yet at the end of the day I’m not really the target audience for the film and it really isn’t my thing and to some extent I can only be so excited by its success. There’s a certain predictability to the movie, you kind of know where it’s going (spoiler, the child and his uncle bond over the course of the adventure. Shocking I know) and at a certain point there is a bit of a “been there done that” quality to the whole thing even if it’s really well executed this time around. I can give the film a pretty high score but it’s never going to be the kind of thing that’s ever going to be my favorite movie of the year or anything. Still I’m definitely going to be taking this Taika Waititi guy more seriously… oh wait, his next movie is Thor: Ragnarok? Well when he’s done with that I’ll start taking him seriously.
***1/2 out of Five
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SnoBorderZero
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Post by SnoBorderZero on Aug 10, 2016 9:44:14 GMT -5
Yeah, he's making the next Thor film which is... well, you gotta do what's best for your career I suppose. But I was very impressed with him as a director, especially since I wasn't expecting anything from this film in regards to an actual film making style. To his credit, the action and chase scenes in this film were very well done, so he should make the jump successfully. I've found the two Thor films to be sort of whatever but well made enough, so maybe he can breathe some new life into it.
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