Reviews by yord

"Do you like hurting other people?"

Hotline Miami is psychotic, blisteringly psychotic, but yet subversive enough to penetrate through the fourth wall and have you questioning why, in fact, is this game so fun? The gameplay mechanics are simple: you come to the front door with a mask on and murder everyone. It varies in complexity, as the game gives you a healthy variety of tools with which you can use to make with the red splatters, and rewards you for utilizing your options with new mask choices--each one granting its specific boon. My favorite was Don Juan, the horse mask, granting me "Lethal Doors." In I would charge, typically getting gunned down or having my brains bashed in within seconds, and seconds later trying it again, only slightly different. You can get caught in loops where the same enemy kills you over and over and you insist on keeping the same pattern because it has worked so well until that point and you realize... well, maybe I should say I realized, that the whole thing seemed rather psychotic in nature, but why is it so fun?

"Why did you come back here? You're not a nice person, are you? You make me sick!"

The story lends the whole gameplay element about as much credulity as a handshake from a banker. But that is why it works so well. "Jacket," our unnamed player-character, is seriously unhinged from the start, living alone and, we learn, following instructions left on his answering machine.

"It's 'Dave' from Miami pest control. We need you. A client at SW 104th Street is having vermin problems. Try to handle it as quick and swift as you can. Someone else will clean up for you after you leave. Make sure not to bother any of the neighbors."

How curious our method is of "following instructions." However, Jacket has hallucinations, or maybe flashbacks, of three masked people sitting around him, asking him hostile questions, predicting the future with certainty, and generally being bizarre, which certainly doesn't explain anything, but it does add a bit of clarity to the situation. You are psychotic. All the neon colors, the pulsing retro techno buzz, the blood, the free handouts at every store you go to, the puking in the alleys. You start to see the people you've killed again, grotesque sinkhole foreheads dripping on the carpet. And then you die. Or maybe you don't. And then, once you've beat the game, it almost makes sense that the story is not over, and that you must play as someone you've killed. It would be easy to trust this "Biker" over Jacket, but when the final blood is spilled, it puts everything into question. Why did Jacket and Biker keep following the instructions on their machines? Could the whole thing really just be a couple kid's nihilistic game? Why is this game so fun?

"A picture is starting to take form here... I wonder if it's accurate. Some pieces don't quite seem to fit. Or maybe I just don't like the way it looks."

Hotline Miami manages to hook you with the one-more-try mechanic and a promise of an unforgettable fever dream of feral fantasy. Soak in this inspired indie game. Enjoy the brutality, enjoy the style, but most of all--[Link removed - login to see].

I am a huge fan of P.T. Anderson--have been since I first saw There Will Be Blood and was further swayed by Magnolia. He has a hypnotic way of drawing you in and keeping your attention as things swirl out of control. And so when I saw previews for The Master, it only took me one look into Joaquin's manic gaze before I knew I had to see it.

"If you figure out a way to live without a master, any master, be sure to let the rest of us know, for you would be the first in the history of the world."

Joaquin Phoenix stars as Freddie Quell, the enigmatic troublemaker that stumbles his way into Lancaster Dodd's (Philip Seymour Hoffman) world, secret elixirs in-hand. But even here, so close to the beginning, we come to an impass: who is really the star of this film? Both actors give phenomenal performances, not to mention Amy Adams finding ways to shine in the unenviable role of the submissive wife. But the film itself can't seem to decide who exactly this movie is about. There has been controversy over the topic of the film since it is based loosely on the life of Scientology's founder, L. Ron Hubbard--but it doesn't tread past the ankles in anything worth mentioning. You see some sides of Dodd that make you think he isn't as supremely confident as he would like to think, and sometimes in those same scenes, you see Freddie has similar doubts. The movie teeters on the edge of climax, making you think something explosive will happen at any moment due to the volatile nature of Freddie--yet the end scene plays out and the only thing it made me wonder is if Lancaster was trying to hide his love for Freddie. Still, this movie has a lot going for it--P.T. has a great visual style with gorgeous shots and detailed scenes. I especially enjoyed the period-piece clothing choices and color palette. I just wish it was more cohesive, which sounds strange coming from me.

This isn't so much a game as it is an interactive story, but what an enthralling story it is. The main protagonist--lets be honest, she is basically the only real character in this story--has just survived a traumatic accident. Now bedridden for an unknown period of time, she finds herself dreaming the same dreams over and over. The hospital psychiatrist gently yet indifferently prods her on as she is tested on her ability to recover, both physically and mentally.

"Do you think that I can be back home this month?"
"Maybe. It depends on your progress."
"There is an exam in three weeks. I've been preparing for quite some time."
"There will always be another exam. I believe you should focus on your well-being first."
"Am I not doing that?"

The game itself focuses on these recurring dreams as you navigate through photographs representing her descriptions as she narrates your actions. I found the dreams to be varied and quite interesting, with plenty to explore and some truly gorgeous shots. Yet even with multiple endings available for each dream, they go by rather quickly. It took me about an hour to beat the game, with only a few alternate endings not found. And yet this doesn't detract my overall opinion of the game. Something about the German narrator (voiced beautifully by Anja Jazeschann) really struck me as detached, hopeless, confused--it really gave me a sense of urgency as I tried to piece together the photographs and search for clues on how to end this infinite loop of depression. If you are curious as to the insight dreams give to outsiders, especially those of a trauma victim, I do not think you will be disappointed with this inexpensive indie gem.

I started up this movie without knowing anything about it other than the hook: Martin David (Willem Dafoe) is a mercenary, sent out by an anonymous science lab to hunt down an extinct creature: the Tasmanian tiger. What seemed like it would be an endless hunt for something that doesn't exist turned out to be a search for anything--connection, above all else. Martin is an awkward and enigmatic man who shies away from any sort of close contact. He prefers to keep things simple and quiet, and out in the serenity of nature he is at his most comfortable. Those serene scenes of him traversing the Tasmanian wilderness are a beauty to watch, but they are punctuated by a very disturbing reality. Martin sets traps, steel and improvised, and marks their location. While he loves nature, he does not lose sight of his mission.

"I'd like to go on alone."

His parting words to Jack Mindy (Sam Neill) feel like Martin's mantra. He may not say it to everyone, but you can see it in his face that he'd rather avoid everyone in this town. And by and large, they would rather avoid him--there is a rather heated conflict already in-play between local environmental activists and the loggers they are protesting. Martin plays a delicate balancing act of loyalties for as long as he can until things come to a head, when it is revealed that not everyone is who they seem, or seemed. There is somewhat of a love story intertwined between Martin and Lucy, who's husband has been missing for months without a trace--but I never got the feeling that either of them truly wanted each other. It's Lucy's children, however, that get Martin thinking about his future and about his past. How long will he travel the globe alone, hunting for--well, what exactly is he looking for? When the final scenes came, I was exhausted at the pacing but felt completely emotionally engaged with the characters in the final scene. And so I recommend this film, which is not really a pro-environmentalist tale, but rather a journey to find connection in a cold world.

Watching this movie, right from the start, gave me an unnatural desire to film my own short or feature film. Something about seeing the low-fi digital effect of the film and the natural, low-key acting really grounded this quirky and against-the-grain film. I’ve seen the word “mumblecore” attached to “Duplass” many times now, and I’m still not certain what that all entails, but I’ve loved all of their movies and this one is no exception. But what is exceptional about this film is the “figure-it-out-as-we-go” feel to it, because it ties in so well with what is happening on-screen—the chaos, the indifference, the awkwardness, the anger—but what is so strange and endearing is the love I could feel the filmmakers and actors had in this road movie.

“I’m sorry I tackled you.”
“I’m not.”

The setup is this: Josh is about to embark on a solo road trip to pick up an exact replica he bought on Ebay of the puffy chair his father used to own to give it to him as a surprise birthday gift, but after some ‘convincing,’ he decides to take his longtime girlfriend along with for a little getaway. Their relationship is heartfelt but clearly strained—Emily knows what she wants and says it, while Josh seems to just accept the way things are, without saying much at all. Which is what this film seems to be all about—repressed thoughts and feelings—because the more they put off their conversations about the future, and about their love, the longer time they have together. They seem to know things are doomed between them, and picking up Josh’s brother Rhett along the way only acted as a catalyst. Rhett saw the puffy chair as the source of all the bad feelings, when actually it is what finally lifted the veil on a failed relationship. But is it a failed relationship? They clearly have deep feelings for one another, and in the end scene, we can see how that will live on despite them moving on. Good art imitates life. Life doesn’t end in a cute little bow with all of the loose ends tied up—there are always more conflicts and problems to deal with—and this film is great.

One of those rare silly movies that still manages to keep me laughing, even after not seeing it for two decades—the Princess Bride endears. The whole film has a Mel Brooks charm to it, despite him not being involved in any way, but the key characters in the story have knowing look about them. They know this is a silly movie and the cast has a lot of fun with it—and what an eclectic cast it is. Andre the Giant, Wallace Shawn, Billy Crystal, Cary Elwes, Christopher Guest, even Peter Falk—Colombo himself—shows up to narrate the film, reading the story to his sick grandson, Fred Savage.

“Life is pain, Highness. Anyone who says differently is selling something.”

But behind all of the silliness are very serious stories of lost love and revenge. Inigo Montoya is on a twenty year quest to avenge his father from the six-fingered man. Westley (Elwes) must save his love, Buttercup, from marrying a rotten Prince Humperdinck, but does she still love him? And at what cost? For his nearly endless pain, Westley seeks true love. Buttercup, blinded by pain, gave up on love too soon. Inigo, noble and just, seeks a fair duel with a liar and a cheat. Will this fulfill the emptiness left by the death of his father? In the end, Prince Humperdinck lives. The scum is allowed to walk with the living. Because maybe we aren’t all so perfect, in the end.

Last year I had the pleasure of hearing Mike Birbiglia’s standup comic special of the same title, so going into this movie, I kind of knew what to expect. That didn’t lessen the impact of the film on me at all. This is mostly thanks to Birbiglia’s unique presentation: he treats you as if you are watching the film.

“Remember: you’re on my side!”

The story is autobiographical, and, as Birbiglia states emphatically, is a true story. Faced with the decision of marriage while dealing with a dead-end job, a passive-aggressive family, and odd and increasingly dangerous sleepwalking phases (which seem to be triggered by the stress of his slowly fading relationship), Matt Pandamiglio (Birbiglia) chooses to ignore all of his problems and charge headfirst into his dream of becoming a standup comic. This is a smart film—it should be noted that Ira Glass of NPR fame had a hand in it—and its knowing style is perfect for the story and mannerisms of Birbiglia. He is prone to tangents, mumbling—basically a lack of focus that is evident in nearly every aspect of his life, and that translates wonderfully to film. The way reality melds with his dreams—both the sleeping kind and his goals for the future—is subtle but jarring. Much like a dream, it seems so real, bizarrely so, until that point where it is pushed over the line and you wake up. I was happy to see a lot of underrated comics (David Wain, Marc Maron), up-and-comers (John Lutz), and many Daily Show correspondents (Wyatt Cenac, Kristen Schaal) as the supporting cast in this film. It really helped sell the backstage vibe that they was going for when Pandamiglio finally goes on tour. Clearly, Birbiglia knows this material very well, and he has created a real gem. I’m looking forward to his future work, and I hope it’s less dangerous for him!

When describing this movie to people, I compare it to [Link removed - login to see] from the 70’s, which blasted money and television, except this time it’s blasting money and the food industry. This is a sleek legal thriller starring [Link removed - login to see], but I think [Link removed - login to see] steals the show as the mad lawyer who saw a flash of truth and now seeks to destroy the industry that he has been paid very well to defend in court.

“Isn’t it what we wait for? To meet someone… and they’re, they’re like a lens and suddenly you’re looking through them and everything changes and nothing can ever be the same again.”

His bosses at the law firm know what a genius he is, but don’t know how to handle him so they send Clooney’s character Michael Clayton over there to “fix” things. Clayton fails, and the food company starts to take matters into their own hands. This film shows the depths of corporate greed and their focus on profits and numbers in an attempt to block out the harm they are causing. [Link removed - login to see] nails the newly-promoted corporate executive who seems more nervous about giving a speech than ordering a hit. The movie also sheds light on the important issue of genetically modified crops and the specific pesticides used to treat them (read: Round-Up by Monsanto). Sleek and well directed, this film snuck its way into my favorites list. Give it a shot.

I’ll be honest, as the movie started I was already annoyed that [Link removed - login to see] again resorted to playing the buffoon, A.K.A. Ron Burgundy, except now his name was Cam Brady and he has been an unchallenged four-term Democratic US Representative from North Carolina. In struts (I use that term very lightly) [Link removed - login to see].

"It's a mess!!" :: Marty Huggins

He really steals the show as Marty Huggins, the pure-hearted Capotesque tourism director of the town of Hammond, and I’m wondering if Zach even had a hand in directing. Maybe it’s just something about his crazed goofiness that just cracks me up, but it felt like the camera cut or zoomed or was edited just so… The movie as a whole was generally good, with a painfully funny, extended dinner scene that had me hooting like a caged baboon. Will Ferrell definitely has his moments, but I was bored seeing him do the slow-motion slow-talk thing again. There are times when he is both hilarious and devilishly quick-witted—oh, what a great movie that could have been without the oafishness! Still, I would recommend it, not just for Galifianakis but also the supporting cast—basically the entire [Link removed - login to see] family kicks ass—and the innocent situations the two stars are drawn into only for them to destroy any semblance of good sportsmanship.

Two witty hitmen are sent to Bruges after a job goes wrong. Not the most original setup I've heard (Where the fuck is Bruges, anyway?), but this film has a lot of surprises in store (It's in Belgium). As the film progresses, you hear little bits about what exactly went wrong, and how it has been affecting these two. You can tell that it was bad, but when you find out what happened, it will bring you to tears. I've always been a fan of Brendan Gleeson, and he sinks another one, but I was amazed at Colin Farrell's understated performance. The two of them are perfect together--they seem like they've been around each other for years and know exactly which buttons to push on each other, earning their small bits of joy. The end climax was a little less compelling and more loud than the rest, but the ending was well-crafted, haunting and earned. A consistently fresh script and the stunning beauty of Bruges makes this a movie for the ages.