Tag Archives: Universal Pictures

“Sisters” movie review

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SistersA comedy that only Tina Fey and Amy Poehler could pull off! Since I had already seen my “movie of the week” when I screened 13 Hours, I used my Thursday night, which is typically reserved for the movie I review, to just kick back and relax with a comedy starring two amazing comediennes who have been coming into our living rooms for nearly two decades. At first glance, Sisters may seem like another crass, brassy, stupid comedy; but, a closer examination reveals that it is actually quite brilliantly structured and directed–the acting speaks for itself. For those who have studied film or entertainment in general, you are well aware that a well-written and directed comedy is actually drama in disguise. No story exists without conflict, and comedy is often frocked with conflict because that is where the “funny” or comedic “irony” comes from. Whereas this film is certainly not one that is made to be added to the library of great films or one that is meant to typify the art of cinema, it IS produced to entertain and bring about immense laughter from the audience. Sisters is a great way to spend a couple of hours with your sister or close friends and enjoy the uplifting message with a massive dose of Fey-Poehler comedy.

When their parents sell the family house in Orlando, sisters Maura (Poehler) and Kate (Fey) are requested to head down to the sunshine state to clean out their childhood room–which may as well be a bottomless pit of 80s and 90s memorabilia. With only one weekend to accomplish the near impossible, Maura and Kate are overwhelmed and  quickly become distracted with a desire to have one more night of youthful, wreckless fun before they say goodbye to the house in which they grew up. Each dealing with a source of negative stress in their respective personal lives, these two sisters decide to invite old classmates and friends to the party of the century to recapture their glory days. When the party begins to spiral out of control, Maura and Kate soon realize that their parents may not have a house to sell.

As there really is not a whole lot to dissect, in terms of the plot or technical components, I do want to take a moment to further highlight why this was a well-produced and directed comedy that is probably a little too underrated. Going in with fairly low expectations, I was delightfully surprised at how well the comedy was put together. Ordinarily, comedies like this one do not receive December releases because of the blockbuster or “Oscar” movies. So, I was curious as to why Universal related the film then it did. After having watched the movie, it was clear why Universal was confident in the December release because, in addition to having a comedic duo in leading roles, it is definitely a great movie to watch with your own sister or brother. The movie has great acting, a heartwarming story, and however over-the-top excellently written comedy.

If you do not laugh during this movie, then you are not alive. I cannot imagine a better cast for the film. That is probably because this is a unique brand of drama in disguise that Fey and Poehler can bring to the big screen. Both Maura and Kate feel like real sisters and deal with many issues that real-life sisters may deal with as they get older. The earthiness and realness of the characters bring about fantastic candor from the parents as well as confessions that have been kept secret between the sisters. Within this “let’s recapture our glory days” comedy is a love story that fits perfectly into the plot and does not feel jammed in there just to have romantic subplot. There are even times that you may identify very closely with the sisters, parents, or even some of the classmates.

It isn’t often that I truly enjoy a comedy such as this one, but the chemistry between Poehler and Fey is memorable. Whether you have a sister (or brother) or not, this movie is one that will make you laugh and perhaps even cry just a little.

“Krampus” movie review

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KrampusTwas truly a nightmare before Christmas! What would happen if Charles Dickens, Dr. Seuss, and the Brothers Grimm would combine their unparalleled literary social commentary and storytelling abilities for a Christmas movie? The answer is Universal and Legendary Pictures’ Krampus. Based on an actual legend of German origin, Krampus is the antithesis of Santa Claus. Whereas this narrative is not based soley on the legend per se, many of the insidious characters are. A Christmas horror movie is nothing new–recently watched Silent Night Deadly Night with a friend–but a movie of this quality, in terms of production design and plot is, and provides us with a movie that is equal parts a holiday and horror film. In an unconventional way, this movie highlights what Seuss and Dickens wrote about in their timeless tales: Christmas becoming more commercialized and about selfish material gain rather than the spirit of sacrifice, giving, and relationships. Just like Scrooge was so terrified emotionally and physically by the ghosts of Christmas past, present, and yet to come, that he believed in Christmas with all his heart, you may also call your behavior, this holiday season, into question as a result of coming face to face with Krampus.

You better watch out, you better not cry, you better not reject Christmas, I’m telling you why, Krampus is coming! For those who lose sight of the true spirit of Christmas and get selfishly wrapped up in their own negativity instead of wrapped up in love, ancient European legend speaks of Krampus (the shadow of Santa Claus) who visits the houses of non-believers who have turned their back on Christmas. Krampus is about a family that, much like yours, is getting together for the holidays. And most likely, just like your extended family, there are members who do not get along with one another–and even resent one another. The Engel family is about to find out the hard way not to lose sight of the magic this time of year. During the course of a day, young Max (Emjay Anthony) falls out of the spirit of Christmas after his dysfunctional family continues to squabble and rejects the spirit of the season. After he rips up his heartfelt letter to Santa in rage, Max unknowingly unleashes the spirit of Krampus and his fractured family must ban together in order to save their very lives from Santa’s sinister shadow.

Following a montage of what looks like Walmart or Best Buy on Black Friday juxtaposed against cheerful Christmas songs, the movie opens on a scene from a film adaptation of Charles Dickens’ A Christmas Carol. Krampus establishes the subtext of this unconventional Christmas movie up front. It is no surprise that there are many self-reflexive elements in this movie; but, it is surprising how well-executed the plot of this film is. Despite the fact the trailer was quite good, I had fairly low expectations for this film because usually Christmas horror movies are just campy. However, there are naturally exceptions to that trend in films like Tim Burton’s Nightmare Before Christmas or A Christmas Carol. A Christmas Carol? Yes. For those who have read the masterpiece, you know that it is a very macabre story in many respects. It had to be. How else was Scrooge going to be so scared for his life and the future if he wasn’t terrified and truly desire to embrace the spirit of the holidays? Maybe A Christmas Carol film adaptations are not traditional horror films, but they certainly contain many horror elements. Krampus takes the idea of developing a horror film out of Christmas to a whole new level. One that is billed as a horror comedy, but it is really more of a traditional horror film.

Horror films, like other genres, often follow the “order–>disorder–>order again” plot structure, but there are times in which it is more like: “order–>disorder–>order–>disorder again.” As I have written in my own research and previously on my blog, horror is concerned with warping that which is otherwise safe or familiar in order to comment on a societal problem or trend. Not always, but many times horror films can enable us to look at gender roles, sexuality, racism, economic, and technological sociological factors in a different light either positively or negatively. That has always been the case since the days of Nosferatu to Psycho to Alien to Silence of the Lambs. Horror films usually have substantial twists or reveals; and one in Krampus definitely caught me by surprise. Just when you think everything is going to be fine and follow a more cliche path, you are blindsided! Although the dialog is typically not strong in a horror film, Krampus contains well-written dialog that is both funny and fitting. Regarding the dark-comedic content in the plot, the comedy is more subtle than prominent; although, watching a jack-in-the-box devour a small child has a degree of demented humor in it.

Like with Universal and Legendary’s Crimson Peak, German expressionism is presented quite well in Krampus. In my previous writings, I have highlighted that German expressionism is at the root of the American horror film. There is even an animated sequence integrated very well into the diegesis that contains copious examples of German expressionism with elongated buildings, gothic design influence, and the use of natural and artistic shadows. Not as pronounced, the rest of the movie clearly shows that German expressionism was included in the designs of the creatures, Krampus himself, and in the neighborhood. By using shadows and warping the perception of landscape and residential engineering, the otherwise upper-middleclass neighborhood looks like it jumped right out of Nosferatu. Whereas this may be an unconventional Christmas movie, it still very much embodies the holiday season. We are reminded to never lose sight of the spirit of sacrifice, tolerance, giving, and relationships. Furthermore, this movie is instrumental in encouraging us to not allow the holidays to become a mechanical reaction, but to truly allow the magic of Christmas to aid us in bringing cheer to those around us.

If the lyrics “he sees you when you’re sleeping, he knows when you’re awake, he know if you’ve been bad or good, so be good for goodness sake” were not creepy enough as it is, then knowing that the shadow of Santa will be unleashed and not come to give, but to collect, if you turn your back on Christmas, then they just became even more terrifying. Universal has proven for more than 100 years that they are the king of horror; and this newest addition to both horror and Christmas movies continues that tradition of a commitment to being the subject of our nightmares.

“Steve Jobs” movie review

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SteveJobsA mesmerizing and controversial bio-pic. This seems to be the year for the biographical motion picture. Universal Pictures and Legendary’s Steve Jobs takes you on a journey through the most signifiant product launches of the late co-founder of Apple’s career. Despite the fact that Jobs is revered as a genius and one of the most influential men in American history, this movie does not shy away from painting an accurate portrait of his personal and professional life. Although he is loved and admired by so many people, his character is one that you will most likely dislike through most of the narrative. From open to close, you will be glued to your seat in awe and surprise. This is definitely one of the most intriguing and intense bio-pics I have seen in a long time. Throughout the narrative, there is a constant theme of control and design. Complete with a brilliant cast and impeccable writing, this is definitely one to watch out for at the next Academy Awards.

Steve Jobs is about the early career of the co-founder of Apple. You will go on a journey through the most important product launch successes and failures of Jobs’ (Fassbender) career. From being fired from the very company that he co-founded to the love-hate relationship he has with his daughter and the hatred for her mother, you will learn what prompted Jobs to make the decisions he did and how each decision affected his relationships with friends and colleagues. Discover why “end to end control” was so important to the designs of the MacIntosh and Apple computers.

Michael Fassbender truly shines as the genius behind Apple’s phoenix-like return from the ashes of its darkest days. Not only does he resemble Jobs in appearance, but he also captures the very essence of what made Jobs tick and why he became the success he was professionally. Fassbender also delivers powerful performances in his altercations with colleagues and his presumed family. The intenseness of his conflicts and triumphs transcends the screen and compels your attention through the entire film. Often in movies, you either want to love or love to hate the protagonist; and that element rings very true in this film. For nearly the entire movie, I hated Steve Jobs. Funny, because I use all Apple products. But, during the end of the third act, I made a radical shift and saw the glimmer of hope that has caused millions of Apple fans to adore him so much during the latter years of his career. More than anyone else, he believed in his designs and methods of product launches. Only his director of marketing Joanna Hoffman (Kate Winslet) seemed to be the one he confided in most or could control the man who was insistent on “end to end control” throughout his dynamic career. Winslet also delivers a commanding performance as Hoffman who stuck by Jobs from product to product, advising him when he wouldn’t hear of anyone else’s opinions. She is the single person who held helped the public not to despise him as much as most everyone else did behind the scenes.

So often I find that bio-pics can tend to romanticize the protagonist by glossing over the more negative events of his or her life. Not so with Steve Jobs. The remarkable element of the writing is the commitment to reality and just laying all the positive and negative events and encounters out there for the audience. Highlighting the more negative events is extremely important to this film because that is where the very dynamic character arc comes from. If you loved or hated Jobs the entire time, it would not be nearly as impactful. But because you will likely hate him for most of the movie until the end and then quickly turn a 180, that is where the magic of this movie lies. There are times that you think that he will budge from his stances on design teams and products, but then he is just as stubborn or relentless as he is throughout the story. Oddly enough, his penchant for complete control is what tanks and then resurrects the tech company. The story is gripping and whether you are an Apple product fan or not, this movie is an excellent example of how a completely candid bio-pic can still prompt the adoration of the public despite the dark elements and poor decisions in relationships with friends and lovers.

If you are an Apple product fan, this is definitely a film to catch because it takes you behind the sleek product displays and technology launches. Learning about Steve Jobs the man actually gives a new-found appreciation for the company he helped start, got fired from, and rehired again. The amazing cast and brilliant writing enables this film to be admired for its commitment to the art of biographical motion pictures.

“Crimson Peak” movie review

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CrimsonPeakNo flowers in this attic. From the studio that pioneered the horror film back in the early days of cinema, comes the truly avant-garde German expressionist film Crimson Peak. Universal and Legendary Pictures provide us with a thought-provoking classically produced horror film that contains prolific imagery that invites interpretation, even from the most veteran of film scholars. Visionary director Guillermo Del Toro lives up to his reputation as a master of the macabre. Although the dialog and acting are weak, the film is beautifully shot and will constantly have you on the edge of your seat in anticipation of what is about to happen. This is definitely one of those horror films that will undoubtedly make its way into film appreciation classes because of the vast material there is to dissect and explore. There is also a very self-reflexive element in the movie that is quite fascinating to think about. Not your traditional Halloween fair or ghost movie, this one part ghost story and one part mystery film is still a remarkable addition to the horror library because of the adherence to the very essence of what makes a horror film great.

Crimson Peak is about Edith Cushing (Mia Wasikowska), the daughter of a wealthy engineer in Buffalo, NY who is swept off her feet by the charming old English money Baronet Sir Thomas Sharpe (Tom Hiddleston). Following tragedy in Edith’s life in Buffalo, she marries Sir Thomas and moves to the countryside estate of Allerdale Hall in Cumberland, England with Thomas and his highly aristocratic sister Lady Lucille Sharpe (Jessica Chastain). Despite Sir Thomas’s family name, he and his estate, built upon clay mining, are virtually bankrupt. Hoping that she can help to revitalize Thomas’ family estate, Edith begins to move her assets over to England; however, after a series of encounters with specters of the night in the dark and dank mansion, she begins to feel like something is terribly wrong and her very life may be in danger of meeting the same fate as the ghosts and ghouls.

One of the most noticeable elements of the movie Crimson Peak is the commitment to a truly classically produced horror film in the vein of German expressionism and the avant-garde. Interestingly, it is highly appropriate that Universal Pictures released this film because the founder of Universal Carl Laemmle made it a staple of early horror films released by the then fledgling studio. Although there is no one single definition of what indicates a German expressionist film, common characteristics are: using extreme distortions in the production design to indicate inner feelings or subtext, a very dark and moody style of filmmaking, strategic placement of lighting to create harsh shadows, unique and emotional architecture, and creating a sense of disorientation. Tell tale signs of this cinematic influence in Crimson Peak‘s production design can be seen in the very design of Allerdale Hall. Due to the very artistic nature of German expressionism, there is also a high degree of avant-garde because of the experimental production style, particularly in how it relates to the mystery at the center of this movie.

Although there are many positive elements in this film, some of the negative elements are the underdeveloped dialog and, by extension, the acting, lack of exposition, and at times sloppy editing. Common in German expressionism and avant-garde cinema are these characteristics. Note, that does not excuse the film for not delivering but does help to understand why they can be found in such a high budget movie directed by such an accomplished director. Had the dialog been better developed and even fifteen more minutes of exposition (or backstory) has been added, then I feel the acting would have increased in quality and delivery. As far as the occasional sloppy editing, there is no explanation and could have definitely been carried out with more finesse. Part of what makes this such a beautifully macabre film is the cinematography and production design. There are even sequences that will genuinely make you squirm and cringe at the highly visceral action with a hint of gore.

If you are looking for a traditional ghost story, this is definitely not the movie for you. To quote Edith, “the ghosts are a metaphor.” However, if you are looking for a great movie that embodies the thrills and chills of the Halloween season, then this is one to catch in theaters this month. Because of the expressionistic style of filmmaking, I can definitely see the advantage of and recommend watching it in IMAX (provided it’s the 2D version). It has a little of everything that a well-written horror film needs: death, romance, disorientation, and mystery. For the filmmakers or film scholars out there, prepare to have your mind stimulated as you attempt to interpret what the various symbols mean beyond the more superficial plot of the story.

“The Visit” movie review

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TheVisitOver the river and through the woods to grandmother’s house we go…You’ll never think of visiting your grandparents in the same way ever again. I just have to say, congratulations M. Night Shyamalan for making a triumphant return to the horror genre. Blumhouse and Universal Pictures’ The Visit is a found footage/documentary style horror film that has a lot to offer as we slowly gear up for the Halloween season in the coming weeks. The film successfully pairs blood curdling thrills with belly laughs. What can be more terrifying than a visit to grandma and grandpa’s that has gone terribly wrong??? Sometimes the best horror films are those that take what is otherwise non-descript or safe and twist it around and turn it inside out. And, that is what you get with The Visit. One of the best parts of the movie is that the–what you thought were spoilers in the trailer–are not quite as they seemed and will still catch you off guard. Perhaps next time you visit your grandparents, you may not want to leave your room after 9:30 in the evening. This is especially true if your grandparents live way out in the sticks where the only connection to the internet is an ethernet cable.

After years of separation and ignoring one another, a single mother (Kathryn Hahn) makes contact over social media with her estranged parents in the woods of Pennsylvania. Reluctantly, she decides to allow her kids Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) to take a train to visit their newly discovered grandparents against Mom’s better judgment. The timing works out because Mom has a new boyfriend that has invited her on a cruise to escape the snow and bask in the sun. Upon arrival in their grandparents’ jerkwater hamlet, Becca and Tyler soon become concerned about their grandparents’ bizarre behavior. Rules like stay out of the basement and don’t leave your room after 9:30 in the evening are just the beginning of the strange and terrifying encounters that lurk behind corners and under porches. Fearful for their lives and virtually cut off from the outside world, Becca and Tyler must carefully and skillfully escape the warm kitchen, delightful cookies, and old world that has them trapped.

Okay, at first I was disappointed that it was going to be another found footage or point-of-view documentary style movie. Unless I had missed something, the preview did not lead me to believe that it would be shot POV. I was hoping for a traditional narrative that was shot mostly objectively. However, as I watched the movie, I actually found the documentary style shoot to work for the film quite well. Took a little getting used to, but in the end, it was a great method for telling this terrifying tale of a visit to grandma’s. Although the pacing does start off on the slow side, it picks up and will have you sucked in before you know it. From the moment that you meet grandma and grandpa, you know that there is just something not right. And, just like a good horror or suspense movie should, you won’t know that that is until the end of the movie during the climax–you most likely won’t see it coming.

One of the many positive elements of the movie is Shyamalan’s ability to integrate humor with the terror. One minute you will be laughing along with the kids, and the next you will shoot right up out of your seat with fright. There are even parts that will gross you out while other parts of the film contain mouth-watering homemade delights. They all work together to disorientate the audience. One of the best methods to ensure a scare is to keep the audience off balance. This way, you can hit them with a jump scare here, a warm moment there, and sneak in from behind and scare them. The disorientation allows for the narrative to build up to the most horrific elements of the movie. It’s like, the audience is in the midst of a horror movie before they know it. Building suspense is paramount to a well-written horror film. Not that jump scares aren’t important, but a film should very rarely ever build a foundation upon solely them. Building suspense lasts, a jump scare is like a firecracker–lows up quickly and dissipates just as fast.

If you are in the mood for a fun horror film before hitting Halloween Horror Nights at Universal Studios Florida/Hollywood or Howl-O-Scream at Busch Gardens Tampa/Williamsburg, or just want to put on the movie movie on your boyfriend or girlfriend, then definitely check out The Visit while it is in theaters.