Jake Gyllenhaal

Okja

Link posted on by moviebloke

(USA/South Korea 2017)

“We needed a miracle, and then we got one.”

—Lucy Mirando

Bong Joon-ho’s Okja, now streaming on Netflix, is a lot of things; dull is not one of them. A slick, fast-paced, mesmerizing mix of fantasy, sci-fi, comedy, action, satire, and social consciousness, this film has a lot going on—and a lot going for it. I was lucky to see it on the big screen before its official release, and that’s how I recommend seeing it if you can. Sorry, Netflix, Okja is simply too good for TV.

The story begins ten years ago in 2007: in a desperate but brilliant attempt to rebrand a disreputable family business—to make a silk purse out of a sow’s ear, so to speak—Lucy Mirando (Tilda Swinton) announces her master plan to breed an all-natural “superpig” that leaves a minimal footprint, feeds the world, and tastes great (https://superpigproject.com). Her company, Mirando Corporation, devises a competition, sending twenty-some piglets to real farmers across the globe to raise them; the company will monitor each pig over the next ten years and declare a “winner” based on the results. Mirando hires animal television show host Dr. Johnny Wilcox (Jake Gyllenhaal), a zoologist whose star is fading, to lend credibility to the project as well as to generate public interest in it.

Fast forward to 2017: Mirando’s plan is coming to fruition without any hiccups, which makes her happier than a pig in…well, you know. Unfortunately for Mirando, a young South Korean girl named Mija (Ahn Seo-hyun), whose grandfather (Byun Hee-bong) signed onto the project, threatens to derail the entire mission. Mija, you see, essentially raised her grandfather’s pig, Okja. They’ve become dependent on each other. He never explained to her what the deal really is—that Mirando’s silk purse is nothing more than lipstick on a pig.

Dr. Johnny and his television crew show up at their home in the mountains and marvel over Okja, now a magnificently enormous hippopotamus-like creature. He presents her grandfather with an award and takes Okja to Manhattan—actually, New Jersey—for a pig roast sponsored by the Mirando Corporation.

To put it lightly, Mija’s not having it—she takes off after Okja on a chaotic chase through Seoul, where she encounters the Animal Liberation Front, a group of inept animal rights activists led by idealistic but ineffective Jay (Paul Dano). They make a pact, but unfortunately she doesn’t speak English. Mija ends up at the world headquarters of Mirando Corporation in New York City, completely unaware of the cards she holds.

I went into Okja blind—the only thing I knew about it was that its central character is a big pig. I left more than satisfied: the cast is stellar, the effects are flawless, and the script is smart and strong despite its flaws. If that don’t beat a pig a-pecking, I don’t know what does.

In simplest terms, Okja is about our complicated consumerist relationship with food. As one pig farmer put it best, “Okja’s a fake pig in a movie I watched on Netflix. But plenty of real animals are suffering inside a horrific system that don’t have to.” (http://www.huffingtonpost.com/entry/okja-thoughts-from-a-pig-farmer_us_595bd1cde4b0f078efd98cbd). On this point alone, Okja will resonate with anyone who’s ever connected with an animal—pig, dog, cat, bird, horse, aardvark. The story has been compared to E.T. (https://moviebloke.com/2016/03/29/e-t-the-extra-terrestrial-e-t/), and it’s pretty wonderful. The final scene, which takes place in a slaughterhouse, is hard to watch—I got anxious. And queasy. I thought of Morrissey!

Appropriately, the acting is hammy; I love that Swinton plays twins again. She looks like a deranged Uma Thurman in Pulp Fiction. Gyllenhaal teeters on insufferable with his wimpy sniveling, but to his credit he manages to keep it in check. I’m usually unimpressed with computer animation, but here it’s amazingly well done; Okja looks as real as the humans. I think the trick is her eyes. Even with its Hollywood ending, Okja is definitely one of this year’s more interesting movies.

With Steven Yeun, Lily Collins, Yoon Je-moon, Shirley Henderson, Daniel Henshall, Devon Bostick, Choi Woo-shik, Giancarlo Esposito

Production: Kate Street Picture Company, Lewis Pictures, Plan B Entertainment

Distribution: Netflix

118 minutes
Not rated

(AMC River East) B

https://www.netflix.com/title/80091936

Donnie Darko

Link posted on by moviebloke

(USA 2001)

“Has he ever told you about his friend Frank, the giant bunny rabbit?”

—Dr. Lilian Thurman

 

“Every living creature on earth dies alone.”

—Grandma Death

Donnie Darko, a period piece set during a time I remember quite well—October 1988, the second full month of my college freshman year and the height of the Bush-Dukakis presidential election—has a great moody soundtrack that includes the likes of Tears for Fears, Joy Division, the Church, Duran Duran, and of course Echo and the Bunnymen. Even if it would have stuck out like a sore thumb, a song more fitting with the theme would have been Cher’s “If I Could Turn Back Time.”

October 2, 1988: troubled and highly medicated loner Donnie Darko (Jake Gyllenhaal), a middle class teen in suburban Middlesex, Virginia, sleepwalks outside of his house and meets Frank (James Duval), a new “friend.” Frank is a guy in a creepy rabbit suit—he looks like he was plucked from the cover of a heavy metal album. Frank tells Donnie that the world is coming to an end—in exactly 28 days, 6 hours, 42 minutes, and 12 seconds.

Thus begins the apocalyptic timewarping adventure of Donnie Darko. After being rudely awakened on a golf course the next morning, Donnie lumbers home in a daze to discover that a jet engine fell from the sky and crashed into his bedroom. His family, obviously already having assumed the worst, is shocked but relieved to see him approaching from the street—except maybe his mother (Mary McDonnell). Federal investigators can’t trace where the engine came from.

At school, a new student, Gretchen (Jena Malone), interrupts Donnie’s English class—taught by the young and snarky Ms. Pomeroy (Drew Barrymore). They’re discussing their reading assignment, Graham Greene’s short story “The Destructors.” Gretchen asks where she should sit, and Ms. Pomeroy directs her “next to the boy you think is the cutest.” Gretchen sits next to Donnie. Duh!

Donnie and Gretchen dig each other, which is a ray of light to his psychiatrist, Dr. Thurman (Katharine Ross). The doctor has been concerned about Donnie’s “hallucinations” of Frank, as well as some of his erratic behavior. Donnie is growing more and more obsessed with a senile elderly neighbor he and his friends nicknamed “Grandma Death” (Patience Cleveland) and a book about time travel. Everything comes to a head at a party Donnie and his sister Elizabeth (Maggie Gyllenhaal) throw while their parents are out of town on Halloween—which is 28 days from where this all started.

Simultaneously funny, foreboding, weird, and utterly thought-provoking, I can see why Donnie Darko has the following it does. Director and screenwriter Richard Kelly comes up with something unlike anything else I’ve ever seen. It’s a winning mix of teen comedy, science fiction, and fantasy. I caught an anniversary screening with my nephew, and this film is as fresh as when I first saw it in 2002. Loaded with indelible imagery, symbolism, ’80s pop cultural references, and clever narrative loopbacks, I find Donnie Darko‘s greatest asset to be its open-ended mystery; what exactly happens is left for the viewer to figure out. A quick Google search pulls up ample musings of the meaning of this film. I’ve seen this a few times, and I’m not sure.

Aside from the plot, the characters and the casting are terrific. Both Gyllenhaals are great, and you can actually see they’re both destined for more. Patrick Swayze is awesome as motivational speaker Jim Cunningham, but Beth Grant takes the cake here as passive-aggressive bitch Kitty Farmer. Oh yeah, this is also Seth Rogen’s first onscreen role—see if you can spot him.

Side note: Frank’s rabbit suit was designed by April Ferry, who went on to work for Game of Thrones (http://ew.com/movies/2017/03/31/donnie-darko-bunny-suit-frank-untold-stories/). I was hoping to catch the director’s cut, but this wasn’t it.

With Holmes Osborne, Daveigh Chase, Noah Wyle, Stuart Stone, Gary Lundy, Alex Greenwald, Jolene Purdy, Ashley Tisdale

Production: Flower Films

Distribution: Pandora Cinema, Newmarket Films

113 minutes
Rated R

(Capitol Theatre) B+

http://archive.hi-res.net/donniedarko/

Nocturnal Animals

Link posted on by moviebloke

(USA 2016)

Tom Ford is a Virgo, and everything he does reflects textbook traits of his sign: his products are sharp, observant, and meticulous. He exhibits impeccable style and substance. He’s a perfectionist, and it shows. His films are no exception, and his aesthetic serves them well. I seriously dug A Single Man, but I figured it was a one-off project after a few years passed without a follow up. I’m glad Ford proved me wrong: Nocturnal Animals is great. It’s also different; A Single Man is in essence a gentle and compassionate love story, whereas Nocturnal Animals is a bitter tale about a bad romance, regret, revenge, and closure with a comment on how art mirrors life. Certainly not a breezy endeavor, it offers quite a bit of food for thought.

WARNING: Potential spoilers ahead!

Susan Morrow (Amy Adams), a study in contradictions, has all the material trappings of the glamorous life—too bad none of it brings her happiness. A rich and successful Los Angeles gallery owner, she hates what she does for a living. Her husband (Armie Hammer) is dashing but absent, offering more of an arrangement than a marriage. Part of the problem might be the bankruptcy he alludes to in one of their conversations early on. Or maybe it’s the transcontinental affair he’s carrying on in New York City. Their home is a chic box in the hills; Susan is alone in it—except for the hired help, of course.

A package arrives out of the blue from her ex-husband, Edward Sheffield (Jake Gyllenhaal). They haven’t spoken in years; their relationship did not end well. A simple guy she knew from growing up in Texas, she broke his heart with three horrible things she did—not the least of which was telling him he lacked what it takes to be a writer. Edward sent her the manuscript of his forthcoming novel, Nocturnal Animals, which he dedicates to her. He included a note stating that he will be in town and wants to meet her out.

Susan opens it and starts reading. Immediately, the story seduces her. Edward’s novel, depicted from her imagination as a film within the film, is a tragically violent work of pulp noir. Tony Hastings (Gyllenhaal) is driving down a dark desert highway in Texas with his wife (Isla Fisher) and their daughter (Ellie Bamber) when a band of hicks runs them off the road. Facing a menacing proposal, Tony tries to talk his way out. Sensing weakness, nefarious psychopath ringleader Ray (Aaron Taylor-Johnson) exploits the situation and separates Tony from the girls. With one potential shot at saving his family, Tony blows it and ends up seeking help from the police. Officer Bobby Andes (Michael Shannon), a pithy cowboy with a badge, can’t comprehend why Tony didn’t put up a fight, but he helps track down the bastards so Tony can exact revenge.

Ford adapted his screenplay from Austin Wright’s 1993 novel Tony and Susan. What’s both interesting and distracting about Nocturnal Animals is the way he presents the story: he bounces back and forth between Susan’s present reality, her past, and Edward’s work of fiction that ties both together. It’s a very tricky feat, but he absolutely nails it with smooth transitions and masterful use of imagery and symbolism to connect the three narratives. Like most people (I suspect), I was far more interested in Tony than Susan even though Susan’s past and present are necessary to understand the story: Edward’s novel is a metaphor for his relationship with her. Many have complained about the ending, which is open to interpretation. I found it both realistic and satisfying whether Edward says “fuck you” to Susan or lets her off gently.

Visually, Nocturnal Animals is flawless. Ford’s sets, props, clothes, colors, and staging all work together with Seamus McGarvey’s dark and lovely cinematography to create a striking realm where naked fat ladies, a hick taking a dump, a bloody papercut, and discarded corpses are all things of beauty. The acting is superb all around, but Laura Linney is particularly exquisite in her brief role as Susan’s Lone Star Republican mother. All big-haired and dripping pearls and superiority, she sips her martini at an exclusive restaurant and urges Susan to forget about marrying a weak man like Edward. Fabulous!

116 minutes
Rated R

(Landmark Century) B+

http://www.focusfeatures.com/nocturnalanimals

Southpaw

Posted on by moviebloke

(USA 2015)

I wanted to love this film. Sadly, I did not. Jake Gyllenhaal knows how to get to the core of a character, and Southpaw is no exception despite the annoying ghetto tough guy mumble he used for his character, Billy Hope, a fictitious boxer. The plot, however, is tedious and rife with clichés that aren’t even worth noting here—boxing and others. I also picked up a not-so-subtle racism that turned me off: the black or brown characters are one-dimensional and serve as either bad guys or helpers to Hope’s comeback. This struck me as particularly odd considering that the director (Antoine Fuqua) is black. A mildly interesting potential spark between Hope and his daughter’s social worker, Angela (Naomie Harris), was left undeveloped, dangling there through the movie like a wet snot. Yawn.

(AMC River East) D

http://southpawfilm.com

Nightcrawler

Video posted on by moviebloke

(USA 2014)

Jake Gyllenhaal plays Lou Bloom, a creepy robot-like unemployed thirty-nothing scamming for any work he can get. He quickly discovers he is good at “nightcrawling”—trolling L.A. for accidents and deaths that he can record and sell to a sensationalist local news station.

Like Taxi Driver, Dan Gilroy’s Nightcrawler paints a scathingly dim picture of urban American life with broad strokes of emotional and moral vacancy. It’s an interesting idea and boasts decent performances, but it moves too slowly too often. Perhaps it was intentional, but something about the look rings hollow and low budget. It didn’t leave a strong impression on me, but I can see Nightcrawler as a late night TV staple for generations to come.

(Home via iTunes) C+

http://nightcrawlerfilm.com