Ghost Graduation (Promocion Fantasma)

So, I didn't really know anything about La Mirada Film Festival, apart from a very misleading and pretentious trailer that was shown before every film at Nova for about month. But even though the trailer wasn't very enticing, I thought I'd check out the program. Partly because Pedro Almodovar is co-programmer, and partly because from my experience with film festivals (particularly the Russian one) I've learnt that there is always one little mainstream oddity that finds its way into the festival amid all the other serious drama and arthouse fair. I think I found the oddity of La Mirada, and the bad news is that the festival has already passed and you can't see it on the big screen anymore. The good news is that it is excellent.

Ghost Graduation follows Modesto (Raúl Arévalo), a school teacher who has the unusual ability to see and interact with ghosts, something which he views more as a curse since it interferes with his everday life, causing him to be fired from every school in his area. When he arrives at the prestigious school Monforte, he finds that it is haunted by five dead highschoolers,  bad boy Dani (Alex Maruny), pregnant Elsa (Aura Garrido), nerdy Marivi (Andrea Duro), jock Jorge (Jaime Olías) and party boy Pinfloy (Javier Bódalo), all of them killed in a fire that happened in the 80s. During their time as ghosts, the five have made the high school a haunted house, occupying their time scaring and annoying everyone who goes and works there. Modesto is asked by the principal Tina (Alexandra Jiménez) to get the ghosts to finish their unfinished business, which Modesto believes to be finishing the last year of high school, and to get them to leave the school before Founders Day. But it's not that easy when he has to contend with five impatient ghosts who have been stuck at school for the past 26 years.

Now, while researching, I found out that there is going to be an American remake helmed by Will Smith's production company Overbrook Entertainment, and I am not at all happy about it. And let me tell you why. In a nutshell, I have never seen a subtle American teen movie. They are all filled with the same sex jokes, bodily fluids and crude humour (American Pie, I'm looking at you), and while those things are in Ghost Graduation, they are pretty much all presented to you in the trailer. The rest of the film is more restrained, allowing the characters to grow through actions rather than long rambling explanations (Mean Girls, I'm looking at you). But most of all, there are serious and quiet moments, and considering that the film is basically about five teenagers coming to grips with their own deaths, you reall do need some quiet moments in the film for the characters to reflect on what they haven't done. The only person I would like to see attempt a remake of this is John Hughes, and since he's dead, I don't think it's very likely that he'll be heading the project. So, I'm sorry America, but after the 80s, your teen movies got really shit, and incredibly silly. I'm just scared that this will become another notch of failure in the genre. (I'm not saying that all teen movies after the 80s were bad, it's just that most of them were not good.)

But let's get on to the actual film, which I found excellent and refreshing. It riffs on both the teenage coming age/ high school movie genres, and also on the horror/ ghost story genres. But it's not scary, let's just get that out of the way first. It's not in the least bit scary at all. But that doesn't matter. It's funny, and that's what counts. So how does it put a spin on the old tropes? Well, for starters there's the basic plot, which is essentially Breakfast Club meets Heart and Souls, that's new! Then there's the actual teens, who look like they belong in Power Rangers. While they are all stereotypes, they are stereotypes done well and they aren't one dimensional, and they do react to things in a natural way. And the ghost movie tropes are used well also. Things aren't really explained, like why Modesto can see ghosts, and what powers they posess, but I like the fact that things aren't explained for the audience, it means that the makers believe that the audience are smart enough to make up their own minds about things.

The other thing that isn't explained is the actual nature of each teens unfinished business, which is also good. While I did like Heart and Souls, they were very keen to explain every characters motivations and used a lot of expositional dialogue at times. They don't do that here. Instead, throughout the film, as we follow the ghosts journey, we begin to pick up little cues that might explain why they are still here, but nothing is outrightly said. And I am so glad of this! I prefer to be kept in the shadows about some things, so that I can come up with my own theories as to what it all meant. The only ghost that we do know specific things about is Pinfloy, and that's more for comic effect than anything else. Plus, his story is actually funny. You can tell that the writers put a lot of effort into each character since they all have character arcs, even the ones who are alive, and it makes this movie feel more heartfelt.

And then there's the acting. I haven't seen any of these actors in any other film, but from watching this, I know that all of them are excellent comedic actors. Especially Raúl Arévalo as Modesto, who is dead-pan and expressionless for most of the film and consequently has most of the best lines. Even some of the minor characters, who have less development, have great actors, though they are a bit more exaggerated and spoofy. And I have to give a shout out to the extras, who usually have to act like there's no one there when someone is throwing books or chairs at them. There is also an excellent soundtrack here, featuring a lot of songs from the 80s, and a lot of songs from Spain. Though I should warn you, if you don't like Bonnie Tyler's "Total Eclipse of the Heart" then you may want to cover your ears. She gets a lot of airplay in this. The special effects are good, and not many are used. A lot of the believability of the ghosts being invisible comes from how the extras react to what happens to them, another reason why they are awesome!

The one thing I haven't really talked about is themes, and that's cause this isn't the deepest of movies. There is stuff there to talk about moving on in death, and how the living cope with death and dying, but it doesn't go into too much detail. Like I said, this is more of a coming of age story rather than a ghost story, and if you go see it with that in mind, then it is rewarding. Apparently, this did get a mainstream release in the US, or at least was meant to (I wouldn't know, what with living in Australia and everything). I just hope that next year it comes out through Palace or gets a showing at the Nova or something. Because more people should see this film. It was one of the most popular films in Spain when it came out earlier this year, and we don't get much Spanish cinema outside of Almodovar and del Torro. If you get chance, see this. I think you can tell by now that I love it. Now, if you'll excuse me, I have to go learn Shakira's "Estoy Aqui" in English on my accordion. Until next time, readers. 

Four Rooms (List Movie)

Tim Roth, what are doing? Why are you doing that? No one walks that way, seriously! What the fuck is going on!! ... This is an odd movie. You might even say it's a fucking odd movie. The idea is a good one, 4 directors are given 20 minutes to create a scenario based in a different room in a hotel involving the bell-hop (Tim Roth). But it doesn't work! This is a big fucking mess, so messy I'm already swearing too much in the first fucking paragraph! It's not the sort of movie you'd expect to see Tim Roth, I know that much. Though I've only seen him serious roles so I can't really talk. But we'll get to that later. Since there are four segments in the movie, this review will go through each of them in more detail. There may be spoilers, you have been warned.

Room one takes place in the Honeymoon Suite and is directed by Allison Anders, called The Missing Ingredient. A coven of witches meet to try and bring their goddess, Diana (Amanda de Cadenet), back to life after being turned to stone on her wedding night forty years ago. Each of the witches, Athena (Valeria Golino), Elspeth (Madonna), Jezebel (Sammi Davis) and Raven (Lili Taylor) have each brought the ingredient that they need in order to completed the spell. Eva (Ione Skye) was meant to bring semen as the final part, yet was unable to do so. The only way that they can complete the spell is to seduce Ted the bell-hop, and gather his semen whether he likes it or not.

Madonna was nominated for a razzie for her very brief appearance in this segment. But her part is so small that it doesn't really offend you, though she is quite bad. As an opening story, it's pretty good. The problem is that it's really quick, and because it's first, it runs the risk of being forgotten by the end of the film. And it is kinda forgettable. Except for Tim Roth. Now, in the other rooms, Tim Roth's acting isn't as noticeable because the other actors are overacting themselves, or the situations are more bizarre (yep) than this one, so the character becomes justified in being over the top. In this segment, the women seem to be going for more natural performances, so Tim Roth's overacting stands out too much. Overall, it is a different story, but isn't done well. The end result is something unfortunately more forgettable than it should be.

Now, the second room, directed by Alexandre Rockwell, has some funny moments, but this is definitely the strangest and least memorable of all the rooms. After getting a call for ice from one of the rooms, apparently room 404 where a party is taking place, Ted heads up with the ice only to end up at the wrong room and with a gun in his face. The gun belongs to Siegfried (David Proval), and he is waiting for his wife's lover, also named Theodore, to appear for him to threaten. His wife, Angela (Jennifer Beals), is tied and gagged, and Ted is forced to play out a psycho-drama with Siegfried becoming more and more unstable. Eventually, Ted manages to escape just as the real Theodore arrives. The segment ends almost exactly as it began, with a close up on the room number, with the last number scratched, leading the audience to wonder if it was indeed room 404.

So what's the main problem with this part? The pacing, to put it simply. It's too fast, too much happens in too short an amount of time. Which is odd, considering each segment lasts roughly around 20 minutes, but if a little more time had been taken to make things a little clearer then this would've worked better. And that's the other major problem that I had with the room, it was incredibly unclear what was going on. Looking back, all I can really remember are flashes of Tim Roth's expressions and Jennifer Beals with a gag in her mouth. Oh, and that part where Tim Roth is halfway stuck out of a window. While it kinda makes sense by the end, the payoff isn't funny or clever enough for you to really care. One interesting coincidence, though, is the Beals and Roth were reunited in the TV show Lie to Me, in which they played a divorced couple. The fangirl in me is pleased.

Anyway, we now move onto the best part of the movie, Room 309, The Misbehavers directed by Robert Rodriguez. Oh lord, the shit hits the fan here! A man and his wife (Antonio Banderas and Tamlyn Tomita) go off to a New Years Eve party leaving their two kids (Danny Verduzco and Lana McKissack) under the care of Ted, who is instructed to look in on them every half hour. I don't want to say anything else about this part. It's better if you're just surprised by the bizarre events that follow. Plus, too much happens to explain it very well in a paragraph. Unlike the previous segment, the Misbehavers uses it's time well, not dragging the plot through the mud but also not going 100 km an hour. Also, the ending line is excellent!

One of things that is kinda off putting about this part though, for me anyway, is that Ted's character changes for no good reason. While he wasn't the best bellhop in the previous segments, he becomes rather nasty, especially towards the children, who react to what happens to them naturally yet with a slight exaggeration. Ted just kinda acts like a dick in this part, and becomes more of a villain. But apart from the sudden gear change, which I can only put down to different directors and Ted having enough of the shit he's gone through already, this is an excellent short. If you see this without seeing any other part of the film, it still makes sense. And above that, it's fucking hilarious! If you don't want to watch the whole thing, then at least watch this part.

In between the Misbehavers and the Man from Hollywood (the Quentin Taratino segment) there is a little scene where Ted calls his boss, Betty (Kathy Griffin) to tell her about his night so far. But before he gets to speak with her, his call is answered by a stoner named Margaret played by Marisa Tomei. Yep, Marisa Tomei plays a stoner. This is my favourite character of the entire film. She is only onscreen for about 3 minutes, but for me she steals the picture. The clip is on youtube if you want to check it out, and do! Anyway, back to the plot, and onto Tarantino's contribution.

For his last job before he quits for the night, Ted is called to the penthouse suite where director Chester Rush (Tarantino) has asked for numerous and assorted items, including a block of wood, a donut and a 'hatchet as sharp as the devil himsel!' Ted brings these to the penthouse, where he is reunited with Angela from the second room, and he meets Chester's friends Norman (Paul Calderon) and Leo (an uncredited Bruce Willis), and he finds out why Chester has ordered such a random collection of stuff. He and Norman have a bet taken from an episode of Alfred Hitchcock Presents, where Norman has to light his cigarette lighter ten times in a row and he wins Chester's car. But if he fails to do so, then he has to relinquish one of his pinkies. Ted is asked to do the chopping, being offered $1000 in return.

The Man from Hollywood is the longest section, which is really why the first two rooms aren't as good as the second two. Tarantino demanded more time to tell his story, which meant that parts from the other rooms where cut out. This makes me dislike this section somewhat. Another thing that makes me dislike this room, is that the pacing is too slow. It takes about 15 minutes for Chester to tell Ted why he has brought him up to the penthouse, and then a further ten minutes to actually finish off the segment and movie. Of course, the time is filled with Tarantino's trademark references and swear-fests, but it doesn't work within this context. Again, if this had been a short all on its own, it would've worked better, but as a whole, it brings the movie to a complete stop. Though the ending is pretty funny and almost worth the wait. Almost.

Now, let's just take a quick look at the film as a whole. Does it work? Not really. Is it entertaining? Hell yeah! This is one of those messes that you dream would happen more often. Once you see it, you understand completely why it is a cult film. There's bad dialogue, cringe-worthy acting in parts, it's too long, incredibly pointless and it has Tim Roth in a comedic role. To be honest, Ted is the best and worst part of this film. The best, because his character is able to hold the film together and through some subtle hints in Roth's acting (though maybe subtle isn't the right word) you get a deeper character through repeat viewings. The worst, because his overacting is so funny as to be distracting from the rest of the film. Did I like it? Yes, in a way. It is odd to see Roth so animated when I'm used to him in more serious roles, but he is memorable. Also, the third room is an excellent short, and I will keep saying that.



Would I recommend it? Well, if this has sparked any interest, then seek it out. Otherwise, I'd say you should watch it for the so bad it's good quality that it has. It isn't for everyone, but if you like bad movies, then this should entertain you at some point along the line. Now, November is almsot over, I've completed my 50,000 words and hopefully I will be back on schedule to for some more reviews within the next few days. I'm not sure what I'll be reviewing, or when, but it will be something! Until next time, readers.

Killing Them Softly

My mum has a thing against Brad Pitt which I don't understand. I think it comes from the fact that at one time he was a 'classic leading man' persona that every studio wanted, which thankfully has morphed into an actual serious actor. And yet, if you look at his film credits he chooses some pretty out there movies. I know for me that he will always be Tyler Durden. But this one is just odd. Not a bad movie, just very slow, very talkey and very, very odd. It's hard to explain why. Maybe it's the lack of plot, maybe it's because all the characters are unbelievabley unlikeable. It might simply be the fact that there is only one female speaking part and she's a prostitute. Well, let's try and find out.

Two amateur criminals, Russel and Frankie (Ben Medelsohn and Scoot McNairy) are asked to knock over a card game run by Markie Trattman (Ray Liotta). Markie had previously knocked over his own game and took the money for himself, so if his game is robbed again then most people will think it was him. But Jackie (Brad Pitt), a 'professional enforcer', is called in to take care of those who are responsible by unknown higher ups (represented by Richard Jenkins as the Driver). Because of Jackie's strange ideals, he can't kill anyone he knows and prefers to kill people from far away. So, he calls in another hitman, Mickey (James Gandolfini) in order to eliminate one of the targets. But Mickey has slipped into alcoholism and a desperate state that makes Jackie wonder if that is what is going to happen. Meanwhile, Frankie is getting scared that he is going to get caught. All this is set to the back drop of the 2008 American elections.

So, let's get this out of the way first. This is is a misogynistic movie. As I said in my introduction, there is only one female speaking and she is verbally abused by Mickey in her one scene. It wouldn't bother me that much to have an all male cast, but it's the way that they talk and think about women that really gets to me. To them, women are objects and possessions, to collect and parade about for their own gratification and not actual people. Which, while it solidifies the fact that this movie is indeed set in a mans world, it seems unnecessary to make every character talk about women like they were lower than them. I'm sorry, I had to get this out of the way first. It's the worst thing about the film. And it's a pretty big worst part.

But let's move onto the good stuff. Or at least the better stuff. Bad stuff will come later. But what I do like about this movie is that it doesn't glamourise Jackie's profession and it doesn't exploit violence. A lot of films nowadays will use violence merely to shock the audience and to simply show off the special effects. And while Killing Them Softly could be accused of both of these, I don't think it is. It's shocking, because it's real. Mickey is really being punched in the stomach so hard that he spews blood, really being kicked repeatedly in the ribs so that we can hear them breaking. And the special effects are awesome. The one scene where we really see them is near the middle of the film, where Jackie has to take out Mickey (oh, spoilers!). It's all done in slow motion, while the soundtrack plays "Life is Just a Bowl of Cherries". This scene is absolutely perfect. It's stylised, it's fairly subdued (apart from the whole, you know, slow-mo) and the music contrasts well with the action in a cleverly ironic way.

Speaking of music, the soundtrack is excellent. A whole range of songs from the 30's to the 70's (and possibly beyond). Often the tracks are used to juxtapose what is going on in the film, like in the slow-mo scene. But most of the time they just enhance the action and give the film an edge that a lot of films nowadays don't. The end speech by Jackie about how America has become a business ends with one of the best ending quotes, and the credits start with Barrett Strong's "Money (That's What I Want)" make it an absolutely excellent ending to a movie. Abrupt and dryly funny. Perfect.

But enough gushing. The second main problem I have with the film is that it's very heavy handed with how it uses the American 2008 presidential election and how it connects to the underworld. In fact, it's pretty much shoved down your throat. Every important plot point is preceded by excerpts from the speeches of Obama and Bush, either on the radio or on TV. The only time when it really works is the big finale speech, when Jackie denounces the American dream during Obama's acceptance speech (I think, I'm not an expert on American politics. And from the looks of things, not many Americans are either). He sums up what America has become, a business as stated earlier, and that it has moved on from being a country in its own right. It exists simply to make money. But during, the rest of the movie, the speeches didn't really need to be there.

So, I don't think this is going to be as popular as the makers expeted it to be. Especially since it's adertsed as a fast action flick. It is a good film, and the acting is excellent, especially from Pitt and McNairy. But it is also inredibly dark, and there is a lot of talking. A Tarantino amount of talking. Would I recommend it? Only if you were going to see it anyway. Otherwise, if it doesn't look like your kind of thing, then don't bother. So, November is here, bringing with it NaNoWriMo (National Novel Writing Month, for those who didn't know), which means I will be focusing on that rather than this. I have a good idea for a book this year, and I want to spend as much time as possible on it. If I stay on track, then other reviews will pop up sometime. But I probably won't so this will be neglected for a little while. Until next time, readers. Whenever that will be.