Tag: Dark Comedy

I tried to watch Thoroughbreds when it was still in theaters, but a lot of things got in my way. The screening was during the day. Then I got free tickets to the Alamo over spring break, but couldn’t fit it in with three other movies I was watching during that week. And after those two attempts, I knew I had to wait.

Critic friends gave me lackluster reasons to go out of my way as well.

But I still knew I had to see it. The cast was too potentially good. And I have loved plenty of films that others have not.

Now watch as I refuse to type the title, as it gives me too many spelling anxieties.

Amanda (Olivia Cooke) and Lily (Anya Taylor-Joy) are not really friends. They are studying together, they are rich, but they have very different interests. They used to be friends, but things change over time. So why is Lily tutoring Amanda? To rekindle their friendship? To be nice?

No, Amanada’s mom paid Lily to do it. But they eventually found things to talk about, like Amanda’s past with potential animal abuse and the fact that Amanda is a sociopath. Fake emotions, no heart, what have you.

It turns out that Lily has the need of someone with her talents. She is fine with her mom, but her step dad (Paul Sparks) is a bit stranger. He isn’t abusive to her, but he does make her feel uncomfortable. It also turns out that he is going to put her in a boarding school that isn’t fun and kick her out. Things have got to change.

They have got to kill him.

Also starring Anton Yelchin, Francie Swift, and Kaili Vernoff.

There is so much distance between them. Physically, and emotionally.

Thoroughbreds was about two leads who were particularly unlikable. After all, one was a sociopath whose identity in this film was entirely based upon her relationship with the other. And the other is some sort of epitome of first world problems. Some of them are more relevant, but a lot of them just stem from being incredibly rich and lonely.

This is potentially the final new film that will be released with Yelchin in it. I have no idea, because I didn’t know he was in the film until I finally saw it. It wasn’t his best work and he had a small role, so it is going to be a forgettable one if it ends up being his final film.

When it comes to acting, since our main characters are already so emotionless, there isn’t a lot going on there. Cooke is really type casted into these quirky and darker roles, so it isn’t something we haven’t seen before. Taylor-Joy has certainly been better in her other recent genre roles of Split and The Witch.

Overall, this is a film that could have had a lot of potential, but really felt like it dragged due to the longer takes of scenes and build up of suspense. I did enjoy the ending though, and can’t find too many other faults in the film itself.

Sometimes you just stumble across a film and you are not sure how you found it. Maybe it was in the depths of Netflix. Maybe it was clicking the wrong button on a Redbox. Maybe it was a strange comment on an internet forum that made you just discover something odd about the world.

Or maybe you are just trolling through Nick Offerman´s IMDB page and see something called Infinity Baby and go “Ohhhhh, that sounds weird!” and just go and grab it to watch it without even wondering what it is about.

Who really can say though? When the whole thing is a mystery?

Oh yeah, the film is in black and white.

In this world, due to stem cell research something strange occurred. A miracle, maybe, but definitely something that no one intended. Certain babies were given a condition, a curse maybe. They would not age. They would stay in that infant, cry, poop, eat, sleep phase forever. Forever. So yes, similar to the plot point from The Boss Baby.

Why would they do this? Well it was an accident. And the government has determined to get these babies into homes. Other technologies have been developed, like special food pills for the babies. Things that put them to sleep most of the time, but still living entities. The amount of sleep and type of food they get means they only need a diaper change about once a week. The company Infinity Baby was set up to find these babies homes. I am unsure of if it is for life for them, or what, but an adult would get a large sum in the ten thousands to have them for three months. After three months, I dont know if they get more money or what.

Maybe those people who feel extra pampering would want this responsibility to be helpful. Who knows.

But Neo (Nick Offerman) is in charge of the organization. Ben (Kieran Culkin) is more of a hands on, day to day in charge of the operation, finding potential clients to take their babies. He has his own intimacy issues, and every time he feels his partner becomes too attached, he will take them to his mom´s house (Megan Mullally) and she will disapprove of them so that he can dump them.

And Malcolm (Martin Starr) and Larry (Kevin Corrigan) are two men on the ground, who actually have to go and deliver the babies to the clients. Their issue is a client has changed their mind last minute, so they decide to just adopt the baby together for that sweet cash.

Also starring Trieste Kelly Dunn, Stephen Root, and Noël Wells.

Would it be a big troll to say a movie is black and white, but really just one scene is, and you took the images from the same scene to trick people?

I hated Infinity Baby way more than I imagined. It is just a small indie movie with a lot of recognizable people, but the plot doesn’t go a lot of places and it presents an unnerving concept.

As a father, the idea of baby never getting past that infant early born stage is pretty damn sickening. I didn’t think that before I watched the movie, but during it. It makes me so sad and upset to even acknowledge that idea. Especially when I found out in this movie they use pills to make them mostly asleep and their lives basically meaningless. This sounds like a horrible fate to anyone.

Sure, some of the aspects are dealt with in the film. But half of the film is about Culkin’s characters inability to get a relationship. And I don’t know why that is attached to this film at all, besides a lazy parable about how other people can’t grow up either.

Maybe it was the black and white, maybe it was the plot that didn’t go many different places, or maybe, maybe, it is just the whole sadness for the babies things. But I would never want to see this movie again, nor would I really know a group who might enjoy it.

Generally, if you throw the word babysitter in a movie title, it now seems to allude to sexy stuff. Maybe that is because of the film a decade ago, The Babysitters, about sexy underage stuff.

But The Babysitter still has a similar theme going on. Attractive ladies, people who want to bone them, and sacrifices to the dark lord.

Oh wait wait, that last part is a bit different. Although, ritual sacrifice in film usually, strangely, comes with an air of sexual tension too.

The only film to go against this trend is Adventures in Babysitting, which thankfully, is very unsexy.

This scene looks photoshopped.

Cole (Judah Lewis) is too old for a babysitter, and yet, he has one anyways. Seriously, he is now in high school. A freshman, but still in high school. His parents (Leslie Bibb, Ken Marino) sometimes take extended weekend trips to stay in hotel rooms in order to rekindle their relationship, and don’t trust their son alone. And he is a total straight up nerd, not like he would throw a rager.

But Cole doesn’t care too much either, because his babysitter is a total babe. Bee (Samara Weaving) is like a perfect human, with confidence, humor, looks, you name it. She is also down to earth and treats Cole like a real goddamn person, and not some burden. Sure she gets paid to hang out with him, but she seems to be the type to still find him to be a friend.

Convinced by his friend to stay up past bedtime to find out if she ends up having sex with a boyfriend when he sleeps, he instead finds a whole gang of people in his house. Normal, teenage stuff is mostly going on, until one of the group gets stabbed in the head, his blood collected, an unwilling sacrifice.

Holy shit. They are making deals with the devil. They also need the blood of someone pure, which of course means him. This is not how Cole saw his night going. He loved Bee!

Also starring Robbie Amell, Hana Mae Lee, Bella Thorne, Emily Alyn Lind, Andrew Bachelor, and Doug Haley.

Best friends, no romance at all? They should kiss.

The Babysitter is a very chaotic film and going for a specific audience: one that just wants to have a lot of fun. And honestly, it does feel like a lot of fun.

The film isn’t that long and it feels like it takes awhile to get to the point. But it is filled with dynamic and fun camera angles, making seemingly (and actually) boring events early on feel a bit more special. This is a throw back to the 80’s in terms of plot, but really it didn’t go 80’s enough. I mean, if you are going to do a ritual sacrifice for power to the devil, can we get a little bit of devil? Come on.

Instead we get upper aged teenagers having to carry out most of the evil deeds. Once this aspect of the film starts, it gets crazy and stays chaotic until the very end. It was highly entertaining, watching them try to get our main kid, dying in horrific ways, while also not just outright trying to kill him back.

I mean, these real people have some standards, you know?

Amell was the most hilarious of the group, totally doing better than many of his other recent works. Maybe it is just because he had his shirt off the whole time, and that appealed to my senses.

The Babysitter takes awhile to get really going, isn’t a great movie at all, but it is very, very fun once it fully embraces its plot.

Hooray the Coen brothers! Their last picture was Hail, Cesar! Which I have a 4 out of 4 to, but in retrospect it was a weak 4. It was just so bizarre and atypical for films that I couldn’t hate it.

So I had pretty high hopes with Suburbicon. It is set in the past, it has quirky characters and a murder plot so fowl. It is probably going to be similar to Fargo just with worse accents.

I really wanted to see it but I was surprised at the lack of, well, anything about the movie. Advertising was basically nonexistent for this film, like it was meant to be buried before it even premiered. And damn it, George Clooney is the director, his name used to mean something.

Maybe some elements will also bring us back to Falling Down.

Welcome to Suburbicon! A community set in the 1960’s or early 70’s. Life is perfect here. There are jobs, there are families with husbands and wives, there are kids who play baseball in the lots. There are no big fences between their houses, there is no crime, and everyone is happy, happy, happy.

And then a new family moves in, the Mayers (Leith M. Burke, Karimah Westbrook, Tony Espinosa). They are black. This sort of thing really shakes up their community, as apparently most of the families left their homes to move here just because of how white it is. They think this family will ruin their community and will go out of there way to make their stay miserable until they decide to leave.

But that is only one small part of the movie. The other part deals with the Lodge family. Gardner Lodge (Matt Damon) is running his own business, living with his wife Rose (Julianne Moore), who is in a wheelchair, and son Nicky (Noah Jupe). Sometimes her twin, Margaret (Moore), also stays with them. After Nicky ends up playing baseball with the new neighbor’s son, the Lodge family are woken up by two goons (Glenn Fleshler, Alex Hassell) who are threatening and mean.

This leads to a death in the family, which is only the first of a series of weird things to occur after their new neighbors arrive. It turns out that this area might not have been as happy as everyone had imagined.

Also featuring Oscar Isaac as an insurance man.

I’d let him give me an insurance adjustment anytime.

There is something odd about Suburbicon, in its core, that makes it really hard to get into for a really long time. With wonderful dark comedy writers at the helm, you would think it would be a surefire hit, or at lease a cult classic. But this will not be either of these things and it will be promptly forgotten in the annals of cinema.

Is it like Fargo? Yeah, a bit, but Fargo had charming characters that you could invest in on both sides. This movie basically has a little kid and a neighbor family that is a distracting subplot.

And maybe that is a bigger problem with the film. As the intro goes, it is clear that the ideal utopia place to live is super white. It is clear that there will probably be a black family to move into the neighborhood and force some issues. And these things do happen, but only to provide a rather large and awkward distraction of the main plot.

I’m an America as racially divided and tense as it is right now, how could they decide to treat a real issue facing people now as some sort of fluff piece? It shows real anger and scary situations, but every time it heads back to the main family with their insane plot it reminds the viewer that “no, they are not important. This white family is really the important one.”

The reason for all the chaos makes sense. By having it in the background, we are able to give a reason why all of the film’s plot can take place without too much notice. But even if it makes sense, it is still an incredibly insensitive and poor choice for the creators to make.

The acting is fine. Some of the twists are fine. Oscar Isaac was great in his two scenes. Top notch. It slightly saved it from a 0.

I wouldn’t say I am the best cook. Nor am I the best individual to make sure everything in my fridge stays fresh until it is used. We have thrown out plenty of leftovers, and vegetables, who never had a chance to shine. (Because vegetables suck!)

What I am trying to get at is I understand when food gets bad, and it does right before I want to use it.

As for people, I don’t know when people get bad, but Breaking Bad tried to examine that. The Bad Batch is both about bad people, and about bad food. I think you can understand what I am talking about with that.

Stop staring at her winking ass, I am talking about eating people NOT…the other thing.

In the future, The United States sucks a bit more than normal, and there is a section of Texas they have decided to just cut out from the rest of the country. Texas. It makes sense. Beyond those gates is a desert wasteland, claimed by no country, so the people who inhabit it have no rights or laws. This is a prison. People from the US are sent here and called The Bad Batch. They are the freaks and unwanted members of society, or those who cannot fit in. And they are sent to the wasteland to die or thrive, they don’t care, they just need them gone.

And when Arlen (Suki Waterhouse), Bad Batch #5040, is dropped off, she finds herself lost, confused, and immediately captured by a group of cannibals. Now don’t worry, she is able to escape this muscle clad community back into the desert, but not before losing her right hand and right foot.

Thankfully a lone wanderer finds her and dumps her off at a community called Comfort, where she is able to get back on her feet, well, foot, to try and make ends meat of this new society she has been thrust into. And what she wants is revenge.

She apparently goes into the wasteland with a gun, searching for crows for food, and hoping to find someone from that community to kill. But this time she finds a little girl (Jayda Fink), born in the wasteland, forced to live as a cannibal. And now Arlen’s life will really begin to change.

Starring Jason Mamoa as the Miami Man, Keanu Reeves as The Dream, Giovanni Ribisi as The Screamer, Yolonda Ross, Diego Luna, and Jim Carrey as a Hermit.

Don’t worry, it is hard to tell even without the glasses that this is Jim Fucking Carrey. I didn’t know until the credits.

When The Bad Batch exceeds at a mark, it exceeds at a very high level. In terms of world building, it created a post apocalyptic society without having to make an actual apocalypse occur, which is pretty awesome. It goes fully into creating a believable enough atmosphere for the characters to live, thrive, and interact with. It only had a few communities in the film, so it isn’t as expansive as something like Fallout, but it gets the job done for a feature film.

The other thing this film excels at is its cinematography. Barren wastelands hardly are sexy to look at, and it is still true with this movie. But the camera work gives an addition to the characters isolation and thirst, by forcing it on the audience. The colors in Comfort are also vibrant at night to explain their drug fueled, care free attitude towards life. It is a visual spectacle.

The Bad Batch does have some issues with pacing. Despite a rough plot being given, it was really hard to figure out at times just where the movie was headed. It was unpredictable with character actions, so it wasn’t obvious just what the hell was the point. It also dragged heavily in the middle.

A lot of people are likely to be upset at the ending as well, including me. Based on the plot, I couldn’t tell where it was heading of course, but still found myself left down based on where it ended up.

If anything The Bad Batch is a visual spectacle (and not in the CGI infused version of that word), with an amazing world and some weird shit going down. But it is easy to get a little bit bored and have your mind wander off at points.

Studies have shown that reviews that feature “Lake” in the title end up being better than expected when writing said review.

Of course, my only review before this was the movie Flakes, which was, I admit, better than I imagined it would be. It was quirky, off beat.

Shimmer Lake, it has plenty of quirky actors in it, but I am not sure how off beat it will end up being. I did go in with low expectations, despite the Lake theory, and as you can see, hey, it was better than I imagined.

There was less sexual tension in this movie than I imagined as well. Look at that gap between police officers!

Shimmer Lake is also a story told in reverse. Similar to Memento, sure, but it is on a day by day basis. We start our story on Friday, and we see how the entirety of Friday plays out, then we see Thursday, all the way to Tuesday.

Because you see, on Tuesday, there was a bank robbery. And this is a small town, Shimmer Lake, so everybody knows everybody, and heck, a lot of them are related. Like or Sheriff Zeke (Benjamin Walker), whose brother, Andy (Rainn Wilson), a lawyer, just helped rob a bank on Tuesday. Andy worked with two other locals (Wyatt Russell, Mark Rendall) robbed a bank when it had a well known surplus, and Zeke was shot in the theft.

And now they are still about the town, Zeke is sure of it.

We just have to figure out how all the players are involved, which of course is revealed slowly while telling us backwards. We also have a judge (John Michael Higgins), a couple of FBI helpers (Rob Corddry, Ron Livingston), the deputy (Adam Pally), and the wife of a robber (Stephanie Sigman), and somehow one or more of them are involved.

And don’t worry, the lake is not the answer to the mystery.

Blueprints and alcohol are the best items to help with a bank robbery.

About three fourths of the way into this movie, I wondered why it was being told in reverse. It didn’t seem to be adding really anything extra to the story. It seemed to be Memento-ing because people liked Memento.

But of course by the end it all became a bit more clear. And yes, Shimmer Lake is a film that will be better the second go around. I don’t know if I will ever really watch it a second time, but I would like to see what clues give it all away and make this story tick.

It was a bit hard to label this movie, because there are a lot of actors who are mostly in comedy films filling out the roster, and I think that adds a strange aesthetic to the whole film. I am calling it a Dark Comedy in that regard, because it is normally comic actors acting serious, in events that are larger than life.

Shimmer Lake isn’t a film that is reinventing the wheel or adding something entirely new to the industry. But it does try to stand out and, as I implied earlier, ends up being a better ride than expected.

Hey! A new movie, on Netflix! That means this bad boy didn’t go to theaters, it just appeared in our lives, and in some film festivals. Because I had quite a few critic friends talking about it, and I had no idea why.

When I heard the words I Don’t Feel At Home In This World Anymore, I groaned. Last thing I need to see is a bunch of twenty-somethings bitching about the tiniest inconveniences and quoting Futurama. I then assumed it was some indie movie opening in five theaters across the USA, and only decided to watch it when I got on Netflix and the film slapped its dick in my face.

And even then I had reluctance. It was that little boy from those ring movies that made me want to watch it.

Actual footage of man me and girl me glaring at the movie from afar. In my car.

Ruth (Melanie Lynskey, indie movie princess) is pissed off at the world. She is a nursing assistant, but that doesn’t matter right now. She lives alone, has some friends, and people piss her off. People cut in front of her at the supermarket, dogs shit on her lawn, people spoil the book series she is reading, and someone broke into her house, fucked it all up, and stole some of her things.

Oh yeah, that is a pretty big one. She is shaken up about the whole thing, even more upset that the police (Gary Anthony Williams) seems to not give a shit about it, taking her statement and not giving her hope for restitution.

So she sets out to finding the culprit on her own, footprints and all. And after a brief tiff, she enlists the help of a neighbor, Tony (Elijah Wood), who is upset over theft in the neighborhood. They have hacking skills, ninja stars, and they are pissed off at the world. They will find out who took her stuff and there will be some sort of payback. Maybe a stern talking to.

Also starring Christine Woods, David Yow, Devon Graye, Robert Longstreet, and Jane Levy.

Nothing like book spoilers to spoil ones appetite as well.

Despite my rantings about indie films, I really didn’t know what to expect. Elijah Wood has been doing a lot of this darker, trippy stuff in his post Hobbit career. There was Sin City, there was Wilfred, Cooties, and now this. And of course Tobey Maguire was in The Details, which is kind of the same thing since they are similar. I didn’t expect this film to be a dark comedy, but once it started, it delivered hand over feet.

It has a few shocking events, sudden escalations, death, violence, and a bit of realism. If there is a fight, both sides are getting hurt and in unexpected ways, as they realize they are NOT superheroes. There is real danger for the characters involved and a lot of morally gray areas as well. And morally very very black areas, but we get through those as well.

This has got to be Lynskey’s best work to date. I am not going to call myself a super fan of hers or anything, and I have only seen a handful of roles, but most of them are side characters, reserved, and forgettable. In this film, it is HER movie, she grows as a character, she starts to take charge, and it is a good change.

If this film had problems, it would mostly just involve the ending. How everything ends up resolved might not match the tone from the rest of the film. It also took me awhile to really get into it, the build up being necessary, but still unexciting.

Movie titles can get pretty descriptive. The ones that can really sell you on a setting with just a title do a lot of work and can help draw people in.

Something like The Assassination Of Jesse James by the Coward Robert Ford? That is a descriptive and specific title, you know the main people involved and the event in question!

That is an extreme example. For Manchester By The Sea, it just really wants you to know which Manchester the film is set in. “Is it the Manchester by the forest? Is it the Manchester in the mountains? Is it the Manchester in Iowa?” No damn it. It is the Manchester by the sea!

And this is presumably a Casey by the sea!

Lee Chandler (Casey Affleck) is a seemingly miserable prick. He lives alone, works a basic janitorial job for a complex and deals with shitty tenants, and sometimes he is shitty in return. He just wants to drink and forget his worries. And this is how he was before his brother (Kyle Chandler) died.

Lee has to head up to his hometown of Manchester to help deal with the aftermath. Funeral arrangements, will stuff, and checking on the kid, Lee’s nephew, Patrick (Lucas Hedges). Lee has a problem in Manchester, something that happened in his past that the locals talk about and spread rumors. And nope, you aren’t getting that spoiler in this review.

Needless to say, Lee wants this whole thing to get finished as soon as possible so he can get back to his new life and out of this town. And then he finds out his brother left him as the guardian of Patrick, not their uncle like they talked about. This will also shake up Lee’s life, forcing him to either dump the kid off with a friend or worse, Patrick’s mom (Gretchen Mol) who was a trainwreck throughout his youth.

Or, strange as it may seem, maybe just movie back to his old town and be this guy’s guardian?

Also starring Michelle Williams as Lee’s ex-wife, Tom Kemp, Anna Baryshnikov, Kara Hayward, C.J. Wilson, and Matthew Broderick.

If you look close you can see them in a boat. A boat ON the sea.

All I wanted to do was see some realistic acting and maybe cry a little bit. Instead, I got fantastic and realistic acting, and bawling my eyes out.

Thankfully the film reveals what happened in Lee’s past about halfway through the film, and the moment and scene really got to me in the theater. I felt horrible and I was forced to imagine how it would affect my own life. Even after the flashbacks were over, I then had to consider every scene of the film from that point forward in relation to Lee’s past. Normally regular dramatic scenes became sadder from this knowledge and the cries came intermittently.

In the final conversation between Affleck and Williams you would be hard pressed to find a viewer who doesn’t become emotional as a result. They bring so much into their characters. Affleck of course, being the main character, and it is expected, but I was surprised at how much pain I felt with Williams who had significantly less screen time.

The film wasn’t just sad, but it was awkward. There were awkward situations/reunions, uncomfortable conversations about death, and it was a funny film. That’s right, laughter, I laughed about as much as I had cried. I officially classified this as a drama/dark comedy, but honestly it could still be considered just a regular comedy. The balance between the two was extremely precise in this film that it really fits both molds.

Other notes: The setting was gorgeous, the cameras were well placed, the actors and people involved all felt like they belonged. This was a snapshot on a community as much as it was on a single person. Affleck will most likely be nominated for an award for the film, and hopefully Williams for Supporting Actress. I still haven’t seen all the potential contenders to know if anyone will actually win though. Affleck just continues to impress with every film he is in.

Also, there are accents. Accents!

The Lobster is weird. That is the only thing I knew about this film going into it. I only know that because that is what everyone says about the movie. And if everyone says something is weird, then it must be weird, and that excites me.

The Lobster also came out in Europe and everywhere else in the world like, last summer/fall. Seriously, everyone has seen this movie but US. It was already released on their DVDs I believe before it came over here to theaters.

That made it really tempting to just watch it online, but I am happy to say I held out and wanted to see this movie in theaters, knowing only it was weird and slightly foreign. Let’s do this!

“Only foreign people run through fields like this,” he said, maybe racist-ly.

The Lobster takes place in a near future setting, somewhere in the United Kingdom, and the world is different now. Or at least this unnamed city is different.

Basically, if you aren’t with your family as a child or currently in a relationship, then you are wasting space. The world doesn’t need loaners. It isn’t as safe with them. They aren’t being productive members of society. David (Colin Farrell) is now single after his wife left him for another man.

This means that David has to go to The Hotel. He has to leave all of his possessions behind, except for his dog. The Hotel stay is only temporary though. If he doesn’t find someone to love and marry in 45 days, someone who shares a trait with him and can live with him for a few weeks without major issues, then he can move back into the city.

Oh yeah, what happens if your time is up and you don’t find someone to love? You get turned into an animal of your choosing for a second chance of life. Yay!

Also featuring the Short Sighted Woman (Rachel Weisz), the Limping Man (Ben Whishaw), the Lisping Man (John C. Reilly), the Biscuit Woman (Ashley Jensen), a Heartless Woman (Angeliki Papoulia), the Nosebleed Woman (Jessica Barden) and her best friend (EmmaEdel O’Shea).

As for people not named after physical traits, we have a maid (Ariane Labed), hotel manager (Olivia Colman), her husband (Garry Mountaine), and the Loaner Leader (Léa Seydoux).

Bet you can’t figure out what David would want to become.

Hey! Did you read my intro? If not, The Lobster is a weird movie!

I haven’t seen any of the other films by Greek director Yorgos Lanthimos, but everyone is telling me I basically have to see Dogtooth if I liked the absurdness of this film. It is clearly done by a director who knew what he wanted for absolutely every moment of the film and put a lot of effort into the message.

The acting is a strange thing to talk about, because everyone on purpose tends to be emotionless and straight faced, as if they are walking talking dating profile pages. It took awhile to get comfortable with, but it produced some of the hardest laughs in the film. Sometimes I laughed due to pure jokes, sometimes due to the awkward moments, and sometimes to keep myself from crying at the darker parts of the movie.

The Lobster does seem to drag a bit though. Most notably when David leaves the Hotel. In the forest we meet interesting characters, but it just feels repetitive and, honestly, I don’t fully understand the reasoning behind all of the rules. The two hour film feels a half hour longer. The final scenes are interesting at least and say a lot about the world they are living in.

If you can make it through the forest, you can make it to the end of a pretty good and unique movie.

The Voices is a movie that came out in early February that I really wanted to see as soon as I heard the plot. But I am not talking about the plot right now, I am talking about Ryan Reynolds.

He had a relatively quiet year in 2014, but that is because he was working so hard to make 2015 a full year for himself. First with this movie, we have at least three other movies where he is the star or a main star coming out this year, across all genres. Family drama, dark comedy, action, sci-fi-drama. How diverse, Ryan! You really want to get away from the stoner comedies! And let’s not forget that next year he gets to be a Superhero and an animated voice again. Jeez.

Maybe it is just that he got himself a better agent. Or maybe ScarJo was holding him back and Blake Lively is actually good at something?

…Yeah, you’re right. Probably the agent.

All he really wanted was to dance more in his movies. The Sam Rockwell clause, if you will.

Jerry (Ryan Reynolds) is just you average loner guy. He doesn’t have a lot of skills, working as a worker in a factory that makes toilets. Like, lifting and boxing. Very minimal skills. He lives alone with his two pets, a cat, Mr. Whiskers (Ryan Reynolds) and a dog, Bosco (Ryan Reynolds). No, don’t worry, he isn’t dressed up as his pets. He is just their voices, because they totally can talk!

Well, only to him. No one else can hear them. Did I mention Jerry had an abusive child hood, where some seriously fucked up shit went down? Yeah. He is taking pills for his head voices, from his therapist Dr. Warren (Jacki Weaver). But the pills make the world a much sadder place and make everyone seem mean. No, he is happier without the pills.

After all, there is a cutie at work Fiona (Gemma Arterton) who gave him notice and danced with him at the holiday party! So he likes her back. But maybe she didn’t like him too much and she was just friendly. Oh well, either way, they should date.

Unfortunately, he doesn’t have many people to ask advice too, because he doesn’t have any real friends. Guess his pets will have to do. And his cat his a straight up dick. Also featuring Anna Kendrick and Ella Smith as the rest of the accounting department at his work!

In retrospect, maybe he should have played has the animals in costumes as well. It worked for Wilfred!

Yeah, we get to see Ryan Reynolds play a serial killer and make some pet voices too. Hooray! The first thing I noticed while watching this movie is that it was carefully crafted visually. Someone knew exactly what they wanted to show and how to show it. And the visuals again, were great. The use of color, the difference between his life on and off pills, how other people perceive him, all great. The next thing I really enjoyed was…Ryan Reynolds!

Hey, that is pretty good, because he is the star/main character of this movie. But he actually acts. He isn’t the douche bag role, or a simpleton nice guy. He is a full character and it was kind of impressive. Not sure if because I don’t expect that much from Ryan or what, but I really enjoyed it. Sure, his voices were fun too.

If I had any issues with it, I would just say I didn’t like the ending as much. Things started to unravel, everything went crazy, Jerry was losing it, which all makes sense. But the actual ending just felt a bit of a let down. I was expecting something more, and it just didn’t keep up the momentum that was building. Now the credits were great though. Hell yes to those credits.

Overall, still, a very interesting an enjoyable film. After all, it is pretty weird, and I fucking love weird.