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Geekscape Movie Reviews: The Glass Castle

by MCDaveAugust 7, 2017

Destin Cretton is anything but a household name. Yet, the gifted filmmaker turned heads with his massively overlooked 2013 drama, Short Term 12. The effort bridged together Cretton’s singular story and vision with the remarkable acting talents of Brie Larson. Since then Larson has gone on to win an Academy Award (Room), but her career comes full circle in her latest collaboration with Destin Cretton in the adapted film The Glass Castle.
Told non-chronologically through various flashbacks, The Glass Castle follows the unconventional childhood of gossip columnist and eventual Best-Selling author Jeannette Walls (Larson). Prior to her career as a writer, Walls grows up under the dysfunctional supervision of her alcoholic father (Woody Harrelson) and her amateur artist mother (Naomi Watts). But as Jeannette and her siblings begin to mature and fully comprehend their squatter-lifestyle and impoverished upbringing, they must work together to escape the clutches of their deadbeat parents.

Destin Cretton’s The Glass Castle serves as a heavy drama that illustrates the director’s keen vision and his cast’s stellar performances. There are many captured shots scattered throughout the film that transcend the normal standards of direction, reminding us just how impressive Cretton truly is. Likewise, Brie Larson continues to shine and reinforce her standing as one of the best actresses alive today. And her counterpart, the underappreciated Woody Harrelson, always has a knack for commanding the screen. Witnessing these two titanic performers deliver the goods over and over again for more than two hours is what keeps this film from crumbling at the hands of its weaker elements.

For starters, The Glass Castle begins its constant rewinding of time through flashbacks with a fluid approach that effectively links the present with the past. However, eventually, the film ditches its smooth transitions and forcefully breaks from its underlying format. And as Jeannette’s character begins to truly ponder the joy vs. sorrow of her childhood, deciding whether her father was an inspiration or a burden, the flashbacks become a hokey and contrived element rather than a useful and informative tool. But even through much of the screenplay’s over-extension and sloppiness, exceptional direction and performances keep the audience connected to this powerful tale of familial struggle.

GRADE: 3/5

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Geekscape Movie Reviews: Room

by MCDaveDecember 9, 2015

It was only two short years ago when I clamored for a budding female talent, Brie Larson, to receive her first Oscar Nomination for a gutsy and daring performance in the under-appreciated 2013 drama, Short Term 12. And despite Larson’s unforgivable snub from the Academy that year, I still knew she would continue seeking out deep, personal roles that would eventually land her in the spotlight. Well, it didn’t take long as Brie Larson’s towering performance in the winner of the Toronto International Film Festival’s highly coveted Audience Award, Room, is about to change the landscape of her career.

Larson stars as a young mother held captive in a 10 x 10 shed with her five year old son, Jack (Jacob Tremblay). Having been kidnapped seven years prior and forced into a life as a personal sex slave for her captor, she eventually gives birth to his biological son. This room serves as the only world Jack has ever known, and his mother does her very best to raise him with the hopes of one day being freed from this prison on earth.

Lenny Abrahamson’s Room is a riveting drama adapted from Emma Donoghue’s international best-selling novel of the same name. A shocking story molded straight from the darkest evils of real life, the film examines the physical and emotional torment of a young mother tasked with putting on a courageous front for her naive child. Room relies on unmatched performances to bring its unimaginable story to life. Leading lady Brie Larson is no longer a star in the making, she’s officially arrived. Her confidence to tackle challenging roles such as this one is almost as impressive as the acting showcase she puts on full display. Larson’s natural chemistry with her onscreen son and child actor, Jacob Tremblay, is an absolute marvel, Together they form a 1-2 punch that’s guaranteed to stand alongside any other casting ensemble this year. These beautifully developed characters allow the audience to join them on their gut-wrenching journey from prisoners to psychologically scarred news headliners. Room draws you in from start to finish with an engrossing and earnest story unlike anything you’ve ever encountered.

For as impressive as the film is, there are still a few low points that reveal themselves. Filmmaker Lenny Abrahamson leaves some meat on the bone with his direction. While it never becomes a deterrence to the film, there’s nothing that stands out from a technical standpoint. Furthermore, Room‘s second half, which focuses on the mother’s difficulty readjusting to the real world and questioning her parental choices, feels slightly rushed for such an integral part of the story. And since the film’s running time amounts to an appropriate two-hours, a few alterations to the plot may have improved her unconventionally abrupt mental decline. But despite these apparent weaker aspects of the movie, Room unfolds terrifically and states its case as a legitimate awards season contender.

Some moviegoers venture to movie theaters for fun-filled amusement and simple pleasures. Room is hardly a joy to watch. Instead, the film uses a horrific backdrop to lure the audience into a compelling and realistic story of a mother’s unwavering love for her child. Larson’s inherent maternal instincts are convincing enough to give her a true shot at Oscar immortality. Room does a superb job of standing tall and separating itself as one of the 2015’s finest entries.

GRADE: 4.5/5

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Geekscape Movie Reviews: Obvious Child

by MCDaveJune 6, 2014

It’s become a bit of the norm lately, a blueprint for young aspiring filmmakers to follow. Many recent debut features out of the Sundance Film Festival, including one of 2013’s Top Ten Movies, Short Term 12, and 2014 Grand Jury Prize Winner, Whiplash, represent successful full-length projects that have been adapted from short films. It’s time to add another well-regarded festival darling to that list, writer/director Gillian Robespierre’s Obvious Child.

Donna Stern (played by Jenny Slate) is a twenty-something small-time comedienne whose life is turned upside-down after being dumped by her boyfriend and discovering that the bookstore where she works is closing. The hard-hitting realities of life bombard her all at once, leading to a horrendous performance on stage and an evening of binge-drinking. But during this moment of self deprecation, she meets a genuinely nice guy named Max (Jake Lacy) which leads to a one night stand. A few weeks later Donna learns that she’s pregnant and decides to have an abortion, all while Max tries to reconnect her.

The taboo label of an “abortion comedy” is somewhat unjust, mainly because Gillian Robespierre’s Obvious Child lacks the uproarious hilarity one might expect. Instead, the indie darling relies on sincere and honest performances from its leading pair to help guide this peculiar film to attainable heights. Although I’m uncertain of Jenny Slate’s ability as a stand-up comic, her acting chops are certainly on display with a wide array of emotions. Her onscreen counterpart, performed admirably by Jake Lacy, completes an endearing 1-2 punch that breeds a tremendous amount of life to the feature. Convincing acting paired with a tender and soulful screenplay proves to be all that’s needed with Robespierre’s winning directorial debut.

Despite being an earnest effort, Obvious Child misses the mark with under-achieving humor and a thinly written story. While the characters all feel authentic, a simple plotline requires that the jokes carry you along from scene to scene. However, the self-mocking Jewish punchlines and cringe-worthy onstage misfires during painful stand-up comedy routines result in bumpy transitions throughout the film. Thankfully, Robespierre refuses to prolong the experience and wraps up her female-agenda tale in a reasonable 83 minutes. Therefore, Obvious Child resides as another serviceable and heartwarming indie drama from the 2014 Sundance Film Festival class.

Modern times have not been kind to the young-adults in the United States. Difficulties finding employment, purpose and sustainability have been recent trends that our country is yet to escape. Gillian Robespierre’s passion-fueled project, Obvious Child, uses these components as a backdrop to a larger self-discovery story. And although the film clearly targets a female audience, there’s still more than enough for everyone to enjoy.

GRADE: 3.5/5

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In Case You Missed It – January 2014

by MCDaveJanuary 4, 2014

Although the DVD and Video-On-Demand selections have been weak the past few months (December’s picks), January makes up for it in a big way. This month is loaded with some of my favorite films of the year, as well as a couple Oscar-possibilities. It was difficult to narrow down my top three picks of the month with a long list of worthy releases, but here’s what I came up with.

#1. Rush

Until the December release of David O. Russell’s Academy Award Best Picture contender, American Hustle, Ron Howard’s Rush spent a large portion of 2013 atop my favorite movies of the year. One could argue it was low the expectations I had upon entering the theatre, but in actuality it has everything to do with a dynamite performance from Oscar-hopeful, Daniel Bruhl, and a thrilling sports story superbly executed by its director. Formula 1 racing captured the attention of the entire world during the 1970s, and two of the fiercest drivers on the planet, James Hunt (played by Chris Hemsworth) and Niki Lauda (Bruhl), embarked on a legendary rivalry. Rush is far more than a high-octane racing movie, it has layers and depth that enable it to stand on its own as one of the finest sports dramas in years. It’s an absolute Must-See feature. (January 28th)

#2. Short Term 12

One of the year’s most tender, yet heartbreaking, films comes in the form of Destin Cretton’s directorial debut, Short Term 12. This unknown indie drama packs an enormous amount of emotion thanks to a genuine script and an unbelievable performance from Brie Larson. The gifted young actress is more than deserving of Oscar-notoriety, however, she appears to be on the outside looking in. Larson is far from the lone shining star in the film, the cast is flooded from top to bottom with authentic performances. In fact, supporting star John Gallagher Jr. even landed on my year’s Most Underrated Performances list. Watch as these twenty-somethings spend their workdays consoling and molding youth at a foster-care facility for at-risk children. It’s an eye-opening journey into the lives of our forgotten youth. (January 14th)

#3. Captain Phillips

The major consensus is Tom Hanks will find his way into the Best Actor race for his showing in this year’s true-story action adventure, Captain Phillips. This would mark the 6th time Hanks has been handed an Oscar Nomination, and he truly earns it once again. Captain Phillips follows a cargo vessel taken under siege by a band of Somali pirates. Through the guidance of their tactical captain, the vessel’s crew must work together to survive the ordeal. Director Paul Greengrass is best known as the visionary behind the second and third installment of the Bourne franchise, and here the action is equally as effective. Well paced and highly compelling, Captain Phillips is another strong effort from one of the greatest actors the world has ever seen. (January 21st)

Honorable Mention: There’s no shortage of other sensational selections finding their way to DVD this month. Two Sundance Film Festival entries that are both worthy of checking out are The Spectacular Now (1/14) and the gut-wrenching true-story of Oscar Grant in Fruitvale Station (1/14). As for some Oscar-Caliber movies, Cate Blanchett is a frontrunner in the Best Actress category for her fine role in Woody Allen’s Blue Jasmine (1/21) and there’s a few fringe players fighting to make the Oscar cut from Lee Daniels’ The Butler (1/14). Another rising Oscar contender comes in the form of a potential posthumous nomination for the late-great James Gandolfini in the romantic-comedy Enough Said (1/14). Horror fans have some interesting options arriving on DVD in January, Carrie (1/14) and the buzzed-about You’re Next (1/14) are available this month as well.

Geekscape Movie Reviews: ‘Short Term 12’

by MCDaveAugust 27, 2013

Sometimes you stumble across the greatest treasures when you least expect it. As it turns out, the South By Southwest Film Festival Winner for Grand Jury Narrative Feature and the Narrative Audience Award, Short Term 12, is every bit as good as advertised. The independent drama journeys through a myriad of emotions on its way to a perfectly-timed finale, representing one of 2013’s finest features.

Grace (played by Brie Larson) is a supervisor at a foster-care facility. Nurturing and gentle, the youth in her care truly appreciate everything she does for them. Along with the aid of her co-worker boyfriend Mason (John Gallagher Jr.), the couple must navigate through the troubles at work as well as the problems in their own lives.

I’ll cut right to the chase, Destin Cretton’s Short Term 12 is a premier example of how impactful a film can be on its audience. Tender and sweet, you rarely find a movie as innately compassionate as this one. There’s plenty of evil in the world and, rather than trying to shy away from it, Short Term 12 stares it right in the eyes. Following a facility full of impressionable at-risk youth who find themselves teetering on the edge of transcending this evil or being consumed by it, the viewer is placed right in the center of these struggles. But it’s the aptly named “Grace” who shelters her own personal troubles by waking up every day and offering unconditional love to these children who so desperately need it. Brie Larson is the glue that holds the film together. Her Oscar-worthy performance is both mesmerizing and masterful. The gifted young actress is so unbelievable in the role that the audience becomes a part of her character. You’ll smile when she does and your heart will break alongside hers. However, Larson is far from the lone shining star. Her onscreen boyfriend, played by John Gallagher Jr., is almost equally as impressive. And in addition to an entire well-rounded collection of cast members, Short Term 12 succeeds in conjunction with a stellar script and fabulous direction from Destin Cretton.

While the indie drama tugs at the heartstrings with hopes of moving its viewers, the film drowns itself in a hopelessness only to culminate a little too gleefully for my liking. As Short Term 12 zips along, it feels extraordinarily authentic. Therefore, I found its resolution to be slightly bittersweet. “Sweet” in the sense that I left the theatre as uplifted as I should, and “bitter” in the sense that the finale feels forced and slightly unrealistic. But despite this minuscule blemish, Short Term 12 shines through and ends up as one of 2013’s most noteworthy films.

Many filmmakers break into the “biz” determined to make their audiences feel an array of emotions. Short Term 12 stands out as the premier example of such films. Gripping and moving there’s plenty to love about this little indie drama. It’s the type of movie that deserves to be viewed and enjoyed by the masses. Short Term 12 is a strong feature by all accounts and hopefully it will catapult Brie Larson to the stardom she deserves. Do whatever it takes and check out one of the year’s best films, Short Term 12.

GRADE: 4.5/5

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