MIFF 2014: Creep
Anyone who has read this site for any length of time will know I am an absolute sucker for a good high concept horror flick. In fact I am willing to forgive a lot of a film’s flaws if the starting point is something truly creative and ambitious.
All that probably explains why the Mark Duplass starring, Patrick Brice directed Creep (2014) was the first film I chose to see at MIFF. The concept sees a cameraman answering an ad for a day’s work. A day’s filming for a thousand bucks. To give away any more than that would ruin things, but needless to say, shit goes pear shaped pretty quickly and at times pretty frighteningly. Also on occasions pretty hilariously too as the film traverses the three genres of thriller, horror and comedy in a fun pulp style. Although for much of the second half of the film that comedic tone is replaced by some really well crafted tension. In my packed screening the film got a great response as well with huge laughs and a fair few gasps at the right times too. The main reason to watch this film is that it features a totally, delightfully, unleashed Mark Duplass. In a creepy role, he is clearly happy to be going big, not having to worry about conveying any angst or particular depth of emotion. I was a fan of his before this film, but here his charisma just totally lifts the film up.
Director (and co-star) Patrick Brice
All this sounds great and all would be great if it were not for the film’s one major, overwhelming flaw. The handheld shooting style is nigh on unwatchable, especially in the first half of the film. I know that so called ‘shaky cam’ really bothers some people, but I am generally not one of them and like quite a lot of films that employ the approach. I would go as far as saying that this is comfortably the most infuriated I have ever been at the utilisation of handheld cameras. And it is actually the first time that I have felt nauseous because of the way the camera is used. In horror films too, I often find the device to be a cheap one. It is easy to artificially create tension and fear if you are just arbitrarily cutting off the side of the shot and not showing all of what would traditionally be shown in a scene. This film is definitely guilty of repeatedly using that approach. The shame of this failed approach is amplified by the pretty awesome ending in which a stationary wide shot is utilised really creatively to deliver a great high point to end on. The fact that the most shocking shot is the one where the camera is not being used to obscure parts of the frame, makes all those other instances where it is so much more frustrating. In the end though, this stylistic choice made for acceptable narrative reasons, overshadows all that is good and fun about the film.
If a high concept horror-comedy with a bit of a hipster vibe sounds like your kind of thing, then Creep is quite possibly the film for you. Be warned though, even as someone who is almost never bothered by the use of handheld cameras, the first half is almost nauseating. Which is a bummer because, especially in the second half, the film does a heap right.
Verdict: Schooner of Carlton Draught
Related beermovie.net articles for you to check out: Melbourne International Film Festival coverage and Silent House.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Trailer for your Weekend: Tusk
Kevin Smith is a divisive dude. He certainly has his acolytes and also his haters who will dismiss anything with his name on it. I am neither really, having only seen two of his films and liking but not loving both. Smith’s latest film Tusk (2014) looks to be a fair departure from his other work, even his first horror film Red State (2011). The trailer makes it look so batshit that it looks to be a fairly big departure from basically everything else. I have to say though, a horror film featuring a walrus feels all kinds of awesome to me. I just hope that it is treated somewhat seriously, because that is the tone I would prefer over something overtly jokey. Though I’m not sure how that desire will work out for me. Any thoughts on this trailer or Smith in general? Favourite films of his?
Related beermovie.net articles for you to check out: The Babadook and Interview with Redd Inc director Dan Krige.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Melbourne Inernational Film Festival coverage
Just one of the great films showing at MIFF (unfortunately I won’t be catching it though)
I am just about to head out of the office on this Friday arvo and catch a flight to the Melbourne International film Festival (MIFF). I am pretty sure it is Australia’s oldest and definitely one of the biggest two festivals on the calendar. I was hoping to spend more time at the festival, but having just been overseas, money and leave considerations mean it is a quick seven film dash. Keep an eye out for reviews of all the films I catch. I will be witting as I go, but you probably won’t see any reviews until I am home on Sunday night. But hopefully there will be lots of cool stuff to chat about.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
A Hard Day’s Night
Whilst in London recently I was lucky enough to catch a screening of the famous Beatles film A Hard Day’s Night (1964) at the BFI at Southbank. I didn’t take extensive notes like I usually do, but thought I would share some thoughts in this quick review.
First up, the BFI in Southbank is a fantastic facility. With the Arc Cinema here in Canberra, an institution with ostensibly similar goals being gutted, it is great to see an archive cinema that is clearly booming and exceptionally popular. It was slightly disappointing to see that there was no real exhibition space at the facility, but in a city like London there are always other places to catch quality glimpses at film history.
The Beatles are of course an exceptional band. I have not explored their music as much as I probably should have, but even so I would say that “Revolver” is probably the most perfect album in pop music history and a work of art to stand against any created in the 20th century. Their work veered from the heartfelt, to the experimentalism of “Sgt Pepper’s Lonely Hearts Club” to the silly. It is the latter where the film A Hard Day’s Night comes in as the fab four rollick about onscreen in what is essentially a slapstick farce. It is far from the perfection that some of their music approaches, but that probably makes it all the more fun. It takes a certain level of charm for four not great actors dicking around onscreen to be acceptable cinema entertainment. Those four guys definitely had that charisma. The film also takes some wryly amusing pokes at the frustrations that the band must have felt with the stifling fever pitch of fame that surrounded their every move. As fun as the story – which is essentially a succession of skits – is, the songs when they come along absolutely stand out and are probably reason enough to watch the film alone.
Not everyone will get much out of this. I enjoyed it and if you have even the slightest interest in the band or even slapstick comedy then you probably will too. If you are Beatles nuts like my parents who went with me to see this, you will probably absolutely adore it.
Verdict: Stubby of Reschs
2014 Progress: 18/101 (wow, I am going to fall miserably short of this goal)
Progress: 114/1001
Related beermovie.net articles for you to check out: Steamboat Bill Jr and Singin’ in the Rain.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Friday the 13th Part VIII: Jason Takes Manhattan
I had revised levels of hope heading into Friday the 13th Part VIII: Jason Takes Manhattan (1989) given the two films that preceded it were some of the strongest in the series. Not only that, but Jason Voorhees rampaging through Manhattan sounds like an exceptional way to once again reinvigorate the slasher conventions that are so tired in many of this series’ films.
Unfortunately though, whilst not a total waste of time, this film is nowhere near as fun as the premise and title suggest it should be. Mainly because the action does not hit the big city until right near the end, and our hockey masked bad dude picking high school kids off on a boat does not feel as fresh as it should. Clearly ‘Jason on a Boat’ was not catchy enough a title so they have to trick us into thinking it mainly takes place in New York City. The first couple of shots are promising, situating the action very much in a big city and featuring a montage of rats, junkies and muggings. A real urban jungle that should be a really novel place for a film in this genre. It still would be, because from there the film spends a good hour in far less interesting locations. The film has some of that massive 80s-ness going on though. In this one it is quite endearing rather than just embarrassing. A girl with a killer guitar and a final showdown in a sewer, complete with toxic waste, scream 80s to me, rightly or wrongly.
As a lover of practical effects… this is rubbish
One thing that Jason Takes Manhattan does better than a majority of the other films in the series is deliver highly original kills (although they are too far apart). A guitar to the skull, a sauna rock to the guts and a good ol’ fashioned ripping off of the head are three of the delightful ways that teens meet their end in this one. The film though continues what I feel is a certain mean-spiritedness that reoccurs throughout the whole franchise. Victims are constantly set up as admirable, wise or on the verge of genuine happiness before being killed. Conversely the film makes some (genuinely tame and misguided) attempts to humanise Jason Voorhees. It is strongly intimated that he lets a potential victim go, after a very realist drugging and rape scene, which is probably the most intense thing in the franchise to date. Later, the utterly woeful practical effects and strange elephant noises that Jason makes during the film’s conclusion are meant to endear the character at least somewhat in the minds of the audience. Slasher films often do this with varying levels of success. I don’t know of one that has done it particularly successfully though, because no matter how the killers have been victimised, in the end they are out and about killing teenagers who have most of their lives ahead of them.
Far from being offensively terrible, Jason Takes Manhattan is above all just terribly formulaic when the dual settings of a boat and NYC should allow it to rise above the norm. But in this film the cool settings do not result in very much narrative flair which is a shame because the series did seem to be on the way up. In short, this is the best of the bad films in this really patchy quality-wise franchise.
Verdict: Schooner of Carlton Draught
Series ranking thus far:
- Friday the 13th Part VII
- Friday the 13th Part 2
- Jason Lives: Friday the 13th Part VI
- Friday the 13th: The Final Chapter
- Friday the 13th Part VIII: Jason Takes Manhattan
- Friday the 13th
- Friday the 13th Part V: A New Beginning
- Friday the 13th Part III
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
The Raid 2
The Raid (2011) was the biggest breakout action flick for quite some time, probably since the not quite as good Ong Bak (2003). Whilst the quality of that film’s sequels were apparently not too crash hot, thankfully The Raid 2 (2014) not only matches the first film, it totally blows it out of the water.
The film picks up basically from where the first ended. Rama, keen to expose the corrupt police forces that betrayed him in the first film, is recruited to a top secret police unit devoted to weeding out corrupt elements. Where better to drop an undercover cop in an action film than within the confines of the city’s foremost high-flying gangsters, with a side-trip to prison beforehand. There is a really good tempo to the film throughout the whole running time. The action builds to peaks and then lets you back down again, and the beats are spot on in setting up the intrigue. And the fight scenes, oh my the fight scenes. The first one, taking place in a toilet cubicle of all places, feels so good you wonder if there is anywhere to go from there. But there definitely is. I cannot recall fight scenes in a film that are so slickly choreographed, but without feeling overly rehearsed. The creativity and escalating of them is not just about bigger, faster and bloodier. Each scene has a real distinctiveness, from the confining effect of a toilet cubicle to a scene which is sluggish due to the deep mud that the combatants are battling in. Everything in the film has a certain weight to it. The sequence of Rama punching the prison wall which featured in the trailer for example just feels like those lightning fast punches are thudding into your body. Maybe realism is what I mean by weight as refreshingly our hero even gets his arse kicked on a couple of occasions, as he should when he takes on 30-odd highly trained martial arts killers. Even later, when villains are given (awesome) James Bond-ish tics like a walking stick or a propensity for mashing face with hammers, the sensibility of the film never spills over from the realm of hyper-real to fantastical.
Where the first film was basically a straight up, high concept, action flick, The Raid 2 adds complexity, rather than just switching up the situation. The plot weaves in more police and political machinations, though thankfully it never becomes the focus and the general thrust of the narrative is always pretty clear. The film has been rightly lauded and marketed as something as an action film masterpiece. It also rests well within the gangster genre, a fact I have not seen discussed too much. All the gangster tropes are there – warring families, greed, unbridled ambition, sons trying to eclipse the father, dirty cops and more. The success of the film as a gangster piece is elevated by the novelty of having it punctuated, or rather dominated, by huge amounts of hand to hand combat sequences. Caught up in all of this action and him flat out murdering dudes, the narrative does at one point lose sight of the fact that Rama is an undercover cop with a very specific job to do. Just as it feels like it is going too far down that track though, the story re-sets and refocuses on the overarching plot which had become a little clouded. Led by Iko Uwais as Rama and Arifin Putra as the ambitious Uco, all the performances in the film are excellent, not just in the arse-kicking aspects, yet another reason why this film stands so far above the genre film norm. Gareth Evans knows when to show restraint with his direction as well. The fight scenes are wisely under-directed which means you can see what is happening a whole lot more easily. The flourishes are left for coolly shooting streetscapes or to highlight a particular death.
Basically you should just believe the hype on The Raid 2. As advertised, it is one of the best action films ever made, featuring creative and bloody fight scenes galore. But it is also one of the best post-2000 gangster films, perhaps even the best. See it now. If you don’t have time to see the first as well, then Wikipedia the ending and get your hands on this one.
Verdict: Longneck of Melbourne Bitter
Related beermovie.net articles for you to check out: Run Lola Run and Worth Watching January 2013.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Trailer for your Weekend: Hot Tub Time Machine 2
Let’s face it, even if you enjoyed Hot Tub Time Machine (2010) like I sorta did, I don’t think too many were screaming out for Hot Tub Time Machine 2 (2014). That said, this trailer actually has me kind of excited by the premise. Time travel films are always telling the audience the potential disastrous time space continuum knock on effects that time travel can bring. This film is actually going to explore that notion. Sure, I’m doubting it will be ‘hard sci-fi’ in its approach, but it is at least a somewhat novel approach to the plot. Though I have to say my initial enthusiasm wavered a fair bit when I realised John Cusack did not feel it worthwhile to come back for this. So I’m on the fence with this. Hopeful, but no Cusack sucks.
Related beermovie.net articles for you to check out: Worth Watching June 2011 (includes my review of Hot Tub Time Machine) and Trailer for your Weekend: Dumb and Dumber To.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Worth Watching July 2014
July was a busy month. A couple of epic plane rides (the kind you can only manage living in Australia) and plenty of nights alone overseas meant I caught some good stuff. Also some trash, as planes seemed to go well with rubbish films in my mind. Which meant there was definitely no repeat of June’s all Worth Watching month. July also features my most controversial Not Worth Watching of the year, if not ever. This film month also brings back some nice memories of seeing some of these flicks in fun cities like Dublin and Belfast.
Worth Watching:
- Grand Piano (2013), Eugenio Mira – This is a high concept and well executed thriller that managed to have me totally enthralled even in the surrounds of an airplane. Elijah Wood continues his cool jaunt into genre territory, playing a pianist beset by stage fright who receives a death threat whilst on stage. The structure means it is kind of inevitable things slow a little. But some neat stylistic touches and a really satisfying twist at the end make this a winner.
- Muppets Most Wanted (2014), James Bobin – This really sank without a trace on release which was surprising given the rapture around the previous film. There are some great references and meta-allusions to being a sequel. I’m not a Ricky Gervais fan but he brings a nice smarminess to his role. This succeeds pretty well, mainly down to a clever, witty script and the iconic characters. A charming film where fun, silliness and nonsensical songs fill the void where the plot should be. Plus it features Cristoph Waltz dancing the waltz.
- Divergent (2014), Neil Burger – Wow, what a massive surprise this film was. Not the rubbish version of The Hunger Games I was expecting. There are similar elements, but the bloody incredible cast mean they won’t bother you. There is a dense set of rules and societal castes that give a real sci-fi feel. The film has some good things to say about conformity which set it apart and it is definitely not afraid to be really bleak. Sure, there is plenty of training montage and franchise set-up. But good ones. Impressive.
- Battle of the Sexes (2013), James Erskine & Zara Hayes – A doco focused on the Billie-Jean King vs Bobby Riggs tennis match that also takes a broader look at sexism in sports and the battle for equal pay. Horrid how embedded sexism was (and really still is). Bobby Riggs really was just a publicity seeking misogynist really. There are some unnecessary re-enactments but overall the film looks slick. Billie-Jean is a hell of an inspirational character. Riggs though looks a little like Woody Allen, which is apt cause they are both friggin scumbags.
- Dawn of the Planet of Apes (2014), Matt Reeves – So much of this is really terrific. For starters, it looks incredible. The apes are just mind boggling to look at and their interactions with humans are totally smooth. Must be one of the most technologically advanced films in history. Overall it is a rollicking, if overlong, ride. My other main criticism is that it does feel a little predictable in terms of the beats it hits. You always have a fair sense of where it is going. But there is no denying it is one of the better of the ‘apes’ films.
Not Worth Watching:
- Need for Speed (2014), Scott Waugh – Basically Fast and Furious-lite. Which is far from a compliment. There is a nice little homage to the first person driving perspective of the video game and some decent driving/crashing sequences. Aaron Paul is such a good actor he can transcend some of the script’s lesser moments. But the narrative is just so damn daft. Even worse, I found that in the interactions with the police and even a schoolbus, street racing is just a little too glorified for my liking.
- Boyhood (2014), Richard Linklater – I just did not quite buy in on this one. There is so much to love about this film and its construction. But the first 45-odd minutes are too ‘vignetty’. Also, one character’s story in particular covers familiar plot points too regularly without saying anything new. It was a lot funnier than I was expecting though and Ethan Hawke elevates impressively whenever he is involved. For me though, the film never quite matched the idea of the film.
- Fast & Furious 6 (2013), Justin Lin – I do really like both The Rock and Gina Carano but even they don’t make this much fun. Actually Carano is totally wasted and her acting is more rigid than usual. The plot meanders along, with no weight to the elements that should be carrying the film. They of course manage to wedge a meaningless street race into the film that has nothing to do with the plot. When the set-up for the sequel is the best thing about a film, you have not done well.
- The Station (2013), Marvin Kren – Opening is promising. Uber creepy credits and a great setting – an isolated, glacier bound research station. There’s even a frickin blood glacier! But from there it is all downhill. Really poor practical effects that are 60s Kaiju film standard. Monsters that are either hidden or look garbage. Ham-fisted climate change message. And just derivative of a bunch of far better films basically.
- Transformers: Age of Extinction (2014), Michael Bay – This is one of the better Transformers films, but it is still terrible. In this one, Bay manages to create one of the most vapid and useless female characters I’ve ever seen. It all looks too much like an ad and the expository dialogue manages to dumb things down more than you thought was ever possible.
- Tammy (2014), Ben Falcone – The first half hour is a decent and refreshingly female driven comedy. Even though Melissa McCarthy is becoming increasingly one-note, she is still one of comedy’s most hilarious performers. But right around when Mark Duplass shows up as a love interest, it all starts to go pretty wrong. The script totally loses its way and there is no thrust to the narrative. The dialogue becomes awkward, growing ever more cliché. Tis unfortunate that such a positive start is so wasted.
If you only have time to watch one Divergent
Avoid at all costs Transformers: Age of Extinction
Related beermovie.net articles for you to check out: Worth Watching July 2013 and Worth Watching July 2011.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
The Cat Returns
Twitter was abuzz over the weekend at (mainly erroneous) reports that the iconic Studio Ghibli was ceasing production. Whilst the outlook for the studio remains pretty grim, it is also clear that at this stage the studio is not pulling out of making animated films. My heart was even more particularly warmed by this news than it would have normally been because the night before I had watched what is my new favourite Studio Ghibli film – The Cat Returns (2002).
Blu-ray is a bit of a forgotten medium I think, with many assuming it is just the last dead duck physical format before everyone moves to some sort of cloud based subscription service (nooooooo!). Personally, I love blu-ray and this film is a perfect example of why. It is remarkable just how much the colour and animation pops when this film is viewed on blu-ray and it enhances the look of a film which is rendered in an even finer and more painting like style than is the norm for the studio. The story begins with a remarkable act of kindness as a young girl Haru bravely saves a rather remarkable cat. It turns out that this cat is a prince from the Cat Kingdom, and as such the young girl is showered with attempted acts of kindness and repayment from the kingdom. It starts out innocent, though misguided enough, with Haru being followed everywhere by cats and receiving far too many gift boxed mice. However the stakes of the film are escalated when it is demanded that Haru wed the cat prince, something she is rather keen to avoid. Ghibli films always intrigue and The Cat Returns, with the whimsy of cat’s wandering about on hind legs engaging with each other and humans, definitely intrigues a lot. Not to mention the fact that all of the cats have such different personalities, a stark difference from the standard Disney animal sidekick. There is also a sense of more pure adventure in this film than most of the studio’s output that I have viewed. There are thrills and tension galore and if that’s not enough, there’s a freakin maze!
I am not sure if The Cat Returns is an adaptation of a single fairytale, but at the very least there are a lot of classical influences on the story. It feels like it an amalgam of a bunchy of delightful moments from classic tales. And as the tweet above from Dave Crewe of http://www.ccpopculture.com pointed out when we were discussing the film, there is a subtle inversion of fairy tale tropes going on in the film as well. Both visually and narratively, the film recalls Alice in Wonderland, with a young girl adrift in a strange fantastical land slowly gathering a cohort of colleagues to hopefully help her navigate it. In a similar way to Wonderland, the Cat Kingdom is an incredibly built place, one where there is an underlying sense of threat and malice, continually bubbling under the somewhat bright and cheerful surface. In fact that is a hallmark of classical fairy tales, as brightness is always accompanied by darkness or even evil. The tone of the film is whimsical, breezy and light occasionally going as far as bordering on the absurdist. Having said that though, the narrative is essentially linear, so there is no narrative confusion posing as absurdism lurking in the film. Which is great and different to both the more serious environmental old school fantasy novel vibe of Princess Mononoke (1997) or the vibrant assaulting of the senses weirdness and danger of Spirited Away (2001). In fact coming out of the same studio, those two films are an interesting counterpoint to this film, even though broadly speaking all three films reside in the same genre.
The maze! Geeks like me love mazes… almost as much as we love dinosaurs.
The Cat Returns is chiefly an exercise in tone. It is a film that is whimsical and playful, especially when interacting with and subverting fairy tale norms. Funny, adventurous and thrilling, this is definitely one to add to your Ghibli ‘to watch’ list if you have never managed to catch it.
Verdict: Longneck of Melbourne Bitter
Related beermovie.net articles for you to check out: Princess Mononoke and Worth Watching September 2012 (includes review of Arriety).
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Worth Watching June 2014
Well this one is spectacularly late. This was one of a few posts that I wanted to get to before I took off overseas, but got lost in the mad organisational scramble. Better late than never though and look at it this way, now you get two Worth Watching pieces in the course of a week or so. Plus it is one of those rare(ish) months where nothing was not worth watching, so you get two big suggestions cause everything is ace.
Worth Watching:
- Grey Gardens (1975), Albert & David Maysles, Ellen Hovde and Muffie Meyer – This verite slice of absurdity has left a definite cultural impression. The eccentric and at times pitiable subjects – a mother and daughter both named Edie are the reason why. They simultaneously feel totally not of this world but also totally a part of it and there is some real insight into the human psyche there. Personally, with so much resentment on the part of Li’l Edie, I felt like this was a really sad film which veers almost into surrealist territory toward the end. It’s an interesting watch, though I do feel a little unsure as to its place in American film history.
- 9 to 5 (1980), Colin Higgins – In all seriousness, I think this is the best theme song ever. I love this film too. It’s sharply written and awesomely feminist as well as unfortunately prescient for today’s corporate culture. The three lead actresses all excel. Jane Fonda has a really good presence onscreen. And in the words of my fiancée, Dolly Parton is the best thing since sliced bread. It’s a very cool melding of genres, caper film, comedy, drama, issues film, crime flick and even a fantastical venture into the hunting of one’s boss. Fantastical that comes literal. Definitely check this out if you’ve never seen it.
- Hook (1991), Steven Spielberg – The first 30 odd minutes of this is some of Spielberg’s best work. It tapers unfortunately when it hits Neverland, just as it should be getting better and better. But it still holds up as a clever inversion of the Pan tale. The boy who could never grow up is now way too grown up and jaded. For contemporary audiences the real sharpness is in the insight into the mindset of kids and adults. Interestingly it’s a dark world the film takes place in. Death is all too real here.
- Weeds Season 8 (2012), Jenji Kohan – A great opening credits sequence referencing what has come before, heralds the best season of this show for quite a few. Mainly thanks to the writing which is incisive and hilarious, nailing the incorporation of the prior seven seasons as well as melding them into something new. This final season of the show cements Andy’s as the defining character arc of the whole show. Even the ‘years later’ final double episode, which threatens to be a little too surreal, warms the heart and leaves you wishing there was more.
- Edge of Tomorrow (2014), Doug Liman – I’ve never been so happy that a trailer was so unrepresentative of the eventual film. This is surprisingly not serious or confusing which seemed to be what the trailer was aiming for. Rather it is barrels of fun and refreshingly does not take itself too seriously. A delightful throwback really. It loses a little steam in the second half and never constructs the enemy as well as it could have. But it is really polished and you will be having too much fun to notice any of those issues.
- 22 Jump Street (2014), Phil Lord and Christopher Miller – Doesn’t match the charm of the first, but tis still a really fun sequel. The meta humour about sequels never changing is a nice touch, even if it does get a little contrived in its construction eventually. Hill and Tatum have great chemistry and it would be great to see the latter in more comedies, assuming the material is worthy. The closing credits are well designed too, and it would be no surprise to see a real 23 Jump Street soon enough.
- Encounters at the End of the World (2007), Werner Herzog – Perhaps one of the most visually spectacular docos ever, helped by Werner’s use of classical music giving the images a haunting quality. Absurd, but with a degree of insightful brilliance that is unfathomable, like all of Herzog’s work. The generally unseen industrial complex in Antarctica is a startling interaction between man and nature.
Not Worth Watching:
- Absolutely nothing
If you only have time to watch one 9 to 5
If you only have time to watch two Weeds Season 8
Related beermovie.net articles for you to check out: Worth Watching June 2012 and Worth Watching June 2013.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Beermovie.net 