Making an art house film is a balancing act. If handled properly, the picture can come out looking like a beautifully crafted, poignant work of art. But there’s a thin line between being brilliant and being silly, pretentious, and (worst of all) forgettable. The Lobster walks that very line, but ultimately falls on the side of brilliance.
The Lobster is directed by Yorgos Lanthimos (his English language feature film debut), and stars Colin Farrell as recently divorced David. It takes place in a future where single people are sent to a hotel and given 45 days to find a partner. If they fail to find a partner during their stay, they are turned into an animal of their choosing.
David’s brother didn’t make it – that’s him in the corner.
Lanthimos tries his hardest to make his audience feel depressed while watching this movie. From the way it’s shot, to the score (or lack thereof), to the set design, the Greek director creates a very distinct atmosphere. The Lobster looks like a deeply serious drama. Moreover, it feels like a tragedy.
Now if that sounds a little too broody for your liking, don’t worry – this film is actually hysterical. Granted, it’s extremely dark humor, but it doesn’t get any better than this if that’s your thing. Between the witty dialogue and the comical situations, this picture is bitingly funny without having to tell a single joke. But just be aware that it’s a very awkward and internal kind of funny, not the kind that makes you laugh out loud.
Though as absurd as the overall premise may be, the most ridiculous details are the ones pulled straight from real life. Lanthimos’ script, co-written with Efthymis Filippou, shines a light on just how warped our world’s outlook on love has become. It’s all on display here: the stigma placed on singles, the lies people tell to make a relationship work, and (for the sake of fairness) the feelings of superiority that “loners” have over couples. The story is a brutally honest take on societal problems that are only getting worse; it just had to create this totally fantastical world to make them apparent.
The performances in this flick are interesting, to say the least. To some, the acting may come off as stilted and the dialogue phony. It works perfectly in the context of this particular film though, and somehow feels totally earnest.
Colin Farrell does a terrific job as sad and confused David, but Rachel Weisz truly steals the show as his unnamed love interest. The movie is at its deepest and most true when these two share the screen; they’re what gets you to actually believe this farcical scenario.
Truthfully, The Lobster isn’t for everyone. It requires an open mind, and what can only be described as “an acquired taste.” Nonetheless, it’s intelligent, sharply funny, and it has a message the world needs to hear. So while it’s not designed for mass appeal, it’s still a picture that everyone should see.
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The Lobster is in select theaters now. Watch the trailer below and see if it’s up your alley!
Marvel’s Moon Knight character has been rumoured to be joining the MCU since Daredevil debuted on Netflix in 2015 and as the Netflix side of the cinematic universe has grown the rumours have only increased. Moon Knight is the story of Marc Spector, a former mercenary who becomes empowered by the Egyptian Moon God, Khonshu. The dark and incredibly violent character would be a perfect fit in this gritty and grounded side to the Marvel Cinematic Universe. It’s safe to say its only a matter of time for when Moon Knight makes his debut on screens but how should Marvel/Netflix approach adapting this complex character.
Los Angeles Setting Much like the majority of Marvel’s characters in the comic books Moon Knight has been predominately located in and associated with New York City. However he has also been based in LA after being a West Coast Avenger in the 1980s and more recently in the Brian Michael Bendis and Alex Maleev run from 2011-2012. LA has only been used as the home of Tony Stark and the base of operations for Peggy Carter in the 1940s (see Agent Carter Season 2) so Moon Knight would present the opportunity to a explore a new city and new threats.
Embrace the crazy One of the most individual aspects of Moon Knight has been his sanity, or lack there of. Throughout his many years in the comic books he has been portrayed as having varying forms of DID (Dissociative Identity Disorder). This has gone on to show Moon Knight interacting with various different personalities within his own head from other Marvel heroes to slain enemies to the embodiment of the God, Khonshu.
Make it violent Moon Knight is one of Marvel’s most violent characters, with only the Punisher tipping him to the number one spot. Empowered by a God of vengeance, Moon Knight tends to viciously attack criminals and villains. This aspect of the character supports the belief that his mental state is not stable. Marvel’s Netflix shows have not shied away from embracing violence and gore proving the streaming service is the ideal home for any Moon Knight adaptation.
Dial back the Batman Moon Knight is often compared to and cited as Marvel’s answer to Batman, although many comic creators and fans would argue there are many differences, one cannot deny the similarities. If Marvel are to proceed with any Moon Knight adaptation they should be wary of elements that will remind viewers of the Caped Crusader himself. Marvel would be wise to the remove the fact that Marc Spector is a multi-millionaire with Moon themed weapons, vehicles and paraphernalia, instead focusing on his sanity and the ties to Egyptian mythology
How do you think Marvel should adapt Moon Knight for the MCU?
Just like America in 1865, the UnPOP Podcast must go through a Reconstruction after the dividing effects of last week’s Captain America: Civil War discussion. Luckily, they’ve brought a Hulk to the battle this time as a former Marvel insider uses his vast comics knowledge to explain why Chris Evans is the perfect Steve Rogers and why Iron Man Three is an amazing film.
In the main event, the UnPOP guys go back to war in MCU Madness, pitting each film against each other to determine which is the greatest (hint: it ain’t Iron Man 2).
Check out the final results, learn which sci-fi classic Curtis (me… hey there, thanks for clicking and/or listening) watched for the first time ever this week and discover what The Rock’s been cookin’ in his kitchen in this episode of the UnPOP Podcast!
7:44 Movie News
23:09 What’s Cookin’ in The Rock’s Kitchen?
28:44 “I’ve brought a Hulk.” Chris Evans and Captain America: The First Avenger Defense
47:22 Iron Man Three Discussion & Battle
50:57 Marvel Comics Trivia Challenge
1:02:20 MCU Madness Bracket Showdown
Have a topic you’d like to hear UnPOPPED? Send any comments/love/vitriol to unpopentertainment@gmail.com
On the heels of his recent promotion to co-head DC’s film division, Geoff Johns stated two themes he wants to add to the tone of the DCEU. Saying the brand needs hope and optimism, he will make these a focal point to future films.
In both Man of Steel and Batman v Superman: Dawn of Justice, these were anything but a part of the stories. Going directly against what the DC pantheon stands for in the comic books. Representing the finer qualities of what it means to be heroic and a person.
Even figures like Batman demonstrate the desire to rise above adversity and achieve greatness. The Dark Knight trilogy, which had a major influence on the current film franchise, carried messages of hope to reinforce why one should rise up after suffering horrendous setbacks and loses.
And it was even written by the same screenwriter as Batman v Superman.
This might make the previous entries of DC’s cinematic universe somewhat redeemable in that the upcoming Justice League film, slated for release next year, may convey the two themes in a manner that shows how despite terrible odds and sacrifices, there are still reasons to fight the good fight.
Geoff Johns, having a long and respected career with superheroes in the comic book and television medium, is already taking strides to rehabilitate the damage done by both Zack Snyder and David Goyer, both of whom have been accused by fans to not understanding what heroes like Superman represent.
As Youtube celebrity and comic book expert, Comic Book Girl 19, aptly put it in her review of BvS, Superman is the avatar of absolute power not corrupting absolutely. He represents how we should always strive to do good with our talents and abilities. Not some angst-ridden adult who mopes all day.
I’m eager to see how the DCEU will develop now that Geoff Johns is in his new position. And many are hoping this is a turning point for the franchise.
CBS has unveiled the first teaser trailer for their upcoming revival of Star Trek, along with a look at the new logo for the series. Focusing on the events taking place between of the sixth Star Trek movie, “The Undiscovered Country,” but before “The Next Generations”, the video promises: “New Crews. New Villains. New Heroes. New Worlds.”
The series will be under the tenure of Bryan Fuller and Nicholas Meyer. Mr. Fuller is better known for developing and show running the television series “Hannibal,” as well as working on two previous Star Trek projects, Deep Space Nine and Voyager.
Meyer is known for what is still considered the finest films of all time, The Wrath of Khan. Even the recent “Star Trek Into Darkness” was heavily influenced by this monumental film. Having these two powerhouses as show-runners will assuage concerns that the series will lose much of the heart and soul of the original series.
Nothing was revealed in relation to cast or general plot, as the footage showed several planets and celestial bodies in space. Though the quality of the special effects for these particular locations do offer some insight into what viewers will experience once the show is underway.
The show will be set to premier around January of 2017, and will be available exclusively online on CBS’s All Access streaming platform.
Seth Rogen, Evan Goldberg, Nicholas Stoller, and the executives at Universal Pictures must think that everyone has to be a moron.
No other reason can explain why Neighbors 2: Sorority Rising is even being released this weekend. Was there much more ground we needed to cover that wasn’t covered in the original Neighbors film in 2014? Did we need to catch up with Mac/Kelly Rudner (Seth Rogen and Rose Byrne) as well as frat brothers Teddy/Pete (Zac Efron and Dave Franco)? Well, apparently the answer is yes, hence the sequel.
Neighbors 2 seems a tad more “R” rated that its predecessor. While the first film appears to do a better job of balance what’s funny with what’s over the line, in the sequel, they seem to go for any crude gag. The gags range from women throwing used tampons at their enemies, a woman throwing up during sex, a baby’s foot dangling from a pregnant woman, jokes about roofies and Bill Cosby, and an overweight woman shot through the windshield of the car.
While the original film seemed only to use jokes/gags that enhanced the storyline, Neighbors 2 does the exact opposite. The jokes in the first movie were funny while the ones in here reek of desperation.
As for the narrative in this sequel, it’s a rehashing of the previous film except for instead of Mac/Kelly Rudner going toe-to-toe with a fraternity it is a now a sorority lead by Shelby (Chloe Grace Moretz). Shelby is seeking to start her sorority because other sororities are not allowed to party like the frats are. Oh, the humanity!
The point where Neighbors 2 completely lost it was when they sought to weave in a feminist thread among the boozing and drug use that was occurring at the sorority. For starters, the message did not even remotely fit the dynamics of this regurgitated drivel. Secondly, if the goal is to discuss women’s empowerment, then why are all the women in the sorority moronic? If a message of empowerment is what the film was aiming for then why have the members of Kappa Nu’s sole focus be on exactly how to acquire the “Chronic”? Are we talking about equal rights here or equal bong hits? The girls in Kappa Nu are less than endearing, and that is putting mildly.
Zac Efron returns in this sequel and one can’t help but wonder if he just never left to begin with. Did he just hang around waiting for the moment Neighbors 2 start principle photography? He serves roughly the same purpose (man-child who does not seem to want to grow up). His character could have been eliminated from the entire film, and it would have had zero effect on the movie. At this point, he is eye candy and nothing more.
The only part that was even remotely enjoyable was watching the chemistry between Seth Rogen and Rose Byrne. They certainly pull off the overworked 30 something parents extremely well and maybe had the script not been mired with awful gags and rehashed material, this film could have been much more.
Cinema Showdown is a new segment here at MFR, where we (or I) pit two comparable films – sometimes sequels of the same franchise, other times pictures sharing the same fanbase, era, or anything else noteworthy – and try to arbitrarily decide which one is superior. There seems no better place to kick this off, as we inch closer to The Nice Guys this weekend, than looking back at the franchise that introduced us all to Shane Black: Lethal Weapon v. Lethal Weapon 2.
Way back in 1987, the idea of a buddy cop film was still a fresh perspective on the action genre. It had been done before Lethal Weapon, most notably with 48 Hrs., but Lethal Weapon would quickly become a watershed moment in American action cinema, spawning a franchise of its own alongside too many cheap imitations to count. We all know the general mechanics of the plot, the characters, and the imprint Lethal Weapon had on society as a whole. The movie was a massive hit. It made Mel Gibson a superstar, playing the edgy, suicidal Matin Riggs, and it opened an entirely new avenue of genre filmmaking for Danny Glover, the tired family vet Roger Murtaugh.
It also spawned three sequels, two of which became self parodies. Lethal Weapon 3 is a noted step down in quality and energy from the previous films, and the less said about the racially problematic (to say the least) Lethal Weapon 4, the better. What’s most glaringly absent from those two sequels is the presence of Shane Black in the writing credits.
But then there was Lethal Weapon 2.
It might be easy to reflexively call the original the best. Most of the time that’s true, and in this case there is more than a credible argument in favor of the iconic 1987 intro to Riggs and Murtaugh. But there’s a case to be made for Lethal Weapon 2 as well, which benefits from a certain comfort level with these characters, their comfort level with one another, a compelling set of global villains, and some effective comedic energy.
The Case for Lethal Weapon
Again, anointing Lethal Weapon as the best of the franchise is understandable. It has the benefit of being the first, so it will forever be the freshest for obvious reasons. It’s also decidedly darker and more threatening, from Richard Donner’s noir-like, shadowy frames and rain soaked LA streets, to the despair clouding the volatile and dangerous Martin Riggs. It has an edge which was steadily sanded down in the next three films.
There is also a rich post-Vietnam narrative shaping the plot. Both Riggs and Murtaugh had their own experiences in the war, and the villains are disenfranchised Vietnam vets who’ve found the heroin trade from their days in Southeast Asia to be quite lucrative stateside. Be it Gary Busey’s icy psychopath Mr. Joshua or the mastermind General (Mitchell Ryan), these are threatening adversaries for two LA cops, and the investigation goes deep into the histories of these characters. They bounce off one another not only in the thrust of the plot, but in their shared pasts which subsequently propelled them to opposite sides of the law.
Lethal Weapon is a fantastic thriller and a singular moment in pop culture. The idea of a sequel made sense, but the sequel needed a new identity. Wallowing in the darkness of a suicidal Riggs and a world-weary Murtaugh had to be tweaked and reshaped to make each new adventure feel new, but familiar. Did Lethal Weapon 2 succeed?
The Case for Lethal Weapon 2
As much as Lethal Weapon would be the easy choice as the best in the franchise, Lethal Weapon 2 succeeded in summiting its uphill climb. Sequels are inferior, we know this, and when a sequel bests its predecessor it’s a monumental achievement. Lethal Weapon 2 pulls off the near impossible, for a number of reasons. First of all, Riggs and Murtaugh are different, but the still the same. The friendship these two polar opposites forged in the end of the original film has carried over seamlessly here. Riggs is still a wild card, but he’s found love and camaraderie with Murtaugh and his family. He’s the crazy uncle, and it eases the manic tension hanging heavy in the air in the original.
At the same time, Murtaugh has found a new lease on his career. As put out as he seems with Riggs time and time again, it is Riggs’ infectious energy that reinvigorates Murtaugh as a cop. We pick up with these two in the middle of an intense car chase, and almost immediately their relationship feels as if it’s evolved along a believable trajectory. They have a rapport, and the comedy flourishes because of this.
The entire narrative momentum and plot structure of Lethal Weapon 2 feels profoundly different from the original as well. This time, the cops are chasing South African crooks, and the Apartheid comes into focus and manages to deepen Murtaugh’s plight. These are not only vicious killers, but racist vicious killers, motivating Murtaugh even more. Meanwhile, Riggs meets and falls head over heels in love with the villain’s secretary, Rika, played by the serenely beautiful Patsy Kensit. Despite the fact Riggs and Rika fall into each others arms in near record time, even for an action movie, their relationship feels genuine and the chemistry between Gibson and Kensit is honest and palpable. Their romance is fleeting and emotional, and when Rika is murdered coldly by her employers, it allows the film to bring insane, unhinged Matin Riggs back into the fold at just the right time.
There are so many details woven into the tapestry of Lethal Weapon 2 that enhance its development, its re-watchability, and its brisk energy. The real that the henchman (Derrick O’Connor) was responsible for the death of Riggs’ wife tightens this universe substantially. The undercurrent of racism adds motivation. That little detail about Riggs being able to separate his shoulder plays into the story beautifully. Who can forget the toilet bomb too? Iconic. And the inclusion of Joe Pesci as mob witness Leo Getz works to perfection. At least it does here, because in both of the next two films Pesci’s presence is an irritant.
The Verdict
In the original story from Shane Black (Jeffrey Boam was the credited screenwriter), Martin Riggs was supposed to die after suffering his knife wounds and subsequent ass kicking from Vorstedt (O’Connor). But this is Hollywood, and Riggs survived. It may have been a bad idea given the next two films, but in the context of the film itself Riggs surviving actually works better. It strengthens the bond between he and Murtaugh, and allows Riggs’ redemption for the death of two women in his life to feel better than it would have had he died.
All things considered, Lethal Weapon 2 pulls off the near impossible: it surpasses its predecessor on enough levels to edge out the win.
In the wake of Batman v Superman, DC’s Chief Creative Officer, Geoff Johns, will be made the co-direct DC’s film division with Jon Berg. The hopes of this move is to bring in someone who can keep the movies on track with the look and feel of the longstanding comic book characters.
Described as a “course correction”, the move is thankfully not a desperate move, given Johns’ record in working on previous television projects focusing on DC’s pantheon. His credits include Smallville, Arrow, and The Flash, all of them major hits in the television market.
Geoff Johns also has a stellar record in the comic book world having written Blackest Night, Brightest Day, Flashpoint (which ushered in the New 52 era), Infinite Crisis, The Flash: Rebirth and Green Lantern: Rebirth (which is the basis of DC’s upcoming Rebirth event,which Johns is also writing.)
And this is only a small portion of his work with DC, not considering his time with Marvel and other companies.
Personally I feel this is an excellent step in the right direction to rehabilitating the current direction the DCEU. Given his experience in working on television series and in comic books, he could be the needed voice to stop the grim dark vibe DC movies and the haphazard approach to the story lines.
His understanding of the characters would bring a much needed perspective on the cinematic universe. However, this doesn’t mean I am without one concern.
First, those who may not know Geoff Johns is not only writing the bulk of DC’s Rebirth storyline, he’s also their main creative officer. Basically he’s in charge of the creative direction of the entire DC comic book universe. There’s a fair amount of stress that comes with that duty, if you could imagine.
On top of that, he’s also working on the general direction of the upcoming Rebirth even. Which is a lot of pressure for a person to have before being given the task of co-heading a film division. Now this might be a useless concern since I have little information on how the finer elements of the comic industry works.
But having been in a position that had a load of responsibilities and then being given more and more and then more tasks outside of the original job, I can see how what should be a goo thing can quickly become a problem. Of course time will tell how this will turn out, though I’d put good money that this will fix a lot of problem for the DCEU.
‘Neighbors 2: Sorority Rising‘ Wants To Be Empowering & Funny But The Message Gets Lost
Most of the time, you know what to expect from a sequel to a comedy film. The movie usually ends up being a reworking of the first one. ‘Neighbors 2: Sorority Rising suffers from the same sequel problem. Only this time, it tries to discuss several social justice issues like feminism and equality issues among all of the gross-out immature humor. The laughs are appropriate for this movie but it’s hard to hear your social message with all the dick jokes from Seth Rogen.
The audience enjoyed the outrageous gags at the screening. I even laughed at a few of the insane moments along the way. ‘Neighbors 2‘ hits all the right notes for a comedy film but when it tries to get a bit preachy, it comes off insincere.
The addition of Chloe Grace Moretz was the only change to the film that truly worked. She’s believable as this young sheltered girl finding her self. She might be a bit of a stoner and “talks like Eminem” but Moretz’s Shelby is the right amount of flawed. Also, the hilarious Feminist Icon party thrown in the movie by her character is one of the highlights to me.
I also have to applaud the film for using Dave Franco’s sudden gay character twist as a heartfelt moment and not to gross the audience out. Nicholas Stoller and the writing team of Seth Rogen and Evan Goldberg surprisingly handled this with such realism to how this would work. From the line about who proposes to who or their on-screen kiss coming at a honest moment and not a comedic one, it’s refreshing to see homophobia not used as a lazy joke. Even the punchline of “sometimes you gotta suck a dick to know you don’t like sucking dicks” has some awkward truth to it.
If only ‘Neighbors 2‘ focused a little less on trying to be “smart” and just bask in its ridiculousness, I would have been able to enjoy it a little bit more. Sadly, the movie just ends up being more of the same with some subtle tweaks.
‘Neighbors 2: Sorority Rising‘ comes out May 20th, 2016. Starring Seth Rogen, Rose Byrne, Zac Efron & Chloë Grace Moretz.
The Meddler, starring Susan Sarandon and Rose Byrne, is just about perfect fare for a movie date with Mom. Featuring spot-on writing and a terrific cast led by Susan Sarandon delivering arguably one of her most memorable “mom” roles, its a story that should feel very familiar to both millennial audiences and their parents.
That familiarity, during moments both dramatic and comedic, is at the core of what makes the film an enjoyable experience. You’ve either been through what you’re seeing on screen with your mom or your grown-up child, or you know someone who has, and thus you’ll find yourself laughing or cringing at scenes that mostly likely will hit very close to home.
What’s it about?
Sarandon plays Marnie Minervini, a recent widow who has moved from New Jersey to Los Angeles in order to be closer to her TV screenwriter daughter, Lori (Rose Byrne, X-Men Apocalypse). Set for life thanks to money left to her by her late husband, Marnie spends her days getting to know her new city, her new iPhone, and at least trying to connect with Lori via calls and texts on an almost hourly basis.
Meanwhile, due to her relationship with an actor (Jason Ritter, TV’s “Parenthood“) recently ending and her writing hitting a wall, Lori isn’t in a good place to handle Marnie’s suddenly abundant presence and non-stop advice in her life. When work takes Lori back east for a few months, it provides the perfect (at least in her mind) opportunity to set boundaries Marnie can’t easily overstep, as well as a welcome escape.
In Lori’s absence, Marnie finds other people’s lives to involve herself in. Whether it’s funding and helping to plan a wedding for one of Lori’s friends (Cecily Strong), or driving Freddy (Jerrod Carmichael), the helpful Apple store employee who taught her how to use her phone, to his night classes, or visiting Lori’s therapist (Amy Landecker) to talk about (what else?) Lori, Marnie keeps herself busy with people who seem to need her help and her company.
But when it comes to dealing with her own intimate life, like talking to her late husband’s family or even responding to the interests of potential suitors, Marnie can’t run in the opposite direction fast enough. She seems to have the means or the prescription to make everyone’s life a little better, except for her own.
Sarandon simply nails it
At the heart of The Meddler is, of course, Susan Sarandon’s performance. Another performer might have given audiences a Marnie that came off as an overbearing know-it-all, or as condescending and intrusive. But Sarandon brings an indelible sweetness and vulnerability to the role — it’s tough to not like Marnie, despite all the unsolicited advice and inability to recognize boundaries or social cues to back off. Sarandon projects that well-meaning demeanor, that generosity of spirit, without it ever feeling saccharine or forced. When Marnie shows up at someone’s door unannounced with a smile and bag of bagels, you just have to sigh and smile.
The supporting cast in The Meddler delivers strong work, as well. Byrne continues to show why she’s one of the most versatile actors in the business today, bringing just the right blend of millennial trainwreck frazzle and frustration to her turn as Lori. J.K. Simmons, meanwhile, channels a very likable bit of Sam Elliott into his role as Zipper, one of Marnie’s would-be suitors. Also, watch for Harry Hamlin and Laura San Giacomo in fun, “blink-and-you’ll-miss-them” cameos.
Credit to the director
But in crediting their work, it’s impossible not to give credit to writer/director Lorene Scafaria (Seekinga Friend for the End of the World). Scafaria’s directorial touch here is gentle, but she makes the most of the talent she has in front of the camera and their chemistry with one another, resulting in scenes that feel fresh and vibrant, even if the premise of the story or its direction may feel a little familiar.
Most important, she keeps the film feeling personal and intimate while at the same time relatable. There’s a universality to what Scafaria delivers to audiences in The Meddler, and that’s tough to do with such personal material.
Worth seeing?
While it’ll be just as enjoyable on your couch at home, The Meddler really should be seen in theaters, if for no other reason than it’s a chance to take Mom to a movie she’s sure to enjoy. As long as you’re okay with answering questions like, “Oh, I’m not like that, am I?” from Mom after the movie, it’s good fun.
The Meddler
Starring Susan Sarandon, Rose Byrne, J.K. Simmons, Cecily Strong, Jerrod Carmichael, Jason Ritter, Billy Magnussen, Lucy Punch, Sarah Baker, Amy Landecker, Casey Wilson, Harry Hamlin, Laura San Giacomo, and Michael McKean. Directed by Lorene Scafaria.
Running Time: 100 minutes
Rated PG-13 for brief drug content.
