Is That a Question?: If I Stay

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It’s rarely a good idea to walk into a film with preconceived notions, but it’s rarely something a person can help unless they’re able to go completely blind. But, unless you’re at a festival, it’s hard to do that these days given the advertising saturation film culture. Even if you’re not intentionally surrounding yourself with it, chances are, it’ll still be in the background. So, that being said, I walked into If I Stay, a YA weepy movie based on a YA weepy novel by Gayle Forman, with average to low expectations. I thought, At worst, it’ll be forgettable. And somehow, I was so, so wrong.

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Concessions Stand: The F Word

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*SPOILERS AHOY!*

At the end of The F Word, Wallace (Daniel Radcliffe) and Chantry (Zoe Kazan) get married. This isn’t surprising, but it is, for me, disappointing. What’s to be most valued in this film, written by Elan Mastai based on the play Cigars and Toothpaste by TJ Dawe and Michael Rinaldi and directed by Michael Dowse, is its brutal honesty about the complicated dynamics of two friends who may or may not be attracted to one another and the concessions they have to make in order to not upset that dynamic. It essentially plays out like When Harry Met Sally…, but less inclined to make one person a victim or a pathetic figure. It lays out its options openly and realistically, acknowledging that people sometimes have to do painful things in order to maintain a kind of balance.

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Do You Believe in “Magic”?: Magic in the Moonlight

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There’s a scene that made me think that Magic in the Moonlight might be a critical self-examination of Allen’s own nihilistic ideology. At some point in Magic in the Moonlight, rather early into the film, there is a scene where George, a psychiatrist, makes an impromptu diagnosis of our protagonist Stanley (Colin Firth), noting him to be neurotic, depressive, nihilistic, etc. It’s the usual ten cents that anyone with eyes and ears can discern from a majority of male protagonists in Woody Allen films, but there was a dryness about the diagnosis this time around, or, at least when I noticed it. Comments of this kind are made about Firth’s character from nearly everyone, but the coarseness of them is sharper than normal.

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Trashpect Ratio 1 – A Field in England

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Kyle Turner:

Hey, I’m on a podcast now with my friends Matt, Destiny, and Jackson! You should check it out!

Originally posted on Trashpect Ratio:

Field In England

In this inaugural episode of the Trashpect Ratio movie podcast, we meet our panel of hosts, cohosts, subhosts, and host with the mosts as we introduce ourselves, chat about what we’ve been watching, and generally have a grand to-do before getting into the nitty gritty of our first movie club: Ben Wheatley’s A Field in England. Psychedelia, existential horror, and dry British comedy can be yours on this very fresh and very free podcast, here for you on this and all future Ides!

If you want to check out the episode, its in the player or you can find it directly HERE. iTunes is still forthcoming, sadly, but it shall come forth.

This Month’s Movie
A Field in England

Next Month’s Movie
Eating Raoul

Other Movies Discussed
Tie Me Up! Tie Me Down!
Y Tu Mamá También
Under The Skin
Down Terrace
Kill List
Sightseers
Big Trouble In Little…

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Forgot to Mention…

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I have a portfolio for all my writerly stuff because I totally gave up on trying to post everything here. So, here it is:

http://tylekurner.tumblr.com/

Have at it, chums! Thanks for being such a loyal reader and pal! 

- Kyle 

Little Orphan Crazy: The Perverse Pleasures of “Orphan”

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As far as evil children movies go, the subgenre has little new to offer given The Bad Seed, The Omen, The Exorcist, and Children of the Corn. Each offered their take on why children are scum of the earth, and, for the most part, it was came from the angle of religious power. They’re either the spawn of Satan, in a weird cult, or the Devil himself. With regard to the violent nature and pure insanity of the Evil Child, Jaume Collet-Serra’s Orphan fails to bring anything particularly new. But that’s a good thing, because it doesn’t need to. Neither self-aware nor too self-serious, Orphan is bizarrely one of the most effective thrillers, perhaps primarily because of the high caliber performances from all of its players, particularly from young Isabelle Fuhrman.

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“I Like Things That Look Like Mistakes”: The Perfect Imperfection of Frances Ha

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A young woman in her late twenties pirouettes, jumps, and spins through the streets of New York City as David Bowie’s “Modern Love” pounds in her head, on the screen, and in our hearts. It is not only the city that sparkles in Noah Baumbach’s Frances Ha, but Frances herself. Energetic, prone to folly, and warmly sincere, Frances is perhaps the best illustrated character to come out of film in ages, both a perfect fit for the contemporary environment she inhabits and yet timeless in how human she is. Read the rest of this entry »