Glenn Gaylord's User Profile

Glenn reviewed...

Dark Shadows (2012)

Let's face it, Tim Burton, while being a master of visuals, has not… More Let's face it, Tim Burton, while being a master of visuals, has not always been the greatest of film storytellers. His setups can be masterful (The first 10 minutes of CHARLIE AND THE CHOCOLATE FACTORY are classic and then it all goes to hell pretty much as soon as Depp appears), but he's usually stumbled in 2nd and 3rd act delivery. Using his oddball muse once again, Burton and Depp coast through this sea of weirdness, a somewhat dreary film that doesn't know if it wants to be a melodramatic soap or a silly comedy, so it settles for some in-between purgatory of its own. After another great setup - a wonderful marriage of sweeping cinematography, grand score and operatic emotions, followed by an incredible transition to a train going up the coast in 1972 main, as NIGHTS IN WHITE SATIN fills the soundtrack, the movie immediately has its first lapse in logic right out of the gate. Bella Heathcote plays a woman named Abbie who is on her way to a job interview as the Collins' new nanny. Practicing her intro, she changes her name to Victoria when she sees a poster on the train with that word on it. Odd, since the Collins' were expecting her and had received her job application already. Didn't they wonder why she had a different name all of a sudden? So now I'm already predisposed to think that Burton hadn't done a logic pass on the script...and indeed, logic, consistentsy and reason are off the table here. We're immediately introduced to the rest of the great cast, only to painfully realize that each one of them is given exactly one character trait that they pretty much stick to for the rest of the film. It's not their fault that they're given little to do, and man can Chloe Moretz smolder. Eva Green has fun with her role as the villain, channeling Lisa Marie's character from MARS ATTACKS at time with some strange body language. Helena Bonham Carter nails the bored American accent and that's about all there is to say. There are definitely funny moments, with most of the comedy centered around Depp's stuffy character butting up against 1970s mores. The biggest laugh comes very early when Depp faces a fast food joint sign. There's also a thrillingly executed sex scene that rivals Joseph Gordon-Levitt's hallway fight in INCEPTION. Ok, not even close, but it's a technical marvel of its own and is a blast to watch. Things disintegrate when you realize that the story really doesn't have anywhere to go, and then all of a sudden it decides to turn in to DEATH BECOMES HER, but without the laughs, without Goldie Hawn, and especially without Meryl Streep. I can't say I was ever really bored, and I did laugh here and there, and I love Burton's voice in cinema...so it's worth checking out, while not entirely being worth checking in.

4 days ago via Flixster

Glenn reviewed...

The Cabin in the Woods (2012)

Here's a great concept for a horror movie marred by its structure. In… More

5 days ago via Flixster

Glenn reviewed...

The Dictator (2012)

I knew there would come a day when Sacha Baron Cohen would become too… More I knew there would come a day when Sacha Baron Cohen would become too famous to pull off his cinema verite stunts as Borat or Bruno or Ali G. He's such a talented provocateur, however, that I figured he'd come up with a way to sustain his welcome blasts at American racism, xenophobia, and every other phobia we've seemed to adopt as policy. When I heard news that he was switching gears and trying scripted comedy, I was worried, but as the publicity machine started to roll out on THE DICTATOR, I was excited and thought this had the potential to skewer so many current topics. I was mostly wrong. While hilarious in fits and starts, the film spends most of its running time poking fun at a fictional Middle Eastern despot. That's a pretty easy target as far as satire goes. Most audience members won't disagree with the points Cohen is making here, and that's precisely the problem. Whereas his previous films really were Cohen's primal screams at our own stupidity, we're laughing along WITH him here. Now, because he uses lots of fake news footage, we're still somewhat in the world of his previous films, but everyone here is in on the joke. So, with the exception of a final speech which turns the tables (finally) on American policy, we're left with a pretty standard issue comedy. Too many set pieces wear out their welcome by repeating the same joke over and over. Not even funny the first 5 times Cohen uses a neck-slicing gesture to indicate someone should be killed, he then decides to repeat this perhaps 20 more times in the film. We get it! Dictators like to abuse their power. Hilarious! Anna Faris is game as a granola feminist running a co-op, and she mostly holds her own against Cohen, but it's all in service of a lot of genital humor. Unfortunately, the trailer gives away the most successful set piece, where Cohen and his partner are misunderstood by an American couple to be terrorists as they ride in a helicopter over Manhattan. Too much of this felt like a bad Gene Wilder comedy from the 70s and 80s (The World's Greatest Lover, Hanky Panky, The Frisco Kid). Cohen's brilliance (and he's still a genius IMHO) is in making the jokes AT us, not FOR us. I STILL can't wait to see what he does next.

5 days ago via Flixster

Glenn reviewed...

The Hunger Games (2012)

Ok, this is my last LATE LATE LATE review, so I'll keep it brief.… More

7 days ago via Flixster

Glenn reviewed...

21 Jump Street (2012)

I maybe saw 2 episodes of the 80s series 21 JUMP STREET, but back… More

7 days ago via Flixster

Glenn reviewed...

The Raven (2012)

True Confession: I didn't even make it halfway through this… More

7 days ago via Flixster

Glenn reviewed...

Chronicle (2012)

I'm REALLY late to the party on some film reviews this year, but my… More I'm REALLY late to the party on some film reviews this year, but my anal retentive side demands I chronicle (see what I did there?) every film I see, so that I can do silly year-end things like BEST OF lists and MOMENTS OUT OF TIME articles. In my twisted universe, if I don't write about something, then it didn't happen. This works really well when trying to forget traumatic experiences like painful surgeries, but not so well when wishing to recall joy. I'm actually happy about the delay, however, because it allows me the ability to look back and see if there was anything memorable going on here. I recently was on a judging panel at a comedy contest, and aside from the obvious criteria of being funny, I wanted to decide if I remembered any of the jokes I heard. When the winner was announced, (someone who did not get my vote) I honestly could not remember anything he had said. I asked around, and nobody else could either. So I guess knowing that you laughed is enough to give out a prize in these troubled times! All of this is to say that if I look back at my viewing of CHRONICLE, which I saw back in February, I remember a lot. Essentially and cunningly designed as a series of crazy moments strung together, this film takes the Paranormal Activity genre to a whole new level....until it doesn't. A trio of high school students literally fall down a "rabbit hole" and return with telekinetic superpowers. At first, they document these as a series of pranks: Scaring children by making a Teddy Bear levitate, moving a parked car and laughing as the owner searches the lot, etc. Any one of these blackout sketches would go viral overnight on YOUTUBE. Of course, this being a film, things have to develop from there. One of the boys (the gifted Dane DeHaan has been established to be troubled. His abusive father and low self-esteem make him one to watch and fear as they learn to hone their newfound skills. As they learn to fly and practically levitate anything, they're able to expand the filmmaking boundaries. Typical films of its ilk (Blair Witch Project for example) rely on a main character running a camera and rarely appearing onscreen. Here, these guys can send a whole collection of self-running cams up in the air to provide more coverage than a Michael Bay film. It's here, unfortunately, when the film starts to lose its luster and becomes yet another Blockbuster Superhero Extravaganza. Things get smashed and blown up and there's a giant showdown atop the Seattle Space Needle....yawn. It's just not my thing, but I understand why the filmmakers felt the need to go there. The pitch for this film must have been truly ingenious: Hey! Let's disguise an expensive effects movie as a scrappy found footage indie. Every scene could stand on its own as a viral sensation, which will be a great way to market this to both the Comic-Con hipsters and the 3-D loving, CGI-hungry general audience. Sad to say, the last 15 minutes descend into silliness, but up till then, I was really in it. As I said, I still remember so much --- the thrill of that first flight, which rivals the similar scene in Spiderman for its sheer joy of discovery, the unexpected accident one character causes, and the shocking death of another. I'm glad somebody attempted to stretch what has become a tired genre, and all these months later, I know CHRONICLE will make my Moments Out Of Time article at the end of the year.

7 days ago via Flixster

Glenn reviewed...

The Five-Year Engagement (2012)

I hate to come off as a grumpy member of the Genre Police, but… More I hate to come off as a grumpy member of the Genre Police, but Romantic Comedies should never ever ever EVER come close to the two-hour mark. First of all, the comedy part is really difficult to sustain past 90 minutes, because things usually turn mushy (as in unfunny) in the last 20 minutes. Second, because we all know that those last twenty minutes will consist of a race through an airport, a rushed drive across town, and most definitely a change of heart, anything longer immediately turns the comedy into drama, or dramedy at best. Such is the case with THE FIVE-YEAR ENGAGEMENT, which, at 2 hours and 4 minutes, overstays its welcome and ends up feeling every one of its titular years. A shame, since there's a really good movie in here somewhere. Jason Segel and Emily Blunt have real chemistry (she ALWAYS seems to know how to cook it up with her co-stars, male or female, doesn't she?) as a couple who postpone their wedding as they work out their professional aspirations. This is a perfectly fine premise for a rom-com, and original because what keeps them apart for the majority of the running time are their own hopes and dreams. Unfortunately, a bevvy of supporting characters and endless subplots complicate the true story with cliched and expected developments....you know, affairs, lies, and other obvious obstacles. I really like watching Segel and Blunt and their myriad of physical and behavioral transformations...but this being a story in the Apatow universe, it just doesn't know when to leave well enough alone. Did we really need a subplot about a butch chef? Or a horny college professor? Or an overly horny sandwich shop employee? Or the mismatched but perfect couple?? Or the endlessly dying family members? It felt like Two Weddings And 100 Funerals by the time we got through them all. I understand that the filmmakers wanted some heft here, to separate it from the pack, and there's no faulting the talented supporting cast. How cool was it to see the amazing Jacki Weaver (Oscar nominated for her scary turn in ANIMAL KINGDOM) in the film? Pretty cool, but her character didn't bring much to the main story. The same can be said for so many others. Trim the fat here - -20 minutes, I'd say --- and you have a charming film about a man in a bunny suit and a woman dressed as Princess Diana who meet cute, stay smart, and try to figure out a way to be together when life pulls them in different directions.

7 days ago via Flixster

Glenn reviewed...

Marvel's The Avengers (2012)

As far as big, stupid comic book tentpole franchises go, THE AVENGERS… More As far as big, stupid comic book tentpole franchises go, THE AVENGERS is perfectly big and stupid and tons of fun. But just like almost every one of these Marvel Movies, I ultimately just don't care. If you think that statement is heresy, I got nothing else for you. I just don't care about things being blown up, or smashed, or crushed, or kapowed. Even the great versions of these (DARK KNIGHT, IRON MAN) don't really leave a lasting impression on me like other genre triumphs like ALIEN, ALIENS, FRENCH CONNECTION, or THE EXORCIST. For many, ok, the majority of people on this planet, they can relate to an outcast with superhuman powers who is able to right the wrongs of the world. I get it. The studios know this. They know you'll shell out premium dollars for the 3-D experience, and that every shot had better be a CGI wonderscape of explosions and impossible flight, or you're gonna bail. So sue me. I'm not predisposed for this kind of filmmaking. It all ends up being meaningless noise. Give me a TRAINSPOTTING or an ELECTION any day over this unmemorable crap, and I'll stop whining about it! Having said, or ranted that, the AVENGERS isn't without its wit, excitement and charms: - The action is presented clearly and coherently throughout. I never had trouble following the story, and I'm a complete idiot when it comes to lore and mythology. When I watched LOST, my head hurt and I could barely get past the idea that they were on an island that did some strange sh*t. - As much as I despised THOR and its villain, Loki, we have this same nemesis here, and he has a pretty well thought-out, multi-tiered plan of attack. It's not just, let's destroy everything, but a cunning, diabolical puzzle in which he preys on mankind's need to be submissive to a higher power. (A sly swipe at organized religion and the Nazi movement disguised with horns and glowing swords). Each reveal unfolded into another, until we FINALLY get that a-ha moment where we see the big picture. - Scarlett Johansson can keep up with the big boys. Even though her character is a mere mortal who pathetically shoots guns while her counterparts twirl magic hammers or use powerful shields, she excels in the simple art of interrogation. Her first scene especially was a fun, kickass intro and when she takes on Loki, I actually felt surprised. Not easy to do to a grumpy, buzzkill like me. - Robert Downey Jr. is the best casting choice ever made in the Superhero genre, because he brings brains and subtlety to the proceedings. Just the fact that he refers to THOR as POINT BREAK was good enough for me! - There's a fantastic sequence where the camera moves from one hero to the next as they battle these really cool Alien Snake Ships and Jet-Ski driving monsters. It's all continuous and beautiful and really helped tell multiple stories at once. It's really what sets this film apart. Joss Whedon knows how to weave something complicated and make it seem simple. Now don't get me wrong. I STILL don't care. But if you're into this sort of thing, you're gonna love THE AVENGERS.

11 days ago via Flixster

Glenn reviewed...

Moonrise Kingdom (2012)

Do you like dioramas? Are you a fan of precision? How about cold,… More Do you like dioramas? Are you a fan of precision? How about cold, ironic, distancing emotion wrapped in whimsy surrounded by sliding camera moves in perfect horizontal or vertical compositions? If your answer to all of the above is yes, then you're gonna go crazy over Wes Anderson's latest feature, MOONRISE KINGDOM. From BOTTLE ROCKET to RUSHMORE and on and on, Anderson has carved out a truly unique aesthetic in cinema. Nobody makes films like he does, which come across as carefully crafted tableaus, always aware of the theatrical proscenium arch and fairytale quality inherent in classic, old school storytelling. He's like the pop-up book of directors, and nowhere is this more apparent than in his new film. Set in 1965, it's the tale of two young kids who fall in love and escape their New England town as they utilize every survival tool at their disposal. It's also the story of their parents and authorities who tirelessly search for the missing children. But like all of the great tales, it's the tone that sticks with you, because let's face it, we've seen search and rescues since the beginning of time. Like all great filmmakers, you always know an Anderson film, because he is so exacting with where he puts the camera and what he reveals when he dollies left, right, up, or down. In fact, that's it in his bag of tricks as far as movement is concerned. His characters are usually one-note (but glorious notes they are) who speak most often in monotones. This affect worked wonders in the animated FANTASTIC MR. FOX, and here, it's sweetly endearing since we're focused on our two young leads. Without them, this would feel like hipster quirkiness, but in the hands of Jared Gilman and Kara Hayward, I felt such a tenderness between the two alienated and troubled characters. Think of a kinder, younger Dwight Shrute (from THE OFFICE) courting an even younger, but more dangerous Emma Watson (from HARRY POTTER) and you're getting warmer to figuring out the joys of this film. The adults, however, are pretty wasted here, each given one little gimmick apiece - France McDormand is the lady with the bullhorn, Tilda Swinton is woman with sleek outfits, Bruce Willis is Johnny On The Spot, and Bill Murray is just kinda hanging out. Edward Norton, however, really excels as a Boy Scout Leader who effortlessly commands his young troops, teaching them priceless skills and discipline. After countless brittle roles, he finally gets to channel his inner child here, and the results are a joy. In one endless dolly shot (a Wes Anderson staple), we go through Norton's morning routine from putting on his just-pressed bandana to inspecting the new Rube Goldberg-esque latrine until he finally arrives at the tent of our missing hero. It's right up there with the best shots in GOODFELLAS and BOOGIE NIGHTS and is a fine example of Wes Anderson's many gifts. Granted, his style is not for everybody. It can seem too precious and annoying. But I went with it, because I love one-of-a-kind storytellers. Just see it and let it take you away.

11 days ago via Flixster

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