Movie review: FRANK (2014)


FRANK is a brilliant, introspective, and illuminating film based partially on real events. It follows a bumbling, seemingly talentless, wanna-be musician (Jon) as he gets sucked into the world of a charismatic and mysterious Frank – a man with a paper mache mask for a head. At first, it seems Frank and his pals are the ones with the vision, and Jon is desperate to be someone more than who he is. He craves fame and respect and Frank, he is immediately sure, will help him get there. It quickly becomes obvious to the viewer what John doesn’t realize until later: Frank is severely mentally ill, along with at least a few of his bandmates. His genius isn’t in his wackiness, but is obscured by it; the sad truth is that Frank’s musical talent wasn’t set free by giving in to his illness, but his illness robbed him of the chance to truly express his talent. Outside of the carefully manufactured and strictly guarded world that Frank allows Jon to be a part of, the outside world – let in by John’s tweets and blog posts (part of his desire to connect with others and find his audience) – can clearly see what Jon doesn’t.

John think they’re making avant garde art. The world thinks they’re making a joke.

Warning: vague spoilers ahead Continue reading

What I’ve Been Watching: The Everybody Dies Edition

I haven’t done a movie review post lately, so this list covers a couple of months of watching. These should all still be available to watch streaming on Netflix and other services. As always, my reviews are mainly about the writing; though of course a film with a great script can still be shot poorly, the writing shines through, while a poorly-written script will still be obvious no matter how much money is thrown into the production. (See below, World War Z.)

Starting with the best:



HOW I LIVE NOW, 2013. Saorse Ronan, Tom Holland, George MacKay. Director: Kevin MacDonald

5/5 stars.

Originally a novel by Meg Rosoff, published 2004 (winner: British Guardian Children’s Fiction Prize and the American Printz Award for young-adult literature). I haven’t read the novel but from what I can tell, the movie doesn’t diverge from it much, only cutting out scenes/people to get it down to a 1h41m runtime.

This is a beautiful, haunting, and — most importantly — organically logical story of a teenage girl who naively chooses to stay in England on the eve of a war rather than go home to her American father and stepmother, who’d sent her away in the first place. It’s the story of kids who are left stranded when their mom gets called away and isn’t able to return, who are separated, conscripted, and ultimately have to fight their way back to each other. It’s about making a family, making choices, taking risks, and doing so while the adults around them either ignore what they need or actively try to hurt them.

The kids can’t possibly make all of the right choices, even though for a moment it seems they’ll be okay in their country home, away from the mess of the world. That summer paradise is ripped away by the advancing army, and serves as a dreamlike reminder of the innocent joy they’ll never have again. Truly, they never will: some of the kids are killed, and the rest are changed forever. Daisy, the MC, isn’t nice or likeable to begin with, but neither is she cruel. She’s an unhappy teenager, simple as that. She grows over the course of the film, becoming a mother and protector, but the change isn’t capricious. She fails in a lot of ways as she learns to get the important things right.

There are consequences to everyone’s actions. The characters have motivation and agency and needs, and while displayed subtly, they’re also obvious in the context of the story. The director manages to keep the pace moving without rushing too fast or dragging behind. There are no montages; there is nothing shown outside of the Daisy’s experience, yet the story is complete and bursting with detail. It’s tight 3rd person, excellently scripted, and I highly recommend it as an example of how YA storytelling should be done. I normally avoid anything with teenage main characters because it doesn’t speak to my life now, and I don’t get terribly nostalgic for my own past since what I have now is so much better. But I’ve seen this twice now, and would watch it again, because it’s not about “teenagers”. It’s about real, textured, people who just happen to be kids.

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“Give Me The Banjo” 2011

I like a lot of different kinds of music. Different styles for different moods. In general, though, I like my piano lively instead ponderous, prefer fiddle music to violin classics. And a fine trumpet player has always moved me. While the banjo doesn’t catch my breath in the same way, I always thought of it as a fun instrument. Quick and clever, requiring a lot of skill and dexterity–I appreciate the technique. Plus I grew up with a fair amount of bluegrass; one of my mom’s best friends was, and still is, a bluegrass fiddler (you can watch a video of her band here).

So when I saw that “Give Me The Banjo” was streaming on Netflix, I threw it on. I am a sucker for both documentaries and American music history. Background music, I thought, while I got other things done. It turned out to be too good to half-watch, and I ended up putting everything else aside. 6 minutes into the movie, it was clear that they meant to truly explore the banjo’s history, with this introduction:

You can’t talk about the history of the banjo if you can’t talk about racism, slavery, misogyny, appropriation, exploitation–all of the things that run counter to what we love about the banjo. – Greg Adams, Ethnomusicologist

Then straight into clips from a minstrel show. Blackface. Newspapers proclaiming a “Much-Admired Nigger Melodist” was playing. The white Southerner, Joe Sweeney, who learned the banjo from his black neighbor, and then took both the knowledge of how to build one and his neighbor’s music with him to New York. Turning an African folk instrument into a white American musical staple. “Elevating” the instrument with fancier building designs, reinventing the music into the new “classic” style… purposely reminding audiences that they’d stolen from the people they considered themselves better than, with a style of music they called “Coon Songs”… This look at the past is simultaneously embarrassing and enlightening.

The interviews with experts–historians, musicians, and banjo builders–along with photos, songbooks, and recordings of the popular musicians from different eras, make this a documentary worth watching if you care at all about musical history, or the racial and cultural history of the US. (Even if the banjo itself doesn’t matter to you.) Steve Martin gives excellent narration, and they’ve got an impressive breadth of interviewees. Find the movie here: Give Me the Banjo (83 min.)

Attack The Block: 10 Minutes In, Best Alien Invasion Movie Ever

I promised you a review of this film a few months ago, I know. If it makes you feel any better, I watched it again, just for you, to be sure that I felt the same way about it. That’s the kind of friend I am. Quick review: It’s the best alien invasion film I’ve ever seen.

Why? It’s ok. You can ask me that. Here’s the answer:

The film opens on a shot of the night sky, with a single star falling from the heavens, before panning down to reveal fireworks over London. The camera settles, not on the downtown, not on the homes of the wealthy, but on a tube station and a young white woman talking to her mother on her mobile while walking home past street vendors hawking flowers and vegetables. Her hat doesn’t match her coat that doesn’t match her pants and her scarf – well, let’s just assume that an elderly aunt knitted it for her and move on. Kids run down the street with sparklers, as the woman walks into a residential neighborhood with more graffiti than street lamps. A sudden burst of fireworks startles her but there’s no one behind her; she’s jumpy, though we don’t yet know why. She finishes her call with a plan to meet for Sunday dinner, and looks up to see her way blocked by a group of kids wearing dark-colored hoodies and bandanas over their faces. Crossing the street doesn’t stop them from surrounding her and mugging her. Suddenly that falling star is a meteor crashing into a car only a few feet away from them, and the invasion’s begun.

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More Movies from 2011 (Which I’ve Now Seen, in 2012)

My massive catch-up from the cinematic offerings of 2011 continues (click here for part 1 of my mini-reviews), mainly veering away from Hollywood and into the independents.

Thank the Elder Gods for that.

I love a good Hollywood action/adventure type flick as much as the next person – and being a comic book geek, it’s possible I like them even more than most. But as a writer I’m always, always, looking for the story in everything, and much of the mainstream offerings lack witty dialogue, charming character building, or even something as essential as a workable plot. When you take away the car crashes and super powers and music montages, and just show us some people talking their way through a story, we can see the writer at work. Those are the movies I prefer.

I did squeeze in two more Hollywood movies – the romcoms Crazy Stupid Love and Friends With Benefits – before slipping back into familiar territory with One Day, The Art Of Getting By, Beginners, and Another Earth. Continue reading