Smith's Verdict

Smith’s Verdict: ***

Reviewed by Tanner Smith

“Baghead,” written and directed by brothers Jay & Mark Duplass, is an independent film that is both made on the cheap and delightfully aware of how cheap it is. It even opens with our main characters attending a film festival, where a micro-budget short film screened and its director gloats about his limited resources in making the film, right down to having his actors improvise their dialogue rather than provide them with a completed script… That is almost exactly how the Duplass Brothers managed to make “Baghead.”

This style of micro-budget filmmaking is commonly known as “mumblecore,” but if you listen to the Duplass Brothers’ audio commentary for the film, you’ll learn they don’t particularly care for that term.

Our main characters in “Baghead,” desperate actors looking to star in something, are inspired by this filmmaking method that they decide to rent a secluded cabin (in the woods, of course) and come up with a screenplay for a low-budget indie film in which they will all star. When they’re not working on ideas for the script, Matt (Ross Partridge), Chad (Steve Zissis), Catherine (Elise Miller), and Michelle (Greta Gerwig) do all the typical things young people do when they have a weekend to themselves in a cabin in the middle of nowhere—they get drunk, get high, pal around, go swimming, and then eventually collaborate on ideas. One night, Michelle has a nightmare about a killer with a bag over his head (a “baghead” killer, if you will), and this inspires Matt to write a horror script about this very concept.

What happens next requires a leap of faith the Duplass Brothers had to take for their audience to continue watching “Baghead” all the way to the end. It seems there really is a baghead lurking outside in the woods. In the film’s creepiest scene, he appears in Michelle’s room and watches as she flirts with who she thinks is Matt playing a game…and he just stands there, watches, and leaves. No one is sure whether it’s one of the four playing games or if there really is a stalker outside watching them…and with a bag over his head. What are the odds that there would actually turn out to be a baghead appearing around the same time these people start to write a script that features a baghead? Well, I won’t give away how this came to be, but it will either make or break the film for most people. It didn’t break it for me; if anything, it added more creativity than anything else.

“Baghead” has a wonderful amount of self-awareness, with art imitating life imitating art, as it comments on the world of filmmaking (particularly micro-budget filmmaking, in which “Baghead” belongs). The Duplass Brothers clearly love to create art and will do whatever it takes to do it with whatever they have. And they get clever mileage out of how they comment on how they even make their own film within said-film.

Of all four main actors, who were previously second-tier actors, only one managed to make it in the big time: Greta Gerwig. At the time, Gerwig was known for several films of this sort (she became known as “the Mumblecore Queen”) before she managed to break out, get more roles in bigger-budgeted indie films (at least, in comparison to “mumblecore” films) and mainstream movies, and even get recognition from Oscar for her directorial debut “Lady Bird.” But she started out with a bubbly, quirky personality that differentiated her from several of her peers. (Many critics had a problem with that—one of the critics of “Baghead” called her “fingernails-on-the-blackboard awful.”) I think she’s a delight in “Baghead”—not to slam her three co-stars, but Gerwig is the true star of the film. She’s funny and charming throughout the whole film.

Much of the film is improvised heavily, with many awkward pauses as the characters try to figure out what to say to one another and find ways to make it feel as real as possible. While it is grating at times, I admire the effort to insert realism into the mix. (That’s generally what “mumblecore” is all about—making the most out of minimal material.) The clumsy handheld camerawork adds to it as well. Though, I will say a lot of what the characters say is not particularly interesting, and I’m constantly waiting for something more juicy to come along and break the monotony. I do care about whether or not Chad and Michelle will end up together, but I’m not sure I needed the passive-aggressiveness of a potential love-triangle to make things more complicated.

I have yet to mention the tension that comes with the very real possibility that there is a baghead walking around outside, leading to a “Blair Witch” style of a sequence that leads to our characters roaming through the woods in fear. By that point, I was comfortable with the way the film was going. The Duplass Brothers were able to milk tension out of the simplest situations, and it truly works.

“Baghead” is essentially a low-budget horror-comedy, and the Duplass Brothers clearly had fun making it. Many people will have trouble with the final twist in the final act, but I didn’t really have much of a problem with it. I was simply appreciative that they didn’t go for any of the easier ways out of a bind.

Smith’s Verdict: ***

Reviewed by Tanner Smith

Before I begin, let me state that while I like this film adaptation of Jeanne DuPrau’s science-fiction fantasy novel “The City of Ember,” I can’t help but wonder how more effective it would be if the prologue was omitted from the final product. Let me explain—it’s not that we don’t need somewhat of an explanation for some of the elements given to the film (even though some elements, we have to figure out for ourselves—I’ll get to one specific example later); it’s that there could have been a great surprise twist that would have made sense and, more importantly for a sci-fi film, would have been intriguing.

As “City of Ember” opens, we’re given a prologue (with the voice of Tim Robbins narrating the setup) that lets us know right away that the action is going to take place in an underground city that was built to protect the survivors of a catastrophe that has gotten the best of Earth, so that new generations will live on. A box is given to the first Mayor of the City of Ember—inside the box are rules and instructions that will help the people of Ember to come back to the world, 200 years later. (A timer is set on the box to be opened in a specific 200 years—by the way, you ever wonder if that box’s batteries run out after a couple weeks or something? But I digress.) As time passed, the box was unfortunately abandoned and forgotten until finally, on its 200^th year, it opens.

Do we really need to know right away that Ember is an underground city? Wouldn’t it have been a great twist if it were revealed to us, while being revealed to the film’s heroes, that Ember was underground the whole time? With this prologue, we’re now ahead of the protagonists instead of wondering along with them what else is out there among this “post-apocalyptic” world. It would have been more interesting to try and figure out where Ember was, but it’s set up early on that it’s underground.

Aside from that missed opportunity, “City of Ember” is a nicely-done sci-fi family adventure film with a unique visual look, an interesting setting, a cast of characters we can root for, and a mystery that keeps you invested. And no, that mystery isn’t where Ember is—it’s how to escape from it.

The box with instructions is found by two Ember children—teenagers Lina Mayfleet (Saoirse Ronan) and Doon Harrow (Harry Treadaway)—who ultimately use the written guides to find an exit. And just in time, too—the city’s generator that provides the city’s light and air is broken, leading to frequent malfunctions for Ember. Not only that, but the food storerooms are running empty and the water supply is low. Lina and Doon follow complicated, enigmatic clues that lead closer and closer to a safeguarded path to a place outside of Ember. But while on this journey, they come across a treasonous plan of Ember’s corrupt mayor Cole (Bill Murray), meaning they must work fast in order to ultimately figure everything out.

The setting of Ember is fun to look at, with one of the most fascinating movie sets I’ve ever seen. It reminded me of a George Orwell/Terry Gilliam type of city, with its claustrophobic setting, its color palette, which mostly consists of browns and golds, and even somewhat-retro technology without the updated present-day luxuries we’re used to. There are no computers in this world, which is kind of odd, but there are messengers running from place to place to deliver a new message to somebody from a customer. Everything is much more mechanical, with all sorts of gears and motors. There’s a fitting metaphor for how life has drained long since our modern technologies somewhere in here, and I think that’s what makes it all the more intriguing.

The last third of the film shows the two kids on their journey to find an exit from Ember. This leads them to a secret passage that leads to a couple of waterwheels and an old control room, where it all seems like a Rube Goldberg invention. Again, we have more visual effects to admire and the sets are very impressive. This city of Ember is a very inventive vision and has just what a sci-fi film such as this needed.

Oh. Yeah. I should mention the gigantic mole-like creature that is loose in the pipes down below. It only has a couple of scenes on-screen, but its presence is never explained in the slightest. Why is there a giant mole in this world? Did it have something to do with the end of the world? If it was due to radiation that Ember was created, was this a side effect? There’s also a cat-sized moth that Doon comes across and helps after it’s broken its wing. It seems to fly up to the surface; that’s a clever way of establishing some sort of radioactive-related theory. But still, it’s kind of a confused way of letting us take it seriously when a random giant mole is scattering around the city.

By the way, here’s something odd—the novel doesn’t even mention the giant mole or moth at all.

There are some problems I have with “City of Ember.” One is a few scenes go on a little longer than they should and some parts feel like filler to fill in the hour-and-a-half running time. Another is that the CGI ranges from passable to…in the case of the moth in particular, not very good. And the dialogue could have used a little work, particularly from Doon’s mentor, vague old Sul (Martin Landau, cashing a nice paycheck), and his father (Tim Robbins) who mostly speaks through trailer-type dialogue. And then unfortunately, there’s Bill Murray. As big a fan I am about Bill Murray, I really don’t believe his performance here. Murray just seems to be phoning it in and I couldn’t buy him for a moment.

But “City of Ember” has more things for me to appreciate that I enjoy watching the film and recommend it. The two young leads are appealing; the setting is unbelievable and very imaginative; there are clever twists and turns to the story here and there; the adventures are fun; and what’s probably most refreshing is that unlike most post-apocalyptic stories, this one is more centered on hope rather than misery. And that’s what made the ending of the film all the more satisfactory (even if it is ambiguous).

Smith’s Verdict: ***

Reviewed by Tanner Smith

Rainn Wilson is usually known for his deadpan-comedic roles, particularly with his memorably downplayed-and-funny role as tight-ass Dwight Schrute in TV’s “The Office.” And I don’t know about you, but to me, it’s refreshing to see him perform in a broader style of comedy, which is the case in “The Rocker.” This is the kind of energetic, physical comic-style acting that Jack Black uses to unique effect. And while there are flashes of Black in Wilson’s portrayal of rock-n-roller Robert “Fish” Fishman in “The Rocker,” you still see Wilson, and he’s more than welcome to entertain us in this way.

I can see a lot of people, or critics are something close to “people,” calling “The Rocker” a shameless ripoff of “School of Rock.” But to me, that’s like saying “Superbad” is a shameless ripoff of “American Pie.” Elements are similar, but execution and added themes and story elements make what you can take from whichever, in this case. Doesn’t every film nowadays have to be inspired by something out of other films? It’s what you can add to it that matters.

Besides, I don’t even see much of “School of Rock” in “The Rocker,” aside from the central character being a washout rocker that gets his redemption. So I can’t exactly argue further with that concept. I’d just wind up becoming lost and confused in the point. Instead, I’ll just review “The Rocker” as it is.

“The Rocker” begins in 1986, which the colorful set design of the stage where we see a rock band performing doesn’t let us forget. That rock band is known as Vesuvius, the hottest band to score a heavy record deal. Unfortunately, that deal requires them to sell out and drop their drummer, Robert “Fish” Fishman (Wilson), to have an executive’s son take his place.

(By the way, that leads to a very funny horror-film type of scene in which Fish chases down the rest of the band as they attempt an escape. I don’t care if Fish running as fast as their van is very silly; it still made me laugh because of Wilson’s wide-eyed determination and the band’s screaming reactions. And it gets better when Fish uses his drumsticks as lethal weapons.)

Cut to 20 years later, when Fish has anger issues, particularly whenever Vesuvius, now hotter than ever and earned a spot in the Cleveland Hall of Fame, is mentioned in front of him. Now he’s lost a(nother) job, has been dumped by his girlfriend, and is now living in his sister’s attic. His nerdy teenage nephew, Matt (Josh Gad), plays keyboard in a band with his friends, broody singer-songwriter Curtis (Teddy Geiger) and Goth bassist Amelia (Emma Stone), calling themselves A.D.D. Needing a drummer to play for the high school prom, Fish agrees to step in and play with them…leading to a meltdown when Fish loses control as the band performs Peter Gabriel’s “In Your Eyes.” Feeling guilty, Fish decides to help A.D.D. in landing a gig to make the band known to the public. But fate runs its course as a YouTube video featuring the band practicing (with Fish drumming naked—don’t ask) suddenly becomes viral and A.D.D., with Fish as drummer, has a chance at a career.

We get the standard stuff here with what you’d expect when A.D.D. becomes big—they play different gigs, they become better-known, they go on tour, they film a music video, and eventually, they go through conflicts such as having to ultimately open for Vesuvius. There isn’t anything terribly new in “The Rocker,” but it’s still entertaining and funny and even touching in certain spots. There are many quotable lines of dialogue and very amusing moments, such as why the tour bus driver (Howard Hesseman) uses citizen-band radio, the music-video director’s (Demetri Martin in a funny cameo) overly precise direction, and arguably the funniest, any time Jason Sudeikis is on screen as the band’s slimy manager. Sudeikis gets the funniest one-liners in the movie, including “John Lennon’s rollin’ over in his grave to hide the boner you just gave him!”

There are many moments I found amusing and fun in “The Rocker,” but there is also room for character development, not only with Fish but also with the young band members. Curtis has abandonment issues, which serves as a tool for writing his songs, and now that he’s gaining success because of his words and vocals, he sometimes forgets what Fish of course recalls along the way, that they don’t rock just for fame and fortune. Amelia is a non-smiling punk-girl who becomes more emotional and happier as the film progresses. Matt is an insecure geek that eventually gains confidence and hooks up with a cute fan. I liked these characters. They seemed like real teenagers; their dialogue and interactions with each other seem credible. The actors—Teddy Geiger, Josh Gad, and Emma Stone—play them in an effectively earnest way.

There are other game actors that do well with what they have in “The Rocker.” There’s the standard love-interest that takes a liking to the man-child Fish. She’s actually Curtis’ mom, adding more to the awkwardness that Curtis has to go through later on. Christina Applegate plays the role and she does a fine job, although I have to admit, the relationship between her and Fish feels rushed and not completely fleshed out. But there’s also Fish’s brother and sister, played very well by Jeff Garlin (very funny in a doofus sort of way) and Jane Lynch (in a “tough-love” sort of way). And then, there’s Will Arnett in a brief role as the leader of Vesuvius—without giving away his change of personality in his return late in the film, Arnett is freaking hilarious here.

Sometimes, “The Rocker” will miss its mark on a few jokes/gags (particularly a pratfall early on that seems pretty forced) and a few pop-culture references come close to overdoing it. But mostly, thanks to a steady tone by director Peter Cattaneo (of “The Full Monty” fame), a load of flat-out funny moments, an admittedly-catchy soundtrack (I have to say, I was humming a few of these songs), and a zanily wonderful leading performance by Rainn Wilson, “The Rocker” is gentle, as well as fun, and it rocks. But for goodness sake, stop comparing it to “School of Rock.” True, that film may be superior, but this is a lot of fun too.

Smith’s Verdict: ***

Reviewed by Tanner Smith

“Snow Angels” is a film about highs and lows of human relationships, with different stories and an ensemble cast surrounding a central tragedy. It begins as a high-school marching band rehearses their version of Peter Gabriel’s “Sledgehammer” on the football field, when suddenly, gunshots are heard in the distance. It’s inevitable that we see what builds up to those shots, beginning, as the caption puts it, “weeks earlier.” We meet one of the band members, Arthur (Michael Angarano), a shy, insecure high-school student, as he works in a Chinese restaurant (which I just realized has no Chinese employees) with his former babysitter, Annie (Kate Beckinsale). Arthur hasn’t had a girlfriend yet, possibly because he’s always had a crush on Annie who loves to tease him about their time together (“I totally used to give you baths”). And the timing couldn’t be more perfect, as Arthur’s parents are going through a divorce (because it turns out his father is having an affair), and as his dad moves out of the house, a nerdy, fun transfer-student, Lila (Olivia Thirlby, wonderful here), notices Arthur, comes into his life, and becomes his girlfriend.

This story about Arthur is undoubtedly my favorite part about “Snow Angels,” as it shows depth and weight in presenting this kid going through a tough time in his life and finding his first love, helping him deal with it. I recall Chicago Tribune film-critic Michael Phillips, when reviewing the film as guest-critic on “Ebert & Roeper,” described this appearance of Lila as “a gift from heaven,” and that always fascinated me because that is pretty much what this is about. Here is this gloomy situation involving parents’ divorce, and Arthur knowing the truth about his dad well before his mom realizes it, and in comes this newcomer who bonds with him and they share something for one another. This is one of the best high-school romances I have ever seen—it’s very sweet, and yet it seems real in the personalities of these two characters and how they playfully joke with one another, building up to a moment later in which Lila softly, ultimately states how she feels about Arthur, and Arthur can’t help but feel the same way, despite not knowing how to react.

Unfortunately, that is merely a subplot constantly pushed aside by the darker, gloomier aspects of the story within “Snow Angels,” which mostly has to do with the issues of Annie. Annie has gotten out of a failed marriage with Glenn (Sam Rockwell), the father of her 4-year-old daughter, whom constantly makes things difficult. Ever since his suicide attempt, Glenn has quit drinking, turned to Jesus, and tries to do the right thing. But he hasn’t changed for the better, it seems. The reason Annie left him was because he’s incredibly awkward, can’t hold a job, has violent tendencies, and is an alcoholic. And now, as he sometimes looks after their daughter every now and then, he wants Annie back. But Annie isn’t about to let him back into her life. Meanwhile, she is currently having an affair with Nate (Nicky Katt), the husband of her best friend, Barb (Amy Sedaris). Soon enough, the affair is revealed, bringing further complications into Annie’s life, even before her daughter winds up missing.

If Arthur and Lila’s story represents the highs of human relationships, then everything involving Annie and Glenn represents the lows. But it’s not only emotional conflict, adultery, and anger; it’s also guilt, violence, and loss. And it only gets more depressing as it continues, building up to the tragedy that was set up in the beginning of the film.

And this is where I am a bit uncertain when it comes to deciding a “Verdict” for this film. Maybe it’s because the lighter romantic moments with the high-schoolers won me over so much, but it’s somewhat hard for me to get into the darker material surrounding the adult characters. I mean, those scenes are well-acted, smartly written, and well-directed, and I’m not saying that because it’s a downer, it’s a failure. I mean, a good solid portion of films are muted and downbeat. But when you have to have a cohesive narrative driving the emotional aspects forward for an effective payoff…I don’t know. It seems to be building up to something, and while that inevitable dramatic payoff is there, I’m not sure it all comes together in a way that fully makes us understand what has happened and for us to take in the tragic climax. The power isn’t there behind it, in my opinion, and as a result, I feel like I sat through much ado about nothing.

I understand that “Snow Angels” is based on a novel, and to my knowledge (having not read it), writer-director David Gordon Green was faithful to the source material when adapting it for the screen. But when I get down to what I really think about “Snow Angels,” I think there’s a perfectly satisfying story within the teen-romance material and around Arthur. There’s an interesting short film here trapped in a dark, gloomy story about the lows of adult relationships, when there’s a cohesive story about a kid (Arthur) finding a special-someone to be with, and questioning relationships in the process (there’s some drama in there, in how he feels about his dad going back and forth between home and elsewhere, and also in how he doesn’t know how to comfort someone who needs assistance). Right there is an interesting, full-circle story structure trapped in an uneasy story about a few seriously disturbed individuals.

And I know what they’re trying to do—trying to contrast young relationships with older. So it either works for you, or it doesn’t. For me, it is true that it is acted well (though there are some parts when you feel that Beckinsale was probably miscast, and Rockwell is hard to watch at times) and a lot of moments ring true. And it is an effective representation of ordinary people going through ordinary problems before they realize they can’t deal with it anymore. So despite my personal issues with the structure, I give “Snow Angels” a mild recommendation because of that. Sure, it’s inconsistent and without Arthur and Lila’s romance, it’d just be OK; but there are many individual moments that convince to keep watching it, so I can’t recommend it. I like “Snow Angels.” I wanted to love it, though.