Movie Review Sunday

May – 2003 (R)

Netflix says: Continually tormented as a youngster, childlike May (Angela Bettis) is a lonely and misunderstood veterinary assistant who longs for a human connection, though her sole confidant is a doll named Suzy in this rueful psychological horror. May attempts to befriend her lesbian co-worker (Anna Faris) and a handsome film student (Jeremy Sisto), but her extreme oddities ultimately push them away -- and turn deadly.

Matt says: An “Art of Cult” suggestion by Lorelei Beatrix.

“May” is a movie that I would’ve made when I was 13 years old. It’s dark humored, has a dash of symbolism, is somewhat predicable, and has some very disturbing themes. When I was 13, I used to retreat to my room, read Clive Barker books, watch twisted horror flicks, and write stories such as this. It seems that Lucky McKee probably did the same. Now, I’m not saying that it’s a bad thing, just that in reading my stories as an adult, they come off as immature. “May” gave me that same feeling. That aside, it is creative, different, enjoyable, and very creepy. Bettis puts in a flawless performance as that one girl in school who everyone stayed away from (usually because she had a thing about eating dandruff or something) and Jeremy Sisto does as well of a job as her love interest. I love Anna Faris and was happy to see her as something besides a goofy moron. I enjoyed the dark humor and disturbing scenes, but it never sufficiently got me totally creeped out. “May” will appeal to young adults who may have missed out on 2am ‘80s horror-a-thons on Cinemax (the ending of “Sleepaway Camp” anybody?). For those of us a little more jaded, we can appreciate it for what it is, but it won’t offer anything new. 3 1/2 stars.

The Myth of the American Sleepover – 2010 (NR)

Netflix says: Facing personal and interpersonal crossroads on the last night of summer vacation, four high school friends wander the streets of suburban Detroit, each taking the first tentative steps into the world of adulthood in this thought-provoking drama.

Matt says: “The Myth Of The American Sleepover” makes the same mistakes as most modern indies flicks. It starts off as a charming film about middle school/early high school students and their neurotic (and insecure) naivety when it comes to life, relationships, and being comfortable with themselves. Unfortunately it degrades into a stiff performances of brooding teen angst with no real sense of purpose. It seems like a typical coming of age movie, and although the central players do learn a little about themselves, the lack of any change of pitch in their voices or sign of life in their frozen faces detracts from the movie’s central themes. Think “Twilight” meets “Dazed and Confused”… without the vampires and werewolves of “Twilight” or the fun, comedy, and heart of “Dazed and Confused”. What’s left is not bad, but not good. That it takes place roughly in the time of my own development (though it’s never mentioned, it appears to be late 80s or early 90s due to several visual cues) makes the lack of emotion that much more disappointing. It’s also painful when a modern indie song comes on during a supposed period piece, droning monotone indie musings instead of a song of the times (they do mock the music of the era with copyright free imitations, but not for the seminal moments… only for one-off nostalgia scenes). This could have been the next “Dazed and Confused” updated for my generation, but instead ended up trying too hard and failing due to it. Maybe it was budget related or not… but next time, Mitchell, don’t cater to modern audiences. Modern audiences give less of a shit about your childhood than someone your age (like me). You alienated all of us by trying to please both. 2 stars.

Cannibal Ferox (aka Make Them Die Slowly) – 1981 (NR)

Netflix says: Italian horror maestro Umberto Lenzi takes the form to new heights with this classic that has a team of would-be anthropologists discovering a tribe of cannibals being exploited by a cocaine cartel in the jungles of Colombia. Filmed on location in South America and New York, this cult favorite boasts camerawork that lingers lovingly on the carnage as scenes of evisceration, emasculation, eyeball gouging and more play out.

Matt says: In following up his “Eaten Alive” during the cannibal Italian craze of the late 70s/early 80s, Lenzi seems to take the genre out with a bang with this repulsive entry. It’s not as much that it’s a typical exploitative cannibal flick from that time period, or that it has scenes of graphic violence both real (with animals… but then again all of them did) and fake… no, it’s that is has one of the most unlikeable protagonists put to celluloid: a coke head criminal named Mike (Italian cannibal and zombie film actor Giovanni Lombardo Radice [aka John Morghen]). The movie does an effective job in making you hate the ever-loving shit out of Mike. He tortures indiscriminately, calls women “cunts”, and generally just acts like that one asshole coke-head you used to know back in your partying days. I hate him so much… sooooo much. He’s a necessary character as the other protagonists wouldn’t have had any issues with the cannibals if it wasn’t for Mike’s meddling. This was one of the first films of this type that I watched and it started my love-affair with Italian horror. I’m glad I watched it again as it’s as cheesy, sick, horrible, and wonderful as I remembered it to be. Be warned that there are several real animal deaths staged just for the film (there was no AHA watching movies filmed in Columbia in the 70s) and a particularly horrible de-penis-ing that will make you squirm. 3 stars.

Hard Ticket To Hawaii – 1987 (NR)

Netflix says: Cult auteur Andy Sidaris delivers another B-movie spectacular in this offering from the Triple B (short for bullets, bombs and babes) Collection. In Hard Ticket to Hawaii, special agents Donna (Dona Speir) and Taryn (Hope Marie Carlton) intercept a shipment of goods intended for a drug smuggler (Rodrigo Obregón), who retaliates by unleashing his henchmen. Meanwhile, a mutant snake with a taste for human flesh stalks the island.

Matt says: Just as Joe D’Amato loves beaver, Andy Sidaris absolutely loves tits. “Hard Ticket To Hawaii” never goes 10 minutes without a shot of a broad showing gratuitous bare naked tits, exposed cleavage, or “no-bra under see-though fabric”. It is very 80s… with big, teased up hair, pants hiked up to the ribcage, and a synthesized soundtrack that would make John Carpenter jealous. I truly believe that, at the time, Sidaris thought his films would rival the actioners of Van Damme and Schwarzenegger. What we got instead was D-list actors and actresses mechanically delivering their lines, a plot that seems to have been thrown together while shooting, and a direct-to-video transfer that never had a widescreen release. The icing on the cake is the unbelievable action pieces that not only defy normalcy, but also defy reality (at one point a skateboarding baddie with a gun and a blow-up doll get hit by a car and propelled into the air. Before either land, they are both blown up individually by a four-rocket rocket launcher). All of it combined equals a work of exploitative art. The 50s had their biker films, the 60s their hippy films, the 70s had Blaxploitation, and the 80s had direct-to-video action flicks. That this is one of the worst from that time also makes it one of the best. Look, I know movies like this are an acquired taste, so here is a 10 minute compilation of the best scenes (skip to 5:30 for the aforementioned blow-up doll scene). You really don’t need to watch it after that, unless you want the tits too. A 1/2 star movie with 4 star enjoyment.

Everything Must Go – 2011 (R)

Netflix says: Director-writer Dan Rush makes his film debut with this dramedy based on a Raymond Carver short story about Nick (Will Ferrell), a good-hearted but relapsed alcoholic who decides to live on his front lawn after losing his job and being thrown out by his wife.

Matt says: Will Ferrell has two distinct acting styles: one is the over-the-top caricature and the other is the straight-yet-humorous every man. As much as I enjoy him being outrageous, I enjoy when he plays it straight much more. In this he plays the role with so much heart and intensity that it is his truest role to date. It’s funny, but not hilariously so. In fact, this tends to fall more into the drama category than the comedy one. Ferrell’s character is hurt, flawed, sad, and very real. It’s easy to relate to his problems, even if you have never experienced them, as we all have imagined what would happen in situations such as his. It’s the same as watching a reality show about a person arrested for a petty crime and being thrown into jail with hardened criminals. We know that there’s a possibility of something like that happening to us if we fuck up bad enough, so we choose to walk the straight path. Ferrell’s character makes one too many mistakes and ends up in an adult nightmare of red tape, rejection, poverty, and loneliness. Yet, he does what most of us would do in that situation and that’s what pulls the viewer in. It’s not a great movie (it can lag at times), but it’s entertaining and short enough to keep you engaged. Life can bring you down, it can crap on you, and then it can rain a shit storm on you. We all dread the shit storm, and it can feel unbearable, but life goes on and, if you have a good head on your shoulders, you have to remember that you won’t stay at the bottom forever. 3 1/2 stars.

The Tree Of Life – 2011 (PG-13)

Netflix says: Brad Pitt and Sean Penn star in Terrence Malick's 1950s adventure about a confused man named Jack, who sets off on a journey to understand the true nature of the world. Growing up in the Midwest with two brothers, Jack has always been torn between his mother's guidance to approach everything he encounters with an open heart and his father's advice to look after his own interests. Now, Jack must find a way to regain purpose and perspective.

Matt says: “The Tree Of Life” is the kind of independent film that everyone loves except for the audience. It’s an overly pretentious film that tries too hard to be high art. It has whispering voice-overs musing about “life” over tight shots of rain, feet in rain, car tires in rain, and people staring out at something off camera (probably rain). I got 25 minutes into the film and no on-screen actor had spoken yet… it was all voice-overs. In fact, no one really did anything but pose as the whispers rambled nonsensical musings. I’m sure everyone involved felt they were making something important, and maybe it does end up with the viewer feeling enriched and wanting to be a better person, but I couldn’t make it that far. Look, I have a full time job, school three hours a night three times a week (not counting transportation on public transit), homework, and I’m currently looking for an apartment; if something doesn’t interest me in the first half an hour, it’s turned off. If you have trouble sleeping, I recommend this as it really is a boring, boring movie… at least the part I made it through. I originally rented this as it was getting Oscar nods. Serves me right for buying into the hype. That this is up for “Best Picture” and “Drive” was almost completely ignored by The Academy is a crime and a shame. I can’t even grade this one because I never got far enough. So: ??? stars. (If anyone does sit through the whole thing and wants to have their complete viewing review posted here… e-mail your review to me at moviereviewsunday@gmail.com. I would love a guest review of this and will give you full credit.).

Hesher – 2010 (R)

Netflix says: Struggling to accept the death of his mother, T.J. (Devin Brochu) befriends Hesher (Joseph Gordon-Levitt), a twentysomething misfit who becomes both a mentor and a bad influence on the lost and awkward teen. Hesher soon invites himself to live with T.J. and his self-medicating dad (Rainn Wilson). Their bizarre relationship is tested when T.J. develops a crush on a supermarket checkout girl (Natalie Portman) who rescues him from a gang of bullies.

Matt says: Amusing indie flick will strike a chord with anyone who grew up in a suburban US in the early 1990s. Everyone knew someone like Hesher then, whether directly or indirectly. Gordon-Levitt is becoming quite the notable actor of late and in this he fully absorbs himself in the role, proving his mantle once again. Wilson is at his best where he’s most comfortable, in quirky independent movies with a little edge. And Portman is as sexy, talented, and wonderful as ever. Overall, a fun movie with some dark tones that equally elicits laughs as well as tugs at your heart (as well as has one of the best elegies I’ve seen on film). It’s an unlikely friendship, but there have been stranger real and fictional relationships than a 20 something metal head and a 15 year old kid. 4 stars.

Spring, Summer, Fall, Winter... and Spring – 2004 (PG-13)

Netflix says: Under the vigilant eyes of Old Monk (Yeong-su Oh), Child Monk (Jong-ho Kim) learns a hard lesson about the nature of sorrow when his childish games turn cruel in a story that's divided into five segments, with each season representing a stage in a man's life. This exquisitely filmed drama directed by Ki-duk Kim is entirely set on and around a tree-lined lake, where a tiny Buddhist monastery floats on a raft amidst a breathtaking landscape.

Matt says: I first saw this 6 years ago when my indie theater loving friend/roommate wanted to go see it. She didn’t like it too much and I thought it was well made but slow. Neither of us was impressed. Fast forward to now and I have had more than a share of exposure to Zen Buddhism, through both school and visiting monasteries and temples. With that knowledge, I now see that “Spring, Summer, Fall, Winter... and Spring” captures the Zen Buddhist mindset perfectly. It’s a quiet film, with only about 5 minutes of dialog within the 90+ min running time. It’s also very beautifully shot in one of the most serene locations on the planet. The film follows the lessons that go with Buddhist training through several stories of a young monk’s transition into adulthood. Without trying to give too much away; he learns compassion, the dangers of desire, discipline, penance, and eventually… well, best to leave the ending one for your own interpretation. His teacher is the ideal monk: an educator, a mentor, a disciplinarian, but also lets the boy learn the lessons for himself. There’s a little humor, but mostly it’s a sad, poignant tale… but then again, so is being trapped in samsara, so it’s fittingly so. My experience was benefited by knowledge of Buddhism, so those without may miss some of the subtleties (“Is that a statue of Avalokiteśvara??? Cool!”), but it is still a fine, deep film that anyone can enjoy picking the symbolism out of. Netflix mislabeled this as being rated “R”. The disc I saw said it was rated “PG-13” and contained nothing more risqué than simulated love making and the male lead’s bare bottom… just in case you look it up on Netflix and wonder why it is labeled as rated “R”. Either way, it gets 5 stars in my book.

Trollhunter – 2010 (PG-13)

Netflix says: Three students enter the Norwegian woods to film a documentary on a bear poacher named Hans. When they find him, he claims that bear hunting is just a ruse, and that he actually tracks trolls for the Norwegian government! This footage captures the trio as they follow Hans deep into the forest. If the hunter's story is true, they'll have the makings of the best student film in history. Otto Jespersen, Glenn Erland Tosterud, Johanna Mørck and Tomas Alf Larsen star.

Matt says: It’s easy to miss the point of this movie. First and foremost, it’s not supposed to be serious and the trolls are supposed to be cartoonish; it’s played so straight that it’s easy to miss that. “Trollhunter” is a brilliant parody of “found footage” movies. It has amateurish camera angles and shots, strange happenings, and rumors of fantastical things ending up being true. It takes the best things about “Paranormal Activity” and “The Blair Witch Project” and mirrors them perfectly while still managing to laugh at them. Even the tagline “You’ll Believe It When You See It” is part of the joke. The trolls are goofy CGI monsters that, even with great CGI, could never look real. And I think that’s the point: to deconstruct “found footage” movies’ hooks and present the most ridiculous thing they could think of as “real”, with a dark humored edge. “Trollhunter” probably cracked up the Scandinavians who saw it. For us Americans, a lot will be lost in the lack of troll mythology and from the cultural parodies we don’t get. I still enjoyed it immensely and highly recommend it. 4 1/2 stars.

Cedar Rapids – 2010 (R)

Netflix says: Terrified of leaving his tiny town for the first time, sheltered insurance salesman Tim (Ed Helms) nervously sets out for the bright lights of bustling Cedar Rapids, where he attends a chaotic insurance convention and learns how to survive in the real world. Miguel Arteta directs this delightful fish-out-of-water comedy that also features Sigourney Weaver, Rob Corddry, John C. Reilly and Anne Heche.

Matt says: “Cedar Rapids” feels like a Judd Apatow film… it has all the trappings of one: take a naive man/child, throw him into uncomfortable situations with realistic (yet exaggerated) eccentric characters, goofy (and sometimes raunchy) dialog and actions occur, and then the man/child grows a little and learns something more about life at the end. It’s not a bad formula, and due to a great cast, this ended up being entertaining. Helms is the titular man/child, having not ever left his small town. When a co-worker passes away, it’s Helms who must take his place at an annual convention out of town. John C. Reilly steals the show as a rude, crude, party loving convention attendee who pushes Helms outside of his comfort zone. Much like an Apatow film, it can lull at times, but when it works, it works. Thankfully, unlike an Apatow film, it runs a brisk hour and thirty minutes, so it’s perfect comedy movie length. If you liked “The 40 Year Old Virgin” or “Knocked Up”, you’ll enjoy this… especially that you won’t have to take half a day to watch it. 3 1/2 stars.

To Be King – 2011 (PG-13)

Netflix says: This is on a festival run, so it’s not on Netflix yet. Here’s what IMDB.com says: “To Be King is the story of down and out son of a professional boxer, Tyrone King, who loses his family and is plagued with setbacks but finds redemption in his life to move on. He crosses paths with the man who trained his father and the man who lead his father to his death in the underground fighting world. King finds faith in himself to stand up, fall in love and against all odds become a champion.”

Matt says: As you well know by now, I have helped Steve Rahaman with almost every one of his film projects since the beginning. So, you may think this is a biased review. But, as someone who watches a ton of movies, has sat through a lot of shit, and, from my previous reviews of Steve’s films, knows I don’t pull punches when it comes to any movie, I assure you it is an honest review. My integrity as a reviewer is on the line! With “To Be King”, I had small parts in its creation, but was kept out of enough to really not know much about it. When I heard it was finished, I jumped at the chance to see it… not only to see the finished product, but to see Steve’s progression as a filmmaker. I was told that I could watch it with one condition: to view it as a regular movie goer would and to not have a personal stake in it. As I explained above, that’s not a problem. Ok, that being said, on to the review…

Steve Rahaman showed promise with his previous film “Blood Line”, but it was a flawed, rushed movie. With that in mind, I had hopes for his next project, but they were apprehensive at best. Boy was I proven wrong. “To Be King” is a highly entertaining drama that shows growth and maturity in Steve Rahaman as a budding indie filmmaker. After seeing what he can accomplish, if he keeps making films like this, I feel his career can go nowhere but up. I would say that it’s an urban “Rocky” (as there are similarities in theme), but it’s a completely different film. Hell, there’s really not much boxing in it at all; it’s all about the story, the people, and what happens when life gets tough. Steve showed that he can get the best out of actors, shots, and dialog when he puts his mind to it. About half the cast from “Blood Line” is back and, instead of it feeling like they were cast for roles, it feels as if the roles were created with them in mind… and it works so well. The main cast (Harvey, Merlino, Moss, LoDeon, Morales, Clohessy, and Goffin) handle their roles with a professional quality rarely seen in indie projects such as this. The story flows organically, with realistic dialog and situations, and the theme is strong enough to make its point without becoming too weighted. I have to say that I was very much entertained by “To Be King”. Now, you know me… So, I’m not saying it’s a perfect movie; there are few films outside of Kubrick’s library that are perfect to this reviewer. The major flaw I had with it is the score. While an excellent score on its own (much better than any score previously used by Rahaman), it still doesn’t feel right at certain moments. I wouldn’t say that it sours the movie at all, but that at points it becomes overwhelming when subtlety would suffice. My other nitpicks are purely minor faults that I just “would’ve done differently” and wouldn’t be noticeable unless pointed out (an edit here, a shot there… purely inconsequential stuff). For an indie drama, “To Be King” has more potential to get Rahaman noticed than anything he’s done prior. I would actually recommend this if it was playing at a local indie house as an example of what can be done when a filmmaker puts heart and soul into a project. Well done, Mr. Rahaman… now don’t let it go to your head. 4 stars.

New Yorkers, come out and see a special screening of the film on July 7, 2011 at 9pm at Anthology Film Archives 32 Second Avenue New York, NY 10003. Tickets are on sale now and going quickly, so get them soon.

Sweet Movie – 1974 (NR)

Netflix says: Miss World Virginity (Carole Laure), who is nearly mute, endures a horrifically kinky honeymoon but soon escapes to a scatalogically inclined commune in Vienna. Meanwhile, a madwoman pilots a candy-stuffed boat down a river. Yugoslavian director Dusan Makavajev intercuts these two wild tales with shocking footage of Nazi medical experimentation. Roger Ebert declared the button-pushing cult favorite "an experience to defy criticism."

Matt says: Wow. Um… wow. Ok. So, this is a difficult movie to review. The Criterion Collection is known for having classics of old and modern cinema, little known foreign films, and then films which push the limits of experimentation (usually peppered with full frontal male nudity, pedophilia, war atrocities, and scat). Guess which one this is? There are two stories to this: one is of Miss World Virginity, her urine soaked honeymoon, her ridiculous sexual exploits, and then her escape into a bizarre vomit and poo poo commune (cult). The other is of a young sailor who is enamored by a woman pedophile who lives on a large boat filled with with candy. Much like Jodorowsky, Makavajev uses symbolism and the surreal to make you feel uncomfortable. It’s all played off rather absurdly, with Fellini levels of strange characters and moments (a woman stored in a suitcase for the duration of an overseas flight, a jump-roping naked black man, hippy looking priests playing the bongos while a doctor checks hymens on live television, a naked man diving from a bathtub into a large pile of sugar, a woman cracking eggs over her head for no reason, and so on). It’s lighter than “Salo” in mood, but the real vomit and poo poo actions of the real commune (cult) make it as disturbing if not more so (read Makavajev talk about them here). The film takes breaks three times to include real black and white film: twice to show footage of bodies being dug up of obviously innocent war crime victims and the other time to show a portion of a Nazi film on calisthenics for babies. They’re odd inclusions which just pump up the “what the fuck?” factor. Beyond the absurdity, Makavajev wants you to think and this movie will make you do just that. But, be warned, it’s a very strange, very graphic way of presenting ideas. If you are curious, I have to recommend the Criterion Collection edition as it has insightful interviews as well as a flawless transfer. I found “Sweet Movie” to be a somewhat interesting satire on love, desire, sex, and the taboo. Either that, or Makavajev is just one sick puppy. Now that I think about it, I’m inclined to think it’s a little of both. 3 1/2 stars.

Blood Line – 2009 (NR)

Netflix says: It’s not on Netflix… yet. But you can purchase it from Film Baby.com. Here’s the IMDB summary: In the world of organized crime, power remains the ultimate factor. Two of New York's most powerful families will collide in this urban drama.

Matt says: Having just reviewed the first film from my friend Steve Rahaman, I felt I needed to go back and see his latest film in order to compare the progress he has made as a director. While “Blood Line” isn’t a perfect movie (I’ll get in to that later), it shows that he has learned a lot in three years. “Blood Line” is the last in a trilogy of crime films. The first, “Christmas Day”, was amateurish, yet ambitious, and actually won Best Crime Film at the New York International Independent Film and Video Festival. The second film, “Queens Bound”, was a prequel to “Christmas Day” and showed more growth in Steve’s abilities. “Blood Line” actually expands things to a larger scale: there are more actors, intricate action sequences, and it too won Best Crime Film at the New York International Independent Film and Video Festival. It also has some big screen worthy scenes, effects, and acting. However… it’s not quite a major motion picture. I blame budget restraints more than Steve’s abilities; it was made on a shoe string. Steve is a more than capable director, director of photography, and editor; I am constantly surprised at what he can accomplish with barely any funding and tight time constraints. But, there were some mistakes that, with a little patience on his part, could’ve been fixed at the source and made it an even better film. The scripting is a big problem. Some scenes feel unnatural and the dialog is stereotypical tough guy claptrap. From having worked on this, I know there was some improvisation as well, and it works at times and doesn’t at others. When playing a thug, the tendency of an actor is to start cursing more to emphasize the emotion. This actually detracts from the impact of the dialog. The painful amount of “fucks” does the opposite of what the actors believed it would do. My biggest complaint, though, is the inconsistency of good to bad shots. Sometimes Kubrick would take days to get one shot for a film, but at this point in his filmmaking, I know Steve would try to hurry through takes. I understand the difficulties in getting locations and actors together, but by the time he realized that a scene didn’t come out that great, he would be already in the editing room and it would be too late... he would have to use what he had on hand. This rush to finish shows in “Blood Line”. Having see him work on his latest film, “To Be King”, I know he’s trying hard to curb his impatience and iron out his rough edges… but, I know it’s hard when you want to see a project come to fruition. Like a kid on Christmas morning, the longer you wait, the more unbearable the waiting becomes. “Blood Line” as a low budget independent film is pretty decent, and to be honest, came out better than I thought it would at the time. I can’t give “Blood Line” a bad rating, because it doesn’t deserve it; it wasn’t some The Asylum film banged out to cash in on the latest big budget blockbuster. There was a lot of heart put into it and as a viewer you can pick up on this. If I rented this, not knowing the backstory or people involved, I would give “Blood Line” 3 solid stars. But, since I know how the challenge Steve endured and how it was a labor of love for all involved, “Blood Line” gets 4 stars.

Capitalism: A Love Story – 2009 (R)

Netflix says: Filmmaker Michael Moore (Sicko, Fahrenheit 9/11) takes on capitalism's roots, the floundering U.S. economy, and 2008's global financial meltdown and subsequent bank bailout in this rousing documentary. Combining stories about those who suffer most from Corporate America's greed and insatiable thirst for profits and the people most responsible for myriad crises, Moore embarks on another shocking fact-finding rampage.

Matt says: Michael Moore is an interesting fellow. I’ll give him props for exposing the crap that we get fed to us and blindly follow… but, you know, I just don’t like the way he does it. His “documentaries” are one sided arguments that pander to self-minded people. And the result of this, to steal the perfect phrase from Bamboo Nation’s review on Netflix, is nothing more than righteous indignation. Moore’s “documentaries” tend to follow the same pattern: express a liberal idea that does have negative consequences and injustices, show how the downtrodden are being effected by these negativities with a sad song (preferably from the 60s), point the blame at a bunch of untouchable corporate giants, make a humorous (but useless) attempt to confront those giants, mention something about Flint fucking Michigan, cut to a few shots of President G.W. Bush looking confused, show an example of average blue collar working folks making small victories against the injustices, show a black and white “how it could have been” hindsight montage, and then close with a smattering of hope. It’s the combination to a middle-aged liberal’s heart strings. Yet, again to quote Bamboo Nation, “you're mad as hell, but you don't really know what you're supposed to do about it.” Moore is never clear cut with his solutions, omits the other side of the argument, and no one watches his films that aren’t already in agreement with him. To me, that seems like a waste. Now, with his name being synonymous with “that holier than thou filmmaker who makes anyone who’s not liberal look like an asshole”, no one but those he’s preaching to will benefit from the parts of his “documentaries” that are actually informative. It seems like the wrong way to go about it. If he was smart, he would start producing documentaries (notice no quotation marks this time?) that are informative, concise, anonymous, and not filled with conjecture, conspiracies, and asinine publicity stunts. Keep in mind that in this review I am only judging the film and the way Moore made it, not the core messages which usually merit attention. “Capitalism: A Love Story”, as a film, gets 2 1/2 stars.

Super – 2011 (NR)

Netflix says: When his wife (Liv Tyler) falls in league with a drug dealer, average guy Frank D'Arbo (Rainn Wilson) dons the guise of a superhero, dubs himself the Crimson Bolt and tries to keep a tagalong comic-book store clerk (Ellen Page) from becoming his sidekick. But it's hard to be a superhero when all you've got to work with is a pipe wrench. Kevin Bacon co-stars in this action-driven dramedy from writer-director James Gunn.

Matt says: The ads for this made it look similar to “Kick-Ass”, so I really wasn’t too eager to see it. “Kick-Ass” was a great movie and anything trying to be like it would be subpar in comparison. After watching “Super”, I have to say that it has shades of “Kick-Ass”, but handles the subject matter in a much darker, less Hollywood friendly way. Wilson plays a total loser who never catches a break. When the one good thing in life (his wife) is taken away from him, he gets a message from god… in the form of tentacle brain rape… to become a superhero. Donning his patched together outfit, he then proceeds to brutally attack any one he thinks is committing a crime with his trusty wrench. The writer/director of this comes from the Troma school of filmmaking and it shows. He also wrote the screenplay for the Dawn of the Dead remake and directed the brilliant “Slither” (let’s just ignore his involvement with the Scooby Doo live action films). “Super” feels a little too Indie for its own good, but is funny, dark, disturbing, and violent enough to make it a fun watch. It actually reminded me more of “Special”, in which Michael Rapaport starts taking medication that he believes gives him super powers. Both films are portrayals of men with deep psychological issues who think they’re superheroes… “Super” just takes it to the next level with its Troma-like dark humor and violence. “Super” ended up being a pleasant surprise and it was refreshing to see that movies like this are still being made. Troma fans, keep your eyes peeled for Lloyd Kaufman’s cameo. 4 stars.

I Love You Philip Morris – 2009 (R)

Netflix says: When upstanding Texas cop Steven Russell (Jim Carrey) realizes he's gay, he changes his entire life and pulls a series of bold con jobs that lands him jail -- where he meets his one true love, cellmate Phillip Morris (Ewan McGregor). When Morris is transferred to another prison, lovesick Russell mounts a series of jailbreaks just to be with his beloved soul mate. Glenn Ficarra and John Requa direct this comedy based on a true story.

Matt says: It’s a shame that people are so closed-minded that this movie got shelved multiple times, passed around by distributors, and eventually never got more than a brief run in indie houses. It’s a very funny, touching movie. So it has simulated man-on-man sex, scenes of Carrey and McGregor making out, and shows that people of the same gender can actually feel genuine love for each other without hiding it and getting all cowboy-angsty about it. Who cares? It’s a solid romantic comedy/drama. That it’s a true story makes it all the more entertaining. McGregor does a great job with his role, but movie is all Carrey’s. He brings his incredible comedic styling to the film, giving his portrayal of Russell an undeniable charm. Say what you will about his choice of early roles, and his unfortunate stabs at the serious, but when given the right character he really does shine. If you believe homosexual love is an affront to god, then I suggest you go ahead and skip this one. If you’re open-minded enough to to know that it is normal to accept all consensual love in a progressive society, your reward will be a great film. 4 stars.

127 Hours – 2010 (R)

Netflix says: From director Danny Boyle comes this harrowing tale of real-life mountain climber Aron Ralston (James Franco), who literally cuts himself loose from danger -- and lives to tell about it when sliding rock pins his forearm under a boulder during a climb in Utah. To stay alive, Ralston resorts to his basest survival instincts. The film scored Academy Award nominations in the Best Picture and Best Actor (Franco) categories.

Matt says: It’s no wonder this got Oscar nominations for best film and best actor. Boyle does an excellent job capturing the drama of being trapped and facing your death alone. Franco does an equally impressive job as Aron Ralston. I was a little weary of a film about a guy trapped under a rock for the majority of its run time. Yet, Boyle keeps the pace by providing enough alternate camera tricks, introspection, and hallucinations to pad out the already brief hour and a half length. The tension runs high as Ralston runs out of food and water and begins to realize the only way out is to cut off his arm with a dull knife. It all turns into a public service announcement at the end (if you’re going somewhere alone, make sure someone else knows where you’re going), but it’s well made enough to be entertaining. I agree that it was not deserving of any Oscar wins, but it is a fine enough film to deserve the recognition. 4 stars.

Follower – 2006 (NR)

Netflix says: This will never be on Netflix… see my review for where to download it. Here’s the IMBD summary… “For Tony Moor, life will never be the same. Months after finding his child dead, Tony, still believes that his child is still alive. He begin to hear voices. The voices in his head tell him that his child is still alive. The voices tell him who has his child.”

Matt says: Occasionally there’s a movie that you find that is so bad it’s good (see “Troll 2” and “The Room”). Whether this is one of those movies, or not, I can’t say. The reason being… I helped make this movie. I even have a small role. Yes, this is the first film made by my friend Steve Rahaman. Those of you who know me know that I have been assisting Steve throughout his filmmaking career. Way back when, long long ago, Steve got a video camera and decided to start making movies. The result of that first attempt was this. Now, it’s never been released in any way, shape, or form, but I have been given permission to upload it to the internet (I will post download links at the end of this review). I only recently got the chance to watch it for the first time. It’s been so long since we made this, that I watched it with an outsider’s eye… and I found it hilariously awful! Before I totally dig in to it, I have to give props to Steve… he has really grown as a director. His latest movies have gotten festival wins and show the maturity of a budding filmmaker. That being said, this is a total piece of shit. Everything that could have been done wrong in a film was done in this. There are awkward camera angles, the acting is horrible, the sound goes in and out, the music is awful, and the plot makes no sense whatsoever. It is a total disaster… but that doesn’t mean it’s not fun to watch. Much like “The Room”, this is an example of what not to do in filmmaking. The best campy movies are the movies made seriously that end up horrible. I found “Follower” to be one of those movies; it’s begging for a Mystery Science Theater 3000 overdub. While watching this, I was reduced to tears of laughter. However, keep in mind that I have a taste for these types of films and that I had a personal involvement in its production. Maybe I saw something in it that others won’t, but I have to recommend this to fans of unintentional camp… especially the ending credits which are overly pretentious and side-splittingly riotous. It’s a zero star movie, but I have to give it 3 stars for the laugher I got from it. But, like I said, I can’t judge this non-objectively. Watch and decide for yourself (preferably on the influence of mind altering substances). Demonoid users can get the torrent here. Or, for the rest of you, download it in RARs here: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6. (4Shared is strange, but it was free hosting. Do not download the 4Shared toolbar and only click on the blue download link, wait for the countdown to finish, and then click on the blue download words after the countdown.)

Four Lions – 2010 (R)

Netflix says: Comedy writer Christopher Morris makes his feature directorial debut with this outrageous comedy about a group of young Islamic Brits who fancy themselves bloodthirsty jihadis of the first order. The film showcases Morris's satirical talents at their vicious best in a scathingly hilarious indictment of true believers and the social systems that create them. Viewers took note and bestowed it the Audience Award for Best Narrative Feature at the L.A. Film Festival.

Matt says: It takes a lot of balls to make a black comedy about jihadist wannabes. Believe it or not, fundamentalist Muslims can be a bit sensitive about their religious beliefs. Much like “Monty Python’s Life of Brian”, “Four Lions” takes the high satire road in the amateur terrorists’ plight. The result is a laugh-out-loud hilarious tale of ineptitude. There was a lot of thought put in to the mindset of the young men, so much so that the film is entirely plausible. This makes it a bit frightening, but by showing how uninformed people like this usually are, it also shows that they are not much different from fundamentalists from other religions… just more dangerous. Or, in this case, how potentially dangerous they could be if they had any common sense. The dialog is Python inspired gold hit with perfect timing by the brilliant cast. It is a daring movie that does to jihadists what Bugs Bunny cartoons did to the Nazis during WWII. Yet, there’s a human factor that does invoke some sympathy. Really, it’s been a while that I’ve seen a satire as smart and effective as this. 4 1/2 Stars.

The Last Lovecraft: Relic of Cthulhu – 2009 (NR)

Netflix says: When average-guy Jeff (Kyle Davis) learns he's related to world-famous "weird fiction" writer H.P. Lovecraft -- and that he's the very last leaf on the Lovecraft family tree -- he gets drawn into a plot to keep an ancient artifact out of alien hands. If he fails, the nefarious Starspawn (Ethan Wilde) could harness the relic's power to summon the alien god Cthulhu. And if that happens, the whole universe is at risk.

Matt says: Comedy-horror based on the lore of HP Lovecraft is light on budget, but not too shabby. The comedy is a bit weak, but they more than make up for it with plenty of Lovecraftian references and decent effects. The CGI is unpolished, yet it was the best they could do with what they had. It was a grand attempt that mostly pays off due to its originality and the excellent performance of Barak Hardley as the Lovecraft expert/uber geek who lives with his grandmother. It also works well as a primer for those curious about Lovecraftian mythos, even if it strays at times. If Devin McGinn continues with the ideas he has, irons out the dialog issues (there are more “fucks” then in a Steve Rahaman flick), and gets a bigger budget, we could see some great things from him in the future. This is worth a watch for fans of cult horror comedies or fans of Lovecraft (or, which is usually the case, both). It’s not the greatest movie, but I’ll be damned if hasn’t got its charm. 3 1/2 stars.

Monsters – 2010 (R)

Netflix says: Six years after aliens invaded Earth, a security force maintains tenuous control in the Infected Zone straddling the U.S.-Mexican border. Andrew (Scoot McNairy), a photographer, is documenting this war-torn area when he's interrupted by an unexpected rescue mission. Samantha (Whitney Able), daughter of a media mogul who just happens to be his boss, needs an escort home, and Andrew reluctantly takes on the job.

Matt says: I’m a kaiju (giant monster) movie fan. I’ve seen every Godzilla movie made, loved “Cloverfield”, and even have a Godzilla tattooed on my leg. “Monsters” takes an interesting stab at the genre. The story isn’t as much about the giant monsters, but about a photographer who is trying to get money shots of them and the boss’ daughter he is needs to escort through a battle torn Central America. Most of the monster footage is seen through television clips and the after effects of their rampages. As they make their way to safety, the couple begin to become closer to each other as they face the difficulties of their journey. Of course, I wanted to see as much of the monsters as possible and it’s a little disappointing that they’re not displayed more prominently. However, choosing to follow the human aspect of an unconceivable horror such as a giant alien monster invasion was a clever way for an indie filmmaker to make that type of movie on the cheap as well as giving it a personable feel. It’s all done very well and the result is entertaining and interesting. Rumor has it the director of this is slated to direct the next American Godzilla reboot. If he keeps the same serious tone as well as the realistic feel of “Monsters” and uses them for Godzilla, it’s going to be an epic film. “Monsters” gets 4 stars.

Catfish – 2010 (PG-13)

Netflix says: Henry Joost and Ariel Schulman document the strange series of events that unfolds when a gifted 8-year-old artist named Abby contacts Nev, a 24-year-old photographer (and Schulman's brother), through Facebook. After Abby sends Nev a remarkable painting based on one of his photos, Nev begins corresponding with her family -- including her seductive 19-year-old sister. Realizing that something's not quite right, Nev sets out to uncover the truth.

Matt says: This is one of those movies you can’t talk too much about because doing so becomes one big spoiler. All I can really say is a little about the plot and whether or not the filmmakers completed their mission. It’s basically the story of a photographer in NY befriending a little girl artist and falling for her older sister on Facebook. When it seems the older sister plagiarized some music she sends to him, he decides to delve deep to find out if these people are really who they say they are. I remember when it first came out, it was also marketed as a horror/thriller which was completely false and caused many people to bash it. I also heard there was a twist, so I stayed away from any discussions about it. After seeing it, they succeeded in building suspense about whether Abby and her family were who they appeared to be. I can’t say much more, but it is a rather interesting watch; I’m still glad I saw it without looking up spoilers first. So, if you are interested in seeing it, don’t watch the trailer or read up on it (not even the Netflix reviews) as it will make it not even worth watching. It wasn’t what I was expecting, but I ended up finding it poignant and interesting. The big question is whether it’s true or not. There’s a lot of internet speculation, but the filmmakers claim it to be all true. True or not, there is a message there. 3 1/2 stars.

Cyrus – 2010 (R)

Netflix says: Indie favorites Jay and Mark Duplass co-direct this wry look at modern love and family dysfunction. John C. Reilly plays a divorced man who thinks he's found just the right woman (Marisa Tomei) to help him recover and move on. Unfortunately, the woman's son, played by Jonah Hill, has no interest in allowing another man into their lives -- a stance he proceeds to demonstrate in a variety of obnoxious ways.

Matt says: Awkward and slightly dark comedy/drama/romance fortunately has great directors, a brilliant cast, and an above average script backing up the typical indie fare. I enjoyed the Duplass’ “Baghead”, mostly because the characters were extremely realistic. Decisions and lines of dialog felt like something that people would actually do or say and the un-remarkableness of it made it remarkable. “Cyrus” keeps that same feel. Everyone feels genuine and nothing is sugar coated (yet, that a schlub like Reilly lands a hottie like Tomei reminds you that this is a fictional story). Either everyone jumped into their roles wholeheartedly, or the script was written with them in mind. The Duplasses use the same directorial techniques as in “Baghead” and the viewer feels like another person in the room, hovering around the characters as a present observer. Also, the music is minimalistic and never obtrusive, which helps bring more realism to such a dialog driven movie. Over all, I would say that it’s a decent indie to check out of you’re in the mood for a movie such as this. 3 1/2 stars.

Following – 1998 (R)

Netflix says: Christopher Nolan (Memento, The Dark Knight) writes and directs this odd, claustrophobic neo-noir film about a seedy young Brit (Jeremy Theobald) who's obsessed with following people -- albeit harmlessly at first. After meeting a like-minded bloke (Alex Haw), the twosome graduate to breaking and entering -- but meet their match in a tough blonde dame (Lucy Russell) who may have dubious plans of her own.

Matt says: Nolan’s first feature outing is a fine piece of work that shows that he was destined for greatness even from the very beginning. “Following” is about as sharp, and has the same use of broken time, as some of his later films (“Memento”, “Inception”). Made on a shoe string, it’s truly amazing what is accomplished. Like “Pi”, it is a grainy black and white character study with a psychological edge. Much of “Following” feels like a throw back to Hitchcock’s more noir pieces, whom you can tell was a big influence on young Nolan. It’s not perfect, but it’s excellent for a first film that was made on weekends with friends and with little financial backing… and, running at a tight 70 mins, it never overstays its welcome. 4 stars.

The Last Horror Movie – 2004 (UR)

Netflix says: Wedding photographer Max Parry (Kevin Howarth) is a serial murderer who lures his victims to their horrific deaths via the rental of a horror film in Julian Richards' grisly indie, which explores, blurs and bloodies the line separating truth from fiction. His plan works to perfection as the cocky Max videotapes his heinous crimes over a copy of the movie -- turning his snuff film into the last horror flick his quarry will ever see.

Matt says: Low budget UK indie borrows heavily from “Man Bites Dog”, “American Psycho”, “The Ring”, and “Henry: Portrait of a Serial Killer”. The basic premise is listed in the Netflix description above, so you can pretty much piece together what happens from it and from knowledge of the “influential” movies I mentioned. You know, the name “Fangoria” used to mean something. If I caught a glimpse of the magazine as a small child, I would have nightmares for days. As I got older, they were the repository for all things horror. But, when they started distributing their own films, I’ve so far been disappointed at their choices (the other film I saw being the steaming pile of shit “I, Zombie”). Though this movie isn’t very good, it does have something to like. The way it’s filmed lets the makers get away with using single camera shots, poor cinematography, and even shots of the camera man in reflections and mirrors; it’s a brilliant way to film on the super cheap and lazy. Aside for that, it was a bit of a bore. It takes too much of its style from the better other films, which makes it look weak in comparison. If you’re looking for a movie with the same content, I suggest renting the far superior “Man Bites Dog” and putting this one back on the shelf… it might just save your life (come on, the “tell” is in the Netflix description). 2 stars.

Doghouse – 2009 (NR)

Netflix says: Six guys hell-bent on having a raucous weekend away from wives and lovers arrive in the town of Moodley. But something's odd about this quaint hamlet. Where are the men? And why do all the women look like they're thirsting for blood? The poor blokes soon discover that half the population has been wiped out by the same virus-infected, man-hating cannibals terrorizing them. Stephen Graham, Danny Dyer, Noel Clarke and Lee Ingleby star.

Matt says: Indie from the UK takes little bits from more successful films and combines them into an amusing horror/survival flick. Think “Evil Dead” (which they reference though-out the film) meets “28 Days Later” meets “Shawn of the Dead”. It’s nothing wholly original, but has some good moments of humor and gore. It’s a bit misogynistic… all the guys are getting away from their overbearing spouses and girlfriends to party with a friend going through a divorce. They end up getting attacked by disease infected women who want to kill and devour them. Ok, so now that I typed it all out and reread it, yeah, it’s very misogynistic. The thing I really liked about it, though, was the lack of CGI enhanced effects. Call me a purist, but CGI just doesn’t look right in gory films. CGI blood rarely splatters naturally and creatures look a little too unreal to be effective. “Doghouse” does it old school and is a better movie because of it. There’s plenty to like with the comradery, gore, humor, and whatnot, but nothing to love. The thing that gives the movies it borrows from staying power is their originality. “Doghouse” feels too familiar, and a bit sexist, but is a fun watch for what it is. 3 1/2 stars. PS - Shout out to Stevie for the suggestion!

Feast – 2005 (UR)

Netflix says: When patrons at a local watering hole (including Balthazar Getty, Judah Friedlander and Eileen Ryan) are attacked by a swarm of flying gargoyle-like beasts, they're forced to work together to fight for survival in this gory horror-comedy, the product of the third season of the "Project Greenlight" series. Together they board up the windows -- the phone, however, is shot, and there is little hope as the carnage continues to mount.

Matt says: I heard good things about this and it had been lounging about in the middle of my queue for about two years now, so, with it being Halloween and all, I bumped it up to give it a good run through. First off, it has a great cast of B-list actors: Henry Rollins, “Bert” from “The Return of the Living Dead”, Jason Mewes, and that guy from “30 Rock” who always wears the caps with messages on them. It starts with a brief summary of the characters, via a little frozen screen bio (including their life expectancy in the film), then jumps straight to the action… and boy is it gory! In the first fifteen minutes, a guy gets his head bitten off, a girl looses a leg, and another guy gets his face ripped off… and it just escalates from there. There’s little to no plot; it’s all about surviving an attack by creatures. Being one who has seen GWAR over 15 times live, I am alright with mindless, humorous gore. It runs at a brisk 86 minutes, so if you just want to kill a little time with an over-the-top redneck splatterfest, check this one out. 3 1/2 stars.

Bully – 2001 (NR)

Netflix says: Bobby (Nick Stahl) takes great joy in bossing around and beating up his best friend, slovenly ex-surfer Marty (Brad Renfro). But when Marty's girlfriend (Rachel Miner) witnesses one too many of these incidents, she vows to kill Bobby, enlisting her friends -- and a hit man -- to help. From controversial director Larry Clark (Kids), this unsettling drama is based on a true crime. Parental advisory: Contains sexually explicit material.

Marc says: Bully is the True Crime account of the Bobby Kent murder, occurring in 1993 in Hollywood, Florida. Since it’s Larry Clark directing, nearly the entire first hour is devoted to teenage nudity, kinky perverted sex, endemic drug use, and a depiction of the overall moral vacuum in which the victim and his friends / soon-to-be assailants operate. The cast is pretty fearless, and much like Kids, Clark really pulls out great performances from his leads. However, the approach to much of the material is so openly voyeuristic and exploitative, it tends to cheapen any major insights that could otherwise be found. Ultimately, runs about 20 minutes too long, with a tacked on ending that seems to make an abrupt turn into “cautionary tale” territory. As a result, it cannot be a total success, and pales in comparison to some other True Crime films that have covered the same territory with more confidence, objectivity, and precision. (See Party Monster and River’s Edge, for example.) 3 stars.

Brief Interviews with Hideous Men – 2009 (NR)

Netflix says: Grad student Sara Quinn (Julianne Nicholson) is perplexed by her endless string of romantic failures. Combining work on an anthropological dissertation with her quest for personal answers, Sara interviews an array of men, whose confessions range from banal to bizarre. Actor John Krasinski makes his directorial debut with this quirky comedy based on a collection of short stories by David Foster Wallace.

Matt says: Jim from The Office directs this movie about men’s sexual quirks, issues, and most importantly, the way they view women. Adapted from a series of short stories, it seems to be an attempt at comedy, but just comes off as sad. The protagonist, in trying to cope with her own failed relationship, focuses her master thesis on interviewing men on their thoughts about women. Some come off crass and some amusing, but they all come off as insecure. The motive here was meant to show women that men can have as many emotional hang-ups as they do and that not everything we do makes sense. It comes off feeling very misogynistic. The lead barely speaks, letting the men do all the talking and the movie tries to invoke sympathy for the “hideous men” by making them pathetic creatures of nature’s cruel design to dominate that which they want. The direction is choppy and makes many indie mistakes (“artful” segways, strange cuts in conversations, over excessive use of voiceovers, and “real” conversations that really can only come from a smug writer’s mind). There are some good moments (Will Forte’s brief interview raises some chuckles) and it is a movie you can think about. Maybe I’m completely wrong about my impressions, but then again, it didn’t get a 2.8 star rating on Netflix because it was great. 2 1/2 stars.

Hard Candy – 2005 (R)

Netflix says: Ellen Page (Juno) stars in this suspenseful drama from director David Slade as Hayley, an intelligent teen who's got her own reasons for spending so much time with Geoff (Patrick Wilson), a much older man she met online. Even though Geoff is a charming, good-looking photographer, Hayley should know better than to go home with a guy in his early thirties -- especially since he might have ulterior motives.

Marc says: Fffffucked up revenge psycho-drama toys with the viewer’s emotions on several different levels, eliciting alternating feelings of disgust and sympathy for Patrick Wilson’s reprehensible character. Some see this as glorifying or championing an extreme punishment of pedophiles, but I read it as a strong condemnation of the idea of “private justice,” showing that personal revenge, even righteous, well-deserved revenge, is a path that leads into the abyss. Suspenseful, disturbing, and very capably acted, I must nonetheless subtract a star for several scenes and setups that just seem like bullshit and were clearly included simply to artificially heighten the tension. 3.5 stars

Empire – 2002 (R)

Netflix says: Gangster Victor Rosas (John Leguizamo) is determined to escape his criminal past and free himself of the trappings of easy money on the violent South Bronx streets. Hoping to make a legitimate life for his family, Victor partners with a powerful Wall Street banker (Peter Sarsgaard). But while Victor thinks he's living the American Dream, he discovers that the price he must pay for his new lifestyle is much more than he bargained for.

Marc says: Low-budget, indie gangster movie is woefully inept in the script department, despite the inclusion of an earnest Leguizamo as an ambitious drug dealer and the always charismatic Sarsgaard as a yuppie douche-bag wall street phony. Direction is quite poor, and the choice to go with voice over and a weak, cheesy soundtrack in nearly every scene only highlights the amateurishness of the entire production. It’s really a shame, since the central premise is actually pretty interesting and seems oddly prescient in the wake of Enron, the housing bubble implosion, Madoff, etc. 2 stars.

Big Dreams, Little Tokyo – 2006 (NR)

Netflix says: Unlikely roommates Boyd (Dave Boyle) and Jerome (Jayson Watabe) harbor big dreams in this quirky comedy set in Japantown in San Jose, Calif. American Boyd wants to fit in with the local Japanese businessmen, while the average-sized, half-Japanese Jerome aspires to be a sumo wrestler. No one's interested in Boyd's "translation services," and Jerome can't get a wrestling match, but things begin to look up when they meet a woman named Mai (Rachel Morihiro).

Matt says: This very very low budget romantic comedy is cute, but doesn’t really offer anything new to the genre. However, where it really excels is in foreign relations in business and socially and finding the humor in it as well the struggle of trying to follow your dreams. The writer/director/lead actor knows his material (and language). The frustrations of being American and trying to fit in with the Japanese, being a Japanese who was raised without a Japanese background, being Japanese and trying to integrate into American society, and the difficulties doing business with each are all represented. These issues extend past Japanese and American and are universal issues for all cultures, so everyone who has dealt with trying to “fit in” with another countries’ people will feel the frustrations when you’re shut out and joys when you make it work. It’s all served up with light hearted humor that leaves you feeling pretty good. 4 stars.

Everything Is Terrible: The Movie – 2009 (NR)

Netflix says: You won’t find this movie here. We’re too much of a corporate conglomerate to have a movie such as this. By the way, did you know we already made a deal with Warner Bros. to delay new releases by 28 days? That’s right. You can’t see the new movies you want to see for a month! We’re now in negotiations with other studios to do the same thing. So forget about getting that new movie on DVD from us. We don’t give a shit. We’re rich, bitch!

Matt says: The web site www.everythingisterrible.com has recently become a personal favorite. They take old 1980s to early 2000s VHS/DVD productions, training, sales, infomercials, and general oddity videos and do re-edits to make art. When I saw they made an actual movie, I had to track it down. I was not disappointed. Just how Negativland manipulates sound bites, yet with more subtlety, Everything Is Terrible makes strong social comments on the insecurities of the human race through the garbage we absorb on the boob tube. From assisted living promotional videos, to anti-drug videos, training videos, and even to a Microsoft backed teen dance troupe; one has to wonder where they get all this glorious footage. The footage itself is left untouched in many instances, but when they do splice it,the editing is superb. There isn’t much of a fan base for this sort of art, but as a latch-key kid from the 80s, I am overwhelmed by joy and disgust… and I love every minute of it. 5 stars.

The Dead Next Door – 1989 (NR)

Netflix says: Widely regarded as the most expensive 8mm zombie film ever made, director J.R. Bookwalter's epic masterwork has been fully restored for this release. When a viral epidemic creates a nation full of zombies, it's up to a government-run Zombie Squad to find a cure -- and keep Americans from catching their death. But when the virus spreads to one of the squad members, his team has to work twice as hard to keep him from decomposing.

Marc says: Financed on the down-low by Sam Raimi, The Dead Next Door is essentially the first “fan film” pre-dating the advent of Youtube by a good 15 years. The stories behind the production are almost more interesting than the film itself, seeing as it took four years to film and was made by a score of Akron, Ohio amateurs, most of whom were barely out of high school. The story itself cribs heavily from Romero’s zombie flicks and the script is relentlessly in-jokey and directed toward fan-service, except when it’s busy being just flat-out terrible. Acting ranges from barely passable to laughably poor. However, the gore and make-up effects are top-notch, with spurting blood, rended flesh, and gross decay all portrayed in loving detail. Viewed as an actual movie, one would have to consider it a failure. On the other hand, viewed as the most ambitious fan film ever made, credit where credit is due. I’ll go right down the middle and say: 3 stars.

Matt says: You know, even with the horrible acting (obviously the director's friends), silly attempts at humor, and crappy 70s B-movie music; this isn't a bad movie at all. The ideas are great, even if not executed in the best way, and the scale and effects are outstanding for a low budget production. A 2 1/2 star movie, but 4 stars for the effort.

In Bruges – 2008 (R)

Netflix says: After killing an innocent boy in London, hit men Ray (Colin Farrell, in a Golden Globe–winning role) and Ken (Brendan Gleeson) are ordered to lay low at a bed and breakfast in Bruges, Belgium, until their boss (Ralph Fiennes) phones with further instructions. But when he calls, Ken doesn't like the assignment. Written and directed by Martin McDonagh, this dark comedy earned a BAFTA for Best Original Screenplay.

Marc says: Well written script has many good moments of dry, dark comedy. Characters are unique, multi-dimensional, and generally avoid the clichés they could have easily become. Colin Farrell turns in an especially good performance against type, considering his usual “super cool guy leading man” persona in forgettable Hollywood action flick after action flick. Knocking off some points for the open-ended coda which undermines the otherwise satisfactory ending, though. 3.5 stars.

Special – 2006 (R)

Netflix says: Enrolling in a drug study to spice up his humdrum life as a low-paid meter reader, Les Franken (Michael Rapaport) begins taking an experimental antidepressant, which proves to have a few unexpected side effects. Convinced that he's actually developing special powers that can be used to fight evil, Les decides to quit his day job and focus on being a superhero … despite his doctor's professional opinion that his abilities are all in his mind.

Marc says: Shares the same indie drama DNA as Cold Souls, in that a science fiction premise is used as the set-up for a character examination and some understated dark comedy. Unlike Cold Souls, the premise is followed through to a more natural conclusion. Has a number of good call-outs for the old school comic book fan (invisible force-field, evil twins), but the slow pace and the redundant voice over narration drag down the overall experience. Michael Rapaport is always good playing a hapless schlub, and he proves this once again here. Three stars.