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Watching More Movies: A Look At Korean Film ‘The Good, The Bad, The Weird’

Watching More Movies: A Look At Korean Film ‘The Good, The Bad, The Weird’

Watching More Movies: The Good, The Bad, The Weird

My friend is a huge Western fan. He purposely saw “The Lone Ranger,” knowing it was going to be garbage, then defending it as “not that bad,” and justifying his ticket purchase as wanting to support the Western genre. I get the latter part, but I assure you, had “The Lone Ranger” been a hit, the Western genre wouldn’t have been the winner. He should be happy with the one or two that are made each year that are typically pretty good. It’s because of this he blindly bought Kim Jee-woon’s “The Good, The Bad, The Weird” on Blu-ray. Purely because it echoes Sergio Leone’s classic in title. For me, I borrowed it because Kim directed “I Saw the Devil,” something I consider to be a classic in its own right.

As the title would suggest, “GBW” follows three characters: “The Weird,” a petty thief who wears what appears to be a WWI pilot’s hat, named Yoon Tae-goo; “The Bad,” a double-earringed, long-haired, all-black wearing gangster named Park Chang-yi, who’s had run-ins with Tae-goo in the past and harbors a little resentment over their past altercations; and “The Good,” Park Do-won, largely out for himself, is a bounty hunter eager to claim the monetary value placed on Chang-yi’s head.

good bad weird

The story kicks into gear when Chang-yi is tasked by his boss to hijack a train carrying a Japanese official and steal a treasure map leading to riches. Unknowingly, Tae-goo is on the same train for himself and gets his hand of the map first. Do-won shows up on-site looking for Chang-yi and gets involved in the treasure hunt, making the whole ordeal a three-person affair. Guns ablaze from all three parties, but Tae-goo escapes to his home with his elderly grandmother. There, in belief of confidentiality, Tae-goo shares the secret with his friend, a clueless but perhaps mischievous, Man-gil, and a fourth claimant, a group of bandits, gets wind of the map, making the hunt a true survival of the fittest. Or rather, to the survivor go the spoils.

I recall the trailer mixing in a bunch of quirky camerawork and editing and that’s largely what I expected and hoped for in order for the film to provide me with enough to where I figured I’d enjoy it the most. Kim provides with a few standout sequences, the first of which takes place during the train hijacking/derailing. There’s plenty of gunplay and camera movement providing a fast-paced exhilaration that perhaps couldn’t sustain itself, because it certainly doesn’t. A part of that is due to the script. It’s kind of like “It’s a Mad, Mad, Mad, Mad World” in which a wealth of characters are in hot pursuit of one goal. Though the characters had some depth to them, the film didn’t provide the narrative drive needed to sustain its runtime. This is the third Kim film I’ve seen and while this is heralded as a classic by others, I was hoping for more.

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Exclusive: Quentin Tarantino’s ‘Hateful Eight’ Script Live-Read Breakdown

Exclusive: Quentin Tarantino’s ‘Hateful Eight’ Script Live-Read Breakdown

Director Quentin Tarantino’s “The Hateful Eight” Script Sees Light Via Live-Read: A Breakdown

Like a kid marking the calendar on December 26th awaiting next Christmas, the moment you anticipate the release of Quentin Tarantino’s next film is the moment you leave the theater after his most recent one. Since 2004’s “Kill Bill Vol. 2,” the man’s been on a streak of debuting a new film every two to three years. So, when he revealed some tidbits on “The Tonight Show” back in November about his new script being “a Western,” it served as a nice base-layer of appetite-whetting you knew was coming down the pike relatively soon.

Unfortunately, the dreams of desire were dashed in January when the Western he’d written, called “The Hateful Eight” leaked online. He had given it to some close actor friends and was justifiably furious at the betrayal before he bestowed his latest project upon the world in fully-fledged form. He vowed to never make it into a movie and mused that he would perhaps just publish it and let that be that and move on to the next thing.

To say the least, I found the news distressing. As if the Grinch had not only stolen Christmas before it happened, but potentially put the kibosh on the holiday for another several years. Even though the ability to peek at your present existed in the form of the available online document, I resisted. It would only make God (Tarantino) cry. I was resigned to be happy to read the script when he published it and I could lend my support through purchasing what he had legally put out there on his own volition.

Then, a few weeks ago, it was announced Q.T. was going to do a one-time-only live reading of “The Hateful Eight” in downtown Los Angeles. Christmas, albeit in a different form, was back on the calendar.

Let me break this down like a 1997-era Kurt Russell and Jonathan Mostow.

The live-read was held on Saturday, April 19th, at 8:00 p.m. in the theater of the Ace Hotel. Thousands of people attended. I sat in Row L of the Orchestra section, smack dab in the middle of line of seats, making any luckily-unnecessary quick evacuation impossible. I noticed Harvey Weinstein a few rows ahead of me. Some fiendish woman waved her arms wildly at Elvis “The Graying Predator” Mitchell as he took the stage to introduce the event. He waves back.

The god Q.T. replaced Mitchell at the podium to rapturous standing applause, which maintained throughout the announcement of the entire cast. Samuel L. Jackson, Kurt Russell, Bruce Dern, Tim Roth, Michael Madsen, Walton Goggins, Amber Tamblyn, James Parks, James Remar, Zoe Bell and a couple of other actors I didn’t know/can’t recall (but briefly considered copying from another website only to want to maintain the integrity of my experience) leapt up on stage, received their pre-accolades and took their seats (some on stage, some down in the first row of the orchestra when they weren’t used for the scene at-hand).

hateful eight bruce dern

Tarantino briefly set the stage, so to speak, by stating in his typical authorial style, the script was divided into (five) chapters. He read the stage directions throughout.

The story begins in a post-Civil War winter, as a stagecoach manned by O.B. (Parks) makes its way across a landscape headed for the nearby Red Rock for shelter to escape a certain blizzard. O.B. spots a black man standing over three bodies, holding a lantern. This is Major Warren (Jackson), a bounty hunter with three corpses post-hunting. He’s looking to hitch a ride to Red Rock, as well, but O.B. explains it’s up to the passenger who paid for the ride. The passenger is John Ruth (Russell), who’s also a bounty hunter with some cargo of his own. However, his future payday is alive and handcuffed to his arm in the form of Daisy Domergue (Tamblyn). After racial unpleasantries are exchanged and Warren hands over a letter from Abraham Lincoln certifying his position, Ruth allows him and his literal dead weight aboard.

The stagecoach also encounters Chris Minnix (Goggins), a man asserting himself as the new sheriff of Red Rock but without any papers of proof. Eventually he coaxes his way aboard and the group of five (plus the three dead bodies (these eight individuals do not make up the titular octet)) takes refuge inside Minnie’s Haberdashery.

I’ve only read one Tarantino script (“Django Unchained”), but knew he had a penchant for prose-like flourishes in his descriptions. Minnie’s Haberdashery brought them all out. His description of the shop serving as a shelter was that it functioned as almost anything other than a haberdashery. Mainly a place for coffee, which serves as a key element throughout the script. Tarantino even brought out a large blue coffee pot from behind the podium at every mention. Thinking back to his playing Jimmy in “Pulp Fiction,” taking pride in the coffee he buys, you can tell Tarantino is a man who revels in his caffeine.

The rest of the story takes place in and around the Haberdashery and serves as a boiling pot (pun might as well be intended) of trust, deceit, mistrust and race relations. Once our traveling group makes its way inside, they encounter other nomads seeking a roof over their heads in the form of cowboy Joe Gage (Madsen), a fobbish Englishman (Roth), General Smithers (Dern) and a Frenchman with an American name, Bob (one of the names I couldn’t grasp). Tension is always on the verge of spilling over into kinetic violence. General Smithers, a former Confederate officer has a brutal verbal exchange with Major Warren that had the crowd of a couple thousand leaning forward on the edge of their seats. It’s a position that was only relinquished when an intermission was called.

It was awesome (as in, the stuff of awe) to see Tarantino direct. He would occasionally have the actors repeat a line or whisper into their ear and even admonished them all once for straying too far from the words on the page. He was the master of his domain the way you would imagine him to be. Roth played his English gentleman with a glee I imagined emanating from Christoph Waltz. Tarantino has said that Waltz interprets his dialogue with a poetry that only one actor has done before, and that other actor is Jackson. Jackson was the only performer I assumed would be in the theater when the program was announced, even though the only thing I knew about it was that it was a Western. It’s sometimes difficult to appreciate how truly great the man is, as he does so many things (including a brief back-and-forth spat with this very site), but when revisiting his work, it’s impossible to deny. He’s the character and portrayal I’ll carry with me long after the event has passed.

Luckily for anyone not in attendance, I have a feeling you’ll be able to witness what I was able to in due time. Tarantino announced at the beginning of the reading that he’s continuing to rewrite the script and is now on this third draft. The Chapter Five we’d see would be completely rewritten. Those are the words of a man I think has probably been reinvigorated by this process and encouraged to go forth and craft a film of the script as he had initially planned. Christmastime will come again. God (Q.T.) bless everyone.

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Watching More Movies: David Mamet’s Con Film ‘House of Games’

Watching More Movies: David Mamet’s Con Film ‘House of Games’

Watching More Movies – David Mamet’s Con Film ‘House of Games’

I have no desire to be a con artist, but I enjoy the concept of it. Especially when the cons are depicted in films and I have no chance of being swindled, myself. I’ve loves a number of con man films, like “The Sting,” “Ocean’s 11” is kind of a con man movie and so is the first twenty minutes of “Hard Eight.” Some I felt were less successful, like “The Grifters” or “Confidence.” The key to the con artist film appears to playing for the long con. The twist that takes the length of the film to reveal. However, I think what interests me the most is the short con. The quick get-this-person-to-give-you-some-money grift. “House of Games” plays both ways.

In “House of Games,” David Mamet makes his directorial debut from his own script. The story follows Margaret Ford, a psychologist, who comes to the aid of one her patients, a compulsive gambler. This patient owes $25,000 to an underground gambling ring called “The House of Games.” Margaret ventures into the building and asks for the debtor, a man named Mike. He checks his book and sees Margaret’s patient only owes $800, not $25,000, and he’ll consider writing off the debt if she does him a quick favor and pretend to be his girlfriend and sit in on this card game he’s taking part in. He instructs her to watch for a fellow player’s tell of playing with his wedding ring, as Mike pretends to go to the bathroom. She does and it’s revealed as a ploy to con her out of her money, which she discovers before it happens.

house of games

Instead of being repelled at the thought of nearly losing out on her hard-earned dollars, Margaret is seduced by the art of the con. She begs Mike to let her be a part of that world and accompany him on grifts. Mike introducers her to a couple of smaller scams used to con people out of their cash, like a magician revealing his secrets, but never actually goes through with taking the money. It’s more of a crash course for the bigger con for which he wants Margaret to be a key contributor.

Mamet’s directing has never risen close to the acclaim of his written words and while I don’t believe that’s an unfair assertion, I’d say his visual flair might outshine any particular dialogue in this film. He uses blacks beautifully, at times isolating the characters by themselves surrounded by shadows though they appear to be in a practical setting. This isn’t to say none of the smart writing for which Mamet is known for makes an appearance here, as the story of the journey down the scheming wormhole is an alluring one. There just aren’t any iconic, “Get them to sign on the line which is dotted” moments. The film plays the short and the long cons to great amusement and it earns the title a place among the “good” con man films.

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Watching More Movies: Keanu Reeves Interviews Top Directors in ‘Side By Side’

Watching More Movies: Keanu Reeves Interviews Top Directors in ‘Side By Side’

Watching More Movies: Keanu Reeves Interviews Top Directors in ‘Side By Side’

I’d never held a film camera until I was in college. Prior to that, it was only digital. Either a video camera with a mini-VHS tape in it or eventually one with a mini-DV tape. I made some short films and a music video with these as it was the only option for me. In college, I took one film production class and we had to use actual film. We took some shots with an 8mm camera, the instructor had them developed and we then took parts of our classmates films and edited them by hand using a moviola and setting out little shorts to instrumental music. If I needed to do it again now I’d have no clue what I was doing, but I could certainly shoot and edit recorded images digitally. “Side By Side” is a documentary tackling the differences between film and digital.

The film is largely a talking head documentary with questions lobbed by Keanu Reeves. These interviews, combined with clips and some Reeves voiceover, piece together the potential revolution of digital filmmaking replacing celluloid movies. It’s not that the revolution isn’t already upon us. There are interviews with directors like David Fincher, George Lucas and James Cameron who have shot multiple films with a digital camera and continue to push the technology forward for their own purposes, as well as for their colleagues and future filmmakers. At the same time, there are talks with celluloid holdouts like Christopher Nolan and his longtime Director of Photography, Wally Pfister.

Side By Side pic

It was a huge coup to get the top directing and cinematographic talent, as though I’m interested in the subject matter, if two amateurs are discussing these things, regardless of their knowledge, I couldn’t care less. In that, it was probably necessary to recruit someone like Keanu Reeves, who’s worked in this business and has all the contacts enabling him to get these interviews. Though he’s often dismissed by the critical community as an actor, he comes off as thoughtful, knowledgeable and genuinely interested here, possibly unlike many A-list actors who lend their voice talent to documentaries. Reeves puts himself in the Michael Moore/Morgan Spurlock role and it helps convey the intrigue in the material.

It’s odd to see where people fall down on this issue, especially when two directors I greatly respect, Fincher and Nolan, come down on opposing sides of film versus digital. I want to side with my favorite directors, but they’re arguing against each other. Though he certainly would’ve dominated the conversation, I would love for someone like Quentin Tarantino to have been a part of the film (though I’m sure they tried hard to make it happen), though he’s made his film stance very clear in the past few years, stating if film is no longer an option, neither is his directing. I’m positive film will go the way of the dodo, but hopefully long after directors like Tarantino and Nolan are no longer capable of performing their art.

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Watching More Movies – Park Chan-wook’s ‘I’m a Cyborg, but that’s Okay’

Watching More Movies – Park Chan-wook’s ‘I’m a Cyborg, but that’s Okay’

Watching More Movies – Park Chan-wook’s ‘I’m a Cyborg, but that’s Okay’

If anyone were to ask me if I was a fan of whimsy, I’d almost certainly say “no.” For the most part, I like my films grounded in reality. I have no use for fantasy and I view that and the notion of whimsy as tonal cousins. However, I’d only answer that way because one of the most whimsical films I’m aware of, “Amelie,” doesn’t jump immediately to mind. When I wrote about my favorite films of the last decade, I noted how it took a few viewings of “Amelie” for me to truly uncover its brilliance. Director Park Chan-wook made what I’d call Korea’s answer to that film, but set in a mental hospital, with “I’m a Cyborg, but that’s Okay.” And it’s fantastic.

In “I’m a Cyborg…,” a young woman named Young-goon works on a factory line, making radios. This mundane job sends her over the edge to where she believes she’s no longer human and has become a cyborg. She almost kills herself, as she slits her wrists and tries to insert wires into her veins. With a precedent set by Young-goon’s crazy grandmother, Young-goon’s mother has her put away in a mental institution, where the rest of the film takes place.

im a cyborg pic

The mental hospital is loaded with colorful characters, from a habitual liar and storyteller, a man so wracked with guilt he thinks anything bad that happens in the world is a result of his doing something wrong and lastly to a young man who is always wearing a mask and thinks he can absorb the traits of characters around him. The young man is Il-sun and he becomes enamored with Young-goon upon her arrival. Her cyborg mentality causes Young-soon to skip her meals for fear of scrambling her circuitry, opting instead for licking batteries, attempting to retain an electric fuel charge. When it’s discovered Young-goon is dying as a result of not eating, Il-sun tries to get even closer.

Those aware of Park’s previous efforts like his Vengeance Trilogy, including films like “Oldboy,” probably find it hard to believe the description above was for a film made under his watch. “I’m a Cyborg” came after all three of those revenge-fueled tales, serving as a kind of palette-cleanser for the man behind the camera, as well as his audience. What it really does is cement Park as a non-one-note director as some may believe of a director like Guy Ritchie and British gangster films. “I’m a Cyborg” contains all the visual sumptuousness of something like “Oldboy,” but injects the kind of whimsy “Amelie” is so known for. I could swear parts of the score were even the same. Nevertheless, Park’s film is his own, as it contains some fantastical violence to go along with its quirky characters. I liked Park from the moment I saw “Oldboy,” but now that I know he’s capable of mixing in a curveball like this, it makes his future work impossible to miss.

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Mini Movie Reviews: Gosling’s ‘All Good Things’, McConaughey’s ‘Mud’, Hoffman’s ‘Capote’

Mini Movie Reviews: Gosling’s ‘All Good Things’, McConaughey’s ‘Mud’, Hoffman’s ‘Capote’

Mini Movie Reviews: All Good Things, Mud, Capote

All Good Things (2010)

all good thingsAll Good Things stars Ryan Gosling as David Marks, a man born into money, with a past that is hard to overcome. A young Marks meets and marries Katie (Kirsten Dunst), and the couple move from urban New York to hippy Vermont in the 70’s. Katie doesn’t know the control that David’s Dad (Frank Langella) has over him nor about David’s mysterious past (he was forced to see his mother commit suicide as a child). Eventually, David is pulled back into the family’s shady real estate business against his will. Despite the money, Katie and David grow apart and Katie goes missing.

The story is told through what essentially is a flashback event in real-time, as an under oath David explains to a jury these past events. Does David know what happened to Katie? Does he know what happened later on in other deaths? The story spans some 30 years and what starts out as a thriller turns into a bit of a head-scratcher. It’s not poorly done and carried intrigue, but the story – supposedly based on real events – just is a little weird and disjointed. It’s like watching one of those ABC doc shows about missing persons and in the end it is about as entertaining and interesting if that is something you care to engage in.

Mud (2013)

mud movie pic

Matthew McConaughey stars as Mud, an outlaw of sorts running from gunmen out to seek revenge for Mud killing a man. The real star of the film however is Tye Sheridan’s (Tree of Life) Ellis, a young boy, who with his partner Neckbone, discovers Mud living on an abandoned island in Mississippi(I believe). When the boys encounter Mud, they learn of his past over a few short days and hatch a plan to help the mysterious loner reconnect with his “girlfriend” Juniper, played by Reese Witherspoon. Eventually, the gunmen catch up with Mud and you have to see the film to find out the rest.

Mud is really about Ellis and his desire of love. His thoughts of what love is, his growing up and his relationships (with Mud, Neckbone, his parents and his “girlfriend”). This is a coming of age tale in some ways, mixed with a boy growing up too soon, dealing with adult themes and pressures placed on the young man. Though the film is slow-paced, it is engrossing, primarily due to Sheridan’s performance. You can feel his innocence, his desire to learn, his disconnectedness from certain elements and more. Mud may star a recent Oscar winner, but it’s Sheridan’s movie and his performance that makes the movie worth seeing.

Capote (2005)

Capote Hoffman

Capote won the best actor Oscar for Phillip Seymour Hoffman, the man who recently passed tragically at 46 to Heroin. Hoffman plays the titular character, flamboyant, charismatic, conniving, deceptive and reveals all his flaws for us to see. Capote follows the New Yorker author discovering a story of senseless killings and his relationship with one of the killers over a period of several years, before the killer (played by the underrated chameleon Clifton Collins Jr.) is sentenced to death by hanging. In the interim, Capote has penned a book based on these characters, “In Cold Blood,” and its hailed as the book that will change how people write and one of the most important and impressive books in American modern literature.

Capote is Hoffman’s film, and though I’ve seen it previously, based upon his recent passing, I wanted to take in more performances of the talented actor. Here you can see him transform so seamlessly into the character it is hard to separate performance from reality. One can sadly see how difficult is must have been to be so engrossed in a character and placing that thought process on him multiple times over in a career can certainly begin to lead to trouble off camera. Capote is a good but strange and at times meandering movie. You can see why it won Hoffman a statue but also why it failed to capture any more meaningful prizes during from the grandest of Hollywood awards that year.

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Watching More Movies: 1996 Horror Film ‘Arcane Sorcerer’ (Arcano Incantatore)

Watching More Movies: 1996 Horror Film ‘Arcane Sorcerer’ (Arcano Incantatore)

Watching More Movies: 1996 Horror Film ‘Arcane Sorcerer’

Guillermo del Toro is a director I respect and want to like more than I actually do. For some reason, none of his films have truly made an impression on me the way they have others, but I continue to hope one day something will connect for me. But it’s because of respect for him that I hunted down a 1996 Italian horror film, “Arcane Sorcerer” I mentioned in my piece about “Joe Versus the Volcano” about a new book called “Best Movie You’ve Never Seen.” I haven’t read it, but how I first came to hear about it was from and saw this excerpt from the book with del Toro talking about this movie.

I was worried about how in the world I’d hunt down the movie, as del Toro himself mentioned he had a difficult time doing so, but there’s a copy of it on YouTube. Turn the captions on and you’re treated to English subtitles. Not that I’m necessarily recommending you do so. In the book excerpt, del Toro mentions his grandmother had attempted two exorcisms of him as a child due to his interest in the occult. You can absolutely see why he would be fascinated with this film as it seems to tick every box from what you know of him. Unfortunately, those interests don’t particularly align with mine.

Arc sorc

The film is largely told in flashback to a priest in the 17th or 18th century by a man possessed by “The Evil One” or the devil. The possessed man used to be a priest himself, and while on the job, got a woman pregnant and forced her to have an abortion. In order to avoid punishment from the church, he makes a pact with an old woman who stashes him working as an assistant to a Monsignor in a remote area, where the previous aid had recently passed. The disgraced priest determines the former aid had killed two girls at a nearby convent and the Monsignor appears to be covering for his former pupil all while mysterious goings-on are taking place in their own monastery.

Edgar Wright deemed this “the ‘Barry Lyndon’ of horror movies.” It’s certainly a clue as to the period in which “Arcane Sorcerer” takes place, but I’d cut off any other comparisons after that, especially given my affection for Stanley Kubrick’s 1975 epic. Where del Toro praises director Pupi Avati’s use of period and setting, mixed with his attention to detail and research, I certainly couldn’t argue. However, it’s anything involving horror or even much of a story that propels much action where I’m completely baffled. There was almost nothing that kept me going outside of a dedication to getting to the end. I can see where if you’ve seen every other movie in existence that this would qualify as the best one you’ve never seen, but outside of that, I can’t concur. But still, I await the day del Toro and I agree on something.

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Watching More Movies: Authority Rules In ‘Compliance’

Watching More Movies: Authority Rules In ‘Compliance’

Watching More Movies: Authority Rules In ‘Compliance’

For about a year, I swore off reading any movie news. I felt I was too immersed in every detail of any film I was interested in and it left my enjoyment of each anticipated movie lacking once I saw it. During this time, I wondered how I was supposed to know what movies I wanted to see in the first place. The big movies I’d already been aware of, but what about the smaller ones? I decided I’d at least watch trailers. They’d give me a sense of whether I wanted to see something or not. About a month ago (long after my year off ended), I saw the trailer for “Compliance”. I’d never heard anything about it, nor knew anyone involved. But, the trailer did exactly what it was supposed to do, it hooked me.

“Compliance” is based on a real event, which the end of the film mentions was actually one of only 70 similar instances across the nation in a span of about a decade. Becky (Dreama Walker) is a server at a fast food restaurant called ChickWich. Her manager, Sandra (Ann Down), gets a phone call from a police officer, saying he has a patron with him, accusing a server of having stolen money from her purse. The officer gives a description of the server that matches Becky and asks Sandra to bring Becky back into the office for interrogation. Except he won’t be the one interrogating her. He instructs Sandra to do so.


It was obvious from the trailer this phone call was from someone only impersonating a police officer and I wonder how long it would have taken to figure out if I hadn’t known beforehand. It’s curious the film is nearly forty minutes into its runtime before it reveals the call is truly a prank and from a disturbed individual and not from an officer of the law (not that those two things don’t coincide from time to time). But, because you know it’s a prank, whenever you figure it out, it’s definitely an exercise in frustration, much like I felt with the Italian “classic” “Bicycle Thieves,” in which the main character gets a job that requires owning a bicycle, which he’s pawned and spends the length of the film trying to retain it. “Just borrow one,” you want to shout.

In addition to being an exercise in audience frustration, it’s a psychological look at what people will do when in the midst of authority, similar to the “The Stanford Experiment.” While some might feel frustrated, I never once felt I was in the hands of anyone but a fantastic craftsman in writer/director, Craig Zobel. He makes the camera shy away in the most sensitive of story areas and he keeps the camera trained in spots that ratchet up the tension perfectly. A disciple of David Gordon Green, I’m very intrigued by what he does next. I’m glad the trailer was good enough to hook me.

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