Tuesday, May 30, 2017

Patti Cake$ - A Modern Musical

Whatever it is, Patti Cake$ has it. The modern musical is full of defied stereotypes, perseverance, dream-chasing, and of course, music. The original songs that make up the soundtrack of the movie are so catchy that they’ll be stuck in your head for hours after you leave the theater.

The film centers around a 23 year-old plus-sized woman that has an unexpected talent, the gift of rhythm. Patricia (Danielle Macdonald) wants to be a rapper. However, she lacks the means to do so because she is working around the clock to help pay her Nana’s (Cathy Moriarty) medical bills. Meanwhile her mother (Bridget Everett) is often busy out on the town, looking for a man to ease her loneliness. Every night as she sleeps, Patricia escapes into her dreams. Her uniquely-shot dream land consists of green smoke and an introduction by her hero, O-Z (Sahr Ngaujah). This is where she imagines her future as “Killa P,” the famous rapper.

Patricia, also known as Killa P, also known as Patti Cake$, has a best friend that has her same gift. Hareesh (Siddharth Dhananjay) is a constant motivation to Patricia and provides both comic-relief and emotional appeal. When Patricia starts to lose motivation, Hareesh keeps going for the both of them. Along the way they meet Bastard (Mamoudou Athie) who claims to be an anti-Christ. Despite his initial creepy disposition, they realize he is musically talented like they are. The band of misfits team up to form their rap group, “PBNJ.” There is a cliff the characters go to a few times in the movie that has a skyline view of New York City. The members gaze at it, hoping for the best for their future.
An aspect that makes this film enjoyable to watch is the attitude of the characters.  The film is set in a low-income town in New Jersey, and the PBNJ members’ quality of life is a bit below average. Despite their living conditions, they are never portrayed as pathetic or as objects of sympathy. It is easier for an audience to root for a character’s success if they continuously try for their goal, which Patricia does throughout the film. She takes on the role of the caregiver of the home because her grandmother is bedridden and her mother is distracted. Her income from her two jobs mostly goes towards medical bills; she rarely has leisure time. Instead of sulking, she uses her trials at an opportunity to contribute to what she loves; her notebook full of “bars” is always handy in case a new rap idea comes to her.

In the mornings, Patricia looks in the mirror and confidently poses while free-styling lines about how good she looks before heading off to work. The confidence the actress portrays makes the character a more-likeable one.

Boldness and rejection occasionally go hand-in-hand, as shown in the film. The members of PBNJ run around town giving out copies of their mixtape to anyone that will listen. In one scene, Patricia is catering a bar mitzvah where a local radio DJ is entertaining. The scene plays out slowly, clearly showing Patricia’s hesitation and inner conflict on whether to give DJ French Tips the mixtape or not. Timidly, she walks over to her, says she’s a big fan, and gives her the CD. The DJ responds kindly and tells Patricia to keep working. In a later scene, this plays out very differently. While catering a different event, she arrives at the home of O-Z, the hero that inhabits her dream-land. Her confidence from her encounter with DJ French Tips carries over and she gives him a copy. He tells her she doesn’t have a chance at ever being an artist, which changes her attitude completely and crushes her motivation. However, the work she had done before that moment ends up paying off when PBNJ is entered into a rookie competition by one of their new fans.

The film has obvious similarities to Curtis Hanson’s 8 Mile, which is about Eminem’s journey to fame. Given it’s from a female’s perspective, Patricia’s story provides an opportunity for young girls to be taught that their dreams are obtainable, no matter how out-of-place they may seem. In 2017, gender-equality is a hot-button issue; and this film is a light-hearted flick with a dash of feminism. It touches on and defies stereotypes, but the plot is inspirational as opposed to political.

When looking at the film as a whole, the story behind Patti Cake$ sounds ridiculous. A plus-sized white girl, an over-animated Indian, and a black anti-Christ form a rap group and reach for fame. It sounds like a parody film based off the rejects from the American Idol auditions. However, Jasper has created a film with characters that capture the audience’s hearts and keep them laughing (and dancing) the whole way through.

Patti Cake$ is set to be released in theaters August 18, 2017.

Writer: Geremy Jasper
Director: Geremy Jasper
Producers: Chris Columbus, Michael Gottwald, Dan Janvey, Noah Stahl, Daniela Taplin Lundberg, Rodrigo Teixeria
Executive Producers: Bill Benenson, Jonathan Bronfman, Eleanor Columbus, Fernando Fraiha, Sophie Mas, Lon Molnar, Josh Penn, Lourenco Sant’Anna
Main Cast: Danielle Macdonald, Bridget Everett, Siddharth Dhanajay, Mamoudou Athie, Cathy Moriarty

Running Time: 108 minutes

Monday, May 29, 2017

Mini Review: Madame

Madame
Amanda Sthers’ Madame is an unexpected celebration of culture. The film depicts a typical American family that has relocated to France. The woman of the house, Anne (Toni Collette), is having a dinner party with 12 of her closest friends. When her step-son decides to drop by for a visit, he brings the attendance number up to unlucky 13. Superstitious Anne now needs her beloved Spanish housekeeper, Maria, to step in as a high-profile guest. This catapults Maria into a courtship that Anne desperately wants to stop.


As a whole, the film was a clever representation of world relations.  “Oh you’re evil,” “No, I’m French,” is one example of the witty one-liners throughout the film. In addition to this one were light-hearted cracks at Britain, Spain, and America. The passive-aggressive behavior can be applied to how the countries handle each other in reality. Even the emptiness of Bob and Anne’s marriage isn’t a totally inaccurate representation of America. The film was charming and worldly.

Film Review: The Killing of a Sacred Deer

The Killing of a Sacred Deer
Yorgos Lanthimos’ The Killing of a Sacred Deer is one of the stronger, if not the strongest, films that premiered at the 2017 Cannes Film Festival. Everything from the superb acting, to the mysterious advertising, to the shocking plot made this film an unstoppable one.  The film isn’t one to watch over and over, but is one that leaves the audience speechless during the one time they do choose to watch it.

The family (Farrell, Kidman, Cassidy, Suljic) faces an unbelievable decision that they spend most of the movie dancing around. Kidman’s skills shine as she continues to play the typical mother role despite her world crashing down around her. In one scene in particular, she is told her husband has been flirting with another woman. Later in the scene she is with Farrell discussing the health of their children; she throws in a jealous comment about him potentially being happier with “Martin’s mom.” The stress she is facing is obvious in her weaning facial expression, but she still has that spark of fire when she is told her husband could be wronging her. The character is as realistic as it gets; she balances keeping her children well while having realistic expectations of her husband’s behavior.

The daughter of the family (Cassidy) just wants a boyfriend that likes her. Despite the fact that her boyfriend is the causing her to lose her health, she still begs to be in his good graces. The performance by Cassidy was also a realistic one that plays into the stereotype that many young girls fall into. Very often in relationships, the one hurting them is the one they continuously try to impress. Cassidy’s character continuously begs Martin (Keoghan) to heal her so they can run away together. She is indifferent to her family’s outcome, and just wants to be in love.

Another actor that gave an incredible performance is the said boyfriend (Keoghan). The progression of his character from odd and meek to controlling and powerful was amazingly smooth. The audience was able to watch him slowly become more forceful about the outcome he wanted for Farrell and his family members through his tone change. It should be noted the character never raises his voice, but still manages to be a threat that evokes fear whenever he speaks during the second half of the film. In the scene when he informs Farrell of the probable outcome for his family, he is a bit more forceful with his tone, but he is also eating an ice cream cone while he explains it. Throughout the film, he invites Farrell over to his home or out to the diner. Whenever Farrell says he can’t make it, Martin calmly encourages him to still come. More often than not, Farrell always showed up.

The advertising for The Killing of a Sacred Deer was unusual. There was virtually no information on the film prior to its release at the festival. The one sheets for the film consisted of a shot of Farrell staring at two empty hospital beds, and another shot of Farrell walking up the stairs in a dark house. After seeing the film the audience realizes that these posters say a lot, but before the film they seem vague and are a mystery. The release of little information worked well for this film, but the tactic wouldn’t work well with every film. Lanthimos’ has clearly perfected the technique with his wild plotlines. The films themselves are a mystery with unexpected twists and turns being unfolded as you watch, so for the posters to be the same is appropriate.

The plotline for the film is a crazy, shocking one. However, it can also be called typical when compared with other Lanthismos works such as The Lobster. He always manages to keep the audience on the edge of their seat, wondering what on earth could happen next. The Killing of a Sacred Deer was no exception to the rule and kept the audience captivated throughout. Lanthimos isn’t afraid to take the unpopular decisional path in his works, which helps separate them from many others. A happy ending without a plot is nothing, but a well-developed plot without a happy ending can still be exceptional.

The Killing of a Sacred Deer is set to be released in theaters in early November 2017. It is currently in competition for the Palme d’Or at the Cannes Film Festival.

Writer: Yorgos Lanthimos and Efthymis Filippou
Director: Yorgos Lanthimos
Producers: Ed Guiney, Yorgos Lanthimos, Andrew Lowe
Executive Producers: Nicki Hattingh, Sam Lavender, Amit Pandya, Anne Sheehan
Main Cast: Colin Farrell, Nicole Kidman, Raffey Cassidy, Barry Keoghan, Sunny Suljic

Running Time: 109 minutes