First Glance (x2): “Mank”

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Easily one of my most anticipated movies of 2020, “Mank” marks David Fincher’s long-awaited return to feature filmmaking. It’s his first film since 2014’s “Gone Girl” (has it really been that long?). This is an especially personal project for Fincher as it’s from a script written in the 1990’s by his late father. Not one, but two teaser trailers were dropped today by Netflix and let’s just say it was worth the wait.

“Mank” stars Oscar-winner Gary Oldman who plays screenwriter Herman J. Mankiewicz. The film follows his rush to finish writing the eventual Academy Award-winning script for the Orson Welles classic “Citizen Kane”. This behind-the-scenes biographical drama chronicles Mankiewicz’s personal problems including his alcoholism and explores the well-documented tensions between him and Welles. Not only is “Mank” set in the 1930’s, but it’s made to feel like a 1930’s movie including shooting in glorious black-and-white. And the supporting cast is really compelling: Amanda Seyfried, Lily Collins, Charles Dance, Tom Burke, Tuppence Middleton, Arliss Howard, and many others. I can’t wait!

“Mank” will get a limited theater run in late November before releasing on Netflix December 4th. Check out the two teasers below and let me know if you’ll be seeing it or taking a pass.

First Glance: “Fatman”

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Call me lucky. I wasn’t what you would call the most well behaved youngster. I was never mean, just hyperactive and playfully unruly. Yet come Christmas time I never got the dreaded coal in my stocking. Santa always came through in the clutch even if I didn’t always justify having my name on the “nice” list. That’s definitely not the case in the upcoming action comedy “Fatman”, written and directed by Eshom and Ian Nelms. And in case you’re wondering, this is not your prototypical Christmas movie.

Mel Gibson (of all people) plays Kris Kringle, a disillusioned soul and far from your run-of-the-mill Santa Claus. “I’ve lost my influence” he painfully mutters. When the son of an extremely wealthy family gets coal from Santa he does what any other kid would do. He uses the family resources to hire a hitman (Walter Goggins) to kill Saint Nick. Honestly, this thing looks preposterous but potentially a ton of fun. That’s because everyone involved knows how crazy it is and seem to be really enjoying themselves. I’m in.

“Fatman” hits select theaters November 13th and releases on VOD November 17th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “American Murder: The Family Next Door” (2020)

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I try not to get too caught up in the highly publicized true crime tragedies that capture our national spotlight and often play out on our television screens. One that did grab me was the 2018 disappearance and murder of pregnant mother Shanann  Watts and her two young daughters four-year-old Bella and three-year-old Celeste. The very idea of such a crime was horrifying and it only got worse once the killer’s identity was fully revealed.

The new Netflix documentary “American Murder: The Family Next Door” comes from director Jenny Popplewell and chronicles the Watt family murders in a uniquely chilling way. The film tells the entire story through social media videos, text messages, phone call audio, original television newscasts, police body cameras and security camera footage. No narrator, no interviews, no dramatizations. It’s a methodical presentation of the facts that may come across as a little too polished, but it builds its case like an expert prosecutor.

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Photo Courtesy of Netflix

For those unfamiliar with the heinous crime, in the early morning hours of August 13, 2018 in Frederick, Colorado Shanann arrived home after a weekend business trip. Her husband Chris Watts had stayed home with their daughters. Later that day both Shanann and the couple’s two girls were reported missing. An investigation by the local police and the FBI ensued. Two days later Chris was arrested after failing a polygraph test. He would later admit to murdering Shanann who was 15 weeks pregnant with their third child. After some initial hesitation, he eventually admitted to murdering their two daughters but not before the story made national news and the victim’s reputation had been brought into question.

Popplewell along with her editor Simon Barker are able to put together the weeks leading up to the murder in large part thanks to Shanann’s family who provided access to her social media and texts. It paints a picture of a woman with a rocky past who found happiness and stability in her new husband. Facebook videos show a warm and loving family, but text messages begin hinting at a different reality.

We see Shanann struggling with insecurity while becoming increasingly aware that something is not right with Chris. We see her worries most vividly in texts she makes to a close friend and confidant. She notes Chris’ distance and she begins to suspect infidelity. Through these flashback sequences Popplewell gives us pieces to the puzzle that can’t possibly explain the horrendous acts that would follow but adds some eye-opening context.

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Photo Courtesy of Netflix

And then you have the investigation itself revealed through some riveting points of view. The body-cam footage from the police officer doing a wellness check chills you to the bone. We see the man who just a few hours earlier choked his pregnant wife to death and smothered his two daughters deceptively playing the part of the worried husband and father. Later, through interrogation room security footage, we see the polygraph test administered and ultimately the confession of the monster. Smartly, Popplewell doesn’t make this into a mystery. We know who the killer is from the start. That makes everything see more unsettling.

The film brings another uncomfortable truth to light. It exposes how much of our lives are self-published online. Personal confessionals, relationship issues, pictures of young children. In one sense it helps illuminate the truth behind this particular crime. In another sense it highlights the dependence millions of people have on web-based social networking. Holding up Shanann’s cellphone, Chris tells an officer “This is her lifeline.” Yet we also see how deceptive the online lives people create can be. As for evil, it can hide behind a number of unassuming and unnoticeable masks. And sometimes you can pass it everyday in the comforts of your own neighborhood. “American Murder: The Family Next Door” is now streaming on Netflix.

VERDICT – 4 STARS

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First Glance: “Minari”

The Sundance hit “Minari” has been among my most anticipated films and yesterday A24 only solidified my excitement by dropping a new trailer. This family drama from writer-director Lee Isaac Chung won the festival’s Grand Jury Prize and its Audience Award earlier this year and many believe it is primed and ready for an awards season run. Everything about this beautiful first look shows why it could be a serious contender.

Set in the 1980’s, the film follows a Korean-American family who move from the West Coast to a farm in the rugged Arkansas Ozarks to pursue their American dream. The hardships of starting a farm quickly surface and eventually put a strain on the family. Things are complicated even more with the arrival of their unruly grandmother. The film stars Steven Yeun, Han Ye-ri, Youn Yuh-Jung, Alan Kim, and Noel Kate Cho. The cinematography, the score, the deeply human story – I can’t wait.

“Minari” is still listed as coming soon but A24 said it will be out in time for Oscar consideration. Check out the trailer below and let me know if you will be seeing it or taking a pass.

REVIEW: “Happy Happy Joy Joy – The Ren & Stimpy Story” (2020)

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I wasn’t long out of high school when a short-tempered sociopathic Chihuahua named Ren Höek and a kind-hearted but dense Manx cat named Stimpy made their debut on Nickelodeon. It was August of 1991 and it only took one episode for me to be hooked. During its run the darkly funny and sometimes surreal cartoon gave a much needed jolt to the stale state of animation, earning two Emmy nominations and gaining a passionate cult following.

The new documentary “Happy Happy Joy Joy – The Ren & Stimpy Story” eyes the creative side of the rowdy and sometimes controversial cartoon. More specifically it highlights the show’s creator John Kricfalusi, an immensely talented artist responsible for not only building the show but eventually tearing it down. Kricfalusi’s innovation and willingness to push boundaries made Ren & Stimpy household names. However it was his controlling nature and dictator-like leadership that eventually led to the show’s demise.

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Photo Courtesy of Gravitas Ventures

“The Ren & Stimpy Show” broke the mold of the generic prepackaged cartoons that appeared more interested in selling toys and merchandise than being creative and entertaining. Kricfalusi wanted to push back against what he called “the decay of animation“. Along with partners Lynne Naylor, Bob Camp, and Jim Smith, Kricfalusi co-founded the animation studio Spümcø and began creating Ren & Stimpy for Nickelodeon. From its genesis Spümcø and in turn Ren & Stimpy were artist-centric. While the writing was wacky and off-the-rails, the animation embraced a classic style with artists not just drawing but also hand painting and hand inking.

Documentarians Kimo Easterwood and Ron Cicero give a brief intro to the Ren & Stimpy craze before diving into their biggest interest – the behind the scenes talent and turmoil at Spümcø. Interviews with key studio figures give good insight into the joyous but uncertain early days and their rise to fame once the cartoon seemed to take on a life all its own. While interesting and necessary, these scenes are a little drawn out (no pun intended) and left me eager to move on to the darker side of he story.

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Photo Courtesy of Gravitas Ventures

That comes with the second season of “The Ren & Stimpy Show” as the pressures of success and expectation begin chewing away at the studio, specifically Kricfalusi. Through the words of his co-creators, Easterwood and Cicero reveal Kricfalusi’s tumble from demanding boss to abusive megalomaniac. An even darker turn comes when it’s revealed that Kricfalusi allegedly used his status to lure and groom underage girls, aspiring cartoonists, into sexual relationships. Easterwood and Cicero not only speak candidly with Kricfalusi about the accusations, but also one of his accusers Robyn Byrd. It’s disturbing stuff.

“Happy Happy Joy Joy” adds a bitter taste to what was one of my favorite cartoons featuring two of my favorite animated characters. After seeing this documentary some will have a hard time seeing Ren & Stimpy in the same light. At the same time the film shows there were many other artists and creators who were just as essential to the show’s success during and after Kricfalusi’s tumultuous reign. Still, the revelations hang a cloud over the show’s groundbreaking early days branding the once celebrated animated television series with a dark and troubling legacy.

VERDICT – 3.5 STARS

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Great Images from Great Movies #18: “The Untouchables”

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Truly great movies can leave indelible marks. It may be through an emotional connection to the story. It may be through a remarkable performance or a signature scene. But it can also be through the brilliant imagery a film can carve into your mind. That’s what this feature is all about – highlighting great images from great movies. Today we look at Brian De Palma’s 1987 gem “The Untouchables”.

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(All photos courtesy of Paramount Pictures)

So what are your thoughts on “The Untouchables”? Which of these great images stick with you the most? Please share your favorites in the comments section below.