Tag Archives: Chloe Grace Moretz

The Addams Family (2019)

Tired of being chased with pitchforks and fire, Gomez (Oscar Isaac) and Morticia (Charlize Theron) find a perfectly horrible asylum to convert into their matrimonial home shortly after their wedding. Thirteen years later, their family resembles the one we all know and love: creepy daughter Wednesday (Chloe Grace Moretz), bumbling son Pugsley (Finn Wolfhard), faithful servants Lurch and Thing, indefatigable Grandma (Bette Middler), and a pet tiger. Out of fear and caution, Gomez and Morticia have kept the gates to their home closed, so their children have never seen the world outside it – have never breached the gates certainly, but an enveloping fog means they have also literally never seen beyond their own property.

Which means they don’t know that at the base of their hill, a new town is flourishing. A home renovation guru named Margaux (Allison Janney) has been building a town called Assimilation for her TV show, and besides her own daughter Parker (Elsie Fisher), several homogenized families live there as well – the rest of the homes will be auctioned off during her show’s season finale. But when Margaux drains the marsh, the fog lifts, revealing an unsightly castle on the hill filled with undesirables. And it’s not just the immediate Addams family but the whole clan: uncle Fester (Nick Kroll) leads the way, but soon everyone will be assembled for Pugsley’s rite of passage. Margaux protects her investment the only way she knows how: to cultivate fear among the existing residents, and to start sharpening her pitchfork (or catapult, if that’s what you have handy).

The new Addams Family movie combines elements from the original source as well as the beloved 90s films, so lots will be familiar, but there’s still enough new ground to keep you interested. It’s not quite as dark or as morbid as other iterations, which means it’s not quite as spooky as you’d like, but is probably safer for small children. The voice work is excellent; Theron and Isaac are nearly unrecognizable below the creepy accents they’ve refined. Wolfhard is perhaps the only one who doesn’t distinguish himself and sounds a little out of place – he’s just doing his regular little boy voice while Moretz, for example, is doing some very fine work as deadpan little Wednesday.

The movie does offer some fun little twists: the TV host’s daughter Parker makes friends with Wednesday when they unite against the school’s bullies. Parker decides to go goth to her mother’s complete horror, while Wednesday experiments with pink and unicorns and her own mother struggles with acceptance.

The animation is also quite well rendered and I appreciated the little details that make such a movie unique: Wednesday’s braids ending in nooses, Gomez’s tie pin a tiny dagger, the gate to their family home looking vaguely like metal teeth and opening like a set of jaws. The critics seem not to have loved this one but Sean and I found it quite enjoyable, definitely a fun Halloween outing for the whole family.

Advertisements

Suspiria (2018)

I keep writing this and deleting this because it keeps sounding like I’m describing a nightmare rather than a movie. Which actually should tell you a lot about how much I enjoyed this film.

Suspiria is MEANT to be confrontational. It’s so emotionally and visually confronting I was simply overwhelmed, and got out my ironing board in order to deal. With a buffer of a white denim jacket and a bunch of iron-on patches (including a little gremlin named Gizmo, Wonder Woman, and IT’s Pennywise), I did my best to brave the onslaught.

Susie (Dakota Johnson) is an untrained dancer who arrives in Berlin hoping to be admitted to a venerated dance company run by the fearsome Madame Blanc (Tilda Swinton). Many scoff at her ambition (conceit?), but her audition dazzles the evaluators and just her luck – there’s a spot that’s opened up. Actually, that spot belonged to Patricia (Chloe Grace Moretz), who we saw crack up during the film’s opening scenes. She was paranoid, disturbed, certain that the academy was targeting her for some nefarious thing. And now she’s MIA.

And the thing is, something IS seriously afoot at the dance company. It seems to be a front for witchcraft; the instructors belong to a coven and the dancers are new recruits – either possible witches, or possible victims. Suspicion is met with violence, and the movie LOVES violence, embraces every and any excuse. Even the dance itself feels aggressive, but the gore is second to none. The narrative takes a back seat to the dedicated and repeated brutality, so you can either get in step with the stylized lunacy, or avoid it altogether. Attempting to fight your way through it is probably only going to result in a frustrating and disappointing (not to mention disgusting) cinematic experience.

Do I admire director Luca Guadagnino for swinging so big? Sure. But I don’t have to like it. I was oddly excited for this film because I tend to like a cinematic risk, but Suspiria (2018 edition) proved to be a test of my endurance, and beyond the limits of my patience. To be honest, I was half-lost just by the casting of Dakota Johnson alone. I realize her acting “pedigree” may impress some, but her parents (Melanie Griffith and Don Johnson) aren’t known for being good in things so much as just for being in them. They’re famous, but not exactly lauded. And despite her celebrity parents, Dakota Johnson has still had to break her way in by getting naked (Fifty Shades of Indignity: the series) and has yet to make an impression on me as someone worth watching. Her blandness and blankness may have somewhat been the point in this, but I just don’t find her remotely compelling and I could equally be watching a rock or a potato or the space above her left shoulder and it would all shake out to about the same. Tilda Swinton is of course made for movies such as these, but she gets not one but 3 roles, and at least one of them is trash. Yes, makeup can do marvelous things. But even when Tilda Swinton is made up to look like an elderly man, it was still very obviously Tilda Swinton made up to look like an elderly man.

Did I enjoy Suspria? I did not. I think there’s some trick to melting into a movie like this, but to be honest, we struggled so much just to find the German to English captions, finding the trick and using the trick was clearly beyond us.

TIFF18: Greta

Frances is travelling home on the subway when she spots a forgotten purse. Frances (Chloe Grace Moretz) puts her good samaritan hat on and decides to return it to the owner personally. Greta (Isabelle Huppert) is grateful and touched by the gesture, and though they’re an unlikely pair, they form a friendship. Greta is a lonely widow with an estranged daughter and a hole in her life. Frances is working as a waitress while she tries to find direction for her life without the help of a mother (who passed). So you might say the two fill slots in each other’s hearts, and therefore their friendship blossoms quickly. Frances’s roommate Erica (Maika Monroe) doesn’t get what her friend sees in the older woman, but there’s a certain comfort there – not a replacement for her mother of course, but a sense of validation and care in a world where fewer and fewer genuine connections are made.

But this is not a movie about female friendship. One evening, when Frances is eating dinner at Greta’s house, she stumbles upon a cupboard filled with purses identical to theMV5BNTFmZjI3OTItNjZjNi00NWFjLTgyN2ItNzA5MjAyOGRhNjBmXkEyXkFqcGdeQXVyNTQ1MTYzNzY@._V1_ one she found and returned. They all have ID and similar contents, and they’ve all been labelled with a name and number, presumably of the person who has returned it. Confused and appalled, Frances makes a hasty exit. But it’s too late. Greta has decided that Frances will be her friend. For life. Like it or not. Which is when things get stalkery. The police are no help, of course. They don’t intervene until some major shit has gone down. And believe me it’s about to go down.

Isabelle Huppert puts the psycho into psychodrama. The ramp she builds up toward sinister is subtle, and the one toward crazy quite steep. She is simply fantastic: invasive, desperate, psychotic. Watching her dance around was one of the highlights of the whole festival. She’s deranged in a way that makes you want to laugh, just slightly, until you get those chills down your spine.

Director Neil Jordan builds some terrific suspense but doesn’t always know what to do with it. Greta veers wildly from off-the-wall original to quite predictable. But its unevenness isn’t going to stop Greta from being one of those movies that people talk about. It might even become a cult hit. Huppert lives up to it, deserves to be recognized as a cult villain icon. Isabelle Huppert is a queen, Greta is a witch, and this movie will stick with you for longer than you’d like.

Brain On Fire

Susannah is working her dream job at a newspaper in New York City, but just as it seems as though the 21 year old has it all together – a cute apartment, a musician boyfriend, and a hot assignment from her boss things start to go wonky.

A super caring (read: sarcasm) doctor diagnoses her with “partying too hard” based on the one glass of wine she cops to drinking occasionally but something’s definitely up and whatever it is, it ain’t that. She’s not acting like herself. She zones out. She convulses with seizures. What the heck is happening with Susannah?

MV5BNjE4OTcyZDUtN2Y0My00NzlhLWJhODgtMjZlMTNjNzU0ZDIzXkEyXkFqcGdeQXVyNDkwNTM3OTA@._V1_In theory this is an interesting little mystery, but on tape it’s surprisingly boring. Chloe Grace Moretz “acts” a great range of symptoms by making crazy eyes and flaring her nostrils while we maintain a polite distance. In fact, there’s such a remove that’s built-in it kind of makes me feel like I’m visiting my own sick relative and just nosily eavesdropping on Susannah’s shit.

I read the book on which this movie is based and it didn’t really light my fire either. Not to make light of her disease, but I sort of think a brain on fire is preferable to what this movie did to mine, ie, turned it into pea soup. Now I’m going to have to stand on one foot and hop up and down trying to mushify those peas and get them draining out the various holes in my face. You know, best case scenario.

Anyway, I’m sure there’s some weird network on television that airs diseases of the week, and that’ll be no worse than this, but your expectations should be more realistically aligned. This movie is just a no for me. I would have rather spent the time in the waiting room of my local ER – at least as long as there are KitKats in the vending machine.

Laggies

Megan panics when her boyfriend of 10 years proposes to her at a friend’s wedding, but really it’s what she’s been waiting for – not so much for the ring, but for someone to just decide for her. With her post-graduate studies complete, she’s still without a job, still waffling on her daddy’s couch when convenient. She’s lost. Which doesn’t excuse the following: when she flees her brand new fiance and her dear friend’s wedding reception to “get some air” she winds up at a grocery store, buying beer for some teenagers.

And then she ends up following one of them home. Annika (Chloe Grace Moretz) is pretty interesting for a 16 year old, but the home she shares with her single father Craig (Sam Rockwell) is appealingly simple and cozy to Megan (Keira Knightley) and her quarter life crisis. Of course, the addition of Megan instantly complicates things for everyone and life is never simple. Megan should bloody well know that.

This film is apparently known as Say When in some countries, and I sort of think it MV5BNDhhM2FiMWUtYTBhNi00M2Q5LWI3ZTMtNWVmODcwMGU3ZTAwXkEyXkFqcGdeQXVyMTI3MDk3MzQ@._V1_should be in mine as well. Laggies? An expression I was unfamiliar with, but could kind of understand with context. Urban Dictionary, bless its lack of soul, provides several helpful definitions, including 1. dragging along (which I believe Megan is doing) 2. someone who is stalkerish (which Megan borderline is) 3. a combination of both large + saggy, referring to boobs, as in “she’s got a nice rack, but she’s laggy” (which Megan most assuredly is NOT) 4. “the laggies” is a disease (well, a pretend one) caused by chronic masturbation (I’ll let you watch the movie to find out which characters may suffer from it).

Keira Knightly is not entirely convincing in her part or in her accent, but director Lynn Shelton is working really hard to throw a little sympathy her way, which is hard to do when an overeducated, overprivileged white girl is whining about her own indecision. Chloe Grace Moretz and Sam Rockwell, though, are pretty fantastic additions to the cast. They bookend Megan’s 20-something ennui, and give it some perspective. I also appreciated pop-ups from Ellie Kemper and Jeff Garlin; Shelton has a knack for comedy that I can only wish was more present in the script by Andrea Seigel. This film puts a little too much faith in Knightley’s charm. She tries her best to be our plucky heroine but she’s not half as enchanting as she thinks she is, and she’s easily upstaged by her teenage counterpart. Possibly Megan should have locked that shit down while she still could. Instead she’s stuck in that crack between childhood and adulthood, and the only enticement of this film is the viewer’s desire to be the one to give her shove she needs to get the fuck out.

November Criminals

Addison is a precocious high school student who is only too happy to take time out from grieving his recently deceased mother to lose his virginity to elusive beauty Phoebe and apply to college. But while he’s pursuing these quintessentially teenaged dreams, a friend of his gunned down in a nearby coffee shop. Kevin is well-liked, a good student, an inquiring mind, but because he’s black the cops seem to dismiss the crime as “gang related” and Addison is crushed that no one is looking for his killer.

If it works at all, November Criminals has two likeable leads in Ansel Elgort and Chloe Grace Moretz; their chemistry makes up for some of the defects in their characters which are ENORMOUS AND UNFORGIVABLE. Ansel Elgort is tasked with playing a thoroughly hero_November-Criminals-2017unlikeable kid, and Grace-Moretz simply gets assigned the not-fully-realized female costar who heals his sadness by touching his penis. It’s not remotely their fault but November Criminals is maybe the most undercooked movie I’ve ever seen – like, on a scale from rare to well-done, it’s a bloody, oozy, thoroughly blue kind of undercooked that’s bound to give you worms. I’ve read the novel upon which it is based and half-remember it, and even that half-memory is more fulsome than the script for this thing, which feels like it’s missing about 75% of its content and 100% of what would make it understandable or good. The film offers up a small slice of the story, with an inadequate beginning and hardly any end, and such an abbreviated middle you’ll wonder if perhaps we’re still in the opening credits. But while the movie needs at least another two hours in order to tell its story, the mere thought of having to sit through a single moment more than its 85 minute run time is upsetting. This film never justifies any reason for its existence and wastes every frame of its film.

Even in a post-hipster culture, teenagers who willfully carry beepers are just knobs. White kids who become vigilantes for their black friend’s death out of sheer boredom are intolerable. This movie serves up so much that is objectionable I could hardly stand to see it all the way to the end. Maybe the teenage angst coupled with a murder mystery was supposed to invoke Veronica Mars but the movie is troubled, voiceless, neutered. Don’t bother.

Clouds of Sils Maria

To be honest, I watched this movie some time ago, it’s just that writing about it in any meaningful way was a little daunting.

It’s about an actress, Maria (the fabulous Juliette Binoche), who has had a CLOUDS OF SILS MARIAlauded career after being launched in the theatre playing Sigrid, a sizzling ingénue. Now, years later, the playwright and her mentor has died, and there’s interest in re-staging the play, and Maria is approached to star. The catch? This time she’d of course be playing the role of the older woman, Helena, in a complicated May-December lesbian office unrequited romance (whoa, that’s a mouthful).

Should Maria take the role? Initially she declines. She finds the older character to be a bit pathetic, too much of a doormat. But the director is tenacious and Maria is not exactly afraid of a challenging role, so she accepts. She retreats to a remote chalet with her personal assistant (Kristen Stewart) and they begin rehearsing the play, only in the rehearsing, Maria again grapples with her distaste for the weakness of the character, and must face her own feelings about aging.

Chloe Grace Moretz floats in as the scandal-prone Hollywood It Girl who is to play the younger woman. She flatters Maria with fandom but ultimately plays the role much differently than Maria did, which further drives Maria to feel obsolete, and to wonder if this older character is perhaps an uncomfortable reflection of herself.

Clouds-of-Sils-Maria-14I didn’t find the story-telling in this movie to be quite satisfactory, but the performances were top-notch. There’s an intense, almost sexual chemistry between Binoche and Stewart that makes their rehearsals a rare treat to watch. Not often are two such strong female characters allowed to shine on the screen together with such naked feeling.

Binoche loved the idea of this movie so much that she approached director Olivier Assayas with it and convinced him to write the script as well. In a funny meta twist, Assayas co-wrote the script of Rendez-Vous, which was the film that helped make Binoche a star. Binoche claims she strove for such authenticity that she accepted a brief role in Godzilla just so she could o-CLOUDS-OF-SILS-facebookbelievably deliver a line about acting in blockbusters.

Chanel (the fashion house) stepped in not only with wardrobe but with financing so that Assayas could film in 35mm. The movie does in fact look totally gorgeous, not least because it’s filmed on location in Sils Maria, Switzerland. And Binoche reins over this film with stately grace, simmering jealousy, raging insecurity – every bit of it layered and nuanced to perfection. Maria is dealing with a changing industry and a role that requires alarming introspection, but what Binoche and company accomplish is to make us ask ourselves – are we Sigrids, or are we Helenas?