My father turned me in. Oh God, they do things you can’t imagine. When Soviet soldiers invade Calumet, a small Colorado town, sending Nicaraguan and Cuban paratroopers into the local high school football field, brothers Jed (Patrick Swayze) and Matt Eckert (Charlie Sheen) escape with friends (C. Thomas Howell, Darren Dalton) to the forest where they call themselves Wolverines after their school mascot. With their father Tom (Harry Dean Stanton) a prisoner of the invading army, the children decide to fight against the Soviets. As the country comes under increasing attack and bitter winter closes in, the group teams up with Lt. Col. Andrew Tanner (Powers Boothe) to take back their town but how long can they hold out as they discover they are behind battle lines in occupied America? … West Coast. East Coast. Down here is Mexico. First wave of the attack came in disguised as commercial charter flights same way they did in Afghanistan in ’80. Only they were crack Airborne outfits. Now they took these passes in the Rockies. What a film to watch in the week that Vladimir Putin declared liberalism dead. From a story by Kevin Reynolds, auteur John Milius bootkicks the US into surreality positing a Soviet landgrab when we all know they’d nuke the country to high heaven before that would happen. So far, so ridick, as what was supposed to be a small arty antiwar outing becomes a teenage Rambo with Milius toying with the original material assisted by General Alexander Haig, on MGM’s board of directors at the time, dreaming up a what-if scenario evolving from Mexico’s left wing sympathy splitting the US in half as Hitler’s plan for invasion is reworked. It starts with a history class in Genghis Khan’s warring tactics and within 5 minutes of explaining his stratagems the Russian helicopters are on the ground. Soon Alexander Nevsky is playing for free at the local cinema and William Smith is in town marshalling the Russkies (in reality he’d been a Russian Intercept interrogator for the CIA). When the drive-in becomes a re-education centre, it’s a nod to the potential for camp classic status as an ‘ironic’ acknowledgement of its own silliness but also reminds us a lot of WW2. Given that this was the first film to receive a PG-13 rating for its violence, it occupies a certain stratum of cultdom and not merely for an alt history: here are some of the era’s top teen icons (half of The Outsiders!) shooting the hell out of everything in sight. What joy there is in seeing Lea Thompson manning a sub-machine gun and Swayze romancing Jennifer Grey long before Dirty Dancing. With astounding cinematography by Ric Waite and Frederick Elmes and an operatic score from the great Basil Poledouris, this is a salutary lesson in survivalism and resistance. Milius would describe it as “a Close Encounters with Cold War Russians”. Children did this
What’s happening?/Pubes and racism. High school dropout Teddy Walker (Kevin Hart) is a successful BBQ salesman whose life takes an unexpected turn when he accidentally blows up the store where he works just when he’s on the verge of inheriting it and marrying his sweetheart Lisa (Megalyn Echikunwoke). Forced to attend night school to get his GED so that he can become an investment adviser alongside his friend Marvin (Ben Schwartz), Teddy soon finds himself dealing with a group of misfit adult students of losers and flakes, his former high school nemesis (Taran Killam) who is the school principal and feisty teacher Carrie (Tiffany Haddish) who doesn’t think he’s all that bright and has no time for troublemakers in a classroom. Teddy starts working behind the counter at fast food Christian Chicken outlet and everyone is flunking. There’s nothing for it but to steal the practice test. … This is a minor setback for a major comeback. Little Kevin Hart’s efforts to emulate Eddie Murphy’s loudmouth hustler shtick continue apace while tumbleweed blows across the screen every time someone opens their mouth. There’s a good prison fight on Skype, though. Written by Hart, Nicholas Stoller, J’Dub (is that a name?), Harry Ratchford, John Hamburg and Matthew Kellard, clearly a group for whom attendance ranks above excellence. Directed by Malcolm D. Lee. There’s no cure for what you have
We haven’t done anything. We haven’t broken any rules. Bookworms Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) discover on the eve of graduation that other supposedly loser kids in their class are also going to the Ivy Leagues but had fun en route and tonight there’s a party at class VP Nick’s (Mason Gooding) that promises to be the blowout that might be their only opportunity to say they partied through high school. But getting there isn’t as easy as calling a Lyft … I’m incredible at hand-jobs but I also got a fifteen-sixty on the SATs. A script that had been lying around for a decade gets the Will Ferrell and Megan Ellison stamp of production approval and actress Olivia Wilde makes her directing debut in a self-conscious work about female empowerment that wears its millennial credentials in a frequently impenetrable linguistic armour falling far short of the classic teen movie it so obviously wants to be. Cliques, misunderstandings, a cool teacher, finding your true self whilst not being a bitch to other people whose faults you gleefully point up and gossip about, remaining unaware of your own undeserved superiority complex – these coming of age tropes are played out as a night on the town at three different parties teaching life lessons with an R rating exhibiting drug use and some fashionable sexual inclinations. Lourd plays her heart out utterly inappropriately as the rich girl who literally shows up everywhere but her performance belongs in an entirely different film. Jason Sudeikis (aka Mr Wilde) has fun as the school principal who dreads encountering these ambitious ladies and then turns out to be their Lyft driver trying to earn a few bucks to survive on top of his pathetic salary. Feldstein and Dever do their best with strangely underwritten roles (was it me or did someone say ‘Beanie’ in a scene and it was kept in?!). This just hasn’t a lot to hang on its structure and it feels overconceptualised as a kind of millennial virtue signaller with a Lesbian protagonist and some rather oddly convenient ‘characters’ who don’t ring true either dramatically or emotionally. In its effort to create big statements about dorks who get their comeuppance, truth got left behind. There’s a surreal animated adventure in drug use which turns the girls into anatomically inappropriate dolls and a good joke about a serial killer pizza delivery driver, but … laughs? I wish there had been more in a movie which also seems to want to say something about class but bugs out. There is nothing profound here so we’ll have to call it the empress’s new politically correct clothes even with its sympathetic portrayal of queerness in a teenage girl. LGBQT @ SXSW: IMHO, OMG. That’s the trouble with acronyms and labels. Everything is acceptable, nothing is wrong. The young have so much to teach us. Is it that year already? Yawn. Don’t believe the hype. Sadly. Written by Emily Halpern & Sarah Haskins and Susanna Fogel and Katie Silberman. Directed by Olivia Wilde. You can make yourself cum using only your mind? That’s like the one thing my mind can’t do
I can’t believe we moved to a town where women wear green tennis dresses on purpose. When the Mason family moves to idyllic Palos Verdes, California, heart surgeon father, Phil (Justin Kirk) loves it but stay at home mom Sandy (Jennifer Garner) feels out of place among the fake tans and tennis skirts. Teenage daughter Medina (Maika Monroe), is a loner and outcast at school, while her charismatic twin brother Jim (Cody Fern) is effortlessly popular. When Medina and Jim take up surfing, they must prove their right to share the waves with the tough Bayboys gang that monopolises their stretch of beach but when their father announces that he’s going to shack up with his lover, their realtor Ava (Alicia Silverstone) and her son Adrian (Noah Silver), the family is left reeling without him … They don’t own the waves. Adapted by Karen Croner from Joy Nicholson’s 1997 novel, this is a movie that wears its heart on its very gorgeous sleeve. It’s jarringly true about relationships, rivalries and the difficulties of growing up in a family centred on a depressive narcissistic mother (hands up if this is familiar…) whose fragile ecosystem falls apart when her husband’s philandering finally results in an irreparable schism. Her overdependence on Jim leads to tragedy. Australian actor Fern is tremendous as the outwardly social guy: he is overwhelmed by anxiety and vulnerability, stunningly exposed when Medina falls for Adrian. Monroe and Garner are tender and pensive, unhinged and dangerous, respectively, in this revelatory film about how people affect each other and lives fall apart without anyone caring about the impact of their selfishness. Moving? Hell yeah. But the satirical undertow strengthens the narrative with its depiction of the social setting, Medina’s voiceover and the upwardly mobile tropes hinting at the inevitable outcome. Star spotters will be interested to know that surf dude Chad is played by Mel Gibson’s son Milo; while another Aussie, Thomas Cocquerel plays his mate Mildew – anyone looking for a new Bond? Look no further than this cast! Directed by Brendan Malloy and Emmett Malloy and beautifully shot by Giles Dunning. Everybody doesn’t get to go bonkers
Go find your balance. Daniel Larusso (Ralph Macchio) moves West to Southern California with his embarrassing mother, Lucille (Randee Heller) and quickly finds himself the target of a group of school bullies led by Johnny (William Zabka) who study karate at the Cobra Kai dojo led by psycho Nam vet John Kreese (Martin Kove). Fortunately, Daniel befriends Mr. Miyagi (Noriyuki ‘Pat’ Morita), an unassuming Okinawan repairman at his apartment complex who just happens to be a martial arts master himself. He winds up doing a lot of chores in exchange for karate lessons and starts putting together his own ideas about life from Mr. Miyagi’s aphorisms. Unfortunately, Daniel likes a lovely upper class girl at school Ali Mills (Elisabeth Shue) who also happens to be dating Johnny, who simply continues his campaign of bullying. Mr. Miyagi takes Daniel under his wing, training him in a more compassionate form of karate (Goju) and preparing him to compete against the brutal tactics of Cobra Kai … Come from inside you, always right picture. This fusion of Carrie with E.T. the Extra-Terrestrial and Rocky (which shares director John Avildsen) is equal parts feel-good morality tale and teen fantasy, with a transformation story and a nice boy at its heart. Daniel is played beautifully by Macchio – goofy and cute, irritating and charming, all at once – while the bullies are clichés (maybe they all are) and the girl is just super nice. A little more heft is given the story with Daniel’s resentment at not having been given a choice at the house move, putting him into the path of these violent classmates whose actions are worthy of adult vigilantes (and numbering Chad McQueen in their midst); and Mr. Miyagi’s life isn’t a bed of roses either as Daniel discovers when he finds him drunk and reads a letter. If you’re not up and cheering at the pleasing, rabble-rousing ending then you should probably check your pulse. It’s too long, but it’s pretty wonderful. And the soundtrack is fantastic. Written by Robert Mark Kamen. Wax on, wax off
What would Vin Diesel do? Julie (Kathryn Newton), Kayla (Geraldine Viswanathan) and Sam (Gideon Adlon) are high school seniors who make a pact to lose their virginity on prom night. Julie’s mom Lisa (Leslie Mann), Kayla’s sports-obsessed dad Mitchell (John Cena) and Sam’s father, the narcissistic Hunter (Ike Barinholtz), are three overprotective parents who flip out when they find out about their daughters’ plans. They soon join forces for a wild and chaotic quest to stop the girls from sealing the deal – no matter what the cost ... I’m gonna cock block those motherfuckers! An unexpected pleasure, this, as paranoid parenting meets teen rites of passage head-on in an enlightened sex comedy written by Brian Kehoe and Jim Kehoe – with the parents learning life lessons and having some very raunchy full frontal sexcapades of their own while the kids try to navigate complicated levels of awareness of their own needs. The quest/chase narrative by the parents carrying out surveillance on their kids while getting to grips with their own obvious shortcomings is clever. Produced by Seth Rogen and Evan Goldberg, this is directed by Kay Cannon with some very well managed performances. Literally. Just watch Gary Cole and Gina Gershon going for it blindfold! A rare generation gap movie that gets so much so right. Your greatest friendships are based on shared experiences
Les membres du groupe de sensibilisation ACT UP Paris demandent au gouvernement et aux sociétés pharmaceutiques de prendre des mesures pour lutter contre l’épidémie de sida au début des années 90. Nathan (Arnaud Valois), nouveau venu dans le groupe, voit son monde bouleversé par Sean (Nahuel Pérez Biscayart), militant radical et cofondateur de ACT UP, qui jette ses dernières forces dans la lutte alors qu’il fait face à Le diagnostic de ‘poz’ ayant été infecté par son professeur de maths marié quand il était au lycée lors de sa première rencontre sexuelle … À première vue, ce n’est pas une prémisse attrayante pour un film. Mais ce qui suit est un travail passionnant, impliquant un travail mêlant intimité et conscience sexuelle et action politique, interprété avec un réalisme de type naturalisme et documentaire qui dépeint avec vérité les problèmes de la participation d’activistes et la question de Big Pharma, contrastant tragédies personnelles et action Dans la rue, la poussière disco se mue en images du virus du SIDA dans le sang, réalisme magique rencontrant une honnêteté sans faille. Les réunions du groupe sont entrecoupées de marches, de visites non sollicitées à Melton Pharm, dont les produits sont toxiques et causent la mort, et de danses dans les clubs. Sean et Nathan partagent leurs histoires alors qu’ils s’impliquent dans l’amour et que leurs amis meurent. Le déclin de Nathan est dépeint avec sympathie et la présence sur son corps suscite une révérence et une humanité qui ont rarement été capturées au cinéma: littéralement, il s’agit du corps politique. Passionnant, enthousiasmant, émouvant, c’est une œuvre profonde du cinéma politique et de la réalisation de films de bravoure. Brillamment réalisé par Robin Campillo qui l’a co-écrit avec Philippe Mangeot. La photo aérienne de Paris la nuit divisée par une rivière qui coule du sang (teintée en rouge pour la Journée internationale du sida) n’est pas oubliée. Essentiel.
It’s not my fault you don’t have a life. A mass hysteria of unknown origins causes parents to turn violently on their own children. Carly (Anne Winters) is a selfish teen and her young brother Joshua (Zachary Arthur) is obsessed with superheroes. They are the children of permanently disappointed Brent (Nicolas Cage) and Kendall (Selma Blair) whose dreams of a good life are hanging on a thread of yoga and a pool table. At school a TV signal seems to rewire the teachers’ brains and the students are in danger. Meanwhile Kendall attends the birthing room at the local hospital where her sister is having a baby but she tries to kill it when the machines go down. Kendall races home where Brent is losing it and the children are taking refuge in the basement … It’s like they’re waiting for a buffet. A funny take on parenting during a mass midlife crisis in the ‘burbs, this nods to Poltergeist in the TV white noise that seems to trigger violence in all the moms and dads. There’s also a reference to Night of the Living Dead as Carly’s cool boyfriend Damon (Robert T. Cunningham) happens to be the African-American who rocks up on time to help when things get seriously violent. Curiously the action sequences are not particularly well tooled but things get more amusing when grandpa (Lance Henriksen) arrives to let his son know how much he cares for him. Blair is great as the cool mom who protects her sister’s newborn one moment and tries to gas her own kids the next. Cage (naturally) relishes the role of the man bemoaning his cottage cheese ass, reminiscing over a teenage car crash when his topless girlfriend gave him a lap dance. Doesn’t quite hit all the notes needed for cult classic status but the titles are fabulous in a Seventies-trash homage sorta fashion with Dusty Springfield’s Yesterday When I Was Young giving us absolutely no idea of what’s about to unfold: an ode to power saws. Written and directed by Brian (Crank) Taylor. I used to think my parents’ divorce was the worst tragedy of my life but ironically that just doubled my chances of survival!
Live a dangerous life. Teddy (Jack Kilmer) and his best friend Fred (Nat Wolff), are California teens who like to drive around and get stoned. Shy virginal April (Emma Roberts) is at soccer practice when her friends laugh about their coach Mr. B (James Franco) having a crush on her. Mr. B asks April if she can babysit his son and he then offers her the position of striker on the school team. Fred and Teddy walk back to their car talking about what they would do if they got in a drunk driving accident. Teddy says he would drive away even if it was his crush, April. He crashes into a woman and drives off, with Fred demanding he be dropped off. When Teddy reaches home he’s arrested and winds up doing community service in a library where Fred gets him into trouble by drawing a penis on a children’s book. Fred has sex with Emily (Zoe Levin) who is infamous for giving blowjobs to boys. Mr B. confesses to April that he loves her. After a soccer game he asks her to his house but his son is at his ex-wife’s and they have sex… I wish I didn’t care about anything. But I do care. I care about everything too much. Gia Coppola’s writing and directing debut, adapting a set of short stories by James Franco, is disturbing in terms of its content but not its presentation. It’s as though these teens’ experiences were being told through a fuzz of weed and alcohol to which they all have easy access, presumably courtesy of the extraordinarily lax parents and step-parents at arm’s length from them (Val Kilmer plays Roberts’ stepfather as a wacked out stoner. Her mother isn’t much better). When Fred’s father (Chris Messina) almost comes on to Teddy, sharing a joint with this troubled kid, we know we’re in melodramatic territory, even if it’s slowed down. That leads to Fred’s own questioning of his homosexuality when he reasons that getting a blow job from a boy isn’t any different. Roberts as the girl who is fooled by the high school sports coach is terribly good, registering every shift in her circumstance with precision. The sex scene with Franco is very sensitively shot: this is basically a rape after all. Wolff is fine as the boy as spinning top, unsure of who he is but convinced he needs to set everything fizzing, a hormone wrapped up in dangerous levels of immaturity and sociopathy. Young Kilmer (son of Val and Joanne Whalley) is as unsure of his character as his character is of his purpose, constantly being led astray. The film has its most impressionistic performance as this boy struggles to do the right thing. His single mom just gives him love if hardly any guidance never mind issuing deterrents – this we learn is his second rap and adults are keen to keep giving him chances, just like he allows Fred to get him into jams. These kids are testing everyone’e limits with no indication of what might be permissible beyond their marijuana fume-filled homes. It’s no surprise when the film ends on the road to nowhere: this is not a narrative of punctuation. Peer pressure is an eternal problem, but amoral parenting sucks the big one as this amply demonstrates it in its many shades of hypocrisy, corruption and cynicism in adult behaviour. A fascinating showcase for several second- (and in the case of Coppola, third-) generation Hollywood talent in a film which literally blames the parents. I’m older and I know that there aren’t a lot of good things around, and I know that you are really good