Villains is the story of a couple of petty criminals who stumble into a nightmare when they meet a pair of real “villains.” It stars Bill Skarsgård and Maika Monroe as the young couple, with Burn Notice’s Jeffrey Donovan and The Closer’s Kyra Sedgwick as their older counterparts. Unfortunately, a cast of competent actors couldn’t save the patchwork plot, plodding pace, and confusing characters.
When stickup artists Mickey and Jules (Skarsgard and Monroe) run out of gas after their latest heist, the couple breaks into the only nearby house looking for a new ride. They complicate their plans when they discover a young girl tied up in the house’s basement. When they confront the house’s owners, George and Gloria (Donovan and Sedgwick), the younger couple become prisoners themselves. Mickey and Jules must choose between their own safety and the safety of the girl.
Photo via IMDB
The story of Villains covers worn ground, especially in the wake of critically acclaimed Don’t Breathe. Another film where burglars break into a house only to get their comeuppance from the house’s frightening owner. Even with Villains’ liberal use of cliche to build the plot, the story becomes unclear and unfocused when it tries to build momentum. Don’t Breathe has Stephen Lang’s terrifying blind homeowner as an antagonist. George and Gloria, in contrast, are mostly just wacky, or perhaps eccentric. Sedgwick’s Gloria is so ambiguously “crazy” that she nearly stops being a character. Jeffrey Donovan fares better, bringing a true-killer edge to his persona that makes him fun to watch, but awkward writing hampers his performance.
The tone of villains is stilted. It tries for horror/comedy, or perhaps a “black comedy,” but it mostly toggles between the two without managing to build either. One scene near the middle drags, taking up 10 full minutes in a film with a runtime under 90 minutes. It feels less like a genre fusion and more like genre indecision.
The writing aside, the film is easy on the eyes. The sets are detailed and fun, the strange 1950’s vibe lending itself well to the specific aesthetic of the film’s “villains.” The use of color, whether in set design, lighting, or clothing, is also excellent, building tone throughout. I wish as much time and care had been spent on the writing.
Looking for the perfect Thursday night plan? Catch Throwback Thursday Movie Night in Union Square Park before summer ends. Next week, August 8th, they’ll be showing Ghostbusters. If you’ve seen it, you can always go back for another watch. If you haven’t, you can now. I went to their showing of Space Jam yesterday, so I’m here to tell you how you (yes you) can turn a free movie into a full night with your friends, family, or with strangers.
Throwback Thursday Movie Night is a part of Citi Summer in the Square, an umbrella event with free entertainment throughout the week. August 8th has workout classes (Yoga, Boxing, and Tai Chi) from 7-10am, and then children’s programming from 9-5. 5 pm is when the adult-friendly fun starts, with a performance of Dueling Drummers with the NYU Steel Band. There are also more workout classes going until as late as 8:30.
Union Square Park is one of the most accessible parks to get to. The 4, 5, 6, L, N, Q, R, and W, all meet at the park. There are no tickets needed, just like the rest of Summer in the Square. Movie Night isn’t where you think it would be. Maybe it just wasn’t where I thought it would be. It’s on the North end of the park, opposite from all of those steps where people sit and watch smaller performances.
Throwback Thursday Movie Night. Photo courtesy of #summerinthesquare.nyc
The website says that Movie Night starts at 6:30 pm, but that’s just when you can start gathering. It’s also when they start offering food. Union Square has delicious food all around it, but Summer in the Square is partnered with Bocce USQ, an Italian eatery, which will be selling seasonal pizzas in the park. There is also free Honest T, popcorn (Pret A Manger), and snacks from the local Whole Foods, while supplies last.
There is nothing wrong with heading straight to the movie, putting down a blanket, and hanging out with pizza and snacks until Ghostbusters starts at dusk (which will be 8:33 pm on the 8th). Likewise, you have plenty of time to do the 5:30 pm Dance Cardio and the 6:30 pm Cardio HIIT before sitting down for pizza and a movie. But Union Square is also a hub for great shops, restaurants, and reasonably-priced food carts. Feel free to wander, as long as you’re back in time for the movie.
The movie experience itself is pretty low maintenance. The screen is a giant inflatable monstrosity, so you’ll have no trouble seeing the film no matter where you sit. It’s free-for-all picnic seating, so bring a blanket to sit on. Limited space is available, but there was plenty of room when my friends and I arrived close to dusk.
Last note: To the volunteer who danced through the opening Space Jam theme song, you made our night.
Very few big titles are scheduled for release this August. There are maybe half the number of movies you’ll get most other months, and everyone’s already dropped their summer blockbusters. That’s no reason, though, to avoid the movies. Here are five movies to watch that can help us all get through the end of the summer and into the fall movie season.
Photo courtesy of IMDB.com
1. Fast and Furious Presents: Hobbes and Shaw (August 2nd)
I love the Fast & Furious series. I saw the first one in theaters with my dad in June 2001. For those out of the loop, The Fast and the Furious (2001) follows an undercover cop hunting street racers who are stealing DVD players. The series has ballooned since then. The 8th installment, “F8 of the Furious” follows those same street racers (and their friends) as they hunt down an international cyberterrorist who is trying to start a nuclear war.
Fast & Furious Presents: Hobbs & Shaw follows two former franchise antagonists (Dwayne Johnson, Jason Statham) as they attempt to stop a villainous supersoldier played by Idris Elba.
Hobbs & Shaw will likely be in that same vein: grumpy anti-heroes who are really good at fighting and driving cars, but that’s okay. This isn’t going to be an oscar-winner, but it’s not supposed to be. It’s big personalities, action stars (everything Elba touches is gold), and a lot of cars improbably causing things to explode. What’s not to love?
I was skeptical, so I get it. Basing an actual movie on this episodic children’s show seems pretty ridiculous. It even has a villain who is stopped by firmly asking him to stop stealing. It even got parodied years ago as a fake gritty reboot trailer. But the REAL trailer shows exactly what I want to see in a movie like this: it looks fun. They aren’t trying to pack the film with big names, though it has several.
Dora follows the titular Dora (Isabela Moner) as she and her new high school friends hunt down her kidnapped parents and (as one may expect) search for a lost city of gold. It is based on the popular television show Dora the Explorer, a children’s show that shows a precocious child, her monkey friend Boots, and a bunch of talking, singing, objects in a series of adventures. The show also teaches basic words in Spanish.
James Bobin, director of the two most recent muppet movies and the cult hit show Flight of the Conchords, seems the perfect choice to lead this adventure. With the Muppets, Bobin delivered all-ages delights from a children’s show (though there’s more precedent with Muppets). Flight of the Conchords delivers its own kind of childlike whimsy, though more adult-oriented. It will be interesting to see how much of that dry kiwi humor makes it into Dora.
If you’re looking for something a little more serious than fast cars and jungle adventures, August 9th’s Brian Banks has you covered. Based on a true story, it follows former teen football star Brian Banks (Aldis Hodge) as he tries to rebuild the life a false crime accusation destroyed, while also seeking justice.
The trailer promises intense emotions and withering social commentary on our criminal justice system and life after prison. Everything about this movie is going to be controversial to someone. Why this is being directed by Tom Shadyac–the guy with Ace Ventura and Evan Almighty under his belt and seems to have taken a long directing break between 2007 and 2018–is beyond me. The writer, Doug Atchison, who has taken an equally long hiatus, also provokes questions.
It’s 6th grade Superbad. Seth Rogan is even producing it. If you liked Superbad (I did), this is a film for you. Like Rogan’s works, the cast is packed with big actors in small roles, and humor stemming from the disconnects between people of different ages (and likely genders). It’s also expected to be the most popular release of the month.
Incoming 6th graders Max, Thor, and Lucas (Jacob Tremblay, Brady Noon, Keith L. Williams), get invited to their first middle school party at the end of their elementary school career. Nervous about girls and popularity, they set out on wacky hijinks in an effort to obtain both, while learning to grow up enough for the next challenge.
The writing team of Lee Eisenberg and Gene Stupnitsky (also the director), have worked together on The Office, as well as films like Year One and Bad Teacher. This is Stupnitsky’s first directorial experience since some episodes of The Office in 2009.
Playmobil is the story of Marla (Anya Taylor-Joy), a young woman who must enter the magical world of Playmobil to save her brother (Gabriel Bateman) who has become trapped there. During their journey, they encounter colorful characters voiced by (seemingly) every actor who wasn’t already working on another project.
I have a rule about movies, and about conclusions. It’s called the “Lego Movie Rule.” I never say that a movie concept is destined to fail before I see the film and hear some reviews. If the name isn’t apparent, it stems from some very loud and negative opinions which I shared upon discovering that a movie about Legos was in the works. I, like many, was proven wrong and both Lego Movie and the Batman spinoff were delights.
That being said, I will express skepticism. All of two critics have put up reviews, and those reviews don’t look too good. Will this be an audience darling and critical failure? Have these critics jumped the gun? The director, Lino DiSalvo, is a long-time animator, and this is both his first directing credit and first writing credit. The writers have more credits, but hardly anything you might recognize. The cast is filled with big names, but that doesn’t indicate much more than the amount of funding invested. After all, actors need to get paid too.
The acclaimed Silent Films / Live Music series, curated by WNYC’s John Schaefer, returns to the Winter Garden at Brookfield Place (BFPL) for three nights from Wednesday, January 30 through Friday, February 1 starting at 7:30 p.m. The winter film series includes three unforgettable evenings filled with classic silent film screenings accompanied by live music. Presented by Arts Brookfield, these performances will bring new life to films with scores performed under the glass atrium at BFPL, the shopping, dining and cultural destination along the Hudson River in Lower Manhattan.
The series will kick off with renowned American guitarist and composer Marc Ribot’s sound accompaniment to 1920s classic, ‘The Kid.’ Next on the roster is the U.S. premiere of Nosferatu by Irish composers Irene Buckley and Linda Buckley. Alloy Orchestra concludes the series by bringing the the world’s first gangster film, Underworld, to life with a new score. Popcorn will be given away starting at 5:30 p.m. and will be available while supplies last.
FILM SCHEDULE:
January 30: The Kid (1921) with Marc Ribot – “The Kid” is an American silent comedy-drama film written by, produced by and starring Charlie Chaplin, and features Jackie Coogan as his adopted son and sidekick.
January 31: Nosferatu (1922) with Irene and Linda Buckley – Irish composers, sisters Irene and Linda Buckley present a reimagined score to the gothic classic Nosferatu for organ, electronics, viola and cello.
February 1: Underworld (1927) with Alloy Orchestra – “Underworld” was the film that launched Josef von Sternberg’s very successful career. A favorite of audiences and critics alike, Underworld is credited as the first gangster film, and the model for the popular genre.
“Arts Brookfield is excited to present a timeless collection of films by award-winning directors to Lower Manhattan, ” said Elysa Marden, Vice President, Arts Brookfield. “We are delighted to provide a space for visitors to enjoy music and film in an inspired environment.”
Roman Holiday (1953) dir. William Wyler. Courtesy of behindtheseens.wordpress.com.
Some Like It Hot (1959) dir. Billy Wilder. Courtesy of tvbomb.co.uk
Are movie nights outdated in coupledom? Who said primetime date nights were reserved for Fridays and Saturdays? Unwind after your least favorite day of the week because it’s that time of year again–for outdoor movie nights. Bring your #ManCrushMonday to Greek bar-restaurant, Death Avenue’s Movie Monday.
Seating starts at 7:30 p.m., and films are screened by 8 p.m. Attendance starts at $44 per person and $88 per couple. You and your bae can enjoy a romantic night under leafy bamboo and hanging lanterns, on a patio garden located down in Chelsea, Death Ave is adjacent to the High Line: 315 Tenth Ave between 28th and 29th Streets (212-695-8080, deathave.com)
Not your standard movie experience, Movie Monday at Death Avenue offers every couple Shared Spreads (eggplant tapenade, cucumber and roasted garlic yogurt, hummus,etc.) and a signature Greek Cheese Tasting, served with a bottle of wine or growler for two.
Check out the full-film lineup below!
May 4th:Reservoir Dogs; dir. Quentin Tarantino May 11th:The Good, the Bad and the Ugly; dir. Clint Eastwood May 18th:Taxi Driver; dir. Martin Scorsese May 25th:Jaws; dir. Steven Spielberg June 1st:A Streetcar Named Desire; dir. Elia Kazan June 8th: Some Like itHot; dir. Billy Wilder June 15th: Notorious; dir. Alfred Hitchcock June 29th:Annie Hall; dir. Woody Allen July 6th:Who’s Afraid of Virginia Woolf?; dir. Mike Nichols July 13th: One Flew Over the Cuckoo’s Nest; dir. Miloš Forman July 20th: The Big Lebowski; dir. Joel & Ethan Coen July 27th: Last Tango in Paris; dir. Bernardo Bertolucci August 3rd:Midnight Cowboy; dir. John Schlesinger August 10th: Sunset Blvd.; dir. Billy Wilder August 17th: Vertigo; dir. Alfred Hitchcock August 24th: Roman Holiday; dir. William Wyler August 31st: Bonnie and Clyde; dir. Arthur Penn September 7th: 12 Angry Men; dir. Sidney Lumet September 14th: Pulp Fiction; dir. Quentin Taratino September 21st: Raging Bull; dir. Martin Scorsese September 28th:The Sting; dir. George Roy Hill October 5th: An American Werewolf in London; dir. John Landis October 12th:Night of the Living Dead; dir. George A. Romero October 19th: Psycho; dir. Alfred Hitchcock October 26th: Poltergeist; dir. Tobe Hooper November 2nd: The Shining; dir. Stanley Kubrick
Cinema has the potential to be a limitless art form. The only bounds filmmakers have in bringing a vision to life is time and dedication, with time being perhaps the most binding condition. A story might unfold over a number of years, or even decades, but if the filmmaker only has a few short months to shoot, then he/she must find ways around this constraint, such as elaborate makeup or different casting for the same character at different ages. Real time is one of the few things cinema cannot accurately convey.
However, for every challenge in art, someone comes along to further push the boundaries of what’s possible. Richard Linklater is one of those auteurs. Linklater previously experimented with cinematic time frame in his Before trilogy, illustrating the lives of two people in love with each film separated by nine years. Linklater is a pioneer in actualizing real time in his films, but he has taken that achievement even further with his latest release, Boyhood.
Linklater’s odyssey was filmed over a period of twelve years, and chronicles the life of Mason (Ellar Coltrane) from age 6 to 18. In the span of just under three hours, viewers can experience the most crucial developmental period of a child’s life as he makes his way from elementary school to his freshman year in college. Along the way we also see the journeys of his older sister and divorced parents, and every character is played by the same actor throughout the twelve year production.
There has never been any cinematic experience quite like Boyhood. Life is full of dramatic circumstances, especially when growing up in a broken home, but no situation in the film feels contrived. Each plot point feels just as real as Mason’s change from a baby-faced child to a scruffy-bearded adolescent. From watching Dragonball Z as a kid to his first serious relationship as a young adult, no stone is left unturned in this poignant exploration of youth.
Linklater took on a major risk by initiating this project. Twelve years to film one movie must be a logistical nightmare. The actors all aged along with their characters; their own ‘real’ lives were unfolding during the project. The number of challenges that could come along during this undertaking are insurmountable, but Linklater and his stellar cast all faced the endeavor head on and came out with a true work of art.
Boyhood is an undeniable masterpiece. Decades from now critics and cinephiles will look back on this film and recognize it as a generational identifier; something that will go on to define the way future contemporaries look back on this era and the personalities produced in the Millennial generation. A new watermark for the potential of cinema has been set.
