Kin

I’ll bite. You take a broken-home family drama, throw in one single out of place science fiction element that has just enough snazzy gadgetry to make it something shiny and different, and you’ve captured my interest.

Elijah (Myles Pruitt) is a fourteen-year-old boy growing up adopted by a white family in a working-class part of Detroit. He’s a good kid at heart, but we’re taken down the road of a typical fall-between-the-cracks story when he’s suspended from school for fighting, is caught stealing to make ends meet, and is all but neglected by his hardline authoritative single dad with a heart of gold, played by Dennis Quaid.

Elijah’s whole world is turned upside-down when his older brother, Jimmy (Jack Reynor) is released from prison, and he finds a supercool ray gun while scavenging for scrap metal. The owners of the weapon as well as frenemies of Jimmy begin chasing the brothers down, and they enjoy some familial bonding as they road-trip across the country. Along the way, they pick up a wayward stripper who doesn’t seem to really have a place in the film played by Zoe Kravitz.

If you’re not buying what I’m selling, I don’t blame you. Every aspect of the film was poorly done with the exception of two. Firstly, James Franco channels his inner Travis Bickel as Taylor, a psychopath chasing Jimmy straight out of Detroit with no regard for law enforcement or injury to himself or his posse. Franco excels at exaggerated characters, and this performance is severely entertaining. Secondly, there is a brief, five-minute window into another realm near the end that brought me to the edge of my seat, then lost my attention just as quickly when it ended.
Presented as a twist, we get a fantastic ending… to a different film. The remarkably ordinary narrative is seemingly paused and amped up to some out-of-body experience complete with the best characters and actor in the entire film, and then it vanishes, like a dream, resuming its disappointing run to the credits.

This appears to me to be the type of film that probably looked pretty cool on paper. Written and directed by Jonathan and Josh Baker, there was clearly some unfulfilled childhood fantasy or traumatic experience in their past that led in part or in whole to the creation of the film. In their defense, some of the visual effects were pretty cool, and there were several subtle homages to 1980’s and 1990’s films of the genre that may or may not have been conscious decisions, but that doesn’t make this an enjoyable experience as a whole.

“Kin” left me feeling both betrayed and confused. For about five minutes near the end, this was nothing short of spectacular. Hinting at what might have been, and reminiscent of some of the better sci-fi films in recent memory (“The Matrix,” “Looper), the transition from mediocre to special was more abrupt than you typically see on-screen.

Myles Truitt is a solid young actor, but this wasn’t a great use of his potential. There was an awkwardness during the strip club scene, or with Kravitz’ character in general that I couldn’t really shake and there was also a limited range of emotion displayed, but I suppose that might have been the character. There was a lot more that could have been done with the young protagonist.

Michael B. Jordan shows up just in the nick of time to salvage what could have easily been one of the worst films of the year, instantly freezes it, and moves it into territory that has massive potential if the film makers had just found that magic ninety minutes ago.

I ultimately wanted more show and less tell from the climax, but I would be lying if I said I thought there would be any coming back from the first few acts. It’s not for a lack of trying, and I always respect and admire original ideas in film, especially in the sci-fi genre, but the execution was doomed from the start. If you are looking for a film in this realm that did hit the mark, see 2016’s “Midnight Special.” 4/10.

The Happytime Murders

You wouldn’t know that this film has any ties to the legendary Jim Henson by the sheer amount of raunch and filth it contains. It’s this precise filth that attracted me to it in the first place, as a world of puppets and humans engaging in lewd behavior isn’t something you see on the screen very often. I have a juvenile sense of humor, and dirty puppets was one of the best skits on Dave Chappelle’s show back in the late 1990’s. The red band trailer shows potential for a fantastic blend of obscenity and humor, but unfortunately, the humor ends with the trailer. The obscenity continues.

In an alternative reality, humans are living alongside Muppets, who are naturally second-class citizens. When a string of murders targets the cast of an old kids show called “The Happytime Gang,” private investigator Phil Philips (voiced by Bill Barretta) teams with his old partner, Detective Edwards (Melissa McCarthy) to solve the caper. As the murders pile up, the two become deeper entrenched in the mystery, ultimately landing right in the middle of the crime spree themselves.

The fun, upbeat tone of the absurdity is minimized by the vulgarity, particularly the unnecessary language and in-your-face puppet sexuality. The film falls to such depths of depravity that we even have a Sharon Stone interrogation scene, a la “Basic Instinct.” But with a buxom Muppet. It just didn’t feel funny; it was kind of gross.

Melissa McCarthy was a solid choice for the role of Detective Edwards, but there was too bitter of an edge to her character. She had been burned by her partner’s mistake years ago, and couldn’t get the chip off her shoulder, which made her a bit of a Debbie Downer. She shines brightest in scenes where she is excited and happy (high on sucrose), or bantering with Muppets in a witty repartee of insults and comebacks. There just aren’t enough of these scenes to make up for the rest of the film’s shortcomings.

Director Brian Henson (yep, it’s that famous Muppeteer Henson’s son) has a new production company, aptly named “Alternative Henson” and it ushers in a new generation of edgier, R-rated puppeteering. Maybe I’m getting old, but there is something sacred and nostalgic in my mind about the Sesame Street brand. So innocent and child-centric. To bring a sharp edge to it just doesn’t quite work. At least not the way it was done here.

Writer Todd Berger makes his feature debut with this commendable film noir that really had potential had it gone another direction. I like the idea of a world where humans and puppets co-exist, and I like the story of a murder mystery. I even like the tough, no-nonsense Muppet detective working with a traditional comedian to solve the mystery. However, this could have been done with a PG rating and attracted a much wider audience (more money, potential franchise). It could have easily maintained the humor while preserving some dignity.

The tagline of Sex. Murder. Puppets. Pretty well sums the film up, but I would add nonsense and gratuitous to the advertisement. The best part of the film was the end credits behind-the-scenes look at the making of the film, but I shuddered in embarrassment for the people in green-screen suits simulating sex with their puppets. Just plain weird, but maybe I’m not the target demographic (if not me, then who is?)

“The Happytime Murders” may tickle your funny bone if you’re in the right mood, but I guarantee it would have made a bigger box office splash if they had stuck to a PG rating. One of the worst films of the year so far. 3/10.

The Meg

The cultural impact of “Jaws” can’t be overstated. Any child of the 80’s remembers frantically paddling from the deep end, thinking there was a shark lurking somewhere below them in the hotel swimming pool. It brought a frightening new genre into clarity from which there was no turning back, and for that, we thank you, Steven Spielberg. Then in the 1980’s, we experienced the undersea perils of discovering prehistoric creatures, or deep sea phantoms (“Leviathan,” “Deep Star Six,” “The Abyss”). “The Meg” harkens elements from both, but does really nothing well in the process.

The film begins mid-rescue, where we meet Jonah (biblical reference much?) played by the ever-swarthy Jason Statham. He’s saving the day in a stranded submarine when an unfortunate bit of foreshadowing forces him to make a deadly choice, and it clearly haunts him, because five years later, he’s an alcoholic beach bum living off the grid in Thailand. Meanwhile, billionaire Morris (Rain Wilson) has financed a state-of-the-art marine biology lab that unleashes a Megalodon (or more… no spoilers here) into the South China Sea. From there, we experience several poor choices followed by mishaps and unexpected carnivorous predatory behavior. Lots of boats and equipment is destroyed, and everyone goes swimming. Then the survivors hatch a ridiculous plot to outsmart the nearly hundred-foot-long beast, but can they do it before the Meg finds a snack on one of the most packed beaches in Asia? You’ll have to shell out the money to find out.

They say filming on and underwater is one of the most challenging and costly locations, and I can see why. Sharks are unpredictable creatures, so they must have spent a bunch on safety while filming. Wait, my sources now tell me it wasn’t a real shark. It was computer generated, so that makes me feel better. Kidding aside, cameras and water just weren’t ever meant to mix, and although there are some beautiful shots of underwater scenery, anytime there is action that goes above and below the surface, there is a mess of transition. Director Jon Turtletaub (“National Treasure”) doesn’t do anything particularly well or poorly, but like the shark in the film, his eyes are bigger than his stomach. He bites off more than he can chew by allowing obvious issues to remain unanswered (science, decompression, gravity), but that may be by design to fit the whole cheesy marketing angle.

With a reported budget of $150 million, it may make its money back, but most of that will be overseas. Just like last month’s “Skyscraper,” the film is seeking a wider audience by taking place in Southeast Asia, and casting popular Chinese actress, Bingbing Li, in a lead role. It’s a tremendously smart move, but doesn’t improve the quality of the film at all. Throw in the inevitable bad reviews, and this will be a forgettable project.

I will be the first to admit I was wrong. I thought that this would be upbeat, fun, maybe some witty dialogue and some cool shark-bait situations. Not so much. Dialogue was awful, jokes were worse. Sexual chemistry was awkward and unnecessary, and the characters were so vapid that there wasn’t really any reason to hope for their survival.

Remember what made “Jaws” so great in the first place? It wasn’t seeing the giant mouth open, with the razor sharp teeth and shreds of freshly chewed flesh dangling. It was the anticipation of seeing the giant mouth. That, and the three lead characters establishing rapport, shared fear, and engaging in pure survival together. Robert Shaw’s monologue about the tiger sharks in the water during World War 2 is still one of the best examples of cinematic storytelling I can recall. “The Meg” could have used a little of that. 4/10.

Eighth Grade

I can relate. Not that I’m a thirteen-year-old girl, but I am an eighth grade teacher by trade, so my daily interactions nine months out of the year are with thirteen year-old children. Some think I’m crazy for putting myself in a room with thirty of them, but I love the unpredictable nature of adolescent behavior and the challenges that come with trying to negotiate the hormonal changes every day. That, and I have a sense of humor that seems to be hilarious to that audience, which is a nice boost to my own ego.

Elsie Fisher is a revelation. Just a shade older in real life than her eighth grade character in the simple, yet appropriately titled comedy, she positively shines with a brazen confidence that is rare, even in adult actors. It’s the kind of performance that even in August should earn her a place in the awards discussion for performances. Her authenticity seems almost masterful; difficult to tell if she’s acting or if it’s genuine. She is the focal point of the film, and although nothing extraordinary transpires, you will leave the theatre rooting for her to have the high school experience that she so desperately yearns for.

Elsie plays Kayla, an only child to a single father coming of age in everywhere, USA. She’s an eighth grade girl with just a week left before the summer that will initiate her into the world of high school. She is self-conscious, melancholy, anxious, and mostly searching for her place in the social circle of her classmates. And then there are the boys. So awkward. The final week of her school year comes and goes, and with it some memorable (and forgettable) moments as she tries to break out of her shell in spite of the ridiculous adults around her, and the typical pressures facing teens by their peers.

Writer/director Bo Burnham (bit parts and various stand-up comedy) must have some deep, dark skeletons in his closet. In spite of the upbeat, positive overall message, there is a pervasive sense of discomfort that permeates every scene with a visceral sharpness that anyone with an embarrassing memory burned into their brain from when they were thirteen can relate. I know I can. It makes for a very personal experience, which completely nails the objective, and for that I commend his approach to the film. But it’s also the kind of film that strikes like a flash in the pan. I wouldn’t expect this kind of poignant success again from Burnham.

It’s a shame that the film is rated R, but it wouldn’t be nearly as effective if it were toned down. Certainly there will be an audience of younger viewers who will see this with their parents (I would recommend), but it’s a bit ironic that it is suggested that you should be over seventeen to see this film, as it is so relevant and meaningful.

What makes this film so watchable is that there isn’t anything intended to wow the audience. There isn’t anything cliché, or any unforeseen twist to make the film stand out. It’s simply a week in the life of an eighth grade girl. With fantastic attention to detail with regard to the influence of smartphones and the generational differences with the adults in her life, it’s heartfelt and heartbreaking at the same time for anyone who grew up in a simpler time.

Low budget and in limited release currently, strong buzz will propel this film to be one of the more successful stories of 2018, and although it is an independent comedy (a tough genre to make the big bucks), it is one of the freshest and most rewarding cinematic experiences of the year thus far.
Go see eighth grade if you loved middle school (I actually did), hated middle school (most people I know did), or were indifferent (is there anybody out there?) It’s worth your time. 9/10.