That_Seventies_Guy

Art. Art is life is art is complicated is art is... It's existed from the first footprints we as humans left in the sand. It encapsulates our culture and behaves as a total entity and form of energy that changes, and changes the open mind. It's existence is transcendent and can be so in various instances within itself. This fact, makes the art forms about art very intriguing and cerebral, and most assuredly will offer something for anyone willing to partake. One such example of this, in every respect stated thus, is the new motion picture, compellingly titled "Velvet Buzzsaw" from Netflix and written/Directed by Dan Gilroy (Nightcrawler). The film, which opens this weekend, is a psychological horror/thriller of high intellectual proportions; It's intelligent, crafty and unlike most of it's peers, manages to act as an adult horror movie while also giving it's audiences something to think about. The story is a full-blown ensemble adagio, surrounding a community of art enthusiasts who come in to some form of connection with a collection of art from a recently deceased hermit, named Dease. Those who come in to it's orbit, soon start to experience their lives taking a menacing turn. Writer/Director Gilroy gives the audience his trademark anti-ageist casting of wife Rene Russo, stellar as always, the role of a feisty, strong and driven female of her certain age, and still allows her to be seen as sexy, vibrant, and relevant, while pairing her with her Nightcrawler co-star Jake Gyllenhaal (who also does a great job) as a sexually confused art Critic. They are joined in great unison by Toni Collette - in a fierce turn - who steals every scene she's in as a zesty, and social art agent, Zawe Ashton, who gives a harrowing performance as an opportunistic young woman, drawn to the financial benefits of dealing art, and in a touching, humane performance, John Malkovich as the conscientious but tortured artist himself. All characters are creatively woven together in a regime that is both unique and old fashioned (think Robert Altman). Other top notch performers of note include Natalia Dyer (Stranger Things), Daveed Diggs (The Get Down), and Tom Sturridge. Gilroy's story acts as an existential look at good art versus bad art, examining if there is even a difference, how it affects us as human beings, and pleads with the audience to decide whether or not the characters infatuation with a dead man's art, infatuation or a portal to their own greed, should be equivocally mandated to the audiences' own desires and expectations from the very film they are viewing, or the art of film itself. With dialogue that is quicker and wittier than the speed of sound riding the speed of light, and a musical score by noted genre composer Marco Beltrami (the Scream series) that gleefully winks at it's listeners, the film delivers a unique and ultimately satisfying thrill ride into the human psyche. It's riddled with "blink and you'll miss it" nuances and fashionista references in apparel and glamour, which causes the film to emanate an atmosphere akin to that of Irvin Kirshner's Eyes of Laura Mars, or Brian De Palma's Dressed to Kill. The execution of the material, for the most part works. We get an idea of what's going on, with just enough inference to keep us postulating and are always kept one step ahead of the story. In fact, Gilroy's focus on his direction of the actors and their main action is so sharp, it distracts from background elements that might have been better explained if they'd been paid better attention to. In addition, the scrutiny of Gyllenhaal's character, and his sexual nature, could have been explored and parlayed more than seemed upon first viewing. However, Gilroy is a filmmaker with his mind on the matter, and as the film boasts such a farcical sense of humor, it's hard to allow any shortcomings to deter from enjoyment. In addition, Further viewings of the film may prove beneficial, as there seemed to be hidden gems that give a clue to what's really going on, popping up throughout the film. The overall purpose is accomplished - a very foreboding sense of danger is created. Juxtaposed against the art scene of Los Angeles - to which Gilroy uses to extremely marvelous effect (as usual) - is chic and slick, and were the film produced even ten years ago, might've created a catholic effect on cinema culture and might've been hailed so, for it's merits. It was refreshing to see only one backer in the opening credits (Netflix), and with any luck the film will catch on and find the audience it was intended for. Regardless, the film is certainly a bold one, that will fascinate it's viewers. With an echo of earlier genre classics as Bernard Rose's Candyman or Hideo Nakata's Ringu, spiced with a sly sense of humor, Buzzsaw Velvet is a piece of art that should affect a core audience who will return to it for further reference.

Aaron Paul is quickly climbing a rhinestone star laden ladder in Hollywood these days. Since his ferocious breakout in the famed AMC TV series "Breaking Bad", Paul has accrued more hours on his resume than he must seemingly know what to do with. He's a co-producer and star of the wildly popular Netflix series "BoJack Horseman", in addition to headlining some premium theatrical ventures, such as "Central Intelligence", with Dwayne 'The Rock' Johnson, that are aligning multiplex screens even as we speak. He is clearly a craftsman dedicated to the moment, and the new picture he headlines for Saban Films, called "Come and Find Me", is another direct example of this.

Released this past week, and helmed by Zach Whedon (brother of television Icon Joss), the movie tells the story of David (Paul) a simple, boy next door living on the outskirts of the Los Angeles area, who enjoys a seemingly healthy relationship with his girl Claire (decent job by English actress Annabelle Wallis). One morning, quite unexpectedly, Claire goes MIA, and no cell phone tracking device, nor missing person's report, manages to provide an answer to her whereabouts. From here, a journey of tortuous proportions, with an endless array of false identities and masked characters infiltrate the story to tease, to misguide, to ultimately attempt to halt David from trying to figure out what's happened to Claire. As he descends further to the truth, it becomes apparent that Claire had many, many secrets, which if known, could cost David his life.

It's a pretty simple story, with no real bells or whistles to promote in flashy PR material, or gaul for free press over – and yet – it's this simplicity which provides and bona fide reason for audiences to take this journey. The nuances in David and Claire's relationship, their day jobs and how they get by as young adults, how they interact when each of them comes home at the end of the day, are all accessible, forthright glances into our own lives. These characters are excitedly relatable, especially Paul's fine turn as David – tough when he needs to be, totally vulnerable the rest of the time. A good role for him.

He carries the film well on his shoulders, with plausible help from co- stars Garrett Dillahunt, Terry Chen, Dean Redman, and Zachary Knighton - who personifies the true definition of a classic supporting actor; In his precious few moments on screen – he easily subterfuges Paul's mast and takes the scene for himself. If he keeps up this kind of good work, he'll go very far. He has that old fashioned magical something-something about him that makes you pay attention.

The script is written by Whedon, who is making his directorial debut here. It's got all the aplomb and emotional verve you'd expect from a Whedon, replete with social relevance, churning plot twists, and cautious structure. However, he fails to bring out any real sense of danger for all he's given us. It seems at times, that his consistencies were spent on polishing the look of the film, instead of delivering us totally unawares to a rendered unnerved experience. That's what the film needed, and only appears slightly below the surface. This shouldn't be a problem for the first time director. It's clear Whedon is sifting through this first venture, to greater waters.

It would be easy to conclude that elements of a vision for this tale are just as missing as the lead heroin, but when it all comes down, "Come and Find Me" acts as a representation of where the film industry seems to be heading. It's a deft exploration into mystery and absolution and, while playing it too safe and tame, provides a nonetheless (somewhat) satisfying experience, that should bring Saban Films some recognition to continue to progress as a feature film company, and keep Aaron Paul on this uprise he's embarking on.

The early seventies were a time of great introspection for many people. Not surprising, given the college riots, Vietnam, revolutions, sexual and otherwise, that the country began to question everything they knew. This was reflected in a vast of Pictures that ranged from Antonioni's "Zabriskie Point", Stephanie Rothman's "The Student Nurses", to Haskell Wexler's "Medium Cool". It was an era wherein films were chic to be socially relevant. Many of those films, such as the above stated, are still relevant today. Others tried, and while they were admirable attempts, they just didn't have enough to sustain themselves. Louis Garfinkle's "Beautiful People" is one such film.

Garfinkle would later go on to a small feat of glory for penning the story to Cimino's compelling story of the damaging effects of the Vietnam war, "The Deer Hunter", but before, he participated in a string of other forgotten features, starting with writing and directing this one (of which remained the only film he ever directed). Interestingly acting as a somewhat precursor to his latter success, "Beautiful People" concerns itself with a Psychiatrist, liberated and open minded, who takes eight volunteers to a secluded ranch to conduct an experimental workshop with/on them, intending to cure them of their social hang-ups, issues, resentments, and other problems they have with each other and with themselves. From here, a variety of characters are introduced, that range from a sexually frustrated policeman, an overly zealous sexual hippie chick, a cold and aloof rich woman, a resentful African American women, a gay man who dresses in drag, and an obese man who simultaneously is socially awkward, among others. The experiments and practices of the workshop are not your Mother's standard, and as the characters go through them, they unravel and come to terms with themselves and learn to accept each other.

The results of the characters are varied, and if one ever gets a chance to view this picture, it comes off as unintentionally funny, not so much because the writing is bad, but because Garfinkle is trying every gimmick he can to take the film seriously that the question of it's validity surfaces without a thought. Garfinkle certainly has his mind on the matter, but is very amateur on how to execute his own material. In the end of the movie, there is a definite wanting to have enjoyed it, and to recommend it, but it just falls so flat that it's easily swept away with other forgotten movies of that cultural era. Only the strong survived.

It certainly didn't help that, with the release of William Friedkin's "The Exorcist", some smaller company erroneously filmed an egregious prologue and epilogue depicting the devil (nee: a man in REALLY bad make-up) commenting to the audience that these people of the story are his victims and therefore attempts to change the tone of the picture to a more "edgy" feel. Title now lists the film as "The Sexorcists". It's laughable and doesn't work, and is clearly not meant to be part of the original film. This may very well be the reason the film fell into obscurity way back when, and has ceased to surface on any home video format for any reason.

There is definitely an intellect to the film that would later be perfected upon in "Deer Hunter", but it's premature. Despite Garfinkle's best intentions, there isn't anything really beautiful about the people in the film: no structure, bad character development, cheesy musical montages, and hokey dialogue abound. It comes off more like a really bad student education film for high-schoolers (except for some nudity which appears at the end). And it's such an obscurity, that one should check it out if given the chance, for to a completest of cinema, there is definitely something to take from it.