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In many ways, and this isn't for the mere sake of clever wordplay, Anomalisa – the latest film from the weird and wonderful mind of Charlie Kaufman – is an anomaly in and of itself. Where the endless possibilities of animation have taken audiences on fantastical, often family-friendly and largely un-film-able journeys, Kaufman and stop-motion specialist Duke Johnson rather chose to spend 48 months carefully animating a film so deeply, and, in large part, depressingly rooted in the monotony of everyday life. But thanks to over 1,700 backers via kickstarter.com, Anomalisa is a treat to watch. If Kaufman's juxtaposition of daily intricacies with surrealistic stints isn't something you're keen on chewing on, then at least the runtime also plays showcase to Johnson's delicately fashioned, though ultimately ultra-ordinary, animation—which is especially expressive in adjustable portions on the dolls' faces. Interestingly enough, the gaps of these pieces remain visible. Although one could argue this highly visible detail distances them from these characters, being reminded that they're all puppets only stresses the universality of the source material, which, of all mediums, began as nothing more than an 'audio play'.

FULL REVIEW HERE: http://indieadam.com/2016/01/20/anomalisa-2015-review-indieadam/

Still, for as much as the environment is in the spotlight, DiCaprio and Hardy are undoubtedly the two consistent driving forces. Rendering John with an inherent craze, Hardy employs the same commutative eyes from The Dark Knight Rises and Mad Max: Fury Road, except behind a barbaric wad of facial hair, almost biker gang-esque—making his less morally inclined reflection of Hugh into a dangerously unpredictable survivalist. Not to be outdone, DiCaprio has reportedly called this role the most taxing of his career. Upon research it's easy to see why: not only did the vegetarian actor consume a hunk of raw bison's liver, but he also had to learn to properly shoot a musket, build a fire, speak both Pawnee and Arikara languages, and study ancient healing methods. But you don't need to hop on Google to fully appreciate DiCaprio's commitment, just witnessing the actor crawl through the snow and dirt, devour a raw fish—in a enormous fur coat, scraping bone marrow from an already-devoured corpse, the actor is evidently immersed in this animalistic transformation. And, interestingly enough, DiCaprio, speaking maybe 20 or so lines in the entire film, likely made the conscious decision to opt for a more physically demanding role when turning down the lead for Steve Jobs and Sorkin's witty dialogue. After all, since The Academy didn't award his vulgar wolf the year prior it only makes sense that now he actually has to become one.

FULL REVIEW HERE: indieadam.com/2016/01/17/the-revenant-2015-review-indieadam/

It's these questions that create an omnipresent atmosphere of bluffs and tall tales—heightened by, but not limited to, the slow-simmering, closed environment—where the door is literally nailed shut, and we're stuck with these characters just as much as they're stuck with each other. Unfortunately, the majority of this Western ensemble aren't terribly interesting or memorable, with even less being particularly likable. Who says you can't be hateful and decent? That said, "The Hangman" was still the most compelling and important player in regards to his unemotional sense of justice, which comes back around in one of Tarantino's bloodiest climaxes yet whilst pronouncing the film's already caffeinated screwball elements. None of that final act, however, or the film for that matter, would have been as erratic without Leigh's surprisingly delectable performance. Initially mum and marred, the actress still manages to convey a distinct arrogance whether she's spitting on Warren's letter or silently miming her own hanging. Yet, it's that aforementioned three-fourths point, aptly titled "Domergue's Got a Secret," where the film and Leigh's performance really begin to sizzle. Picking up an acoustic guitar, an unexpected, though cynically-motivated tenderness emits during a brief tune, before the actress finally unveils the latent insanity–erupting in full and foul form, and, in my books, takes the cake for best supporting actress of 2015.

FULL REVIEW HERE: indieadam.com/2016/01/07/the-hateful-eight-review-indie-adam/