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The tail end of the summer is often a tough time at the movie theater. The blockbusters have all made their entrances, their massive opening weekends filled with quips and explosions, while the fall/winter blend of awards contenders and winter blockbusters (yeah, they’re a thing now) has yet to kick off. Most of the time, that means that the cupboard is bare.

But what it ALSO means is that I sometimes get a chance to see something I otherwise wouldn’t – the occasional surprise gets a moment in the sun.

That’s what I got with “The Peanut Butter Falcon,” a heartfelt and surprisingly sweet indie comedy/drama that is somehow both completely out of place and utterly at home on the late summer big screen. It’s the story of a young man willing to do whatever it takes to follow his passion, despite living in a world that refuses to believe he’s capable of, well … anything, really.

It’s a modern-day fable, a reimagined “Huckleberry Finn” with loads of swampy charm and a captivating cast that effectively balances triumph and tragedy while introducing audiences to a lead actor unlike any we’ve seen. It’s a film that helps us to understand that sometimes the bad guy is actually good – and that the good guy sometimes yearns to be bad.

Published in Movies

As someone who considers himself a reasonably savvy moviegoer, I like to think that I’m not bad at discerning what the deal is going to be with a movie before I see it. That’s not to say that I think I have every plot point or aesthetic choice nailed down; I just mean that I’m good at predicting some general qualities from limited information.

Good, but far from perfect.

For instance, I was pretty sure I knew what I was going to get from “Bad Times at the El Royale” despite the fact that the publicity run-up wasn’t particularly thorough. The thing is written and directed by Drew Goddard, after all – he’s a prolific writer and producer, but the last time we got the writer/director double-dip, he gave us the exceptional meta-horror “The Cabin in the Woods.” I figured I was going to get something similar to that movie, a noir/neo-noir deconstruction-cum-parody.

But rather than a comment on a genre, Goddard – along with a fantastic ensemble cast – gives us a particularly well-executed example of that genre, one tinged with Goddard’s weirdo sensibilities and unique aesthetic sense. It twists and turns with abandon and is utterly remorseless in the sacrifices it makes in order to advance the narrative. It’s brutal and visceral and darkly funny – not quite what I expected, but a hell of a time nonetheless.

Published in Movies

Sequel strives for sexy, achieves unintentional laughs instead

Published in Movies

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