The Deja Vuers (2016): It’s About Time (Review)

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Written by Jason K. Allen and directed by Chris Esper, who also produced the short comedy film, The Deja Vuers is a slice of comedy that feels inspired by The Twilight Zone and is presented with a surreal bit of comedic timing that is oddly satisfying. 

A woman on a park bench, eating a sandwich, is approached by a sloppily dressed and coiffed man who has a “Bill Murray” thing going on.  He tells the sandwich eater that he dreamed about her the night before.

The two talk, he introduces himself as Chuck (Kris Salvi) and her name is Morgan (Christie Devine). He explains his dream and tells Morgan that the only thing different about this “deja vu” incident is her name. (In the dream it was Lulu.)

As the couple talk about what they dislike about one another, more characters drop by. A man from Morgan’s past and another from a dream she had.

Allen and Esper have taken a simple enough premise and spiced it up with a few threads that lead us in other directions. It is funny, clever and each element dovetails nicely to give the eight minute film an amusing ending.

Chris Esper always delivers films that look stunning. In this instance cinematographer Evan Schneider frames each shot perfectly and makes the most of the natural setting. The lighting is quite impressive as shown in the scene where Elias arrives, all brightly lit and nearly jumping off the screen.

The story itself, which could be said to revolve around fruit salad and a slight misunderstanding, is funny and slightly complex.  As things move along, and both Morgan and Chuck realize that, despite his dreaming of Morgan the night before, they have no chemistry whatsoever.

Salvi, with his almost “Murray-ish” approach to the stranger on the bench, is brilliant.  His technique, which is a combination of being self effacing and insulting, is truly funny and the end result comes as no real surprise.

Later, we learn who “Lulu” really is and the film, after its conclusion, gives us another riff on deja vu and time travel. Chris and Allen have managed to cram quite a lot of business into a eight minute time frame and, more importantly, managed to tie all the loose ends together brilliantly.

The fact that the film ends on an unexpected note, or two, adds to the fun. It is not quite an “O. Henry” twist but it is close enough. The Deja Vuers has almost the perfect combination of storytelling and comedic twists.

This is nigh-on perfect and because of this the film earns a solid 4.5 stars. It is clever and provides the viewer with an interesting take on not one but two gags rolled together. These types of movies are what the short film was invented for; quick, funny and clever, this one is a definite winner.

Here is a trailer to the short film. Watch it and see what you think of the subject matter  and the comedy on offer.

Hunt for the Wilderpeople (2016): ‘Up’ Meets ‘The Fugitive’ (Review)

Adapted from Barry Crump’s 1997 book “Wild Pork and Watercress” by Taika Waititi (Boy, Green Lantern), who not only wrote the screenplay but directed the feature as well, The Hunt of the Wilderpeople is a funny and touching “buddy film” between two generations and races. The film is, in essence, Disney’s  Up meets The Fugitive, meets Thelma and Louise and is quite easily the best film of 2016.

Ricki (Julian Dennison) is a 12 year old Maori boy who has been shuffled from foster home to foster home. Finally, he is sent to live with Bella (Rima Te Wiata) and her husband Hec (Sam Neill). His new home is right near the Bush and it seems, at long last, that Ricki has found his place in life.

Unfortunately fate has other plans as Bella dies right after Ricki’s 13th birthday. Ricki wants to stay with the curmudgeonly, and illiterate, Hec but Child Services agent Paula (Rachel House) is determined to find the young juvenile delinquent a new home.

Hec and Ricki go on the run. The unlikely duo lead the police on a merry chase through the New Zealand bush and the film follows their adventures and their bonding process.

The Hunt for the Wilderpeople is, quite simply, the best film to come out of 2016. Sadly, as it is a “foreign film” it cannot compete for the category of Best Movie when the Oscars roll around. Regardless of this fact, the film should pull in best film in the World Cinema category.

At first glance, Waititi, who has a cameo role as the minister, has given us a splendid buddy film where two similar but different characters learn from one another as they flee the authorities. Delving deeper, however, reveals a coming of age film as well.

In the film, Ricki is not the only person who grows,  his “uncle” Hec also changes from a monosyllabic grumpy loner to a caring parent to a boy who has, until now, identified more with the “gangster” life than that of a “normal” child.

Not having read the book that the film is based upon, it is not clear whether the elements from the Disney film are there or not.  There are direct correlations between the two movies though.

Hec, taking the part of Carl Fredericksen, is lumbered with Ricki, who is the Russell in this scenario. Hec loses his wife, like Carl, and he too is reluctant, initially, to travel with Ricki (Russell.)

There is a rare bird in both films, although in Waititi’s film the creature is not a form of comic relief, and the two males bond through their experiences out in the bush (jungle).

While there are many parallels between the two films, Waititi, or Crump, have also interwoven the Child Services Agency official Paula;  a comic Samuel Gerard (Tommy Lee Jones), into this tale. 

Despite her cry of “No child left behind,” Paula really seems to have it in for Ricki, who she describes as a delinquent. Every time the official talks about the Maori boy she references his crimes and not his many foster home moves.

The chase scenes in the film almost seem to be a nod to the climatic end of Thelma and Louise but the last minute dodge by Ricki, who drives the get away vehicle could be lifted from Kim Jee-Woon’s 2009  The Good, The Bad, The Weird.

Waititi makes the most of his material and gives us, as well as the nods and winks to other films, a nigh on perfect film.  It is comedy with a touch of pathos and at least two scenes where tissues are required to stem the unexpected flow of tears. Ricki’s constant quest for toilet paper is very funny.

The director also manages to produce more laughs per square inch of film than any other movie on offer in 2016.

Neill and Dennison have a brilliant onscreen chemistry and together they are beyond brilliant. House is spot on as the OTT officer who chases the two men across the country. Te Wiata is excellent as the loving and slightly eccentric Bella and the whole cast bring something to the table in this New Zealand offering.

The scenery is breathtaking, as it would be, this is, after all, where The Lord of the Rings was filmed. (One comic moment has Ricki alluding to the film.) Cinematographer Lachlan Milne makes every frame count.

The Hunt for the Wilderpeople has a message that equates to love being the answer to helping kids on the wrong path to get straight. Whether this is true or not, it should be, and by the end of the film, we believe it.

This is a full 5 star film.  It may sound somewhat trite and be a bit of a cliche, but  Hunt for the Wilderpeople hits every single mark. It will make you laugh, think and cry.

Taika Waititi has given us an example of New Zealand cinema at its finest, do not miss this one.

Travelers: Netflix Joins the Time Travel Game (Review)

Promotional picture for Travelers

2016 is definitely the year of time travel. NBC’s Timeless is all about jumping from time to time, and trying to keep things from changing too much.  Netflix offered up Stranger Things, a series less about time travel than it was about parallel universes, “The upside down,” (shudder).

(Hulu actually beat Netflix to time travel as a theme when they produced the Stephen King time travel series 11.22.63.)

Netflix has joined the time travel brigade with Travelers. Show creator Brad Wright has given us a different sort of travel in this series. With a background very heavily involved with science fiction – Stargate and horror/thriller – Outer Limits, it is not surprising that Wright has his travelers taking over the nearly newly deceased. 

The premiere episode reveals that these visitors from the future inhabit people who are just about to die. They then take over the human host and carry on with their mission.

It all feels a little like Richard Laymon’s 1996 horror story Body Rides with a touch of Stephen King’s mode of travel (between worlds) in both King’s Dark Tower series and The Talisman, his collaborative effort with Peter Straub,  and their follow up tale Black House.

In the first episode, we are taken up to the actual point of death of a number of individuals who have no connection.  As they die, there is a discernable high pitched hum and the person dying screams while clutching their head.

They then become the time traveler.

There is, they say, a catastrophic event looming on the not so distant horizon.  We learn this when the affable  FBI Special Agent Grant Maclaren finds the group on the roof of a highrise. As he approaches the travelers, he is taken over by the final member of this time tripping group.

The entire first episode sets up each character as they become inhabited by the visitors from the future.  One has an abusive cop partner, the lawman actually kills her, allowing the traveler to enter.

Another is a mentally challenged young woman who spent her formative years in an institution that specialized in abuse. A drug addict and a bare knuckle fighter are also part of the group.

The FBI agent is the last to join.

Travelers also feels a tad like Twelve Monkeys, with its plot of saving the world from decimating its population. It is even slightly reminiscent of the 1992 David Twohy film Timescape, aka, Grand Tour: Disaster in Time. The latter film deals with visitors from the future who want a front row seat to catastrophic events.

Netflix slipped this series in rather quietly, perhaps they feared an unwarranted comparison to the NBC offering, and it aired its final episode on 23 December.  The most familiar face in the show is that of former Will and Grace star Eric McCormack, who plays Special Agent Maclaren. 

The main players are, for the most part, well journeyed performers with an impressive amount of credits. While not as familiar to American audiences, Travelers is a Canadian production, the acting is tight and enables the viewer to get caught up in the story quickly.

Wright’s tale of time travelers seeking to save the world is not as odd as The OA or as history and pop culture oriented as 11.22.63. It is, however, interesting. A slightly different take on time travel.

This is not about not altering the timeline, it could care less about the butterfly effect, Travelers want to change the past to save the future.  It is still streaming on Netflix. Go and check it out and see what you think.

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SNL: Emma Stone, Shawn Mendes and Sticking It to Trump (Review)

Saturday Night Live - Season 42

Emma Stone hosted her third SNL and Alec Baldwin managed to stick to president elect Donald Trump yet again. Shawn Mendes provided the musical talent on the night and Stone did very well despite the uneven pacing of the show’s skits.

The cold open, with Kate McKinnon playing Trump’s mouthpiece again, was spot on. The Twitter lambasting upset Donald who took to Twitter for real to complain…yet again.

The open was nearly the highlight of the episode. However, Weekend Update was on top form with their skewering of Trump. Each joke drove the nail home with a sledgehammer.

Picking on the man’s tweets as well as his Taiwan faux pas was the run up to taking on the political debacle that is Standing Rock.  Leslie Jones came on to talk sexual inadequacies for all those women in long term relationships while Vanessa Bayer give great Rachel Green from “Friends.”

Sadly, the skits were uneven. The pre-recorded Christmas  candle advert was amusing but not actually that funny. The “Hunt for Hil” however was more on point with the documentary feel of the search for a Clinton in hiding.

Jennifer Anniston joined the fun for the McKinnon laugh riot that was “Women in Film.” Anniston worked perfectly with Kate’s old “battle-axe” with the non-PC memories and the sexual innuendoes as well as outright saucy sexual jokes.

The other fake advert, “Wells for Boys” was funny and a tad pithy.  Stone played off the young actor who “starred” in the advert.

This episode was better in terms of overall skits, although the improve section felt off. Emma Stone killed it as the grumpy virgin Mary who spends the entire skit moaning about her lot in life.

Stone is an old hand by now and she managed to make the most of her third stint as host.  The best bits of the show by far though were the jibs aimed at Donald Trump, made all the more sweet by his almost predictable reaction on Twitter the day after.

 

SNL: Dave Chappelle Sends a Message and Kate McKinnon Kills It

 Saturday Night Live - Season 42

SNL went for Dave Chappelle as guest host and A Tribe Called Quest as the show’s musical guests for its post election episode. Chappelle was given an incredible 11 plus minutes for his monologue and he made the most of it. Addressing how things have changed and at the end Dave even wished Donald Trump good luck in his new job.

Kate McKinnon set the tone for the show with a tear inducing tribute to the late Leonard Cohen and a message from her Hillary Clinton.

Chappelle did a brilliant parody of that episode of TWD. Dave played all the characters and his Negan faced creations from his show. It was a crowd pleaser that still managed to insert a political message.

SNL mixed in some pertinent viewpoints about the election and the fact that Donald Trump was chosen to be the 45th president of the United States.  A Tribe Called Quest performed a political song, no surprise there, but it did zero in on the fears of everyone who did not vote for Trump.

The first skit of the evening had Dave as the lone voice of reason as white Clinton supporters have their election ruined by each result update. Chris Rock joined Chappelle at the midway point of the sketch and they then made fun of Clinton supporters in general.

Their point? That the majority of folks who were “With Her” were looking through white-tinged rose-colored glasses.

Colin Yost summed it up on Weekend Update with his gag. Yost pointed out that a 70 year old with no experience could not get hired at Target but was elected to run the country.

Another valid point, made by Michael Che, was that neither candidate was likable.  All in the name of comedy the update was focused on the election and was a highlight.

Kate McKinnon managed to shine with her Justice Ruth Bader Ginsberg bit on Update. The comic highpoint was the vitamin C powder although the end bit, “Getting Ginsberned”  was hysterically funny.

“The Last Call” sketch with McKinnon and Chappelle managed to reach heights of poor taste never before seen on this favorite segment.  It was, however, very funny. Even Kenan Thompson  broke character a little bit.

Perhaps the funniest sketch is not available on YouTube. The breastfeeding bit was the clear winner. Dave as a 43 year old football fan who is still “on the breast.” Pete Davidson trying to hide his laughter behind a cookie was brilliant.

The “Inside SNL” skit was a definite middle finger salute to critics who analyze the sketches on the show. Bringing up cue card mistakes and jokes that misfire the sketch was not as funny as it was an angry diatribe against those who “do not get it.”

Vanessa Bayer, with a little help from Dave Chappelle, slammed the misogyny of the new president-elect with their “Kids Talk Politics.”

The pre-recorded “Love and Leslie Jones” with Kyle Mooney was spot on.

In many ways, this episode of SNL felt like so much bravado.  An attempt at whistling past the graveyard while witnessing the madness and failure of American politics. A kind of gallows humor where even Chappelle got to rub it into the faces of liberal Americans.

SNL airs Saturdays on NBC.  All those young at heart who still enjoy a comedy show that stretches the boundaries of good taste should tune in.

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