Doodles - 09/26/11

We're going to start increasing our output here on the Nocturnal Third blog. Whether they be stories, updates, comics, or just random thoughts, it will help us to stay visible online as much of our work on the film moves to building connections and growing our audience on the net.

So, let me introduce "Doodles" - a series in which I share short thoughts on movies, updates on N3rd, and minor Wonder Mill news. To be honest, I stole this idea from another local filmmaker's blog - Jay Burleson's Life Between Frames. Check it out for his and Cody Hamman's eclectic movie reviews. Also, check out filmmaker Chance Shirley's Tacos & Beer... surely another inspiration. Now, I do write extensive pieces on movies for the state-wide film site Film Nerds, so be sure to check that out for more organized thoughts.

LET ME IN - I finally caught up with director Matt Reeves' remake of Tomas Alfredson's Swedish vampire movie, LET THE RIGHT ONE IN, about a boy that falls in love with a pre-teen vampire girl. Alfredson went "wide" with his visual approach, using distance and impeccably specific sound design to tell a morally questionable story about a boy discovering what he would trade for love. I'm a fan of that movie, almost more for Alfredson's voice than for the subject matter. Here, Bad Robot devotee Reeves moves in close. Using long lenses and well-placed close-ups, he builds a more intimate film. Unfortunately, the script for LET ME IN does not add an awful lot to distinguish it from the Swedish film, although an amazing car crash sequence and an expanded revelation about the nature of the girl's keeper are nicely executed. Watch it for some late-night fun, but only if you've seen LET THE RIGHT ONE IN.
B-

DRIVE - The Sundance darling that was rumored to expertly deconstruct 70's carsploitation film managed to get a wide enough release to hit us here in Huntsville. I checked it out with my brother-in-law last week, and while we had a great time listening to nasty synth music and reacting to Nicholas Winding Refn's unique brand of shock violence, I came out of the film feeling disappointed. A muddy third act, as well as Refn's transparent disinterest in delivering favorite genre elements, keep me from raving about it like the rest of the film nerd world. I can't help but admit that it is fun to watch, however, with amazing performances from Ryan Gosling and Carey Mulligan, and superb cinematography from one of my favorites, Newton Thomas Sigel (SUPERMAN RETURNS, LEATHERHEADS)
B

BLACK SWAN - Aronofsky picks another script which completely beats the stuffing out of an already tortured character. I loved THE FOUNTAIN, and really liked THE WRESTLER. His newest speaks more to my wife (a former ballerina that really liked BLACK SWAN), whereas I was more of a fan of that 2008 film, for its respectful handling of the bizarre past-time of professional wrestling. BLACK SWAN is not as shocking or twisted as I was expecting, despite some Polanski disturbances and Lynch laughs. A hilarious moment featuring a lurid old man on a subway car is not to be missed. In fact, it needs a Cinemagraph GIF.
B+

-Ben Stark
Writer/Director, The Nocturnal Third