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Tuesday, Sept. 16, 2014 6:50 p.m.

What We’re Watching: ‘Wetlands’

This post was written by Hatchet staff writer Eric Robinson.



Sex comedies are always problematic.

Most indulge exclusively in sexist male fantasies. Yet with his latest film, German director David Wnendt defies this trend, presenting an unflinchingly honest depiction of sex from the perspective of a teenage girl.

Promotional poster for "Wetlands."

Promotional poster for “Wetlands.”

“Wetlands” follows the exploits of sex-obsessed Helen Memel (Carla Juri), who embarks on various sexual escapades while scheming to reunite her separated parents.

After a reckless shaving accident, Helen ends up in the hospital, where she reflects on her lifestyle choices and attempts to charm a young male nurse.

The film presents imagery that is, to put it mildly, revolting. Whether it’s four guys masturbating into a pizza or Helen swapping bloody tampons with a good friend, “Wetlands” is not for the squeamish.

Though the scenes in “Wetlands” are absurd, Wnendt’s presentation of grotesque bodily functions is at least true to life. Whereas other films would avoid even showing nudity, Wnendt does the audience the courtesy of revealing every dirty detail.

In one memorable shot during the opening minutes, the camera actually zooms in on a toilet seat teeming with microorganisms.

Wnendt approaches this imagery with both humor and a surprising amount of heart. When Helen and a friend use their own period blood as warpaint, what would normally register as just ridiculous and disgusting becomes hilarious and weirdly touching.

But the film’s writers, Wnendt and Claus Falkenberg, enter dark territory as well. Suicide and divorce serve as a backdrop to the film’s examination of modern teenage sex culture.

Juri gives an outstanding performance as the mischievous and snarky Helen, while also adding a shade of mournfulness to her character that works in the film’s darker moments.

For all its honesty, the movie falters with a generic rom-com-style ending. This moment of insincerity is not enough to topple the entire piece, but seems out of place compared to the rest of the film.

Ultimately, Wnendt’s effort is a welcome change for sex comedies. Profane, nauseating and somber at times, yet sweet, funny and touching, “Wetlands” succeeds because of its willingness to engage with the topic at hand – sex – in a way that’s both frank and entertaining.

Released: Sept. 5
Director: David Wnendt
Genre: Comedy
Cast: Carla Juri, Christoph Letkowski, Marlen Cruse

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Wednesday, Sept. 3, 2014 10:52 a.m.

What We’re Watching: ‘Love is Strange’

“Love is Strange”


Updated: Sept. 3, 2014 at 11:15 p.m.

While superhero movies and sci-fi thrillers have recently taken over the industry, sometimes you’d like some realism on the screen.

A scene from "Love is Strange." Photo courtesy of Sony Pictures Classics.

A scene from “Love is Strange.” Photo courtesy of Sony Pictures Classics.

“Love is Strange” submerges the audience in the high-brow, art-loving world of Ben (John Lithgow) and George (Alfred Molina), who finally marry after almost 40 years as a couple. But not everyone is happy to hear that news.

George, who is a choir instructor at a Catholic school, is asked to leave his position, and the couple, now in financial ruin, decide to live separately until they can afford an apartment of their own.

The decision prompts Ben to live with his nephew Elliot (Darren E. Burrows), his wife Kate (Marisa Tomei) and their son Joey (Charlie Tahan). Meanwhile, George lives with friends Ted (Cheyenne Jackson) and Roberto (Manny Pérez), two gay policemen who often turn their small apartment into a raging club.

Director Ira Sachs adds comic relief to scenes with depictions of ordinary dilemmas: Ben is forced to share a bunk bed with young Joey, and while Ben constantly talks to Kate while she is writing, he complains when others do the same.

“I can’t really work if there’s someone else around,” Ben says to Kate ironically.

But beneath a comedic exterior, Sachs crafts a film with artistic depth. The film is based on three different phases of love – represented by Ben, Elliot and Joey – a theme that is subtly woven into the movie throughout yet retains a poignant influence on the viewer. Sometimes, though, the subtlety of “Love is Strange” muddles the concept and detracts from the message.

Interestingly, “Love is Strange” is a personal story for Sachs, who drew inspiration for many characters from people in his own life. He manages to turn the stories of past mentors and experiences into a linear depiction of love.

With New York City as a setting for the drama, characters depicted with careful attention to personality traits and an unexpected story that brings unique perspectives to love, “Love is Strange” is the perfect pick for some quiet contemplation.

Released: Aug. 29
Director: Ira Sachs (“Married Life” and “Forty Shades of Blue”)
Genre: Drama
Cast: John Lithgow (“Rise of the Planet of the Apes”), Alfred Molina (“The Sorcerer’s Apprentice”), Marisa Tomei (“Crazy, Stupid, Love”), Charlie Tahan (“Charlie St. Cloud”)

This post was updated to reflect the following correction:
The Hatchet incorrectly reported that the character Ben complained that Kate constantly talked to him while he was writing. He actually complained to Kate that others had done that to him. We regret this error.

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Wednesday, July 23, 2014 11:46 a.m.

What We’re Watching: ‘Boyhood’



The concept behind Richard Linklater’s “Boyhood” is one-of-a-kind: a movie that follows a boy from age six to 18, filmed with the same actors over 12 years.

The word “nostalgic” doesn’t come close to encompassing this movie. Still, viewers don’t necessarily walk away from the film thinking they’ve just seen a masterpiece of a project. It feels more like a great home movie, the kind you secretly love to watch with your family on rainy days.

In the theater, the audience genuinely laughed at cutesy kids jokes and often whispered to each other when scenes between parents reminded them of their own.

The movie follows Mason (Ellar Coltrane) as he watches anime, attends the book release of “Harry Potter and the Half-Blood Prince,” rides a bicycle with a friend on a RipStik and spends class time traveling the Oregon Trail on a PC. As audience members watch the kids get braces, play the new Game Boy Advance and eventually grow facial hair, they are immersed in the movie’s realistic quality. Shooting in short bursts from 2002 to 2013, the filmmakers didn’t need to set the scene or buy the right items from eBay to fit the time. The costume directors didn’t have to go to Goodwill to buy clothes from 2003.

“Boyhood” not only enthralls viewers with a convincing story, but also makes them remember their childhoods, the time their parents fought, the time they had to go to a new school. Linklater shows all of these common experiences without making the film too self-aware of the feat it is accomplishing.

In the early years, Mason is a quiet, shy boy who is overshadowed by his loud, attention-seeking sister, Samantha (Lorelei Linklater). Living with their mother, the children are overjoyed when their somewhat irresponsible and immature father (Ethan Hawke) comes back from Alaska in his black, 1968 Pontiac GTO with a pile of presents inside.

The audience really gets to know Mason a few years later when he and his father go camping. Mason starts to develop into a more independent and unique character. As the story progresses, he deals with multiple moves within Texas, alcoholic stepfathers, girl problems, bullies and deciding what to do after high school. His dad changes, his mom changes, his sister changes, he changes and we watch it all on the screen.

Linklater is known for his attention to detail, and this talent is ever-present in “Boyhood.” He is one of those directors who you swear must keep a running list of ordinary things people say so he can include them in every movie. But rather than the usual philosophical and theoretical banter in his “Before” films or “Slacker,” Linklater’s dialogue is centered on everyday life and follows the actual experiences of growing up.

The sentimental soundtrack fits the scenes of the movie nicely, with songs playing during the years they were actually released: “Yellow” starts the movie off and goodies like “Crank That (Soulja Boy)” and “Somebody That I Used to Know” are sprinkled in. Those details remind viewers that they are watching a movie that spanned years of filming.

A lot happens in the almost three-hour movie, but “Boyhood” never feels overwhelming. Transitions move the audience seamlessly from one glimpse of each year in Mason’s life to the next. His boyhood ends in the final scene: a hike with new friends. It’s a start to another chapter beyond the camera lens.

Released: July 18
Director: Richard Linklater (“Dazed and Confused” and “Before Midnight”)
Genre: Coming of Age/Drama
Cast: Ellar Coltrane, Lorelei Linklater, Patricia Arquette (“Medium”), Ethan Hawke (“Reality Bites” and “The Purge”)

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Saturday, March 8, 2014 7:06 p.m.

What We’re Watching: “The Wind Rises”

Hatchet reporter Tim Palmieri shares his latest movie experience.

The Wind Rises


the wind risesFamed director Hayao Miyazaki’s swan song, “The Wind Rises” is a gorgeous, emotional and unique animated adventure representing youthful ambition and the horror of war.

Loosely based on real events, a young boy living in pre-World War II Japan named Jiro Horikoshi (Joseph Gordon-Levitt) dreams of being a pilot. Over time, Jiro grows to love building airplanes for their elegance, but realizes they are ultimately instruments of destruction. As ethics are questioned and Japan struggles through the film, Jiro must have faith in himself in order to create a masterpiece for the fulfillment of his life and his country.

The complexity of “The Wind Rises” makes it rich with symbolism, controversy and inspiration from the inventive sequences to the historical depictions of Japan.

Anri Yasuda, assistant professor of Japanese at GW, remembers watching Miyazaki’s films growing up and has always admired his ability to encapsulate realistic humanity in animation, something that “The Wind Rises” highlights in every scene.

“The unique power of Miyazaki’s works lies in how these plausible people and worlds mesh with more magical elements,” Yasuda said. “This more humanist approach has been inspiring new generations of manga and anime works, alongside the continuing popularity of more fantasy-laden and stylistically extreme works.”

The attention to detail and the various lighting effects pull audiences deeper into the experience. Composer Joe Hisaishi’s enchanting soundtrack fits the delicate animation perfectly.

Characters in the film are flowing with personality and realism because of the excellent voice cast. Gordon-Levitt as Jiro fits the persona of a quiet, intelligent, gentleman and Emily Blunt channels the emotional impact needed behind the young traveler Naoko. Martin Short is humorous as Jiro’s boss Kurokawa and lends himself to some of the film’s lighter moments. Additional recognizable names, like John Krasinski and Stanley Tucci, contribute to the enjoyment of the film by rounding out a diverse cast of characters.

Minor pacing issues prevent the film from attaining perfection, although these are hardly a detriment to the overall experience. Coming off of numerous classics such as “Spirited Away” and “Howl’s Moving Castle,” Miyazaki has once again proven his legacy in the industry with this majestic bittersweet film.

Director: Hayao Miyazaki
Genre: Animated, Historical, Fantasy, Adventure
Cast: Joseph Gordon Levitt, Emily Blunt, John Krasinski
Release Date: February 28, 2014
Watch if you liked: Spirited away, Princess Mononoke, Castle in the Sky, Howl’s Moving Castle

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Hatchet reporters Allison Kowalski and Andrew Avrick catch up on “Arrested Development.”

Your first alarm has gone off since being home for summer break, exactly 15 minutes before 3 a.m., because as the internet has been warning you for the past several months, “Arrested Development” came back for its fourth season Sunday on Netflix.

And, yeah, in hindsight, waking up at 3 a.m. when you went to bed at midnight might not have been the best idea for a focused Netflix binge, but we’ll be here doing a close watch, reviewing each episode, cataloging the best and worst of what we see.

Episode 1: “Flight of the Phoenix”

Number of “Charlie Brown” sad theme references: 1
Number of “Loose seal/Lucille” references: 1
“Workaholics” cast cameos: 4
Best one-liner: “You ever even been on a plane, you piece of shit?” Michael to P-Hound, George Michael’s college roommate

Just as the screen loads, I’m taking bets in my mind on what character makes the first appearance on screen. Right now my money’s on Jason Bateman’s Michael Bluth. I’m wrong: it’s Kristen Wiig as a young Lucille Bluth. And so the cameos begin.

Opposite Wiig is Seth Rogen as a young George Bluth, Sr. A young Lucille leers wide-eyed from her balcony with a green face mask, overlooking the pier below and tapping her fingers together in an homage to the Grinch, only this time, the character is reinventing Cinco de Mayo, not ruining Christmas. Lucille and George together craft “Cinco de Cuatro” in order to destroy the party supplies before the holiday that Lucille has such deep contempt for.

But the real focus of this episode is Michael Bluth; As creator Mitch Horowitz has said, each episode will focus on one main character and their story. We see Michael is apparently in debt to his mother’s nemesis, Lucille Austero, and it’s insinuated that he sleeps with her to pay this off. Then we have a flashback to how this all began.

Most of the episode is spent with Michael living in his son George Michael’s (Michael Cera) dorm room, with George Michael trying to softly and awkwardly find a way to kick him out. George Michael and his actual roommate, P-Hound, are currently working on an “anti-social network,” a perfect reference to the fact that Cera is often mistaken for Jesse Eisenberg, star of “The Social Network.”

The narrator addresses the six-year gap between seasons three and four by calling it “The Great Dark Period,” and the flashbacks are told using a pop-up timeline as a reference, which can become a little overwhelming. This first episode was a solid start, but definitely needs your keen attention so you can see the setups in future episodes.

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Contributing culture editor Olivia Kantor shares her latest cinematic experience.

The Great Gatsby” (2013)


A little party never killed anyone – oh wait…

The Charleston pounds and pulsates against a backdrop of dubstep and crooning pop music.Welcome to a jazz era mixed with thumping beats, foaming bottles of champagne and copious amount of glitter. At the center of this era of swing and swishing hemlines is not only Jay Gatsby, but director Baz Luhrman’s Jay Gatsby. A brooding and dreamy Leonardo DiCaprio, decked out in a dashing suit, staring into that hypnotic green light.

You know the story: It follows Nick Carraway, played by a wide-eyed Toby Maguire, and his experience with his mysterious neighbor Gatsby. It’s the classic tale of the corrupted American dream and the perils of trying to replicate the past

Popular sentiment has held that Gatsby is not fit for film. The 1925 novel, by F. Scott Fitzgerald, has often experienced heavy-handed transfers to the stage and screen. Its been argued that true artistry and lasting power of the Gatsby come from its prose and language. The absence of Fitzgerald’s words makes most adaptions seem shallow and incomplete on screen. For many, Fitzgerald’s iconic masterpiece is best shown in black ink on a white page.

If you’re hoping for a historic period adaption of the great American novel, this is not the Gatsby for you. Luhrman has a reputation for being wonderfully sacrilegious. His version of Romeo and Juliet (also staring DiCaprio) was more acid-trip circa 1980s Miami than Elizabethan tragedy. His inventiveness and artistic vision turns Fitzgerald’s novel into a visional spectacle. While he sticks to the novel scene by scene, splashes famous lines across the screen, and allows Nick Caraway’s inner monologues to narrate the action, Luhrman does it in a gaudy, operatic style.

“Is all this made entirely from your own imagination?” Daisy Buchanan, played by the ethereal Carey Mulligan, asks Gatsby. In the case of Gatsby, and even direction Baz Luhrman, the answer is yes.

Director: Baz Luhrman
Cast: Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Isla Fisher, Joel Edgerton
Genre: Drama
Release Date: May 10

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Tuesday, May 7, 2013 12:48 p.m.

What We’re Watching: “Iron Man 3″

Iron Man 3

Promo Poster for Iron Man 3

Hatchet reporter Andrew Avrick describes his latest cinematic experience.

It’s a surprisingly well-written comedy in between explosions.

The “Iron Man” series bursts back on the screen in a flurry of high tech armor and dramatic destructions of Malibu mansions. This time we find Tony Stark (Robert Downey, Jr.) struggling to stop a horrific terrorism campaign being waged by The Mandarin (Ben Kingsley). Audiences finally get a glimpse of the real Tony Stark, without his genius-billionaire-playboy-philanthropist reputation, or his famous suit. But despite this strong premise, the movie often feels like a wasted opportunity.

The film explores themes of dual identities, and like the characters it portrays, it also has trouble making sense of itself. The film’s subversive sense of humor, which blends extremely well with Robert Downey, Jr.’s sharp delivery, makes dramatic scenes awkward. The trailers prominently feature a somber Stark pulling a lifeless Iron Man suit through the snow, but in the film, the moment comes off as amusing.

It doesn’t help that Iron Man 3 is the first picture from Marvel Studios to be released in a post-”Avengers” world, both in terms of audience expectations and unnecessary incorporation of the events as a prologue. The characters incessantly remind each other (and in turn the viewer) about how different the world is after the Norse gods, wormholes and Shawarma laid siege on New York. The only person it seems to have had any effect on is Tony, whose crippling panic attacks are used as a fairly hollow plot device.

Regardless, “Iron Man 3″ will still entertain most of the audiences it needs to impress with stunning visual effects and a solid cast, including Don Cheadle, Gwyneth Paltrow and Guy Pearce. Despite the missteps, it’s hard to knock the superhero blockbuster too much – things blow up, people say funny things. “Iron Man 3″ is simply an average entry in a franchise where expectations are usually set a tad higher, slowing down Marvel’s post-”Avengers” momentum.

Starring: Robert Downy Jr., Don Cheadle, Gwyneth Paltrow, Ben Kingsley and Guy Pearce

Director: Shane Black

Genre: Superhero action


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Thursday, Feb. 14, 2013 10:27 p.m.

What We’re Watching

Hatchet reporter Olivia Kantor shares her latest television experience.

House of Cards – Chapter 1” (2013)

Viewers are first introduced to “House of Cards” central character, the congressman and majority whip Francis Underwood, as he strangles a dog in a crisp white tuxedo shirt.

Clearly, this is not a typical political thriller.

Directed by David Fincher and starring Kevin Spacey, “House of Cards” is Netflix’s first foray into the television industry. Based on Shakespeare’s “Macbeth,” the show centers on the deliciously ruthless Congressman Underwood’s collusive ascent to power in D.C. After getting passed over for secretary of state, Underwood goes rogue, and as he states in his velvety smooth southern gait, he doesn’t belong to anyone anymore. This liberation sets off a string of political conquests filled with scandal, revenge and delightfully sinister dealings.

Spacey is by far the show’s greatest asset. He crafts Underwood as a study in contrasts: On the exterior he possesses a charismatic southern charm, but internally he maintains an eerie, sociopathic demeanor. This tension between the congenial congressman and the cold-hearted realist grabs the viewer and propels the narrative, as told in gripping scenes of Underwood venomously outlining plans to annihilate the careers of his political rivals as he nonchalantly sanitizes his hands.

Though “House of Cards” plays into an already overflowing niche of political thrillers, it brings something new to the tired genre. Underwood often breaks the fourth wall by addressing the camera directly, plotting and scheming with the viewers. The audience plays Spacey’s confidante, and in return, he offers them a chance to become the ultimate Washington insider.

Welcome to Washington, as Underwood announces to us—and the world of binge television.

Director: David Fincher
Genre: Drama
Kevin Spacey, Robin Wright, Kate Mara, Larry Pine

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Tuesday, Feb. 5, 2013 10:57 p.m.

What We’re Watching

Hatchet reporter Jesslyn Angelia shares her latest movie experience.

Warm Bodies” (2013)

In many ways, “Warm Bodies” fits the mold of an archetypal romantic comedy.

But then there’s the whole zombie thing.

An inventive mash-up of Shakespeare and zombies based on the novel of the same name, “Warm Bodies” revolves around the life of R (Nicholas Hoult), an unusual zombie who, despite being limited to grunting and uttering monosyllabic sounds, gives the audience a glimpse of his mind with his narrative voice overs. On a hunt for brains, R encounters Julie (Teresa Palmer), a human, and falls in love with her after eating her boyfriend’s brain and inheriting his memories. From then on, R adopts a decidedly human trait: He becomes Julie’s protector, not her predator.

While “Warm Bodies” had a promising premise, its neatly packaged ending felt all too contrived. And in the scope of zombie movies, it’s entirely overshadowed by films like “Zombieland,” a more funny and original apocalyptic tale. I definitely expected more from director Jonathan Levine, known for films like “50/50.” Still, praise must be given for the solid cast and a fun, oldies soundtrack.

Ultimately, “Warm Bodies” is an elevated twist on a date night movie. It’s “Twilight” with more humor, less cheese-factor, a cohesive story line and an engaging cast.

Jonathan Levine
Genre: Comedy
Cast: Nicholas Hoult, Teresa Palmer, John Malkovich, Analeigh Tipton, Dave Franco
Release Date:
Feb. 1

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Wednesday, Jan. 30, 2013 11:03 p.m.

What We’re Watching

Hatchet reporter Emily Holland shares her latest movie experience.

Mama” (2013)

Not many horror films gain both critical acclaim and top box office ratings, but then again, “Mama” is not your average horror film.

Produced by Guillermo del Toro, the mastermind behind “Pan’s Labyrinth,” “Mama” skyrockets the horror genre out of its typical cheap stereotype and into the spotlight.

Based on a short film of the same name, “Mama” follows the story of two young girls, Victoria (Megan Charpentier) and Lilly (Isabelle Nélisse), who are abandoned in the woods by their father. Together, they survive for five years under the care of a mysterious being they call “mama.” When their uncle and his girlfriend Annabel (Jessica Chastain) gain custody of the children after they are found, they soon realize that becoming parents isn’t going to be an easy task, especially since the girls have turned into savages during their abandonment. As the girls become more civilized and grow closer to their new family, “mama” gets jealous and strange things start to happen around the house.

The first three-quarters of this movie are full of suspense and mystery. What exactly is “mama”? Initially, only glimpses of her distorted figure shadow are seen. But as the plot continues to develop and “mama” becomes less of a mystery, the scare factor drops dramatically. By the end of the movie, she became almost funny to look at. Instead of being scared by this character, the audience laughed whenever it popped up onscreen.

Still, the movie boasts admirable performances. Chastain does well as the punk-rock girlfriend turned caring mother, and, let’s face it, not all Academy Award nominees are going to be stellar all the time (take Jennifer Lawrence in “House at the End of the Street,” for example). Charpentier and Nélisse display remarkable performances, and show convincing, subtle changes in behavior throughout the movie.

Even with its ups and downs, “Mama” is worth it for a quick scary movie fix.

Director: Andrés Muschietti
Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier 
Release Date:
Jan. 18

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