KALE808 Reviews

Nobody Walks (2012)

The Business of Selling Privilege

[3/10 · 11 January 2013]

Documenting the life of the rich and shameless is already dubious artistic terrain in my book. The sell points are obvious - class and lifestyle reinforcement for the people who actually live this way, fascinated adulation from those less fortunate. But unless it is handled with care and insight, it can really just seem like pretentious tripe. Unfortunately, this movie falls into that category.

I enjoyed the first half of Nobody Walks, which explored the different personalities in an upper middle-class artistic household as Olivia Thirlby's character settled in. I was already familiar with Thirlby from Juno and recently Dredd, which she was great in. She is the real standout in this movie. There is an understated quality about her that is very appealing, and she's just interesting to watch on screen.

Where the movie falls into trouble is in the second half. For the record, I have no problem with movies with all white casts (go Woody Allen!), even if it does seem a bit anachronistic in today's increasingly diverse America. But I do turn a suspicious eye on movies like this when the one ethnic character in the film - in this case an Italian tutor played by Emanuele Secci - winds up being so sinisterly drawn, and particularly playing into cheap stereotypes. Kolt's poem about him was nasty and xenophobic. In light of the already borderline pointless story and vapid characters, this was the turning point for me. The point where you go, "Damn, can't get those two hours back, can I?" Alas, you cannot, so I would recommend a pass.

P.S. I forgot to add that as someone who generally is uncomfortable with and dislikes excessive sex scenes in movies, the romantic scenes in this movie are beautifully done and believable. Of particular note is the first kiss between John Krasinski and Thirlby.

Video Girl (2011)

"Video Girl" - Meagan Good Gets Her Video Vixen On...

[12 October 2011]

"Video Girl" got a lot of things right - acting, cinematography, and direction are all notable. I always say we need to see more movies about African Americans just living life and doing things everyday people do. This is one of those movies. It tells the story of Lori Walker, strongly played by Megan Good, who moves from her small town to Los Angeles to pursue music video modeling. You can tell that the people involved with making this movie knew the business, because they got the nuances right, like the atmosphere of a music video set. Lorie's submergence into the world of music videos also felt true to real life, as did the interaction between the key players. Good brought her considerable acting experience to bear in this movie, taking it up several notches.

There needs to be a separate mention for cinematographer John Barr, who was camera operator on Capote and Frost/Nixon. This guy knows what he's doing, and he gave the movie a professional, self assured look that is rarely seen in independent African American films. People may not notice small things like the lighting on the golf course music video scene, but as a photographer I certainly did. Bravo John.

Melyssa Ford has a nice part as a bad influence on Lorie. Esther Baxter also has a small part in the movie, as do Suelyn and Angel Lola Luv. All of the supporting cast is fairly good, and particularly La'Myia Good as Lorie's sister (La'Myia is Meagan's real life sis) and Haylie Duff (Hilary's older sister) as Lorie's "friend." (Haylie is uncredited in the movie for reasons unknown to me.)

The first half of the movie is enjoyable in a low key way. If you don't already like Meagan Good, you probably will after this movie: she apparently has no bad camera angles. The problem comes with the third act of the film, as Lorie succumbs to the fast life in Los Angeles. This part of the movie feels overwrought and drawn out. Additionally, Lorie's sudden cocaine abuse problem feels cliché and dated. (It probably should have been an oxy or vicodin addiction.) But the main issue is that we aren't shown any of the real problems an aspiring video vixen might encounter (e.g., being a single parent, homelessness, rape) in a meaningful way. Success actually comes pretty easily for Lorie, except that "Shark," the music video director who takes her under his wing, becomes overly possessive. There's some back story about issues at home leading to Lorie's unraveling, but it also seems cut and paste.

Despite this, "Video Girl" is still a pretty likable movie. It's not everyday you see a quality black, indie like this, and I suspect that as word gets around, this will become a favorite in the community. Kudos to all involved.

The Shrine (2010)

A Pretty Smart and Effective Horror Flick

[7/10 · 31 May 2011]

A couple of American journalists go to a small Eastern European village to investigate the mysterious death of a colleague.

Initially it seems like this might be another "Hostel" torture/gore type flick, but things are not what they appear in the first two-thirds of the movie. The director of Jack Brooks: Monster Slayer helmed this, and he has a good grasp of the genre.

What I liked was the straightforward plot device that is revealed at the conclusion. Pay close attention to what happens around the 32 minute mark because that's the basis for everything that follows.

The movie is fairly low budget, so don't go in looking for fantastic special effects, but they are serviceable. Also, this is not a keep-you-up-at-night type horror movie. It's more so the type that makes you think "What would I have done differently" to avoid what happened to these ppl.

The Girlfriend Experience (2009)

I Liked It

[7/10 · 7 May 2009]

I've been a fan of Soderbergh for a long time. The way he shoots his films, the subjects he finds interesting, the places he takes the characters; all these things appeal to me. Also, his movies always have diverse characters, ethnically speaking, which I like.

This movie has an episodic quality. It's a day in the life sort of thing. Nothing monumental happens, but what does happen feels real. What's even better is that nothing stupid is concocted for the sake of shock value.

Sasha Grey is actually quite good. If I didn't know anything about her background, I'd still say the same thing. She not good "in spite of," she's just good.

I give it a recommend.

Amusement (2008)

Turns out to be a fairly creepy little movie...

[6/10 · 15 January 2009]

This starts off like it's going to be an anthology about what happens to three young women who made fun of a mentally challenged kid they went to elementary school with. The first episode, about a guy and his girlfriend being stalked by a driver on the highway is pretty cheesy and not very scary. You start thinking this is going to be a waste of time.

But the next story about another one of the girls and her creepy babysitting experience winds up being a lot stronger, and from there the anthology aspect ends and the story takes on a more straightforward narrative, with some flashback. The actress who plays Tabitha, Katheryn Winnick, is very good. She reminds me of a younger Jennifer Aniston. Jessica Lucas still can't seem to get past the eye candy factor that bogged down her performance even in "Cloverfield." That is, she is just so darn attractive it overpowers her only-mediocre acting skills. If you're gonna look this good, you gotta be a better actor than most to get people past your looks. She doesn't have the chops to pull this off yet. Still, she's a nice addition to the cast.

By the end, the movie becomes completely deranged and isolated and you're not sure just how far they're going to take it. But as someone in the forums commented, the ending is nicely buttoned up, with a realistic perspective given via voice over.

"Amusement" definitely has some weaknesses, like the fact the back story regarding the girls being this villain's tormentor as kids is not developed enough. The movie also starts to take on the look and feel of the "Saw," torture-via-ornate-mechanical-devises look toward the end, which actually detracts from its scariness.

But ultimately this one is worth a viewing. I suppose it could have been a theatrical release, but as straight-to-video it's at the top of that genre.

Love for Sale (2008)

"Love for Sale" Should Be in Foreclosure

[4/10 · 30 August 2008]

It's interesting to see what has happened with smaller black films in just the last decade. In the nineties we had fluff like "Strictly Business" and "Trippin'," which were hardly masterworks of film-making, but at least these movies had decent production values. They were released in theaters because straight-to-video didn't exist in any significant way for black films at that time.

Fast forward 10 years later and anyone with a digital camera and about $50,000 can get a movie made. Independent film-making is now truly independent. "Love for Sale" is a product of this movement. The movie stars Jackie Long and Jason Weaver, both from "ATL," as cousins, Trey and Vince, respectively, working at a barbecue joint and looking for love in the streets of North Carolina.

Male viewers will no doubt be drawn to the movie because it stars former video vixen Melyssa Ford (Katherine) and R&B singer Mya (Keiley), both of whom headline the movie along with Jackie Long.

Melyssa plays an older, but not quite old, ex sorority girl who is feeling maturity set in as she goes through a separation with her husband. She's on the prowl for young studs and Trey fits the bill. This is the type of role Beverly D'Angelo made popular in the "Vacation" movies and Jennifer Cooledge solidified as a MILF in "American Pie." Unfortunately, Melyssa Ford is just too young and attractive to be playing spinster roles just yet. Melyssa is a lot of things, but desperate and clingy she is not (believably at least).

As luck would have it, Trey likes Keiley, who is nicely played by the relentlessly charming Mya. Mya is appropriately cast in this movie and does a very nice job with what little she's given. Her plot involves her being in an unhealthy relationship with a boyfriend she's had since junior high school.

"Love for Sale" suffers from a number or problems. It can't figure out its tone--is it a comedy or a drama? It has secondary story lines that are lifeless retreads of things we've seen before and that are completely uninteresting. Most importantly, "Love for Sale" lacks momentum or a compelling story line.

It has a few likable sections, such as the scene toward the end where Mya finally hooks up with the Trey character. But this movie, even for an independent effort, is inadequate in many respects. And this is coming from someone who enjoys even the most mediocre indies. Still, if you are a die-hard Melyssa Ford or Mya fan, it *may* be worth seeing for them.

The Chair (II) (2007)

I Enjoyed It

[8/10 · 29 June 2008]

Maybe it's a testament to the low-key sex appeal of its star, Alanna Chisholm. Or the generally good direction and cinematography, but this film was definitely appealing. I usually can't get into films shot on video, but this one looked pretty good.

Also, even though it has a slower pace, it was unrelenting up until the very end. I think for horror movies to be effective, on some level they have to be mean-spirited toward the viewer. The writer/director has to want to inflict a little psychological trauma in that 2 hours. This film doesn't seem like it's got what it takes to deliver that type of wallop, so it takes you by surprise at the end when it does.

I would recommend it.

All the Boys Love Mandy Lane (2006)

Not Bad, But Not As Good As People Are Saying...

[6/10 · 25 February 2008]

If you were to believe the reviews here, you'd think this was an "Exorcist"-level horror movie. "Mandy Lane" isn't bad--as someone else noted, it's got above average cinematography, editing and directing--but the story is unremarkable, even with its twist ending.

The film has a self consciously cool feeling to it that keeps it from being truly immersive. Amber Heard is interesting on screen, but seems to be kind of one note.

I liked this movie, but nihilism and music video aesthetics do not a classic make. ("Devil in the Flesh" with Rose McGowan was just as good a movie (if not better) but just lacked the higher production values. McGowan was certainly more effective than Heard.)

Not a waste of money, but hardly the masterpiece the decent-horror-movie-starved reviewers are calling it here at IMDb.

Three Can Play That Game (2007)

Different From the First, But Still Very Enjoyable...

[8/10 · 9 February 2008]

"Three Can Play That Game" picks up with Shante Smith (Vivica Fox) in Atlanta where she is now a couples therapist. Unlike the first film where Vivica was talking to the audience trying to solve her own relationship problems (and a few friends), in this installment Vivica is counseling Byron Thompson (Jason Winston George) and Tiffany (Jazsmin Lewis). It's the same formula, but by making Vivica a celebrity therapist, the filmmakers actually gave her a reason to monologue. And Vivica is great when she's addressing the audience.

Shante is the role Vivica was meant to play. I've never seen her as good as she is in this part. Every little inflection is dead on (remember this line: "trick ass bitch!"), and I guarantee that if you got a kick out of her asides in the first one, you definitely will in this one.

But the real treat here is Jazsmin Lewis, who has been steadily growing as actress and is getting better with each film. She was good in "Tracie Townsend," but she's even better in this. She's beautiful and a great actress and I look forward to seeing her in even bigger projects.

Tony Rock is also good in this as the best friend coaching Byron's character, as is Terri Vaughn.

Finally... Melyssa Ford as Candy. I had been looking to see her in this movie. To be honest, even though she's eye candy extraordinaire, I've never been that impressed with screen presence. But she did a nice job here. She looks incredible--distractingly so--but her acting chops are respectable.

This movie lacks the brisk pacing of the first one, but it's thoroughly enjoyable. I found myself re-watching several scenes for kicks.

A nice sequel. Should have been in theaters.

P.S. Mark Brown is a true talent. Hope to keep seeing his movies.

Moving McAllister (2007)

Likable but inconsistent

[6/10 · 17 December 2007]

Based on the low score at Rotten Tomatoes I expected very little from this film. Maybe it's a testament to the likability of its stars Mila Kunis and Ben Gourley, but I found myself smiling more than a few times during this road trip flick. The production value and cinematography are definitely a cut above.

Sometimes I'm troubled that somewhat self-indulgent movies like this can attract such talented production crews when perhaps more important, but less trendy stories, never see the light of day. But still, I like escapist fare like this sometimes and it's hard to really put a value on art.

If you're having a slow night, this will prove an entertaining diversion.

Cherry Crush (2007)

Good But Not Great

[6/10 · 29 May 2007]

Not bad at all, but not quite as good as I was expecting from the comments here. Jonathan Tucker does his best Toby Maguire in this story about a privileged young photographer who gets mixed up with a girl from the wrong side of the tracks.

As I watched this movie I tried to figure out what separates it from The Crush with Alicia Silverstone or Devil in the Flesh with Rose McGowan. While not directly analogous, those movies have the same type of noir lite feeling to them. But the difference is, aside from the fact that this movie really strives for believability and has decent writing, that those movies had lead actresses that really crackled on screen. I mean, you knew you were going to be seeing more of Alicia Silverstone after The Crush, or at least you should be.

Not so with Nikki Reed. She does a nice enough job and there's a restrained quality to her performance--to this whole movie really--that works well. (Too often this type of movie veers toward gushy melodrama and Cherry Crush manages to rein that in.) But again, Ms. Reed is not a show stopper. In fact, I found myself more interested in Julie Gonzalo on screen, even though she's got the boring, goody two shoes role.

What's worse is that there's no real chemistry between Reed and Tucker.

With that said, this movie has some nice touches. The high school seems especially real. The idea of being privileged is handled with respect, not given a superficial treatment. The second half of the movie becomes more involving than you expect and the ending is believable.

Overall, I liked it. But I wouldn't be surprised if I see it in the video store soon. It's better than some USA movie, but it's not quite ready for movie theaters either.

Alone with Her (2006)

Good but disturbing...

[8/10 · 12 May 2007]

Not much I can say about this that hasn't already been said. What really struck me about this was the writer's insights on how people talk when they don't think others are listening. I found Ana's comments about Colin's character when he was off screen to be very believable.

The writer just had a good grasp for the realness of things in general. Maybe it's this age of reality TV we're living in...Maybe it's made us all a little more attuned to how things really play out. But, for instance, that scene with Colin's character and Ana's friend on the stairs right before he offs her. That was just spot on. She didn't over do it with seeming freaked out, but clearly she was unnerved by his sudden appearance on the scene. And that seems to be just the way a young women of her background would convey that.

Finally, the ending. Wow. I guess American audiences just aren't ready for something that realistic, because that's exactly what it was. There's no way she would've gotten away in that situation.

Overall, just a complete squirmfest. I liked it.

Masters of Horror (2005–2007)

Masters of Horror: Incident on and off a Mountain Road/Dream in the Witch House

[29 October 2005]

(MAJOR SPOILERS AHEAD)

Not a bad start. You get the feeling we are in capable hands in this first episode. It starts off kind of corny, and the characters feel a bit stock, but you immediately realize that this director is one step ahead of you. And just when he's starting to veer off into cliché-ville, he pulls back. A perfect example: Bree Turner's character, a trained survivalist and our damsel in distress, starts to set traps for her lunatic pursuer (Moonface) in the forest. The first one is successful and we cheer, but when she sets the second it gets old quick. What does director Don Coscarelli do? He has the booby-trap backfire and impale our heroine. Sheer delight! The back-story, about Turner's failed relationship with an emotionally cut off redneck who teaches her the moves she will eventually utilize on Moonface is actually interesting. This guy is a step away from skinhead territory, but the writer handles him with respect and ambivalence. On the one hand, you can never have a functional relationship with a nut job extremist like him, but on the other…Maybe he's not so crazy. After all, his wacko tactics save Bree Turner from what would otherwise be certain death in the woods. And there's an unspoken logic to Turner being with this guy in the first place that gives the plot credibility. Yeah, he's crazy, but he's also confident, strong and charismatic. Women frequently go for these types only to later realize it was mistake.

Where this episode really excels is in the conclusion. It could have just ended with Turner killing Moonface, but NOOOO. These guys went deep and revealed some major psychological damage in Turner. This lady is damaged goods in the worst way. Those final moments with her down in that basement with the—gulp—corpse of her boyfriend are unnerving. Why is she so comfortable in those dark woods and down in that basement? She might just be crazier than old Moonface.

Finally, I have to comment on Bree Turner. I've liked her for a while now. I even bought an issue of Bikini Magazine (long since gone under) when all she had done was MTV's "Undressed." She's come a long way. She does a kick-ass job in this short and I'm sure casting directors will take note.

Yes, if this first episode is any indication we're in for a real treat with this Showtime series. Thumbs up.

Episode 2 - Dreams in the Witch-House (SPOILERS AHEAD)

Knowing nothing about the H.P. Lovecraft story upon which this episode is based, I found it to be just okay. The biggest problem with it is that the show's low budget is starting to rear it's ugly head. The cheesy special effects for the intersection of time and space through which the witch traveled were distractingly bad. And the scene with the rat gnawing through the baby's neck was pretty awful too--the rat was clearly digitally imposed. (NOTE: this scene could have been a real shocker if done right.)

The story itself wasn't too bad, but it never felt authentic. Something about the actors, the sets, etc. didn't gel. Verisimilitude wasn't achieved and I never for one second lost myself and forgot that I was watching a (perhaps overrated if this episode is any indication what's to follow) Showtime series.

On the plus side, "Masters" looks to be a total babe-a-thon, with an attractive actress in the lead each week. Last week it was the can't-look-away ingénue Bree Turner. This week it was Chelah Horsdal, who's body is unstoppable. And next week's previews indicate another stunner is in the queue.

But the fact that my attention has been drawn to such superficialities tells you that this episode left something to be desired in the story department.

Thumbs down.

Episode 3 - "The Doom Room"

This was a noisy, angry episode. Lots of music video type editing, chaos and confusion. But it had its own internal logic that worked. The story centered around a young girl (Jessica Lowndes) who was living with her bitter mother and working at their diner in a post apocalyptic world (we get the idea some sort of weapons of mass destruction have been deployed on a massive scale in the US).

She whisked away from all this by the leader of a band of rebels played nicely by Jonathan Tucker. But on their night on the town she discovers the ugly truth about what happened to her older sister, whom she always believed to be her mother's favorite. Let's just say that if that's how mom treats her favorite, I would hate to be on her bad side. Things unfold rather predictably after the secret is revealed, and it gets a little schlocky, but overall this episode is entertaining and MOH maintains its standard as one of the more interesting and original shows on TV.

Thumbs up.

A Tale of Two Sisters (2003)

Good, but overrated

[7/10 · 28 May 2005]

At this point there have been so many reviews of "A Tale of Two Sisters" (ATOTS) here, and so many reveals, that I'm just going to assume you (the reader) know the basic plot twist and then tell you why I was disappointed. The ultimate reveal in this movie is this: Su-mi's real mother committed suicide in an armoire. When Su-mi's younger sister, Su-yeon, found her mom and tried to help her the armoire fell over on her, but she didn't die instantly. She struggled, pinned beneath it, when her the step mother to be, Eun-ju, found her. Eun-ju, who it is suggested was having an affair with the father long before the mom killed herself and did not like the daughters, leaves Su-yeon struggling beneath the amoire. But as she beats a hasty retreat from the room Su-mi catches her (Su-mi doesn't know her beloved sister is just feet away struggling beneath that heavy piece of furniture). Su-mi hates Eun-ju so much that she doesn't see that glimpse of guilt in her eyes over what she just walked away from. Instead, Su-mi engages Eun-ju is some bitter wordplay and the step mom warns her that she will live to regret this moment (we get the feeling the Eun-ju was going to reveal what she saw if Su-mi had played her hand differently).

Later, when Su-mi realizes that she inadvertently caused her sister's death, she goes nuts and is institutionalized. The film starts when Su-mi returns home, with what appears to be her sister Su-yeon. She is greeted by the evil step mom and strange things begin to happen in the house where everything I described transpired. We later realize, Su-mi has created the step mom and the sister in her mind and is replaying fantasy scenarios with them where she can rescue her sister to alleviate the guilt she has for inadvertently letting Su-yeon die. (This was described excellently by the "featured review" here on IMDb.) But there are scenes where this doesn't make sense, and the sister seems to have her own identity (e.g., ghost) and not be a figment of Su-mi's imagination.

I've seen most of the good Asian horror movies: Ringhu, Dark Water, Ringhu 2, Ju-on, etc. The thing I like about these movies is that they are so different from American films in their style and pacing. It's ultimately this difference that allows them to be truly scary. But with ATOTS, the Western influences and legacy of Asian films have left their mark. In short, this film is so busy trying to live up to this canon of films, while borrowing a few nifty tricks from the best of Western psychological thrillers, that is gives off the distinct feeling of being pretentious and trying too hard.

The aforementioned reveal is a very potent piece of story telling (based on a South Korean folk tale that has been remade fives times into a movie). And because the lead character has gone psycho, and the story is told through her eyes, the director has a lot of leeway to concoct stuff under the guise of it being a crumpling psyche. In short, the director had a great premise he could go anywhere with. But instead of paying homage to it and treating it with dignity, he used it to copycat the scares in the best Asian horror films of the last decade and play cutesy with the actors--don't even begin to tell me Yeom Jeong-ah, the actress playing the step mom--was not allowed to chew the scenery channeling the best Asian Nicole Kidman ever). People say you have to see this movie twice to appreciate it, and maybe their right, but based on my initial viewing I can't help but think that at least half the scares had no real purpose or connection to the story; that the director was just abusing the "Su-mi is crazy" theme to invent some cheap thrills.

Technically, the movie is highly accomplished. It looks far and away better than the other Asian horror movies I've seen. But this also detracts from its efficacy. Ringhu benefited from its stark, almost documentary like story telling. This movie is so lush and well shot that you immediately feel the director is trying to manipulate and impress the audience--making his best bid for a big budget American remake.

Overall, certainly not a waste of time. And I will see it again, but right now I'm not nearly as blown away as most of the reviewers here.

Wishcraft (2002)

Has Anyone Been Keeping Tabs on Alexandra Holden?

[15 December 2004]

This actress is ALWAYS good, whatever she's in. She tends to play the ingenue with repressed sexual energy. She was good as Ross's underage girlfriend on "Friends" and she's good in this, too.

This movie on the whole is a bit of sleeper--I just didn't expect it to be as decent as it was. Someone here said it made "Cherry Falls" look good. Actually, it's the other way around. This movie plays out better than "Cherry Falls" in the long run (CF peeters out and turns into a predictable slasher film in the end; this film does not).

Also, the chemistry between the leads is good and the movie doesn't overextend itself and play up the supernatural too much with cheesy special effects they probably couldn't afford anyway. Who knows what it is that makes one B-movie work and another fall flat. The right actors? Better production design, lighting, direction? Who can say. Whatever it is, this films got it.

The Naked Truth (I) (2003 Video)

Pretty good...

[26 June 2004]

Although this movie has a lot in common with Ice Cube's theatrically released "Player's Club," which clearly had a bigger budget, "The Naked Truth" is in some ways a better film. Where "Player's Club" was episodic, "The Naked Truth" goes for slice of life; where "Player's Club" was melodramatic, "The Naked Truth" achieves such verisimilitude that at times it feels like a documentary.

Writer/director Ray Culpepper really got some nuanced performances from his cast. Unlike many African American movies, which feel like they're straining to mimic the lingo on the streets, the characters in this movie don't sound like Ebonics poster children, but rather true to the black community.

The story, about three economically distressed women looking to escape their financial despair though dancing at a club, is fairly routine stuff. But because these women's predicaments don't feel concocted and they never come off as victims, what could've been a hackneyed plot takes on an added dimension as the believability of these girls stories draws us in. As just one example, when the main dancer, Cat, gets "caught up" drinking Hennessey and playing cards with a couple self-proclaimed movie producers, what ensues could have played as a maudlin gang rape scene. Instead, when Cat wakes up the next morning with only faint memories of the previous night's escapades (brief flashback scenes straddle the fence between rough sex and rape), she surmises: "I don't know what they put in my drink, but I should have known: You can't trust no one from the club."

Finally, for those fans that rented this mainly for Ki Toy Johnson, you won't be disappointed. Ms. Johnson has decent acting chops (note the payphone scene where she realizes she doesn't have a way to get back to her job) and there are enough sexy shots of her to justify the rental. However, in the sexiness department Tiana Johnson as Cat is the real stand out of this movie.

Bottom line: While this movie is not without flaws (e.g., it feels slow in parts and has too many gratuitous strip club scenes that don't feature the main players), I still consider it well worth the rental. Thumbs up!