thatpunkadam Reviews

Anomalisa (2015)

Delicately ultra-orindinary

[9/10 · 19 January 2016]

In many ways, and this isn't for the mere sake of clever wordplay, Anomalisa – the latest film from the weird and wonderful mind of Charlie Kaufman – is an anomaly in and of itself. Where the endless possibilities of animation have taken audiences on fantastical, often family-friendly and largely un-film-able journeys, Kaufman and stop-motion specialist Duke Johnson rather chose to spend 48 months carefully animating a film so deeply, and, in large part, depressingly rooted in the monotony of everyday life. But thanks to over 1,700 backers via kickstarter.com, Anomalisa is a treat to watch. If Kaufman's juxtaposition of daily intricacies with surrealistic stints isn't something you're keen on chewing on, then at least the runtime also plays showcase to Johnson's delicately fashioned, though ultimately ultra-ordinary, animation—which is especially expressive in adjustable portions on the dolls' faces. Interestingly enough, the gaps of these pieces remain visible. Although one could argue this highly visible detail distances them from these characters, being reminded that they're all puppets only stresses the universality of the source material, which, of all mediums, began as nothing more than an 'audio play'.

FULL REVIEW HERE: http://indieadam.com/2016/01/20/anomalisa-2015-review-indieadam/

The Revenant (I) (2015)

Crazed, animalistic, and committed

[9/10 · 17 January 2016]

Still, for as much as the environment is in the spotlight, DiCaprio and Hardy are undoubtedly the two consistent driving forces. Rendering John with an inherent craze, Hardy employs the same commutative eyes from The Dark Knight Rises and Mad Max: Fury Road, except behind a barbaric wad of facial hair, almost biker gang-esque—making his less morally inclined reflection of Hugh into a dangerously unpredictable survivalist. Not to be outdone, DiCaprio has reportedly called this role the most taxing of his career. Upon research it's easy to see why: not only did the vegetarian actor consume a hunk of raw bison's liver, but he also had to learn to properly shoot a musket, build a fire, speak both Pawnee and Arikara languages, and study ancient healing methods. But you don't need to hop on Google to fully appreciate DiCaprio's commitment, just witnessing the actor crawl through the snow and dirt, devour a raw fish—in a enormous fur coat, scraping bone marrow from an already-devoured corpse, the actor is evidently immersed in this animalistic transformation. And, interestingly enough, DiCaprio, speaking maybe 20 or so lines in the entire film, likely made the conscious decision to opt for a more physically demanding role when turning down the lead for Steve Jobs and Sorkin's witty dialogue. After all, since The Academy didn't award his vulgar wolf the year prior it only makes sense that now he actually has to become one.

FULL REVIEW HERE: indieadam.com/2016/01/17/the-revenant-2015-review-indieadam/

The Hateful Eight (2015)

Bluffs and Tall Tales

[8/10 · 7 January 2016]

It's these questions that create an omnipresent atmosphere of bluffs and tall tales—heightened by, but not limited to, the slow-simmering, closed environment—where the door is literally nailed shut, and we're stuck with these characters just as much as they're stuck with each other. Unfortunately, the majority of this Western ensemble aren't terribly interesting or memorable, with even less being particularly likable. Who says you can't be hateful and decent? That said, "The Hangman" was still the most compelling and important player in regards to his unemotional sense of justice, which comes back around in one of Tarantino's bloodiest climaxes yet whilst pronouncing the film's already caffeinated screwball elements. None of that final act, however, or the film for that matter, would have been as erratic without Leigh's surprisingly delectable performance. Initially mum and marred, the actress still manages to convey a distinct arrogance whether she's spitting on Warren's letter or silently miming her own hanging. Yet, it's that aforementioned three-fourths point, aptly titled "Domergue's Got a Secret," where the film and Leigh's performance really begin to sizzle. Picking up an acoustic guitar, an unexpected, though cynically-motivated tenderness emits during a brief tune, before the actress finally unveils the latent insanity–erupting in full and foul form, and, in my books, takes the cake for best supporting actress of 2015.

FULL REVIEW HERE: indieadam.com/2016/01/07/the-hateful-eight-review-indie-adam/

Carol (2015)

Waking up from the American Dream

[9/10 · 7 January 2016]

The age difference isn't the relationship's sole hook—rather it's where the women are in their respective stages of life. Carol, having been pulled through the American Dream, is torn between her loyalty to her family and her own happiness, while Therese has only started considering long- term love, realizing Richard could eventually become Harge. Mara's wide eyes invokes a childish excitement and fear, but which finds empathy in Blanchett's aura of experience. Deeper, inspired perhaps by the fearful prospect of losing her daughters in the divorce, there's a particular scene where Therese is sitting at a piano (if I recall correctly) and Carol stands behind her elegantly coursing her hands through the young woman's hair. It's quiet and quaint, though it's our first tactile piece of evidence that Carol's interest in Therese extends beyond customer satisfaction. And, more beautifully, upon analysis, it's perhaps the moment where Carol's motherly duties are liberated by her motherly love for a woman she can finally love without being a mother.

FULL REVIEW HERE: indieadam.com/2016/01/07/carol-2015-review-indie-adam/

The Danish Girl (2015)

A moving portrait.

[7/10 · 7 January 2016]

Just as fine are Hooper and Cinematographer Danny Cohen (The King's Speech, Les Miserables) picturesque frames. Whitewashed walls, striking European landscapes, countryside murals, and even still paintings of Lily somehow look that much more gorgeous in the eyes of the creative duo. The colour palate grows nearing the end of the final act, yet the proceeding effect is anything but additive. My disappointment is not so much with the continually popping images as it is with a handful of Coxon's safe and opaque decisions by the end of the second and entire third act. A more immersive perspective during Lily's visits to several certified doctors with armchair diagnostics would have added the desired ounce of energy absent in the rushed montage effect, and never really delving into the apparent hopelessness of a male wanting to abandon his gender privileges in the 1920s. And although the conclusion was perhaps a tad too sappy, maintaining a positive outlook could help ensure films of transgender issues maintain an important longevity in Hollywood's shrinkingly phallic hills.

FULL REVIEW HERE: indieadam.com/2016/01/07/the-danish-girl-review-indie-adam/

Krampus (I) (2015)

Uses crude characters of genre trope to highlight seasonal spirit

[7/10 · 12 December 2015]

The easy route henceforth would exploit satisfaction in watching the purposely-profane relatives gruesomely fall victim to a collection of Christmas killers. However, where Krampus succeeds strongest is using the genre trope of unlikable characters to its thematic advantage. Bolstered by a realistically reactionary approach – lightened by the believably brash humor of Koechner's character, though a completely straight edged Scott is a tad disappointing – a progressive feeling of previously unimaginable allies is refreshingly palpable, and fitting within the season of togetherness.

Though held in check by a more marketable PG-13 rating, Krampus' league of hellish holiday haunters are imaginatively wild and meticulously rendered, even if a headache- inducing strobe eats up more screen time than we see the monsters do people. But visual kudos should also be rightly reserved for the sound and effects department—not to mention the culturally dark animated origin of Max's grandmother's (Krista Stadler) young encounter with Krampus. Layering the storm's merciless howl and Krampus' clanging chains amidst the claustrophobic blizzard, the enveloping whiteout manages to hold its own against this year's Everest and Crimson Peak. Conversely, if our characters learned the true fate of their conditions as we learn in the film's closing minutes it would have eased the pain of the cop- out and draw more attention to the excellent atmospheric effects.

FULL REVIEW HERE: indieadam.com/2015/12/13/krampus-2015-review-indieadam/

The Good Dinosaur (2015)

A beautiful, heartwarming means to an end.

[6/10 · 10 December 2015]

For as humorously disorienting as the animation team illustrated a fruit high, for as vibrant and photorealistic as endless plains and fluid water effects are implemented, equal praise should also be reserved for the practical use of Arlo's cumbersome Apatosaurus body. Whether he's scaling the side of a mountain or extending his already-lengthy neck to grab some out of reach fruit, the creative team never felt limited, but rather motivated to show talking dinosaurs in the most gorgeous and uniquely dinosaur-like way possible.

A prevailing survival tone is evoked through Arlo and Spot's journey home. A pack of hungry pterodactyls, headed by Thunderclap (Steve Zahn), their dude of a leader, serves as the duo's first encounter with nature's savagery with a rather visual introduction. Yet, although their sole motivation for food supports the film's survivalist angle, it also limits any promise of further characterization. Nature is the main antagonist, yes, but that shouldn't be an excuse for writing hollow characters, which adds little depth or meaning to the hasty climax.

FULL REVIEW HERE: indieadam.com/2015/12/10/the-good-dinosaur-2015-indieadam/

Victor Frankenstein (2015)

"It's alive!" "Isn't it obvious?"

[4/10 · 9 December 2015]

"It's alive!" is perhaps one of the most famous proclamations in popular culture, but after countless attempts to revive Mary Shelly's 19th-century monster for modern audiences, not to mention last years' dreadful I, Frankenstein, the most appropriate follow-up to that very quote comes from the mouth of James McAvoy in this year's Victor Frankenstein, which the title character bluntly states, "Isn't it obvious?"

... In the film's opening minutes this fresh prospective comes to life, as Victor (McAvoy) and Igor (Daniel Radcliffe), escape from the circus after Frankenstein witnesses the anatomy-savvy hunchback save Lorelei (Jessica Brown Findlay), a beautiful trapeze artist and ignored love interest, after a deathly fall. Super imposed x-rays of bone structure in a blueprint-like effect, slow motion fireworks, freaks with fire-blowing and knife-throwing abilities all make for an inspired opening sequence, which unfortunately fails to prevail into the ensuing 110-minutes runtime.

FULL REVIEW HERE: indieadam.com/2015/12/10/victor-frankenstein-2015-review- indieadam/

Spotlight (I) (2015)

An intricate balancing act

[8/10 · 27 November 2015]

Where the cast shines brightest, however, are the moments in between when there is no center attention. Writer (and Director) Tom McCarthy and co-writer Josh Singer have each one of these reporters contributing to the investigation in some meaningful way—be it interviewing traumatized victims or unearthing sensitive documents there's an evident feeling of cooperation and balance. Though the same can't be said in terms of character, McAdams and d' Arcy James allotted significantly simpler means of development, the visits to the duo's respected arcs are kept brief—illustrating these moments as personal glimpses rather than forced sympathy. Schreiber embodied this aspect in his underused performance, where a couple of the film's handful of memorable scenes sees the Jewish editor opposite to the Cardinal, Schreiber donning a weary expression with a firm tone of voice to craft a motivated but emotionally suppressed performance that only began to bud.

FULL REVIEW HERE: www.borrowingtape.com/latest-reviews/spotlight-2015

Creed (II) (2015)

A Rocky for a new generation

[10/10 · 26 November 2015]

Creed isn't a modern day remake nor is it a quick Thanksgiving cash grab; it's a Rocky for a new generation. Directed and co-written by Ryan Coogler with the aid of scribe Aaron Covington, the creative duo, like Adonis, are looking to make a name for themselves, and boy have they ever surprised. Flowing with the hip-hop sounds and urban pride, Creed thrives on contemporary cultural undertones alongside the elderly Italian. The initially dependent Adrian from the first film is replaced by the independent Bianca (Tessa Thomson) opposite to Adonis—sporting a promising music career and intolerance for bullshit. Just as tough, however, is Coogler and Cinematographer Maryse Alberti's grounded rendering of Philly, both in and outside the ring. Lit by the natural flooding of sunlight either in the gym or the street, or intensified with dimly lit tunnels, shots in and leading into the ring are extended for as long as possible. Without a series of cuts, Adonis feels more vulnerable; seeing him walk into the ring, punch, get punched, and punch again all in the same take feels raw and authentic. The accord of Coogler to demand the boxing prowess, focus, and trust of Jordon exudes in these heart-pounding moments.

FULL REVIEW HERE: indieadam.com/2015/11/26/creed-2015-review-indie-adam/

Secret in Their Eyes (2015)

Provided previewed content but not expected substance

[5/10 · 20 November 2015]

Completing the triangle character dynamic are Ray and Claire (Kidman), but the shape fails to show its strength. Ray is said to have been analyzing headshots for 13 years, yet we're shown him doing such for less than 15 seconds, while outside the case his obsessiveness is seen in his constant, though refreshingly unsuccessful, advances on Claire. At proverbial tip of this triangle would be the district attorney, her lawful ideals challenged by Jess and Ray's constant, and illegal, pursuit for revenge. But here in lies the crucial flaw of the dynamic's downfall: Claire, despite embodying righteousness, never has a scene to fully question and dissect the combination of relatable thirst for repentance and the legal restrictions that protect the guilty. To that, where the trailer suggested moments in which Jess addresses this, the film basically cuts them in during a final blatantly explanatory montage—providing the previewed content but not the expected substance.

FULL REVIEW HERE: indieadam.com/2015/11/20/secret-in-their-eyes-2015-review-indie- adam/

The 33 (2015)

Constantly developing plot distracts from otherwise elongated conflict.

[7/10 · 18 November 2015]

Though the plot is simplistic, it rarely lingers despite the mine's seemingly premature collapse just half way through the first act. Thankfully, any fears of elongation were eventually diminished following the cave in – a cautiously lit sequence, taking the initiative of using the miners' headlamps almost exclusively in terms of lighting. Conflicts such as a detached drill bit or a mutiny amongst the miners are introduced before being solved in a timely fashion. On one hand it could be argued their relatively hasty resolve is a means to stretch the runtime, but these small struggles contribute to a sense of constant development – even if they lack any gravity to the overall narrative. Furthermore, the film exudes with personality and character; be it Edison Pena (Jacob Vargas), an Elvis impersonator or Yonni Barrios' (Oscar Nunez) mistress or a humorous hallucinogenic last supper—there's a palatable aura of humanity and fellowship amongst the 33.

FULL REVIEW HERE: indieadam.com/2015/11/18/the-33-2015-review-indie-adam/

Suffragette (2015)

Boldly relevant, but narratively flawed and, at times, morally imbalanced.

[6/10 · 9 November 2015]

Gavron and Cinematographer Eduard Grau leave distinct aesthetic fingerprints. The duo plays in close-ups to an opposing duality—both intimately conveying the heartbreak and aggression amidst Mulligan's feminine facial features, and frantically throwing us into the middle of hectic riot brutality. More over, the wearisome browns and grays that infected most of the first act are consciously done away with thanks to repeated visits to pond-side greenery in addition to hints of cobalt dusk against tangerine candle light.

Still, no amount of carefully constructed frames can fix a string of loose plot consistencies. In addition to a supportive character nonsensically locking a suffragette in a closet "for her own good" when the situation wouldn't have directly put her in danger and the absence of the parliament's argument for the vote following Maud's optimistic speech, most unfortunate comes in the form of Gleeson's Inspector Arthur Steed, as alluded to above. Throughout the plot, Steed, constantly hounding Maud's suffragette identity, grows more sympathetic to the movement over time. However, we are deprived of not only the balance of a supportive male character but also the completion of a slowly developing arc as Morgan's script abruptly cuts his epiphany.

FULL REVIEW HERE: indieadam.com/2015/11/10/suffragette-2015-review-indie-adam/

Spectre (I) (2015)

Polished exterior can't hide step back to hammy Bond

[6/10 · 6 November 2015]

Marking the fourth entry in the Daniel Craig-Sam Mendes rebooted 007 series, Spectre comes nearly a decade after Casino Royale reinvented cinema's favorite spy franchise. However, where Casino traded shaken martinis for a more lifelike Bond that was perfectly suited for Craig's gruff portrayal, this latest installment feels like the farthest step backwards into the very tropes the series has thrived by avoiding. Quantum and Skyfall were both equally guilty, but on much more subtle levels—Skyfall specifically overshadowed its regression by enlisting Ralph Fiennes, Ben Whishaw, and Naomie Harris as MI6 regulars. Thankfully, Spectre reaps the rewards of the ensemble investment, most notably so from Whishaw's scene-stealing gadgeteer, adding to the film's extremely polished exterior with the cinematography aid of Hoyte Van Hoytema (Her, Interstellar) and returning Skyfall composer, Thomas Newman. Unfortunately, for as environmentally playful and seductively recurring as the duo's contributions are, the tacky script just can't lay low.

FULL REVIEW HERE: indieadam.com/2015/11/06/spectre-2015-review-indie-adam/

Truth (I) (2015)

Forgets the mouths behind the words

[5/10 · 2 November 2015]

The collective retrospective of scenes results in a blur of newsrooms and paper-littered tables, with the only dab of color coming from the aforementioned cast working to the best of their abilities within the restrictive limits of Vanderbilt's script. Blanchett, however, exhibits an evolving rendering of Mapes, supplying a triadic distinguishing effect amidst the blur. The investigative reporter is bullheaded and slightly giddy in pursuit of the documents before mainstream media exposes her vulnerability in her husband's arms, to then finding her confidence in the grounded effect of her family and the average citizen. Redford embodies Rather with fatherly warmth opposite to Blanchett, drawing visual similarities in addition to the anchor's assuring but direct tone. The talented third-strings add a consistent authenticity to those newsroom debates, but an underused Elisabeth Moss and underwritten Dennis Quaid are hard to ignore. Fortunately, Grace is able to briefly transcend the trio in one venting of a scene that essentially screams the film's frustration with the filtering and mass skepticism of modern journalism—the actor's youthful vigor finally emitting a culmination of welcome plot relief and three dimensional character acknowledgement. It's just too bad its exclusive to that single, fleeting scene.

FULL REVIEW HERE: indieadam.com/2015/11/02/truth-2015-review-indie-adam/

Full Contact (2015)

Visually mesmerizing and hauntingly seductive

[10/10 · 1 November 2015]

Verbeek articulates the aftermath following the destruction, of what turned out to be an Afghani school, in a way that is dreadfully believable yet subconsciously compelling. Ivan is debriefed by his superiors – the camera, however, transfixed on Colin's unrelenting gaze. Here, with a single shot, Verbeek exhibits a trio of crucial explanations regarding the film's surreal progression henceforth. First and foremost, the interviews carry Ivan's disconnect from society, isolating him from a traditional table scene that would normally present both interviewer and interviewee as equals. What's more, we, the audience, are put into the position of the interviewer and thus are asked to judge Ivan's actions; was he following orders? Or was he truly indifferent to pulling the trigger? But as we judge him with our perceived authoritative power, we are essentially granted the same god-like jurisdiction as we would be pushing a button that could a end a life thousands of miles away. And to cap the brilliant sequence off is Colin's lifeless glare, an icy gaze that remains unbroken through inquires about Ivan's mental state, and uncut through Verbeek's bold accord.

During my young film-critiquing career, I have yet to encounter a film in need of championing until "Full Contact." If you seek a film about drone warfare, Gavin Hood's upcoming 'Eye in the Sky' will likely be more up your ally. But if you even slightly care about one of the most contemporary, visually mesmerizing, hauntingly seductive, visionary pictures to spawn from the past 10 years, please do yourself a favor and watch 'Full Contact' whenever or wherever it becomes available.

FULL REVIEW HERE: http://indieadam.com/2015/09/22/full-contact-review-indieadam-tiff- 2015/

High-Rise (2015)

Going up?

[6/10 · 1 November 2015]

While 'High Rise' articulates its thoughts regarding class structure, control, and savagery with ease amidst particularly detailed sets, wonderful performances, and plenty of gorgeous frames – the narrative is regrettably tedious and disengaging, due in large part to an overindulgence of montages and fixation on humor. The outcome is a frustrating severance from a plot that is at its strongest during the few scenes in which it invests wholly into the dark aspects of the remote Armageddon. The usual suspect of needlessly excessive comedy is partially to blame, but not more so than a superfluous use of montages, which seem more concerned with putting 'High Rise' into art-house discussions than engaging us into subject matter we yearn to invest into from a more fathomable perspective.

Demolition (2015)

Breaks then builds itself back up again only to break again

[7/10 · 1 November 2015]

Neither inherently comedic nor as captivating as 'Nightcrawler,' with less depth and suspense as 'Enemy,' 'Demolition' doesn't hold up to Gyllenhaal's previous efforts. Regardless, even in playing a more traditional character, the actor fully committed to the role over the film's mere 30-day shoot. The drama is weakened by the comedy and the comedy is weakened by the drama, and the whole tone is made more confusing as a result, but in a handful of scenes the terrific cast is able to click with each other as well as the competing tones. Strengthened by an energetic pace and score in addition to engaging superimposed reflections in a series of frames, 'Demolition,' with it's thought-provoking script and committed cast still manages to craft one of the most intricate insights into the inner insurgency of contemporary purpose and strife.

FULL REVIEW HERE: http://indieadam.com/2015/09/12/demolition-review-indieadam-tiff- 2015/

Straight Outta Compton (2015)

I've got something to say

[8/10 · 1 November 2015]

When the fallout between Cube, Dre, and Eazy takes center stage, however, the script's zeal is camouflaged by the actors' impeccable familiarity and comfort with one another. A fast-forwarded montage during the recording of the title album suggests their tight-knit mantra, but it's moments such as a darkly comic armed hotel confrontation with an angry boyfriend or watching Eazy step up to the mic for the first time only to whimper the opening line to the amusement of the on looking group that makes these performances work so well. Even Paul Giamatti as crooked manager Jerry Heller get involved, bringing reason to the aggressiveness and maintaining a vulnerable stature underneath his alternative motives. But where this chemistry comes into play most effectively is making the group's various conflicts impactful despite being given minimal attention. Boldly bumping 'Fuck Tha Police' in front of an FBI head, Cube effortlessly telling a CNN reporter to eat a dick during an interview, and, most notably during hospital visits to a bed-ridden Eazy when personal vendettas climaxed only a few scenes prior.

Perhaps 'Straight Outta Compton' would have worked better as a mini-series or, at very least, a film that reduced its battles and increased its attention to the alluring crew dynamic from a plot standpoint. Still, after a glaring 148 minutes the film achieved what it originally set out to do and more – featuring a terrific cast, booming soundtrack, and swift – albeit shallow – script that boasts genuine heart when you least expect it.

FULL REVIEW HERE: http://indieadam.com/2015/09/07/straight-outta-compton-review- indieadam/

Mississippi Grind (2015)

Fool me once...

[4/10 · 1 November 2015]

If it isn't evident early on, with his looming debt and reluctance to call it quits, Gerry has a gambling addiction, yet the film strangely decides to neglect it. Although Boden and Fleck spin a humorous twist on the issue at times – such as a lingering shot of the men's washroom entrance after Gerry and Curtis bet if the next guy to exit is wearing glasses – they fail to directly confront it through Gerry. More frustratingly, during a climatic moment ripe for Gerry to realize his existing fortune, the film chooses to blatantly ignore both thematic and character development in addition to a compelling narrative that expects us to be satisfied with these two guys all of a sudden hitting a hot streak one random night and choosing to ride it – disregarding the risks of the very gamble that set them on this southern road trip in the first place.

FULL REVIEW HERE: http://indieadam.com/2015/09/24/mississippi-grind-review- indieadam-tiff-2015/

The Martian (2015)

Sci-fun

[9/10 · 1 November 2015]

If the jubilant 80s soundtrack and snappy wisecracks of last year's lively space romp, 'Guardians of the Galaxy,' revived the sanguine sci-fi, then Ridley Scott's 'The Martian' has taught it to walk. In what could have easily echoed Warner Bros.' award-winning space disaster epic, 'Gravity,' 'The Martian,' rather, not only evokes an optimistic outlook on space exploration but also injects a rebellious dose of realism and humor despite its eccentric protagonist being stranded 140 million miles from the planet we call home.

Reserving its 'Gravity' parallels to the beautiful CGI crimson storm of an opening sequence, echoing 'Alien'-like helmet lamps in the process, Commander Melissa Lewis (Jessica Chastain) is subsequently forced to withdraw her exploration crew from the red planet. Although the team of Kate Mara, Aksel Hennie, Sebastian Stan, and a delightful Michael Pena escape Mars in one piece – Chastain's Melissa made the strenuous decision of abandoning Botanist Mark Watney (Matt Damon) after being separated by the storm and impaled by a radio antenna, suggesting his suit has been severely breached. Yet, the very antenna that stranded Watney also plugged the breach, which in itself is a miracle if it wasn't immediately overshadowed by the fact that he's also trapped on Mars with only enough sols (Martian days) of food to last just over a year; the next mission arrives in 4. Henceforth, Watney is tasked with growing food on a planet where nothing grows; finding water on a planet where none flows (as of filming); and communicate with NASA millions of miles away – all of which Watney accomplishes with a smile, witty self documentation, and survival proficiently that would make Les Stroud proud and Neil Armstrong weep.

FULL REVIEW HERE: http://indieadam.com/2015/10/01/the-martian-review-indieadam-tiff- 2015/

Mountains May Depart (2015)

Epically grounded

[9/10 · 1 November 2015]

'Mountains May Depart' does make audiences aware of its 131-minute runtime by a ostensibly prolonged third act that, despite possibly being in roughly equal length to its previous counterparts, trudges while following Dollar almost exclusively. As opposed to Tao, who's arguably the protagonist, I admittedly longed for more of Zhao's vigorously human display, breaking down into tears just as easily as striding with poise and zeal. In the acclaimed director's 7th feature film, Zhangke Jia has attributed epic scale and profoundly relevant ideas to the classic, albeit modernly exhausted, love triangle conflict. Through subtle use of tech, Jia supplies a new pair of eyes – proving it's not what we view, but how we view the world, cultures and people around us.

FULL REVIEW HERE: http://indieadam.com/2015/09/17/mountains-may-depart-review- indieadam-tiff-2015/

Black Mass (2015)

An acting showcase

[8/10 · 1 November 2015]

Seeing any promotional material will make it clear 'Black Mass' is an obvious award season bandwagon that, thankfully, boasts substance in its a-list cast. Trumping them all, however, Depp is frighteningly captivating. The actor's deep, wide eyes compliment the criminal's more touching moments, such as playing cards with his elderly mother, in addition to several menacing metaphorical speeches that he reminds those around him, including one notably unpredictable scene with Kevin Bacon's Charles McGuire, about the importance of keeping your mouth shut. Validating these moments, Whitey isn't afraid to get his hands dirty – strangling enemies with his own bare hands, and even appearing as an exterminator with an assault rifle trying to clean his streets of filthy rats. Depp embodies this newfound R-rated freedom, becoming physically invested in a handful of gruesomely grounded killings, along with a generous supply of f-bombs. This isn't Captain Jack, folks.

Like his counterpart will likely do for lead actor contention, Edgerton will make a compelling argument for supporting cast discussions come February. Subtlety evolving his posture, stride and mannerisms Edgerton does a magnificent job in adjusting Connolly's behavior as his fortune grows. Yet, when his character's confidence is tested, Edgerton shines. In a torrent of noteworthy scenes that catch Connolly conflicted between the morally perplexing obligations of the law or his loyalty to his childhood brother, Edgerton emanates shaky uncertainty by enlisting a stutter that seemingly breeds in authenticity the higher the stakes become. A fantastic third-string cast aids many of these confrontations, illuminated by a fierce Julianne Nicholson adding some welcome femininity to the overbearing testosterone. Jesse Plemons, who I was for some reason convinced was Matt Damon under all that make-up, did a fine job narrating the first act and bringing more depth to his typecast henchman role. And Corey Stoll makes a disappointingly brief appearance as a new FBI head Fred Wyshak, supplying his 'House of Cards' brand of leadership – an element that would have livened a climatic confrontation if the narrative continued to follow his pursuit of Bulger and suspicion of Connolly.

FULL REVIEW HERE: http://indieadam.com/2015/09/18/black-mass-review-indieadam-tiff- 2015/

Man Down (I) (2015)

LeBeouf transcends frustrating script

[5/10 · 1 November 2015]

Transcending the frustrating script, Shia LaBeouf emerges as the movie's saving grace. Supplying an Oscar-worthy display, LaBeouf finally reaps the rewards of his fateful 'Transformers' campaign. A sentence as shocking to write as it is to read, the 29-year old star transfers the same wide-eyed, controlled fervor to a damaged man he's clearly spent time molding both physically and mentally. His dedication reaches its peak during the climatic home invasion scene, wherein Gabriel attempts to 'rescue' his son from his own house. At this point we are finally aware of Gabe's condition, but observing LaBeouf's unwavering devotion in the way he strangles a SWAT officer and seeks cover in his own kitchen – moving with dazed familiarity, is made that much more saddening when he hands his terrified son a pack of gummy bears; his favorite food. In my eyes, that final scene is what raised that audience to their feet. If not for any naive prejudices against Shia, and surely not for the script, 'Man Down' deserves a viewing for that sole, heart-wrenching scene alone.

FULL REVIEW HERE: http://indieadam.com/2015/09/22/man-down-review-indieadam-tiff- 2015/

Everest (2015)

Stars in the snow

[7/10 · 1 November 2015]

That isn't to say the Oscar bait of a cast goes completely to waste. Jason Clarke exhibits perhaps one of his best performances inside his recent string of action movies, rebounding from this summer's lackluster 'Terminator Genisys' and building upon his solidifying appearance in 'Dawn of The Planet of The Apes.' With an impeccable Kiwi accent and sincerely heart wrenching exchanges with his wife, Clarke as expatiation leader Rob Hall skillfully suffers the very fate he so desperately intended to protect from the team and himself. Applause should also be reserved to Robin Wright and Keira Knightly, whose portrayals of distressed yet strong-willed wives are especially commendable, granted that they were forced to concoct pure pain, hope, and determination without co-stars Clarke or Brolin in the room. Josh Brolin as the hard-nosed Beck Weathers is one of the film's more well rounded showings, evolving the character from subconsciously terrified yet confident climber to a frost eaten walking dead.

FULL REVIEW HERE: http://indieadam.com/2015/09/20/everest-review-indieadam/