"The Place Beyond The Pines" - Review

Directed by: Derek Cianfrance

Written by: Derek Cianfrance, Ben Coccio, Darius Marder

Release Date: March 29, 2013 (limited)

Review by: Sean Kayden

I really wanted to love “The Place Beyond The Pines.” It had all the ingredients to become a classic. This includes starring two of the most talked about actors in the game right now, Ryan Gosling and Bradley Cooper. It’s from up and coming director, Derek Cianfrance, who in 2010 wowed critics and audiences alike with his sophomore feature film, “Blue Valentine.” However, I wasn’t the biggest fan of that movie, but admired the way it was shot and acted. With “The Place Beyond The Pines,” Cianfrance takes the ambitious route of focusing on three separate stories that are all linked together over the span of fifteen years. The problem with this is how jarring it becomes when the story would shift directions. One act dedicated to Gosling’s character, Luke Glanton, a motorcycle stunt driver who decides to rob banks as a means to provide for his son, who he just discovers exists. The second act has a focal point on Bradley Cooper’s character, Avery Cross, a rookie cop moving up in the ranks in a corrupt department. Lastly, in the least compelling tale, the final act is between both main characters’ sons fifteen years later. Cianfrance is a wizard behind the camera, as this is a gorgeously shot movie. However, within the two hours and twenty minutes running time, “The Place Beyond The Pines” suffers from episodic storylines (the ones we’ve all seen before) and barely touches the surface on the multifaceted themes it’s hastily trying to validate.

While Gosling’s character Luke is hypnotizing in the first story (with many similarities from his character in “Drive”), his storyline isn’t as deep as I was hoping for. His estranged ex-lover played by Eva Mendes comes back into his life and Luke finds out he has a son. Before this, all we know about Luke is that he’s the leader of a traveling act of acrobatic motorcyclists named “Handsome Luke and The Heartthrobs.” When the news of a son is revealed, Luke decides to quit his job and find a way to provide for his son. He teams up with a local mechanic and soon finds himself enthralled with the life of a bank robber. For a brief time, he’s able to provide for his son, but things quickly escalate out of control. I can empathize with Gosling’s character to support his son, but the whole robbing banks storyline seems outdated and stodgy. I understand there’s a deeper meaning behind the surface—a father doing whatever it takes for his family for one. However this compulsion to commit crimes (with no inclination to hurt anyone) gets the best of Luke and ends in a collision course with police officer Avery Cross. By the time we get a better sense of Luke, his story comes to a swift conclusion. It feels more like a high production short film than one-third of an epic feature film.

Bradley Cooper’s character Avery Cross is a rookie cop that crosses path with Luke. Without giving any way spoilers, Cross is thrown into the limelight in the media. Cross gets mixed up with some corrupt cops and has decisions to make. He too wants to provide for his family, but ultimately chooses right over wrong despite what rewards are tied with wrong doings. This sequence is actually quite compelling even if it’s something we’ve all seen before. Cooper’s character feels incomplete because what happens later on in the film makes him only concern with himself and not his family. I don’t understand why this occurs especially when you think he’s a good man and father. It’s another dynamic to the family theme that’s explored, but with most of the themes they only touch the outer surface and rarely get as deep as you’d hope.

The final act is geared toward Avery’s 17 year-old son, AJ, moving in with him and Jason (Luke’s son, who is initially lied to about who his father was). The two boys, unbeknownst about each other’s past, form a friendship due to a ridiculous coincidence. While the film has significant circumstances that occur, they rely heavily on coincidences. If you can get past this, “The Place Beyond The Pines” has some worth to it. I much rather have seen the first two acts extended and the elimination of the third story. In spite of this, the filmmakers’ intentions were to tie the story with the sons because an additional theme to the story is fathers and sons. There’s nothing quite as powerful as the relationship a son has with one’s own father. However, the kids aren’t as compelling as both Gosling and Cooper. Cooper’s son AJ feels out of place. You come to realize how could his son turn out the way he is, but I suppose anything can happen during teenage adolescence. Jason, Luke’s son, is lost and lonely. It seems utterly coincidental that now in his life he’s curious to whom his real dad is. The final twenty minutes tries desperately to connect the layered stories together. While “The Place Beyond The Pines” is ambitious to a fault, I think there are just too many half-baked ideas strung together to appear as something deeply profound and substantial. It’s extremely dense film, but Derek Cianfrance is a filmmaker to watch out for because he knows how to get his actors to deliver strong performances. He’s also a terrific director that may benefit more from an outsider’s screenplay rather than his own. I don’t want to see Cianfrance continuously get high on his own supply because perhaps he may shine the most when bringing another story to life that isn’t as close to him but will be once he puts his signature touch on it. In the end, “The Place Beyond The Pines” is a sweeping, cinematic movie going experience with solid acting, beautifully shot sequences and great direction. At the same token it unfortunately falls apart in the end leaving you with a feeling of emptiness rather than fulfillment of any kind.

Grade: 3 out of 5 

Published by Mountain Views News on April 20th, 2013
http://mtnviewsnews.com/v07/htm/n16/p14.htm

Caveman - "Caveman"

Artist: Caveman

Album: Caveman

Label: Fat Possum

Release Date: April 2^nd, 2013

Review by: Sean Kayden

NYC dream-rockers Caveman return with their eponymously titled sophomore album. Their 2011 debut record, “CoCo Beware,” earned them much acclaim. The real test obviously comes with the follow-up record and Caveman doesn’t falter. A deeper, richer, more melodic sounding album is what “Caveman” is. It’s a shimmering, wistful collection of songs that reflect those of the 80s British pop era as well as hints of The Shins, Grizzly Bear and Fleet Foxes. Comparisons aside, Caveman’s intensely satisfying second record captures a plaintive life, yet those impacted by it will have their own subjective opinions.  The wailing guitars, the sensitivity in the vocals, and hazy snyths are all driving forces behind “Caveman.” Their sound is unmatched in today’s ever so increasingly expansion of indie rock bands (especially those from NYC). While the album may not be something to fully blow you away, it’s still a sumptuous communal set of songs. It’s definitely a slow burn of an album that tests the patience of the listener. If you’re willing to stick around for the entire show, you’re in for an experience that’s rare these days.  
The album starts off with “Strange to Suffer.” It’s a dreamy, paradise encompassing song that is light on lyrics, but is as soothing as anything you could ever ask for. The subsequent track and first single, “In The City,” is the most upbeat song off the record. It’s airy, snyth-soaked, and melodically intoxicating. While rest of the album meanders through, it’s a trip worth taking. For everyone will take away a different experience, but all come to the conclusion that “Caveman” is significantly powerful on many unexplained levels. At times quite intimate such as with the song “I See You,” the folk rock, barebones track to sweeping efforts like “Where’s The Time?” and “Chances.” In fact, “I See You,” reminds me a lot of something found on both Local Natives’ latest masterpiece, “Hummingbird” and reminiscent of the band, “City and Colour.” No matter the similarities, “I See You” is one of Caveman’s most warm and sorrowful songs. It’s filled with sheer beauty and desolation. Admittedly so, the album runs its course a bit with the later tracks like “Never Want To Know” and “The Big Push.” They’re the lengthiest of songs found on “Caveman,” but offer no real surprises. Nonetheless, the listener will already be completely enthralled with the record that the end may not pose much of disappointment.

I heard the real assessment for a band is how they perform their songs live. Caveman has been known to put on great live shows. Therefore, it’s a great reassurance that the band is definitely something to rave about. While “Caveman” isn’t the music you’re blasting in your car or working out to, it’s rich textures, thick guitar layers, affectionate sensibilities will draw you in and hold you tight. Despite the slight tail off toward the end, that grasp it has on you may let up slightly so. Nonetheless, the first nine tracks will prove to be something wholly innovative, vastly pleasurable, and quite gentle as the listener navigates the shores of “Caveman,” never wanting to return to land.

Grade: 8.5 out of 10
Key Tracks: “In The City,” “Ankles,” “Pricey,” “I See You”

Published by Mountain Views News on April 13th, 2013
http://mtnviewsnews.com/v07/htm/n15/p13.htm

Spring Breakers - Review

Written and Directed by: Harmony Korine

Rated R for strong sexual content, language, nudity, drug use and violence throughout

Release Date: March 22, 2013

Review by: Sean Kayden

The latest film from independent cult director Harmony Korine is one 90-minute explicit music video. Depictions of drugs, booze, sex, and violence all rolled up for an ADHD generation. Perhaps, “Spring Breakers” is in indication of how this generation of college students like to let loose and will do so at anyone’s expense. The film’s social commentary is heightened when in one particular scene when Candy (Vanessa Hudgens) and Brit (Ashley Benson) are in their history class and out of boredom start drawing sexual pictures and yearn for spring break. The generation they were learning about fought for survival and to see the light of a new day, these girls are fighting for the right to party. When the two girls along with their two friends, Faith (Selena Gomez) and Cotty (Rachel Korine) put their money together, they discover they’re significantly short of heading to their spring break destination. It’s then when the “bad girls” of the group Candy and Brit come up with an idea to knock off a diner at gunpoint to secure the rest of the funds needed. With the help of Cotty as the getaway driver, the girls successfully pull off the robbery. They head back to their dorms to share the exciting news with their childhood friend, Faith, the ultra religious and “good” girl of the pack. While the news seems a bit disturbing at first, she quickly engages in the celebration. A celebration that has them leaving their humdrum lives for a week’s worth of total adventure and uncertainty. An uncertainty they’re deeply craving because the only thing certain in their lives is the day to day monotonous of an ordinary, no thrills, and no frills lifestyle.

It is then in the midst of raging parties of excessive booze, narcotics and sex is when the girls get taken away by authorities for drug use at a hotel. The four girls, in only their bikinis are locked up. They’re looking at a few days in jail if they don’t come up the fine. It is then where we meet for the second time (first time when he’s rapping on stage) Alien, a white boy rapper/drug dealer played by James Franco with extraordinary bravura. His performance alone may be the only redeeming quality of the film. A presentation so over the top, so out of this world that you can’t help but not to laugh with him and usually at him. He takes a deep liking to the four girls, especially the innocent Faith, who never wanted anything like this to happen. However, as things become too much for her to cope with, she realizes she doesn’t want to be part of this any longer and simply wants to go back to school. Without much of a struggle to keep her around, they let her go. The girls lose their friend faith, along with some of their own faith as she says goodbye. However, the other three girls love the situation they’ve found themselves in. They thrive for the opportunity to be Alien’s new cronies and possibly lovers. According to Alien, he has it all. And by all, I mean a lot of banal possessions. He raves about his collection of shorts in all colors, his multiple Calvin Kline colognes that make him smell nice and how he has “Scarface” on infinite repeat all day long. The bond between Alien and the girls becomes strong. They start helping him rip off other spring breakers at gunpoint and the fun continues on and on for the four of them. But the fun quickly comes to a halt when Alien’s ex-best friend and rival gang leader, Archie (Gucci Mane) informs Alien to step off his territory if he knows what’s best.

Things go from bad to worst when Alien doesn’t listen and Archie retaliates by shooting up their car one night, wounding Cotty in the arm. After this, she decides she needs to go back home. Strangely enough, the two bad seeds of the group, decide to stay. As Cotty leaves, in the same fashion as Faith, the other girls fall back into their mischievous ways with Alien. The three of them together are a solid trio now, tighter and closer than ever. As much as Alien puts up a hardcore exterior, he kind of has a soft side. He shows a bizarrely caring attitude for these girls as if they’re not just any other girls to him, but his soulmates. Of course the way he talks to them is humorous, but you can’t dismiss the sincerity he displays. Alien does bad things for his pursuit of the “American Dream,” yet deep down inside he has a lovable vulnerability in him.  He may be idiotic but he’s admirable, romantic in a cheesy way and sort of amicable.
     However, despite Franco’s strong, showy acting performance, the movie incredibly falls apart in the last ten to fifteen minutes.  The ending is so far fetched that this throws away any creditability the movie may have had leading up to it. Writer/director Harmony Korine took a very provocative approach in making this movie. He has repeated dialogue all throughout the film as well as the saying “Spring break forever” frequently whispered by Alien and other characters. I’m not sure what’s scarier, the way violence is displayed in the film or the way people purely act on spring break. Talk about throwing all your inhibitions out the window. In this particular case, the film makes the girls look way more promiscuous, crude, and careless than any of the guys. I applaud Korine’s sense of style and the way he has the audience as simply an observer, but never a participant in his story. We’re kept at arms length, but enough distance to be slightly out of reach. We observe from the outside, not in and that’s what the movie is sort of about. “Spring Breakers” has young adults going to great lengths for a sense of adventure, belonging, and acceptance. This generation is as bored as ever and that right there is a terrifying ordeal. “Spring Breakers” may just be the tip of the iceberg and it’s haunting portrayal will surely stir up those unaware. As a narrative work of art, the film simply doesn’t live up to the message it’s trying to hammer home. Sadly, the film is as hollow as its female characters, but if that’s what unconventional director Harmony Korine was aiming for all along, then success is what he got.

Grade: 2.5 out of 5

Published by Mountain Views News on March 30th, 2013
http://mtnviewsnews.com/v07/htm/n13/p13.htm