Stealers Wheel

Upon first watching the visually arresting musical drama La La Land, I perhaps unusually thought about the excessive amount of traffic on the road. I surmised, macabrely, that the main characters of the film, who spend several scenes dancing on the streets of Los Angeles, would have likely been killed early on by a speeding car, making the whole motion picture a sort of life flashing before your dying eyes moment. My bizarre sense of humour aside, Damien Chazelle’s follow up to his 2014 drumming drama Whiplash is a mesmerizing story about following your dreams, reaching for the stars and fighting against the major hurtles along the way. Though, just because we chase said dreams, it does not mean that they are always attainable. At one point, our male lead, Sebastian (Ryan Gosling), frustratingly complains of the Hollywood mindset: "they worship everything and value nothing".

With two feet firmly planted in the historic noir genre of the 1940s and 50s, Joel and Ethan Coen went about making their first feature film, Blood Simple.. Though it was not, by any means, that ‘simple’. Creating a trailer long before production (it has Bruce Campbell in it – who never appears in the final motion picture), strangely enough, it does not feel entirely compatible with their final product, but somewhat like a distant relation to the iconic cult horror classic Evil Dead. On the advice of Sam Raimi (director of the above mentioned movie – who helped advise the brothers), the Coen’s went door to door with a projector and their trailer, seeking out investors. Think of it as the original GoFundMe. In just over a year, they raised the needed capital and got to work on their film – which, in case you thought that I made a mistake up above, contains a period after ‘Simple.’. A striking neo-noir, the title comes from an old Dashiell Hammett novel, "Red Harvest", a term that highlights the muddled, jittery and anxious mindset of people who have had a protracted immersion in violent affairs.

Providing us with a window into a more than hairy situation, writer/director Jeremy Saulnier in many ways thrusts us through said glass directly into a predicament that no one would want to be placed in. The movie is 2015's Green Room, a horror thriller that follows a struggling heavy metal punk rock band – its members being Pat (Anton Yelchin), Sam (Alia Shawkat), Reece (Joe Cole), and Tiger (Callum Turner), as they learn that their most recent gig has fallen through. Tad(David W. Thompson), a radio DJ, suggests they head to a small secluded club where his cousin Daniel can set up a performance for them. Desperate, the group, who are running very low on cash, take the tip, making the somewhat lengthy drive into the severely wooded area. More than pleased that they have a paid show, they don’t care that it is at a neo-Nazi skinhead bar, while youthful exuberance even has them daringly perform a cover of Dead Kennedys’ "Nazi Punks Fuck Off". Though some beer bottles are thrown (clearly pissing off the politically right leaning patrons), things turn out okay, with their original material eventually winning the crowd over.

Revelling in the mysterious aura that it builds, Jeff Nichols’ Midnight Special is a love letter to the science fiction films of the 1970s and 80s. Bringing to mind motion pictures like Close Encounters of the Third Kind and E.T. The Extra-Terrestrial, the story begins in earnest as we join Roy (Michael Shannon) and Lucas (Joel Edgerton) – the pair have kidnapped Roy’s son Alton (Jaeden Lieberher) and are now being chased by a number of spooks. Roy has nabbed the boy out of the long clutches of his adoptive father, Calvin Meyer (Sam Shepard), the leader of The Ranch – a cultish group of religious individuals who have spun their lives around the happenings of the mystifying Alton. Meyer has sent two of his most trusted underlings to recapture the boy.