Watch this: https://vimeo.com/194851495
I don't usually cry watching stuff. I cried more during and after this than I have for any full-length feature film.
Plenty of fun to be had here, but the lack of motivation for the deaths of so many staff strains plausibility.
Very serviceable horror-comedy that only occasionally gets too comic-book. I think it's also the only movie I've ever seen with outtakes of nude scenes in the credits.
Fun fact: the DJ at the school dance is turntablism royalty Cut Chemist.
The official description is grossly misleading. 1/1 is simply a forcefed tale of woe, dressed up with smash cuts and monotone voiceovers and offering almost nothing in the way of a "brighter path ahead."
Lissa is miserable because she's stuck in a small, economically depressed town, possibly pregnant, her mother estranged and her father lost to suicide. Exposition on these topics last until the final five minutes of the film. At no point does "the structure of the film mature," and the "brighter path" is simply that she isn't pregnant and she's on speaking terms with her mother again. Yes, really, that's all. No great revelations, no life-altering decisions, just an existence ever-so-marginally less bleak.
If you'd like to wallow in pure unhappiness, the films of Todd Solondz will at least respect you as a viewer.
Dark comedy/suspense in the vein of Very Bad Things with a heavy(-handed) dose of Macbeth. I was hoping for more of the heart I saw in the trailer. Kenneth Welsh is a brief treat.
Easy to dismiss if you're not looking closely, Goon is far more self-aware than almost any other entry in the small-town-kid-joins-the-big-team genre.
Also, they told me this movie inspired a lot of content in Letterkenny, and they were not wrong.
The only sympathetic character in this movie is the accident victim (Rea). Everyone else, including the people who could have saved him (with the small exception of John Dunsworth as a cab driver eager to help with car trouble), will quickly earn your contempt or indifference. Occasional attempts by Suvari and Hornsby at comic relief repeatedly miss the mark.
The accident itself is strikingly well depicted. Unfortunately, it turns out to be the culmination of a Kafka-esque bad day for the victim, as if the writer was halfway through reading the book of Job; I say "unfortunately" and "halfway" because there is no payoff, in fact barely a resolution, before the credits roll. Unless you're a fan of gratuitously farfetched gore porn, which characterizes every scene featuring the victim after the accident, I assure you this movie is not worth your time.
