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#285: I Can Only Suspend My Disbelief So Far

September 29, 2008

Notes from the Manager

Ah, words.

For the record, I did think the plot of Eagle Eye was too proposterous and too derivative to really enjoy the movie (and I'm not the only one), but my issue with the film is entirely with the script. If you don't mind for your action movies to make absolutely no sense at all, it is well-acted and well-directed; you might dig it.

I'll leave it at that — spoiler-free — for here, but if you tune into The Triple Feature episode #92 tonight — or download the podcast later this week — I'm sure we'll get into spoiler territory. (You can also subscribe via iTunes and never miss an episode.) As always, Theater Hopper's Tom Brazelton, Joe Loves Crappy Movies's Joe Dunn and myself will be discussing a few of the week's new releases: this week being Eagle Eye, Choke, and possibly something else.

We'll also be answering some questions, if you have any. E-mail us at group@thetriplefeature.com with your questions about movies, our comics, or whatever, and we'll pick the most interesting ones.

Jason's description of the chase scene in question is as accurate as I could manage from my notes. Although I don't seriously think that geographic accuracy is a very strong reason to criticize a pulpy action movie, I did get more than a few laughs out of the complete lack of any attempt to keep things true to the real-life Chicago. The Wilson L station and one of the intersections named in the chase — Sheridan and Granville — are a short ride down the Red Line from where Jason grew up (in Rogers Park), so it makes sense that he would immediately notice the disparities. You can see a bit of this chase scene over at Trailer Addict.

You can also see the trailer for the documentary Man on Wire — the poster behind Kurt in the last few panels — here:

Putting the poster back there was really more of an in-joke with myself than anything else, but familiarity with the movie — which is about a man who walked between the two World Trade Center towers on August 7, 1974 — may add a very tiny extra dimension to the title.


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Review: Coherence (2013)

Saturday, October 4, 2014

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Written and directed by James Ward Byrkit.
Starring Emily Foxler, Hugo Armstrong, Nicholas Brendon, Elizabeth Gracen, Lauren Maher, Alex Manugian, Lorene Scafaria, and Maury Sterling.

A new Patreon backer at the $50 level opted out of the usual reward of a plug in the “Become a Multiplex Patron” box (above, on the website), asking instead for me to plug the 2013 indie science fiction filmCoherence (with which he is not affiliated). I was happy to oblige, and so “A fan of Coherence” — a.k.a. The Patron, as I’ll refer to him from here out — is, for the duration of his patronage, among Multiplex‘s supporters. (And, yes, I will review just about any movie a $50 backer asks me to.)

What really got my interest in the film (aside from being asked very nicely to see it) was that The Patron compared it to Shane Carruth’s Primer, one of the best no-budget sci-fi movies ever made. I can definitely see the comparison: both are decidedly low-budget films with small casts and a science-fictiony premise. I feel like seeing the film fairly blind is probably the best, so I won’t summarize the plot beyond the premise of eight friends having a dinner party when a comet passes over and Strange Things Happen, but I don’t think I’m quite as enthusiastic as The Patron.

Unfortunately, the “go in as blind as you can” suggestion means I feel like I need to be pretty vague. Some clunky (and largely unnecessary) exposition gets spat out early on, which tried my patience a bit, but it gets fun as the plot gets rolling. And the plot is definitely the star of the film, not the largely forgettable cast of affluent, Southern California white people or the dialogue, which often feels improvised (in that it neither pushes the story forward nor reveals character, as good dialogue ought to).

Despite some genuinely terrifically creepy or suspenseful moments in the film, a handful of contrived plot points hold it back from being much more than a fun genre flick for me, but I found myself wondering what would happen next — almost up to the very end. A late turn in the film got more of an eye-roll from me than the shock that I think it was supposed register. As always, your mileage may vary, but the film’s merits make it well worth a viewing, particularly for science fiction fans suffering from blockbuster fatigue.

Here’s the trailer! If it piques your interest, please do check it out. It’s available for rent from Amazon Instant Video or for purchase from its official website, among other places. (I never recommend reading YouTube comments, but definitely on’t read the comments if you want to stay away from spoilers.)

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