The Huckleberries Vol. 8 - Crime 101 & Nirvanna the Band the Show the Movie

     Obviously we want to have an area for reviewing new films here at The Film Encomium, but we want to send a message with our methodology. That message is a simple one: Don’t forget about the fun. 

Yes, film can be transformative, prophetic, and groundbreaking. It can also be none of those things and still be a damn good time, and we want to validate both of those experiences. If your aim is to explore the manner in which physical lightness and darkness can reflect the turmoil and dichotomy within a storyline, we recommend Michael Mann—but if you want to become well-rounded, we still recommend cheesing off indulging in the comedic stylings of Rick Moranis from time to time. 

      It is from the balance of Tom Sawyer and Huck Finn that we draw inspiration for the title of this section. Tom is clever; Tom is great. If there were one of those boys we were going to try to get into Harvard, it would be young Mr. Sawyer…but he will always need his Huckleberry. 

We all need our Huckleberries. Art needs its Huckleberries. Sometimes beauty is in the little things and reasoned reflection. Other times beauty is loud, bright, and bold. In the interest of providing our readers with a comprehensive experience, we are not willing to skip The Huckleberries. 

So, with that in mind, here are two engrossing flicks that dropped in theaters recently. The first will delve into your subconscious and make you question the lengths you would go to for the life you dream of. The second will rip the rug out from under you in a way that keeps you giggling all the way down. Enjoy!

Crime 101 -

Bart Layton is quite obviously a person who adores classic crime movies. His previous films—one of which was a documentary with the other being a hybrid documentary/docudrama—-both received critical acclaim for their depiction of true crime. Now taking his first foray into fiction, Layton does not miss a beat.

The film opens on an inverted, slowly rotating shot of Route 101–from whence both this movie and the Don Winslow novella it is based off of draw the double meaning in their name. It is the first of many shots that feels like an extension of some of the classic crime thrillers in cinema history. The easiest comparison is Heat, a film which some will certainly feel Layton (and/or Winslow) emulates too closely here. As far as the dynamic between the two focal characters go, there certainly are plentiful similarities. One way in which it separates itself from that likeness is the emphasis on isolation that takes place in criminal enterprise; an aspect which helps the film draw more striking parallels to Ryan Gosling’s Drive.

Now, Chris Hemsworth and Mark Ruffalo may not reach the same storied heights as Pacino and De Niro, but they give a better run at it than one might expect. Hemsworth in particular shines in the sort of complex anti-hero role that is built for him here. Perhaps the most prominent evidence of his prowess here is the dramatic shift in his character’s aura when he switches from daily life to his criminal persona. Hemsworth manages to not only convincingly portray an everyman but also shift into an absolute enigma when he gets dropped into his element. That repeated tonal shift within the arc of one character is the nucleus of this entire production. 

Which is not to say there isn’t plenty of notable work being done around him. Extra moving parts aren’t necessarily as big an impediment for a dramatic crime thriller as they might be in some other genres. You want enough intersecting storylines that there is room for you as the viewer to get lost in the fray. That is certainly present here, carried forward by an ensemble cast interspersed with both rising stars and industry legends.

Ruffalo is the most prominently featured amongst the supporting cast, but Barry Keoghan’s unhinged portrayal of Ormon may be the most iconic role of the entire creation. Halle Berry, Nick Nolte, Monica Barbaro, Tate Donovan, and Corey Hawkins all turn in outstanding performances in their own right. It all comes together as a remarkable achievement that ostensibly does have that enduring and timeless quality to it.

Nirvanna the Band the Show the Movie -

Canadian cinema has a long and storied history of giving the rest of the world exactly what we didn’t know we needed. From Cronenberg to Villeneuve and from Strange Brew to Atanarjuat—the offbeat worldview so prevalent in our Northern Neighbors has always presented itself in a distinctive and innovative artistic manner. The newest madness-genius hybrid descending upon us from Borealia is from the minds of Matt Johnson and Jay McCarrol. This mockumentary-style film is an extension of their show Nirvanna the Band the Show and the preceding webseries Nirvana the Band the Show. 

The concept of all these iterations remains somewhat constant: Toronto boys Matt and Jay embark on a plan to get their band “Nirvanna the Band” a gig at local bar/restaurant the Rivoli, despite the fact that they have never written a song or attempted to contact the Rivoli’s management. Like many enduring concepts, it is simple yet compelling; and like many successful leaps to the big screen, they amplify their hijinks proportionately.

Like Matt, this storyline plunges headfirst into obstacle after obstacle without taking time to look around and get its bearings. Like Jay, this causes the audience to feel regularly and sincerely concerned. That may not sound like a delightful viewing experience that will maintain appeal across nearly every demographic, but that’s what Canada does—know us better than we know ourselves. 

This is a flick for genuine belly laughs. It will keep you guessing and it will make earnest thoughtful points intermittently throughout 100 minutes of barely keeping its shit together. There are parts that will be tough to watch, and they add up to something that is impossible to look away from. A beautiful reflection on the ever-changing nature of friendship, presented in a way that takes the weight of the day off your shoulders. An absolute treat.  

~The Film Encomium~