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JUPITER ASCENDING LOVESICK
THE LOFT // RATING: ★★★☆☆ STASEAN WASHINGTON Staff Writer
der mystery that does the genre justice. Elements within the film allow for the film to set up an enhodunit” films vironment that’s seemingly like have a unique that of a murder mystery dinner air about party. The film takes place both in them. These the past and present. Flashbacks types of films are both fun and add bits and pieces of information challenging. They allow the audi- that allow for the audience to put ence to become a character within together their own connections the story. Viewers participate as between characters. they try and solve the mystery for The film has a litany of red themselves. From the beginning herrings that don’t seem obvious of the movie until its end, the or unnecessary. Like any good goal for the audience is to find the murder mystery, everyone is a perpetrator. The initial runtime suspect until proven innocent. becomes a countdown, and as the There are loads of characters movie progresswho are possibly es, bigger and suspects, from bigger hints are revenge-seekThe film contains ing prostitutes dropped until the big reveal. And blackmailed various twists and to it’s a shame we businessmen, don’t see more of even suspectturns for the sake and them. ing wives. It’s of appealing to the safe to say that “The Loft” is an Americanevery character masses. Belgian thriller on screen has a film directed by reasonable moErik Van Looy, tive to want to telling the tale kill someone or of five married men who share frame our main characters. It’s ownership of an upmarket loft. because of this that the film is so For these five men, the loft rep- enjoyable to watch. It’s fun. It’s resents a safe haven for their se- interactive. And most of all, it recret affairs and sexual exploits places the guns and explosions as with their respective mistresses. a means for entertainment with an But when the body of a murdered intriguing mystery for audiences woman is discovered, the group to solve, which is something difbegins to suspect one another, as ferent in this day and age. they are the only ones with keys The mystery is augmented by to the loft. The film becomes an complex characters that work intense “whodunit” exploring the well on screen. The main charactheme of betrayal by loved ones. ters have their own unique jourAlthough the film has an unorigi- ney and background that make it nal plot, its focus on the mystery even harder to pinpoint the killer. makes it incredibly interactive From Chris’ (James Marsden) oband a fun watch. session with his new mistress to At its core, the film is a mur- Luke’s (Wentworth Miller) sex-
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ual frustration and borderline sociopathic nature with his wife to Phillip’s (Matthias Schoenaerts) cocaine-filled rages, each seems to be voted most likely to murder someone in the future. The film not only creates suspects, but it also goes beyond the point of just creating archetypes you would probably see in every other crime thriller. In terms of being an actual film, “The Loft” is hindered by its story. Most movies with “se-
cret clubhouses” don’t end well, especially when it involves five wealthy grown men with dark secrets. The premise of the film isn’t something we haven’t seen before. But this is fine because you’re not supposed to focus on the plot but the mystery surrounding the plot. The film contains various twists and turns for the sake of appealing to the masses. Character emotions flip on a dime, and motives become twisted and tangled to the point where
the big reveal that the audience was hoping for the entire movie is both unsatisfying and seems to come out of left field. But if you can enjoy the film for what it is, rather than what it tries to be, then you’re in for a good time. No matter how much it tries to appeal to the masses by adding elements of Hollywood films, it is still a unique viewing. “The Loft” is a fun and interactive movie that’ll challenge the inner detective in all of us. ■H
Abel maintains the idealism of his business, Anna keeps it physically running. “A Most Violent Year” is not meant to focus on one character, as many famous mafia-crime movies do. The film is meant to focus on the dynamic between two close characters enduring both the lies of the American dream and the corrupted core of capitalism. While the film ends on a note that can be either inter-
preted as typical or odd, the character development between Anna and Abel left a satisfying impression on me. There are times, such as when Anna interacted with the persistent investigator, Lawrence (David Oyelowo), when their interactions with other characters are bland, since it is clear these other characters were just support to further the narrative, but the Morales kept me interested. I have no constructive criti-
cism to give regarding whether “A Most Violent Year” is a true successor for the films of Brian De Palma or Francis Ford Coppola, since I have never watched their movies, though Chandor’s new movie has left me with the inspiration to watch “Scarface” or “The Godfather.” If anything, “A Most Violent Year” may be a soft introduction into the mafiacrime movie genre for anyone who is curious and willing. ■H
A MOST VIOLENT YEAR // RATING: ★★★☆☆ JESSICA BAKER Contributing Writer
nomical efforts become corrupt, Abel makes the conscious effort to not have his employees comhat seems to be a mit violence, such as when he remodern interpreta- fuses to let them carry firearms. tion of mafia-crime While Abel tries to maintain an movies, “A Most ideal pursuit of his American Violent Year” enters the scene dream, his wife, Anna (Jessica away from its proposed goal Chastain), understands all too of depicting the year 1981 as a well such an ideal cannot be crime-filled drama, but stumbles maintained. into an interesting take on what In a rather Lady MacBeth it means to achieve the typical fashion, Anna deals with the American dream. Directed and more violent side of business. written by J.C. Chandor, the Daughter of a mafia kingpin, movie opens to New York City in Anna utilizes her resources to the dead of winter. Colors stand keep her husband’s business and in mute tones, from the overcast family from falling apart. With skyline looming her short, sharp in the distance to blond hair never the main charac- If anything, “A Most frazzled and her ters’ pale wardvoice consisrobe consisting Violent Year” may be a tently calm with of neat suits and hell-hath-no fury sleek dresses — soft introduction into authority, Chasall constructing the mafia-crime movie tain plays Anna a neat image that as a strong charseems eerie with genre for anyone who acter who does destructive ten- is curious and willing. not come off as dencies. And this too “strong.” A implied destrucfrequent problem tion delivers. in representing strong women in The viewer witnesses a mar- media is often that the characried couple’s joint attempt to ters are either independent lone raise an economical empire with- wolves (possibly stating, “I don’t in a corrupt capitalist system. need no man!”) incapable of But they differ in their methods. faults, or trying to be strong, but Oscar Isaac evokes the audience end up failing at every turn. Anna to sympathize with his character, comes off as a female character Abel, as he smartly acts as an ef- capable of holding her own, yet ficient businessman who works is also inherently inspired by her his way up the corporate ladder husband’s goals — she just has via hard work and natural intelli- another way of accomplishing gence. Though he involves him- them. When her husband’s workself with shadier practices, like ers are repeatedly physically cooking the books, his character beaten by rival companies, it is progresses into said actions as he Anna who decides to call in faattempts to find his balance be- vors with mafia members — not tween what is correct or corrupt Abel — which saves their busiin capitalism. Though his eco- ness empire momentarily. While
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