REVIEW: Fight Club

On yet another numbingly cold night in Ann Arbor, the Michigan Theatre stood dazzlingly bright amongst the empty streets, promising warmth and the excitement of another cult classic in its Late Nights at the Michigan series. If you have a pulse and live in America, you either know about Fight Club or you’ve seen it. Regarded as David Fincher’s directorial masterpiece, or at least undeniably his most popular film, the 1999 dramatic thriller offers everything that other films don’t: a seemingly insane and ripped Brad Pitt, a smoker who attends meetings for cancer patients, and a plot twist that leaves you analyzing every scene of the film for days on end. The plot can’t be explained without ruining the fun, but be aware that every scene packs a punch and leaves you breathless.

Also revered for Gone Girl and The Social Network, David Fincher’s distinct style is what makes Fight Club a masterpiece. Sharp monologues and witty dialogue inject life into the characters, somehow sculpting believable people that are so bizarre and morally corrupt that the concept of hero versus villain goes out the window. Once you become fully invested in the unpredictable lives of these troubled people, Fincher draws you in with clever shots and action sequences, balancing bloody fists with genius cinematography and a bold anti-capitalist war cry. The plot never stays in one place, constantly escalating and spinning, but the ride is exhilarating and somewhat relieved by clever deadpan humor. Each shot is a stunning puzzle that offers perfectly placed hints.  Fight Club is a total psychological riddle garnished with tasteful edginess and outright fury— a dangerous recipe that Fincher does best.

My admiration grows with each movie screening I attend at the Michigan Theatre. Historic and timelessly elegant, the theatre somehow still feels cozy, offering a sense of community through the collective anticipation that all moviegoers feel. There is something especially magical about an energized group experience in the midst of a lonesome pandemic. Throngs of students chatting and munching popcorn on a weekend night is an almost forgotten spectacle. The Michigan Theatre’s elaborate COVID-19 precautions ensure that the experience is free of anxiety, allowing a couple of hours of carefree escapism into a world untainted by COVID numbers and homework deadlines. If you find yourself longing for a temporary vacation from the burdens of college life, or you’re noticing that your Friday nights could use more excitement, check out the Late Nights at the Michigan series. Upcoming screenings include Princess Mononoke, Star Wars: Episode II, and The Princess Bride. Student tickets are only $8.50, so get them while you can!

REVIEW: Belle

I completely and utterly adored Belle.

Now, I must say that I’m biased towards animated films, but Belle managed to make me cry. Any movie that brings forward emotion like that must  be doing something right. That being said, I agree with my fellow blogger Himaja’s comment about the story of this film being a “big bowl of confusion soup”.

Because this story deals with very heavy topics such as loss and abuse, there are multiple moments of necessary flashback instances where the audience is given the opportunity to better understand what certain characters were going through and how these moments impacted and reshaped them into the individuals they are today. Though the flashbacks are important, I felt their placement in the film didn’t make much sense. There wasn’t a fluid transition between the present and past. One moment I was watching the main character Suzu walking home from school and the next moment I was watching her younger self crying in the rain. It was a confusing part of the movie that had me questioning for a moment what was actually going on.

 

Another side effect of this movie dealing with heavy, serious topics was the need for comic relief. There were a couple of characters that served this purpose (one of whom wears a particularly gorgeous pair of orange crocs. It’s an important side note I thought you should be aware of). These characters are well written and very loveable. However, they hardly appear in the film. When they do appear, it’s almost as an afterthought, as though the scene was pushed into the story.

All that being said, the film was still phenomenal in my opinion. The animation was gorgeous, especially the virtual world of  U that Suzu becomes a part of (fun fact, U was actually designed by  an architect by the name of Eric Wong). 

The music was powerful, very well written, and tugged at my heartstrings. If you’re curious about the soundtrack, I would definitely recommend listening to Gales of Song. Both the original Japanese soundtrack and the English dubbed soundtrack are beautiful.

I think the most important thing a movie can do is send out a message of love, comfort, and friendship to an audience. And Belle did achieve that. The movie allowed you to connect with the characters and I believe everyone can see a little of themselves reflected in Suzu’s eyes. Yes, the plot was a little convoluted, but I think the most important thing is that everyone left the theater feeling a little more joyful than when they first entered.

I would definitely recommend watching the film!

REVIEW: Resurgence: We’re Bringing Sexy Back by Pure Dance

Apparently, the dancers at Pure Dance had been busy last semester.

Their annual showcase took place last Sunday evening and featured nine stunning student-made choreographies complete with all the twirls, body rolls, and hair whips you could ask for. Furthermore, we were treated to a diverse range of guest performances by Salto, Gimble, FunKtion, Groove, Blue Bop Jazz, DB3, and Flowdom. Sitting in the Lydia Mendelssohn Theater, the energy of the crowd was close-knit and infectious–people were not shy about loudly cheering for their friends on stage. 

I wasn’t really sure what to expect from the showcase’s theme coming in, but I found that they were able to present a really interesting curation of dances embodying “resurgence”… and dare I say sexiness?

My favorite number had to be Illusion of Bliss, which was impressively performed in black high heel boots. The contrast between the slow hard beats of the beginning section with these incredibly sensual movements backed by Alicia Keys’ soulful raspy voice and the ending section with the imagery of the dancers sinking to their knees in prayer as she sings “I don’t wanna be a fallen angel” told a compelling story. Meanwhile, Mad at You and War of Hearts approached the concept from a more modern/contemporary angle, with flowing cascades of movement. Like a Boy seemed to pull from old-school hip hop influences with sharp jutting elbows while Toxic had a high-energy hard rock edge such that the dancers were practically throwing themselves into poses.

I also thought the guest performers did an incredible job. Hip hop dance practice videos on Instagram are probably one of my guilty pleasures, so I loved FunKtion’s tight transitions and incorporation of humor as well as Flowdom’s clean hits and charisma. Plus, it was nice to see Blue Bop Jazz’s saxophones hyping each other up during their solos!

The final choreography was Bride, which created some beautiful visuals out of the entire ensemble. The dancers wore a pretty pastel/neutral color palette and had a continual flow of synchronized bodies passing on and off stage, which paired well with the bubbly hopeful music. As a goofy ending note, the showcase fittingly concluded with everyone dancing to Justin Timberlake’s SexyBack for the curtain call.

Congratulations to all the performers who were a part of the event! I look forward to seeing what Pure Dance will bring next.

REVIEW: Drive My Car

Warning: Slight spoilers for the film’s exposition

Just yesterday, a few of my classmates and I went to see the premiere of Drive My Car (2021) in the State Theater. The Japanese film was directed by Ryusuke Hamaguchi and based on the short story of the same name by Haruki Murakami, whose works have been bestsellers within and outside of Japan. 

I went into the film expecting a touching or tragic romance, the exposition of the film began to hint at the latter when the main character Yūsuke Kafuku (Hidetoshi Nishijima) walks in on his wife Oto Kafuku (Reika Kirishima), in the throes of passion with a young actor that she works with. I expected a dramatic confrontation between the husband and wife, but Yūsuke’s response to the incident is passive, as he simply walks away before Oto or the actor sees him. 

Despite the cheating, their love appears genuine, as both of them are drawn together by the art of storytelling; he is a stage actor, and she is a writer for television dramas. However, the movie takes its turn from the romance as Oto soon passes, and Yūsuke fails to gain closure in regards to the relationship with his wife.

The second act begins when Yūsuke is hired a driver, the young Misaki Watari (Tôko Miura), when he takes a job to be a director for a stage play of Uncle Vanya. Their relationship starts with indifference towards each other yet progresses each time he requests Misaki to play the recording of his wife reciting lines from the play for him to practice with. Misaki has past grievances of her own and together she and Yūsuke help each other find closure with each of their dead family’s strange behaviors.

At first, Yūsuke did not want anyone other than him to drive his car, but he soon grows comfortable with Misaki’s driving and it is as if he has finally let go of that independent passivity that held him back from confronting his wife. This allows Misaki to reveal her trials of being raised by the abusive mother who she let die during a mudslide that collapsed her house. The comradery that the two find together is wonderfully developed without the need for overt displays as they simply build their trust in each other with each facet of information they release.

Being three hours long, the movie’s pacing is quite slow. The exposition itself took almost an hour to set up. However, if you have the patience and want to watch a film that touches your heart with a unique friendship, make sure to catch Drive My Car at the State Theater.

PREVIEW: Resurgence: We’re Bringing Sexy Back by Pure Dance

I don’t typically frequent dance events, but with a name like “Resurgence: We’re Bringing Sexy Back,” I had to check this one out. 

Pure Dance is a student-run organization at the University of Michigan that welcomes dancers with a broad range of backgrounds. They will be hosting their annual showcase this Sunday, featuring member-choreographed dances and guest performances from an exciting mix of a capella, instrumental, and other dance groups.

Although I have long buried my childhood ballerina days, I am excited to see some of my friends perform on stage. Additionally, I look forward to getting to know some of the other performance groups on campus. While Pure Dance is known for doing contemporary and jazz dance styles, I have also been told to look out for ballet, hip hop, and K-pop!

Come support Pure Dance on Sunday, January 23rd at 6:00 pm at the Lydia Mendelssohn Theater! Free tickets are available through this month’s Passport to the Arts.

Event info: myumi.ch/488My

REVIEW: Tiny Objects, Big Stories

Where do you go first in a museum?

This was the question behind the “Tiny Objects, Big Stories” virtual tour at the Kelsey Museum of Archaeology. I hadn’t given the question much thought until now. I realized that in all the hours I have spent wandering museum exhibits, I always began with the largest pieces, expansive paintings and statues. Naturally, these are the first things to catch my eye.

However, there’s a whole other collection of artifacts that are often overlooked. These include smaller tablets, amulets and coins that are typically protected behind glass walls. The “Tiny Objects, Big Stories” tour brings a magnifying glass to these artifacts to offer a closer look. The tour zooms in on amulets, scarabs, seals, coins and other tiny figurines and their respective histories.

I was particularly interested in the different amulets and scarabs. With detailed engravings, these amulets and scarabs were symbols of protection. Some protected one’s health and luck while others focused on navigating the afterlife. The heart scarab, for example, was inscribed with the Book of Dead spell to offer “protection of the deceased’s heart during the judgment in the afterlife.” This small scarab had a lengthy inscription of the spell that would have been difficult to spot during your average museum visit. This sparked an appreciation for the skilled craftsmanship and detail put into such artifacts. It made me wonder what spells may be hidden behind a scarab the size of my thumb.

I began to consider my own tiny objects and the stories they hold, such as an old Snapple bottle cap with a fun fact or an engraved ballpoint pen. They may not be as cool as the artifacts at the museum, but they have a lot significance in spite of their size. It just takes a bit more thought and effort to recognize these pieces.

This virtual tour allowed me to get in all the beautiful details of such tiny artifacts. The Kelsey Museum of Archaeology will continue to host such virtual tours for anyone who is interested! It is a great way to stay safe and follow along from the comfort of your home (or squishmallows). Moreover, the Zoom interface creates a close-knit space where tour guides and guests can share comments and questions easily. The museum also hosts other in-person and virtual events you can find here.