Tag: Jemaine Clement

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The Taika Trifecta

What We Do in the Shadows

If you want to watch some great half-hour comedy, follow the tracks of executive producer Taika Waititi. If you’re a Marvel True Believer, you know the New Zealander as the director of Thor: Ragnarok, as well as the guy under the motion capture for Korg, Thor’s alien drinking buddy. But as an executive producer, he’s been quietly amassing a Norman Lear-sized string of great television.

Waititi got his start in TV as part of the team that made Flight of the Conchords, a standout of the ’00s comedy boomlet. The musical world, where characters can go off into a visual flight of fancy while singing a song, has subtly influenced everything he’s done since. So has the humor, which invites the audience to laugh at its characters’ absurdities and vanity, but never puts anyone down.

In 2014, Waititi teamed up with Conchords Jemaine Clement to write, direct, and co-star in What We Do in the Shadows. The film took the mockumentary framework of Man Bites Dog and The Office and applied it to a dysfunctional group of vampires living as flatmates in Wellington. The film gleefully skewered horror tropes, and like Conchords, was elevated by great characters and keen observation which finds the humor in everyday conflicts and setbacks.

<i>Wellington Paranormal</i>

In 2018, Waititi and Clement drummed up a television spin-off for Shadows that went in an unexpected direction. Instead of following the vampires, they focused on the two police officers who kept getting called to investigate disturbances in the vampires’ home. It turns out that the vamps aren’t the only weird things Officers Minogue (Mike Minogue) and O’Leary (Karen O’Leary) see on a daily basis. Wellington Paranormal deftly mixes Cops and The X-Files. Sgt. Maaka (Maaka Pohatu) serves as a low-rent version of A.D. Skinner, sending the Mulder and Scully figures out to investigate supernatural phenomena like a haunted Nissan 300ZX, alien body-snatcher replicator pod farms, and the constant menace of zombie outbreak.

Wellington Paranormal was a hit in New Zealand and was only recently released in the U.S., but its success spawned a full-fledged Shadows TV adaptation, transported from New Zealand to Staten Island. Waititi helped launch the show’s first season, directing three episodes including the pilot and “The Trial,” an instant classic where the ensemble cast of Nandor (Kayvan Novak), Laszlo (Matt Berry), Nadja (Natasia Demetriou), and Colin (Mark Proksch) are judged unworthy by a council of vampires consisting of high-powered cameos from actors like Tilda Swinton and Wesley Snipes. Waititi stepped away from the show after the first season, but it has only gotten better. Now in its third season, it has fleshed out the character of Guillermo (Harvey Guillén), added the great Kristen Schaal as a series regular, and finally acquired the budget to match its story ambitions.

<i>Reservation Dogs</I>

Waititi’s latest TV venture is also set in the United States, but not in a place that usually inspires comedies. Reservation Dogs follows four teenage friends growing up on a Native-American reservation in Oklahoma. Bear (D’Pharaoh Woon-A-Tai) is the reluctant leader of the group, who starts off the pilot episode by stealing a potato chip delivery truck and selling it to a chop shop run by meth heads. Elora (Devery Jacobs), Cheese (Lane Factor), and Willie Jack (Paulina Alexis) are saving the ill-gotten gains from their petty crimes to leave the reservation for the promised land of California. The series was developed with Sterlin Harjo, a longtime indie filmmaker who mined his childhood as a member of the Seminole Nation of Oklahoma for stories and settings. It’s definitely a comedy but not a laugh-out-loud kinda show — the second episode revolves around the difficulty of accessing healthcare on the reservation, for example. As Bear and his buds get into low-stakes scrapes, which feel very high-stakes to them, the ensemble expands as they encounter one memorable character after another. Harjo’s voice is dominant, but you can see Waititi’s influences in the magical realist touches, such as the spirit of a less-than-heroic warrior ancestor who haunts Bear, dispensing advice of dubious value.

The show is shaping up to be the best example of the humane, inclusive humor, which is Waititi’s much-needed contribution to our shell-shocked culture.

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Film Features Film/TV

Is What We Do In The Shadows the Funniest Show on TV?

One of the most quietly influential films of the last 30 years is Man Bites Dog. The 1992 film was created by three Belgians: Rémy Belvaux, André Bonzel, and actor Benoît Poelvoorde. The trio took the mockumentary sub-genre — which takes the tropes used by news broadcasts and documentary filmmakers and twists them to comedic ends — in a strange and disturbing new direction. Poelvoorde played a serial killer named Ben, who invites a film crew along to document his “art.” Belvaux and Bonzel play the director and cameraman who, at first, believe they are participating in a radical new form of cinema. But as Ben’s body count mounts — and includes their sound man — the filmmakers find themselves drawn deeper and deeper into Ben’s crimes.

Man Bites Dog is wickedly funny, but it was little seen in America thanks to an inexplicable NC-17 rating. But its spirit was definitely present in The Office, Ricky Gervais and Stephen Merchant’s millennial BBC TV series which inspired the American mega-hit starring Steve Carell. Now, a deadpan protagonist talking to the camera about his bad behavior has become a familiar trope in TV and movies.

Dark shadows: Berry, Demetriou, and Novak suck at being roommates

Flight of the Concords‘ Jemaine Clement and New Zealand super-director Taika Waititi’s 2014 film What We Do in the Shadows owed a huge debt to Man Bites Dog, only instead of the mundane life of a serial killer, it “documented” a group of vampires living together as flatmates in a sleepy Wellington suburb. The film took the same slapstick attitude toward murder that made Man Bites Dog so shocking, but sanded off its arch edges by making the vamps, played by Clement and Waititi, kinda goofy in that charming New Zealand-y way.

The movie was funny, but not huge, box-office wise. But it did make the perfect setup for a post-Office sitcom. With Waititi off making projects like Thor: Ragnarok, Jojo Rabbit, and a new Star Wars project, Clement took the Shadows concept to TV in 2019, moving the setting to Staten Island and introducing a new cast of bloodsuckers.

Nandor the Relentless (Kayvan Novak) is a 700-year-old vampire who was once the bloodthirsty king of a minor empire, kinda like Vlad the Impaler. Nadja (Natasia Demetriou) was once a Roma fortune teller who vampirized Laszlo Cravensworth (Matt Berry), a pompous English nobleman, then married him. Those three characters are all familiar vampire types right out of Bram Stoker and Anne Rice. But the show’s secret weapon is Mark Proksch. His Colin Robinson, who wouldn’t be out of place in The Office, is an “energy vampire.” Instead of blood, he drains his victims of the will to live by telling long, boring stories. Since all self-respecting vampire stories require a Renfield, Nandor has Guillermo (Harvey Guillén) in his thrall as a familiar.

The core cast hit the ground running in season one as an already tight unit with easily relatable roomie relationships. They’re friends who chafe against the strictures of communal living. None of the centuries-old friends have really adapted well to the modern world, particularly the difficulty of acquiring virgins, who are particularly tasty treats for vampires. They mostly offload that responsibility on the put-upon Guillermo, who desperately wants to become a vampire himself.

Mark Proksch, Natasia Demetriou, Kayvan Novak, Matt Berry, and Harvey Guillén

The highlight of season one was the climax, where the roomies are brought before a council of vampires to be judged for their crimes to vampiric kind. Not only did Clement and Waititi reprise their roles for the show, but they worked their showbiz connections to assemble an all-star cast of people who have played vampires in the past, from Tilda Swinton (Only Lovers Left Alive) to Wesley Snipes (Blade).

The second season, currently airing on FX, has been perfect from the get-go. Guillermo is dealing with the revelation that he is a descendant of Dracula’s nemesis Van Helsing. His identity crisis comes to a head when he stumbles into a group of would-be vampire slayers, bringing Buffy into the parody mix. The vamps branch out into the neighborhood by attending what they believe to be an owl-themed party that turns out to be a Super Bowl gathering of dreary suburbanites.

Colin gets the best episode of the season so far when he is promoted to boss at his office job and proceeds to become extraordinarily powerful by sucking the energy out of his hapless underlings. The big-time cameos continue with an absolutely killer turn by Mark Hamill as Vampire Jim, an enemy from Laszlo’s past who forces our hero vamp to assume an alternate identity as Jackie Daytona, a bartender obsessed with women’s volleyball.

The combination of gothic, slapstick, and deadpan makes for fertile comedy ground, and Clement and company show no sign of exhausting it any time soon. The scripts are sharp, the visual effects are used sparingly but effectively, and the cast is one of the best on television. The quirky, modest What We Do in the Shadows has become destination TV.

What We Do in the Shadows airs on Wednesdays on FX.

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Film Features Film/TV

Moana

“If you wear a dress and have an animal sidekick, you’re a Princess,” says Maui, demigod of land and sea voiced by Dwayne “The Rock” Johnson, of Moana, the eponymous heroine of the new Disney animated extravaganza.

Moana, voiced by a high school freshman named Auli’i Cravalho, is not technically a princess, but rather the daughter of Chief Tui Waialiki (Star Wars veteran Temuera Morrison), leader of Motunui, a picturesque village on a lovingly rendered Polynesian island. But those are just details that have been temporarily glued to the ever-evolving ideal of the Disney Princess. Snow White, Belle, Jasmine, Mulan, Pocahontas — the stars of Disney’s animated musicals are all gathered under the same corporate banner at princess.disney.com. They’re the bait that hooks the young girls into the Disney corporate synergy machine: See the movie, buy the merch, ride the ride. It’s easy to get cynical about all of it (and if you’re not feeling cynical yet, don’t worry, I’m cynical enough for both of us), but the truth is, Disney’s just really damn good at making these movies.

Dwayne “The Rock” Johnson and Auli’i Cravalho are the voices behind the demigod Maui (left) and Moana, the eponymous teen “princess” of Disney’s new animated feature.

From before Homer told the story of Achilles setting out across the wine-dark sea, we’ve understood that kids need heroes. Stories of trials, bravery, and purpose help us fill in the blanks of who we want to be and, thus, who we become. In the past, Disney’s youngest female fans had Sleeping Beauty as a hero: a character whose best qualities are her utter passivity and attractiveness to men. Now, they have Moana, and it’s a big improvement as role models go. Instead of waiting for a man to come save her and drag her off into domesticity, Moana makes her own decisions. The only men in her life are her stalwart but overprotective father and the vain, tempestuous demigod. Moana is bereft of romance, and it’s all the better movie for it. Instead, it’s the story of a young woman trying to cajole the men around her into doing the right thing and then giving up and just doing it herself. But in stripping the patriarchy from the Princess, all that’s left for directors Ron Clements, John Musker, Don Hall, and Chris Williams is a pretty straightforward Hero’s Journey, complete with an eccentric, elderly mentor (Gramma Tala, voiced by Rachel House); a descent into the underworld (for a musical number with a hostile giant crab); and a good, old fashioned leap of faith.

Did you catch that there are four directors? I think that’s a record for a non-anthology movie. But that’s Disney under the direction of John Lasseter, who brought the fluid, iterative, team-based creative process with him from Pixar. There’s one official screenwriter (Jared Bush), but at least seven people get “story by” credits — and yet the film still steals beats from Raiders of the Lost Ark and Mad Max: Fury Road. There are no missteps, but no big chances are taken, either.

The number of animators stretches well into the hundreds, and the evidence of that investment is up on the screen. Moana is one of the most gorgeous pictures Disney has ever produced. Nevermind the onslaught of stunning technical achievements, from Maui’s unruly locks of curls to the nonstop water effects that would have been impossible just a few years ago — Moana is a brilliantly designed animation. The human characters balance on the edge of the uncanny valley, and they are often interacting with backgrounds and objects that are as photorealistic as anything in a Marvel movie. The visuals are more inventive than the storytelling, and the most impressive moments come in the musical interludes. There’s one moment where Moana and Maui sing their way into an environment inspired by the impressionistic animation of Song of the Sea, and the contrast between the full rendered 3D CGI characters and the 2D backgrounds are like nothing I have ever seen before.

The songs, written by a team that included Hamilton scribe Lin-Manuel Miranda, are unfortunately not as memorable as the visuals. There’s no “Let It Go” or “Be Our Guest” here. With the exception of “Shiny,” sung by Flight of the Conchords Jemaine Clement as the aforementioned giant crab monster, the songs all kind of melt together into an unoffensive Disney goo that will one day seep through hidden speakers outside the Moana Outrigger Adventure ride at Disney World.

If you need me, I’ll be in the tiki bar.

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Film Features Film/TV

The Year in Film 2015

It’s fashionable to complain about how bad Hollywood movies have become. But from the perspective of a critic who has to watch it all go down, it’s simply not the case. At any given time in 2015, there was at least one good film in theaters in Memphis—it just may not have been the most heavily promoted one. So here’s my list of awards for a crowded, eventful year.

Worst Picture: Pixels

I watched a lot of crap this year, like the incoherent Terminator Genysis, the sociopathic San Andreas, the vomitous fanwank Furious 7, and the misbegotten Secret in Their Eyes. But those movies were just bad. Pixels not only sucked, it was mean-spirited, toxic, and ugly. Adam Sandler, it’s been a good run, but it’s time to retire.

Actually, I take that back. It hasn’t been a good run.

Most Divisive: Inherent Vice

Technically a 2014 release, Paul Thomas Anderson’s adaptation of Thomas Pynchon’s ode to the lost world of California hippiedom didn’t play in Memphis until January. Its long takes and dense dialogue spun a powerful spell. But it wasn’t for everyone. Many people responded with either a “WTF?” or a visceral hatred. Such strongly split opinions are usually a sign of artistic success; you either loved it or hated it, but you won’t forget it.

Best Performances: Brie Larson and Jacob Tremblay, Room

Room is an inventive, harrowing, and beautiful work on every level, but the film’s most extraordinary element is the chemistry between Brie Larson and 9-year-old Jacob Tremblay, who play a mother and son held hostage by a sexual abuser. Larson’s been good in Short Term 12 and Trainwreck, but this is her real breakthrough performance. As for Tremblay, here’s hoping we’ve just gotten a taste of things to come.

Chewbacca

Best Performance By A Nonhuman: Chewbacca

Star Wars: The Force Awakens returned the Mother of All Franchises to cultural prominence after years in the prequel wilderness. Newcomers like Daisy Ridley and Adam Driver joined the returned cast of the Orig Trig Harrison Ford and Carrie Fisher in turning in good performances. Lawrence Kasdan’s script gave Chewbacca a lot more to do, and Peter Mayhew rose to the occasion with a surprisingly expressive performance. Let the Wookiee win.

Best Memphis Movie: The Keepers

Joann Self Selvidge and Sara Kaye Larson’s film about the people who keep the Memphis Zoo running ran away with Indie Memphis this year, selling out multiple shows and winning Best Hometowner Feature. Four years in the making, it’s a rarity in 21st century film: a patient verité portrait whose only agenda is compassion and wonder.

Best Conversation Starter: But for the Grace

In 2001, Memphis welcomed Sudanese refugee Emmanuel A. Amido. This year, he rewarded our hospitality with But for the Grace. The thoughtful film is a frank examination of race relations in America seen through the lens of religion. The Indie Memphis Audience Award winner sparked an intense Q&A session after its premiere screening that followed the filmmaker out into the lobby. It’s a timely reminder of the power of film to illuminate social change.

Best Comedy: What We Do in the Shadows

What happens when a group of vampire roommates stop being polite and start getting real? Flight of the Conchords‘ Jemaine Clement and Eagle vs Shark‘s Taika Waititi codirected this deadpan masterpiece that applied the This Is Spinal Tap formula to the Twilight set. Their stellar cast’s enthusiasm and commitment to the gags made for the most biting comedy of the year.

Best Animation: Inside Out

The strongest Pixar film since Wall-E had heavy competition in the form of the Irish lullaby Song of the Sea, but ultimately, Inside Out was the year’s emotional favorite. It wasn’t just the combination of voice talent Amy Poehler, Bill Hader, Lewis Black, Mindy Kaling, and Phyllis Smith with the outstanding character design of Joy, Fear, Anger, Disgust, and Sadness that made director Pete Docter’s film crackle, it was the way the entire carefully crafted package came together to deliver a message of acceptance and understanding for kids and adults who are wrestling with their feelings in a hard and changing world.

It Follows

Best Horror: It Follows

The best horror films are the ones that do a lot with a little, and It Follows is a sterling example of the breed. Director David Robert Mitchell’s second feature is a model of economy that sets up its simple premise with a single opening shot that tracks a desperate young woman running from an invisible tormentor. But there’s no escaping from the past here, only delaying the inevitable by spreading the curse of sex and death.

Teenage Dreams: Dope and The Diary of a Teenage Girl

2015 saw a pair of excellent coming-of-age films. Dope, written and directed by Rick Famuyiwa, introduced actor Shameik Moore as Malcolm, a hapless nerd who learns to stand up for himself in the rough-and-tumble neighborhood of Inglewood, California. Somewhere between Risky Business and Do the Right Thing, it brought the teen comedy into the multicultural moment.

Similarly, Marielle Heller’s graphic novel adaptation The Diary of a Teenage Girl introduced British actress Bel Powley to American audiences, and took a completely different course than Dope. It’s a frank, sometimes painful exploration of teenage sexual awakening that cuts the harrowing plot with moments of magical realist reverie provided by a beautiful mix of animation and live action.

Immortal Music: Straight Outta Compton and Love & Mercy

The two best musical biopics of the year couldn’t have been more different. Straight Outta Compton was director F. Gary Gray’s straightforward story of N.W.A., depending on the performances of Jason Mitchell as Eazy-E, Corey Hawkins as Dr. Dre, and O’Shea Jackson Jr. playing his own father, Ice Cube, for its explosive impact. That it was a huge hit with audiences proved that this was the epic hip-hop movie the nation has been waiting for.

Director Bill Pohlad’s dreamlike Love & Mercy, on the other hand, used innovative structure and intricate sound design to tell the story of Brian Wilson’s rise to greatness and subsequent fall into insanity. In a better world, Paul Dano and John Cusack would share a Best Actor nomination for their tag-team portrayal of the Beach Boys resident genius.

Sicario

Best Cinematography: Sicario

From Benicio del Toro’s chilling stare to the twisty, timely screenplay, everything about director Denis Villeneuve’s drug-war epic crackles with life. But it’s Roger Deakins’ transcendent cinematography that cements its greatness. Deakins paints the bleak landscapes of the Southwest with subtle variations of color, and films an entire sequence in infrared with more beauty than most shooters can manage in visible light. If you want to see a master at the top of his game, look no further.

He’s Still Got It: Bridge of Spies

While marvelling about Bridge of Spies‘ performances, composition, and general artistic unity, I said “Why can’t all films be this well put together?”

To which the Flyer‘s Chris Davis replied, “Are you really asking why all directors can’t be as good as Steven Spielberg?”

Well, yeah, I am.

Hot Topic: Journalism

Journalism was the subject of four films this year, two good and two not so much. True Story saw Jonah Hill and James Franco get serious, but it was a dud. Truth told the story of Dan Rather and Mary Mapes’ fall from the top-of-the-TV-news tower, but its commitment to truth was questionable. The End of the Tour was a compelling portrait of the late author David Foster Wallace through the eyes of a scribe assigned to profile him. But the best of the bunch was Spotlight, the story of how the Boston Catholic pedophile priest scandal was uncovered, starring Michael Keaton and Mark Ruffalo. There’s a good chance you’ll be seeing Spotlight all over the Oscars this year.

Had To Be There: The Walk

Robert Zemeckis’ film starring Joseph Gordon-Levitt as Philippe Petit, the Frenchman who tightrope-walked between the twin towers of the World Trade Center, was a hot mess. But the extended sequence of the feat itself was among the best uses of 3-D I’ve ever seen. The film flopped, and its real power simply won’t translate to home video, no matter how big your screen is, but on the big screen at the Paradiso, it was a stunning experience.

MVP: Samuel L. Jackson

First, he came back from the grave as Nick Fury to anchor Joss Whedon’s underrated Avengers: Age of Ultron. Then he channeled Rufus Thomas to provide a one-man Greek chorus for Spike Lee’s wild musical polemic Chi-Raq. He rounds out the year with a powerhouse performance in Quentin Tarantino’s widescreen western The Hateful Eight. Is it too late for him to run for president?

Best Documentary: Best of Enemies

Memphis writer/director Robert Gordon teamed up with Twenty Feet From Stardom director Morgan Neville to create this intellectual epic. With masterful editing of copious archival footage, they make a compelling case that the 1968 televised debate between William F. Buckley and Gore Vidal laid out the political battleground for the next 40 years and changed television news forever. In a year full of good documentaries, none were more well-executed or important than this historic tour de force.

Best Picture: Mad Max: Fury Road

From the time the first trailers hit, it was obvious that 2015 would belong to one film. I’m not talking about The Force Awakens. I’m talking about Mad Max: Fury Road. Rarely has a single film rocked the body while engaging the mind like George Miller’s supreme symphony of crashing cars and heavy metal guitars. Charlize Theron’s performance as Imperator Furiosa will go down in history next to Clint Eastwood in Unforgiven and Sigourney Weaver in Alien as one of the greatest action turns of all time. The scene where she meets Max, played by Tom Hardy, may be the single best fight scene in cinema history. Miller worked on this film for 17 years, and it shows in every lovingly detailed frame. Destined to be studied for decades, Fury Road rides immortal, shiny, and chrome.

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What We Do In The Shadows

Written and directed by Jemaine Clement, half of the comedy folk rock duo Flight of the Conchords, and Taika Waititi, director of the 2007 quirk comedy Eagle vs. Shark, What We Do in the Shadows is one of the rare breeds of parody that works on all levels. It is a character-based mockumentary in the vein of This Is Spinal Tap, but it also recalls the 1992 masterpiece of minimalist black comedy Man Bites Dog.

When the film opens, a crew from the New Zealand Documentary Film Board has gained exclusive access to a home where four vampires live as roommates. It’s like if The Real World was a gathering of abominations against nature — even more so than it already is, I mean. Each of the vamps is a type from history. Vladislav (Clement) is an Eastern European medieval aristocrat in the mold of Dracula. Viago (Waititi) is a Romantic French dandy like Lestat. Deacon (Jonathan Brugh), at only 185 years old, is the “young bad boy of the group,” a take on Twilight‘s Edward Cullen. And Petyr, the animalistic Nosferatu (Ben Fransham) who lives in the basement tomb of their overstuffed Victorian mansion, is the elder of the bunch at 8,000 years old. Protected, we are told, by crucifixes and ironclad film contracts, the crew documents the roomies’ day-to-day activities as they prepare for the Unholy Masquerade, an annual gathering of witches, zombies, and vampires.

It’s not easy being a centuries-old vampire in the modern world, and the filmmakers get lots of mileage out of applying the historic rules of vampirism to life in suburban New Zealand. Like every Real World or Big Brother season ever, they argue over who has to wash the dishes. Things were better in the old days, as vampiric hypnosis is no match for the internet and television. Jackie (Jackie van Beek) is a human familiar to Deacon who has been promised the eternal life of a vampire in exchange for years of servitude, which includes doing errands in the sunlight, procuring victims for “dinner parties,” and cleaning up the blood and viscera afterwards. One of the victims she procures is her ex-boyfriend Nick (Cori Gonzalez-Macuer), who Petyr inadvisably turns into a vampire. Nick is a meat-headed bro who is not really clear on the concept of vampirism, like the part about not telling people you’re a vampire. But the guys soon take to him, because he can convince the doormen of swanky clubs to invite them over the threshold.

What We Do in the Shadows doesn’t shy away from a few obvious Twilight jokes, but Clement and Waititi dig considerably deeper into horror film history. Francis Ford Coppola’s 1992 Dracula adaptation proves to be a particularly juicy target, and one of the funniest bits is a riff on The Lost Boys. The verité style may look haphazard, but this is a well-constructed film where even the most seemingly offhand remark in the first act is a setup for a later payoff. The Unholy Masquerade, when it finally comes around, resembles not some black mass but a third-rate horror fan convention.

Like Spinal Tap, there’s evident affection for the genre they’re skewering. Clement, Waititi, and Brugh clearly love getting to turn into bats and battling werewolves almost as much as they love poking fun at the absurdity of it all. Their low-key enthusiasm is infectious.

What We Do in the Shadows
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