From childhood to adolescence, everybody grows up in a different and unique way. 

For example, I grew up with a much older brother and sister, so I had nobody my age to grow along with.

I wouldn’t change a thing, because my siblings were always a part of my life. As twins, they’re connected for life, whether they’re identical or not. There is a bond there that is hard to break.

But once reality comes knocking at the door, separations happen and they may drift away from what once made them whole. “The Skeleton Twins” is the story of what happens when we reconnect with the people we love.

While on the verge of suicide, Maggie [Kristen Wiig] gets a call that her brother Milo [Bill Hader] is in the hospital after an attempted suicide.

Philip Bergeron / Graphic Design Editor

Having been estranged for about ten years, it’s an awkward reunion. Despite this, Maggie invites Milo to stay with her and her husband [Luke Wilson] for a while.

Even though they’re reunited, they both have some personal issues to deal with. Maggie has thoughts of infidelity and Milo reunites with his former high school teacher [Ty Burrell] who molested him when he was fifteen years old.

The only thing that can get them through this is each other. Will they reconnect or succumb to dangerous temptations?

I was hoping that “The Skeleton Twins” would be a great movie. Unfortunately, I can’t say that it was, because this film is the definition of middle-of-the-road. Both Kristen Wiig and Bill Hader have been in films that I’ve genuinely enjoyed. Here, it’s a mixed bag.

Nobody gave a bad performance, but there are traits associated with some of the characters that I had a bit of an issue with.

Bill Hader, overall, was the most interesting character in the film. He was perfectly able to walk that line of droll and upbeat. For those people wondering if Hader gave a serious performance, I can say that he does a good job. Whenever he does make a joke, it’s done in a way that makes you think about it for a second.

Although, while Ty Burrell is a great actor, the storyline with Milo and his teacher feels a little off.

A storyline like this is horrifying to think about, yet the film doesn’t address the uncomfortable relationship until late in the film. Until then, it’s played as a quirky blast from the past. Then again, when it comes time to expose the situation, Hader and Burrell do a great job of displaying emotion.

Then, we come to Kristen Wiig, who started out interesting and ended up frustrating. She has some trouble keeping her emotions under control and uses this as an excuse to act out.

At first, I could understand her doing something crazy once. But once it’s revealed that she’s done a number of terrible things, she becomes an unlikable character.

Also, she has a line that made me flat-out dislike her character that nothing could redeem her from. She then goes on to say how damaged she is and how that’s her motivation.

I understand Milo for acting out, but Maggie is a different case. She has a gentleman for a husband, who does nothing but care for her and her brother.

She claims that she’s screwed up, even though everything seems to be working out in her favor. It irritates me when a character acts down when they have no real reason to.

Also, if you watch the trailer, it’s easy to see where this plot goes. From start to finish, “The Skeleton Twins” is thoroughly predictable, hitting all the familiar beats.

I could overlook this, if I liked the characters. But since Wiig is a weak link, it was hard to care for her character.

The cinematography is standard, with muted colors and basic framing. No one shot ever stood out to me in general.

The film just moved along and that’s about it. Besides a few good performances, there isn’t all that much in “The Skeleton Twins” to give it a proper recommendation.

Rating: C

Matt Bilodeau can be contacted at mbilodeau@keene-equinox.com

Despite all of the flack that “The Blair Witch Project” got later on, I still find it to be a very dense and atmospheric film. It set up the environment and let the audience soak up the emotions the characters were feeling. For other found-footage movies, it could work the other way around, if they had decided to go all-out and not hold back. A few exceptions aside, most cheap found-footage movies tend to stay in the middle. That is why most of them won’t live up to the standards set by “Blair Witch.” While this may not be as iconic, “The Sacrament” takes everybody on one hell of a ride that ends on an unsettling note.

One day out of the blue, Patrick [Kentucker Audley] receives a letter from his sister, regarding her whereabouts. In the message, it says that Caroline [Amy Seimetz] is well and that she has set up a way that Patrick can visit her. His boss Sam [AJ Bowen] ends up going with him in order to get the story on this mysterious place. Upon arrival, the figure simply known as Father [Gene Jones] comes into the picture, and the camp takes on an entirely different meaning. This is a warning beforehand: For all people who don’t have a strong stomach, stay away. Towards the third act of the film, it turns from a slow-burn thriller to a full-out massacre. When I say this, I’m not giving anything away. It should be easy to tell from the trailers that “The Sacrament” is about a cult. While it’s obvious to see that this place is the basis for a religious cult, the difference is in the execution. Our introduction to this entire story is told through text and a VICE reporter. From there, most of what we see is shown through the third cameraman that went on the trip as well. Since the cameraman is supposed to be a professional in his field, he knows how to hold the camera properly. There is some shaky cam, but it’s used in places where it’s easy to understand why. Thanks to smooth transitions from scene to scene, it’s easier to focus on the characters, instead of how much the shaky cam bothers you.

Philip Bergeron / Graphic Design Editor

For the most part, the acting all-around is good — dare I say great. Out of the three visitors, none of the time is actually spent with Sam. He’s calm and polite, but he’ll ask the hard questions when they need to be asked. For the most part, he acts how any normal person would react to this situation. Then you have Father played by Gene Jones. I don’t recognize this actor from anything in his filmography, but I will always remember him for this role. The moment he appears on-screen, he gives off this real uneasiness that’s hard to shake. He commands a presence like he has just gained total control of the room.  From the moment the interview starts between Sam and Father, it becomes a battle of wits. Until the third act, Father remains a mysterious, yet menacing figure. For the last half-hour, his true self comes out in the most horrific way possible.

Despite all these praises, there is one thing that bothers me. “The Sacrament” is eerily based on the events of the Jonestown Massacre that took place in 1978. The events are so similar that the resemblance is uncanny, and the fact that the real event wasn’t mentioned at all bothered me a little bit. My only other complaint is that, while the third act is very disturbing, it doesn’t  have that much of a lasting impression.

Having said that, when it gets to this point, it’s almost impossible to predict what’s going to happen next.  If audiences are able to handle other horror films, “The Sacrament” should work out for them just fine. Great acting and a tense atmosphere makes for an above-average found-footage movie.

Rating: B

Matt Bilodeau can be contacted at mbilodeau@keene-equinox.com 

If there was one thing that I would want to do with my life other than film, it would have to be traveling. 

When people like myself can’t afford to make the trip, we turn to road-trip movies to give us a view of what we’re missing.

Comedies usually show them in a highly-comedic and exaggerated fashion. But then, underneath all of the classics, there lies a forgotten gem; in this case, “The Trip,” — a six-part miniseries converted to a feature-length film.

Four years ago, friends Steve Coogan and Rob Brydon went on a trip all across England to dine at local restaurants and write articles for a magazine. Fast forward four years and things have now changed.

Steve’s career is booming while Rob is having some trouble at home with his wife. But nonetheless, the duo return for a second serving with “The Trip to Italy.”

Allie Norman / Equinox Staff

This time around, they are commissioned to travel Italy and write another article.

Just like last time, this trip will consist of wit, impressions and the comradery between two best friends.

Just like many different types of food, whether you like this movie or not, it all depends on an acquired taste.

I have become accustomed to British humor, so it’s easy for me to enjoy a comedy from across the way. Steve Coogan and Rob Brydon  may be big names in the U.K., but in America, they’re barely recognizable for the mainstream audience.

“The Trip” was a film that I happened to catch by accident. The preview caught my attention, but what I got was something different.

It wasn’t as slap-sticky as I thought it was going to be. Instead, it turned out to be a witty and mature movie about middle-age crisis.

Since most of the dialogue is improvisation, this could have fell flat. But since these two have chemistry, their back-and-forth feels natural and genuine.

Steve Coogan this time around, has grown since the last journey. This time around, the roles are reversed.

Coogan is more outgoing and thinks highly of his new-found fame in the U.S.

Although, he’s not stuck-up about it all. Instead, he looks at it as a luxury. In this aspect, he becomes much more admirable. Even while on this trip, he tries to find ways to connect with his son waiting for him back home.

Rob Brydon on the other hand, starts to act like Coogan from the first time around. He never becomes a nuisance, but he acknowledges that Steve has it better.

Back home, his wife seems to have shut him out whenever he tries to call her. He has a moment of weakness and does something that he never dreamt of doing.

Nevertheless, these are two human characters. They are both likable people, but they’re also human.

They make mistakes, faintly acknowledging the consequences. But when you really get down to it, most people saw this film for the conversations over dinner.

While our mouths water at the food, Steve and Rob do what they can to keep us entertained.

Their forte is impressions, from Sean Connery to Michael Caine. While they are quite good, they’re also the problem that I had with the first film as well.

Sometimes, it feels like they are relying on them to carry a scene. When they start to repeat them over and over again, it gets real old real fast. Other than that, most of the conversations between the two friends feel very natural.

Even in the “scripted” scenes, I never got the impression that they’re reading from a script in front of them.

It’s just two British comedians eating high-end food and giving an outlook on the world.

Every site they visit is even more beautiful than the last. Director Michael Winterbottom films Italy with class and grace.

Whenever they’re on a boat, the water looks crystal clear  and when they’re sitting on a restaurant patio, the background is appealing to look at.

Due to this film’s slow pacing, I wouldn’t recommend it to everybody. However, if you enjoy British humor and beautiful imagery, “The Trip to Italy” is for you.

Rating: B+

Matt Bilodeau can be contacted at mbilodeau@keene-equinox.com

Colin Middleton / Equinox Staff

When it comes to our planet, there is nothing more important than water. Without it, there would be no life on this planet, period.  Whether we use it correctly or not is up to us. All it takes is one person to make a difference and change how we treat our natural resources, just one. The inspiration that sparks other people’s interests could come from any number of places. A book, pamphlet, presentation, or even a film can motivate someone to do the right thing for their environment. On the night of this event, over a hundred people came together to sit and learn. The film screening and presentation were put on by The Harris Center for Conservation Education while also being sponsored by the Keene State Film Society and The Monadnock Conservancy.  The Harris Center, which is located in Hancock, N.H., is a non-profit organization that     dedicates itself to “promoting understanding and respect for our natural environment.”

Throughout the year they plan events such as hikes, meetings, classes, film screenings,

etc.  Last year, they came to

the Putnam Theater to screen the PBS special “A Murder of Crows.” The theater was packed and everybody came back, but this time, with a larger crowd.

After such a success last year, The Harris Center came back to the Putnam to screen “Watermark,” a 2013 documentary directed by Jennifer Baichwal and Edward Burtynsky.  Before the film began, Brett Amy Thelen, Program Director for  Ashuelot Valley Environmental Observatory (AVEO), a project of the Harris Center for Conservation Education, came out and gave a few words about the organization and what they hope to accomplish.  When she was done speaking, she then turned the stage over to Christine Destrempes, Founder and Director of Art for Water, an organization that brings projects to various schools and universities to teach about water.  Such projects include bottle caps on strings, with one cap representing somebody in the world without water.  Once she was done, the lights were dimmed and the curtain opened.  Was all of this wait worth it to see this documentary?

Watching a documentary about water doesn’t sound interesting right off the bat, but something about the trailer intrigued me. The film promised a visual journey of how various cultures use water in various ways. After viewing the film, I can’t say that it was great.  The best that I can get it to is okay, and here’s why.

When it comes to films containing very little dialogue, I honestly don’t mind, as long as there is enough visual-flair to keep me intrigued, I’m okay with this format.  The difference is that “Watermark” did not need to go this route.  I will admit that there were some shots that blew me away, so much so that I wanted to see them on an IMAX screen.  For that, I must give credit where credit is due; the directors wanted to film water like we’ve never seen before and for that, job well done.

When I talked to members of the audience afterwards, this was the one thing that they all agreed on.  Halli Valentine, a sophomore at Keene State College stated that these simple images “brought a new perspective” that she never thought of before.  Jim Guy, a local resident from Dublin, NH stated that “the cinematography was great,” as it also gave him a brand new perspective on how we use water in cultures around the world.  Overall, everybody agreed that the film was a marvel to watch, all thanks to the beautiful cinematography.

Ian Chouinard / Equinox Staff

Of all the points made that night, this is one that I have to agree with.  But in my opinion, that is where it ends.  While some people may have gotten a new perspective, I felt that “Watermark” was somewhat empty.  The concept of little-to-no dialogue with images of water would have worked better if it was a short film. At least then, it would have been brisk and sweet. But when you make it feature-length, I expect some substance. I also expect a score that won’t put me to sleep.  At a point, showing how water is used across multiple cultures is not enough without some type of narration.

After all, “Watermark” is a documentary.  The film left me in areas where they wanted me to put it together for myself.  For a film that wants to inform, it made me leave the theater confused, with little to no impact.  I can’t even explain some of the different segments because the transition from one topic to another was jumbled.

Based on the reaction from the crowd, I seemed to be in the minority. While it didn’t do wonders for me, if it got somebody else like Halli or Jim interested, then the film was a success, despite my opinion. People who weren’t part of The Harris Center were interested in joining as the film came to a close. Overall, if a film, good or bad, gets people talking, then I’m glad that it worked on somebody.

Matt Bilodeau can be contacted at mbilodeau@keene-equinox.com

If I were to construct a list of some of the greatest actors in the industry, Michael Fassbender would be on it.  He’s one of those actors that, if I see his name on a project, I’ll be there on opening day. When he commits to a role, he commits; even if the film itself isn’t that great. Earlier this year, he shined reprising his role of Magneto in “X-Men: Days of Future Past.”  While he gives a great performance, it doesn’t compare to the emotion he gives in “Frank.”

“Frank” follows the story of Jon [Domhnall Gleeson], a struggling keyboardist/songwriter who takes up the opportunity of a lifetime. When their original keyboardist tries to drown himself, Soronprfb’s manager Don [Scoot McNairy] recruits Jon to join them. Soronprfb’s leader is Frank and well, how do you describe Frank?  When you wear a giant papier-mâché head twenty-four-seven, questions will be raised. As Jon gets more and more accustomed to working with the band, the deeper he gets. Frank’s bandmate Clara [Maggie Gyllenhaal] remains suspicious, as she believes that Jon is dangerous to Frank.  Over time, we get to piece together who Frank is and how he works.

When I say that there is no other film like “Frank,” I mean it.  Categorizing this film into one specific genre is next to impossible. In just an hour-and-a-half, there was so much that they threw at me. So much so, that I promised myself that I was going to see it a second time before I wrote a review. Having seen it a second time from a different perspective, I feel that I have a better grasp on the themes and ideas of Frank.  The first step to understanding the film, is understanding how it all began.

Philip Bergeron / Graphic Design Editor

Through Domhnall Gleeson’s character, we are introduced to this strange new world. Jon could have easily been the window for the audience to peek through.  Instead, he goes along with their wacky antics, patronizing them. He wants the world to know about them and he’ll push Frank to make that happen. Instead of being a face, Jon remains an outsider, even when he starts playing with the band.  To say anymore, would be spoiling what comes next.

Then, we get to the best aspect of the film, Frank himself.  From the moment he first appears on-screen, you’re not sure who this man is. Under that fake head is Michael Fassbender and he doesn’t need to facially express himself to get his point across. Frank is such a fascinating character because his personality is defined by his body language and his music. As Frank confides in Jon, it’s easy to see that he’s not good for him, as his mental capacity isn’t able to process the world around him.

Frank belongs with his original band, as Clara is shown doing everything to keep him safe. Maggie Gyllenhaal plays a very unstable character that made me wonder if she was just as damaged as Frank himself. At first, Clara’s hatred for Jon seems unreasonable, but as the film progresses, it becomes abundantly clear. The most fascinating part of the film is when it seems that Jon has taken control and Frank is following along.

From this point on, there is no predicting where this story is going and that’s refreshing. The more time I spent with these characters, the more I felt like I was going insane. After listening to their harrowing music, you would too. It’s not the film’s fault as it’s supposed to be, it just got tiring for me after a while. But Frank isn’t about the music, but instead, the people who make the music and how it brings them altogether.

Frank is unpredictable as a character and a film.  Director Lenny Abrahamson made a film where he showcases these odd events, all told through the eyes of the mentally ill themselves. When the film comes to a close, the quirky tone is gone and you are left with genuine emotion. The final five minutes consists of one of my favorite scenes from any film in 2014.

My advice for when you go see Frank, is this.  Don’t expect anything more or anything less from Frank, let the film take you on this strange journey. Then and only then, will you appreciate what Lenny Abrahamson made.

Rating: B+

Matt Bilodeau can be contacted at mbilodeau@keene-equinox.com