Category Archives: Movies

The Kid is SO Precocious: Fantastic Four (2015)

 

Because I am a Disney+ subscriber and curious about the reported train wreck that was Josh Trank’s 120-million-dollar adaptation of the Fantastic Four I began watching the 2015 film a few nights ago.

Young geniuses as Reed Richards is presented in this version are a thing and can be a compelling way to open a story. The historical drama Hidden Figures starts with a young Katherine Johnson displaying mathematical abilities beyond her grade to establish the character the prodigy she truly was. A similar thing could have been used for the fictional Reed Richards but the filmmakers unable to show the requisite restraint to tell the tale in an unfolding and tantalizing manner instead of displaying knowledge and aptitude beyond his grade young Reed, a pre-pubescent Reed, is actually building teleport devices in his garage. This is far too much far too fast.

In Hidden Figures Katherine’s teacher confronted with the young girl’s fantastic ability recognizes brilliance in her presence and works with Katherine’s parents and church to get the girl the education her mind deserves. Fantastic Four however repeats a worn, tired, and unjust trope when Reed’s teachers is simply incapable of recognizing talent that stands before him and Reed is shuffled into the misunderstood outcast archetype instead of having any actual character.

This is repeated in High School and it was at this point that my bed and slumber proved more enticing that a story written by a paint-by-numbers methodology. Instead of returning to this film in following nights I found the comically under-budgeted and scientifically challenged British Sci-Fi series Blake’s 7 far more engaging.

Character wins over spectacle.

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Streaming Review: Saint Maud

 

Writer/Director Rose Glass’ modestly budgeted horror film Saint Maud is an impressive display of skillful filmmaking and doubly as Glass’ feature film debut.

Morfydd Clark plays Maud a former hospital nurse now turned to in-home hospice care for the dying. Maud is deeply religious and often prays in a conversational manner with God which the audience experiences as well-crafted voiceover. Haunted by a traumatic event seen only the glimpses through flashback Maud is clearly a lonely young woman of with a devout and possibly fanatical mindset. Her newest hospice charge is Amanda, played by Jennifer Ehle, a free-spirited professional dancer now confined to a wheelchair as a cancer in her spine marches her towards her death. Rather than being repelled by Amanda’s alcohol indulgences and same-sex assignations Maud becomes obsessed not only with easing Amanda’s final days but saving her soul. Throughout the film’s brief 84-minute runtime Maud experiences events that may be supernatural in origin or psychotic breaks from reality with Glass’ directorial hand deftly charting a course between the two possibilities until the film’s final few frames.

Saint Maud is a well crafter piece of mood cinema. The cinematography perfectly captures the atmosphere of Maud’s isolated life and with reveling in filth conveys the sense of a fallen and broken world that we inhabit. Clark’s soft and often understated performance as Maud couple with a script that leans towards ambiguity creates a film that invites the viewers to build their own interpretation rather than holding your hand and explaining everything. Jennifer Ehle is perfectly cast as the chaotic Amanda a woman of considerable talent now dealing with life’s cruel and chaotic misfortune. At time understanding of Maud’s faith and at other times mocking it Amanda and Maud are the dynamic that drives this feature. A fascinating and thoughtful film Saint Maud is well worth the time to watch intently and not casually while you do other chores.

Saint Maud is currently streaming on Epix and Paramount+.

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How Not to Write a Female Character: Sands of The Kalahari

 

Sunday night I watched a mid 60s adventure film Sands of the Kalahari about a small charter aircraft that after encountering a locus swarm crashes in the Kalahari Desert and the 6 survivors struggling to overcome the harsh condition. The surviving passengers and pilot are five men and one woman played by Susannah York.

York’s role hardly qualifies as a ‘character.’ Each of the men have clearly defined personalities complete with motivations and goals while nothing at all motivates York’s Grace beyond sexual attraction. Though she was a paying passenger aboard the hastily convened flight, the regular commercial flight has been delayed overnight and the passengers commissioned this trip rather than wait in a hotel, Grace during the trip serves all the other passengers their coffee.

Once they have crashed and found refuge in a set of caves, she is attacked by the pilot who has claimed her as his sexual right by being the ‘leader’ of their band. Despite descending into savagery less than 48 hours after the crash the pilot does not in fact rape her because she’s doesn’t participate in her own sexual assault. The pilot then leaves the camp on a trek intending the cross the desert on foot and get rescue for the others.

Grace sexually fixates on the big game hunter among them having decided less than a day after escaping sexual assault that she loves this manly man. However, their assignation fails to complete when she is unable to get him to admit any ‘love’ for her at all and she rejects him. Later she changes her mind, apologizes for wanting him to love her, and simply gives herself over to him. For the rest of the film, we are expected to believe that she is torn between he-man she ‘loves’ and the growing truth that he has murdered some of the other survivors to increase his own chance of making it out. Grace has no character, no arc, no backstory, and contributes nothing to the groups survival other than cooking meals from the game the men have trapped and hunted. Her ‘character; could be replaced with a blow-up sex toy and it would have no impact on the plot.

Sands of the Kalahari is currently streaming on Paramount+.

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Streaming Review: Superdeep

 

Cinema from across the Iron Curtain produced a number of fascinating and noteworthy films including not a few deeply serious science-fiction movies some of which became bastardized American version when sold to the west. (I’m looking at you First Spaceship on Venus/The Silent Star.) Horror however was frowned upon as a serious subject and relatively few true horror movies were made with the Kremlin’s approval. With the fall of the Soviet Union and the age of digital effects that has changed and this weekend I watched a recent and decent Russian horror film Superdeep.

Serbian actor Milena Radulovic plays Anya (Presented as Anna in the English dub and subtitling) a soviet era physician haunted by her transgression of her medical ethics at the behest of the Soviet military intelligence. Now, near the collapse of the USSR Military Intelligence has called upon her services again. A secret research facility hidden in the Kola superdeep borehole has gone silent and there are hints that something biological has gone awry. Anya and the officer who pressured her into the ethical lapse are dispatched to investigate, obtain any samples for future military applications, and depart from the facility before the official rescue teams arrive. Once there they find that the lead scientist has been denounced by his lieutenant and all contact has been lost with the lower levels of the facility. Venturing underground they encounter horrors and a threat to not only the USSR but all of humanity.

Superdeep is a decent and solid horror film. The characters are engaging and believable creating enough empathy that their situation generates genuine horror. Radulopvic’s Anya provides the movie’s sole point of view allowing the filmmaker to restrict information to only what Anya see and hears herself escalating the tension of the unknown without cheesy gimmicks to hide information from the audience. Production values are high with the sets and the special effect, both practical and digital, well executed supporting a robust suspension of disbelief. The film’s cinematography is dark, moody, and atmospheric without becoming overly intrusive always managing that balance between what the environment would require versus the emotional drive of the scenes. The film is not particularly gory, but it is visually disturbing with explicit images of bodily disfigurement and horror.

Superdeep’s failings are that more than once during the movie it is nearly impossible to not think of other classic films. It is not the case that Superdeep is a ‘rip-off production’ but rather certain directorial and photographic choices were clearly influenced by films such as Alien. However, this visual rhyming with cinematic classics only harms the film marginally and reduces it merely a solidly enjoyable experience.

Superdeep (English Dub only) is currently streaming on Shudder.

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Streaming Review: Psycho Goreman

 

Psycho Goreman is horror comedy with the emphasis on comedy.

After a mercifully brief voice over narration informing the audience of an ancient evil that threatened all of existence now entombed on a distant planet Psycho Goreman transitions to Earth the aforementioned ‘distant planet,’ and two children Luke and his younger sister Mimi playing a game of their own invention, Crazy Ball. (Think Calvin Ball but with a more stable rule set.) Luke is unsure of himself and easily bossed around while Mimi is assertive, commanding, and may very well be fully psychopathic. While digging a grave for Luke’s penalty for losing Crazy Ball, the winner can dictate any terms they please for the loser to fulfil, they discover the Gem of that will eventually give Mimi full command and control over the now unearthed evil which the children name Psycho Goreman or PG for short. In a far distant location, the entities that entombed PG become aware of his release and hurry to recapture him setting the stage for the final conflict between this pair of ancient foes that will be dictated by the capricious commands of child.

With a limited budget and merely adequate digital effects director Steven Kostanski who also wrote and produced Psycho Goreman manages to create an entertaining, bloody, and disturbingly funny film centered on a terribly dysfunctional family caught at the center of a crisis of universal proportions. This movie will not be for everyone if the comedic tone is too strange for your tastes, then it is very likely that you will be unable to suspend disbelief for anything that occurs on the screen. This is not a film that strives for any sense of reality rather it swings for the fences and if that results in a homerun or a strike out will vary entirely upon your tastes. Myself, I enjoyed the bonkers approach and felt the film exactly hit its intended mark.

Psycho Goreman is currently streaming on Shudder.

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Movie Review: Dragonwyck

 

Despite the title the film Dragonwyck is not a fantasy but rather a period drama set in the area around New York and Connecticut during the years of 1844 to 1846.

Gene Tierney plays Miranda Wells a devout Connecticut farmgirl who is asked by distant cousin Nicholas Van Ryn, (Vincent Price) to come live with he and his wife for a while as a companion to

Title: DRAGONWYCK ¥ Pers: TIERNEY, GENE / PRICE, VINCENT ¥ Year: 1946 ¥ Dir: MANKIEWICZ, JOSEPH L. ¥ Ref: DRA005AB ¥ Credit: [ 20TH CENTURY FOX / THE KOBAL COLLECTION ]

their eight-year-old daughter. Miranda convinces her religiously strict father to consent, and she leaves the family farm with dreams of see a larger and more exciting world.

Nicholas is estranged from his wife and daughter and rules over his vast estate, Dragonwyck, as a patroon, a Dutch title nearly invalidated by the Revolutionary War and Independence, but Nicholas retains ownership of the land and extracts rents from the farmers living there.

Miranda also meets the handsome young Doctor for the farming community Jeff Turner who is also involved in the Anti-Rent movement seeking to abolish the last vestiges of patroon system. Torn between these two men and their opposing political views Miranda is mired in ancient superstitious familial curses, the growing threat of political violence, and possible murder.

Dragonwyck is an enjoyable melodrama and few actors performed haughty patrician as well as Vincent Price. Though popularly known for his work in the horror genre Price’s gifts as a thespian granted him great range with his stature and demeanor perfectly suited for the doomed nobles.

While not the best example of his work, Dragonwyck is thoroughly serviceable for anyone wanting to experience Price beyond ghosts, ghouls, and ghastly revenge.

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Noir Review: Kiss of Death

Noir Review: Kiss of Death

It was difficult to find a copy of Kiss of Death to watch but I eventually managed the task. The film, starring Victor Mature, is particularly notable for as the first screen appearance of one
Richard Widmark as the vicious and psychopathic Tommy Udo a screen debut that scored
Widmark an Oscar nomination.

Mature plays Nick Bianco a thief nabbed in an armed robbery that goes wrong and rather than cooperate with the district attorney’s office takes his hard time sentence rather than squeal. However, when events intervene Nick has a change of heart and begin working for the state which brings him into conflict with Udo who has an intense hatred of those who turn on their criminal brothers. There is a romantic sub-plot between Mature and a younger woman, Coleen Gray, but the film’s real focus is Bianco and Udo.

This is one of Mature’s best performances and the conflict Nick suffers as his world crumbles if evident on his feature but without a doubt the standout performance is Widmark’s Udo. If you have watched any documentaries about the film noir movement, you have undoubtedly seen the clip of Udo sending a helpless woman tumbling down a long flight of stairs. While this capture the cruelty of his character the performance is much more than acts of wonton violence. Widmark manipulates every muscle in his face, creates a perverse curl to his upper lip, and give a joker-like grin as Udo that radiates that this person has no empathy for anyone.

Kiss of Death plot wise is fairly standard and the voiceover narration could have been dropped to improve the movie, but it should not be missed for the performances.

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Movie Review: Cruella

 

Confession: I have no memory of every having watched in its 101 Dalmatians making a feature film about the origin story of its chief villain an unlikely movie to interest me. But then repeatedly people whose taste I trust reported the film fun and worthwhile and so after re-instating membership in AMC’s A-List subscription service for up to 3 movies per week I ventured for a late-night screening.

Cruella, starring Emma Stone as the titular character, is an origin story for the Disney villainess, a period London centric crime comedy, and plants a feminist flag for taking command of your life with verve and individuality. The film boasts a voice-over track as Cruella narrates her life for the audience and it is one of the examples of how to do a good voice over as it is always in the tone and viewpoint of the character and not simply a voice describing what is one the screen or hastily created world building.

Orphaned at a young age Cruella, whose actual name is Estella with the more recognizable name an identifier of her more aggressive traits, struggles at first as a petty criminal on the streets of London as she dreams of becoming a fashion icon and designer. When finally, life presents her with this opportunity she finds herself engaged in a battle of fame and fashion dominance with ‘The Baroness’ and no it’s not the villain from G.I. Joe but rather a domineering designer played perfectly by Emma Thompson. The remained of the film’s two hours plus running time is the war between the two women. Elaborate displays are engineered, and secrets revealed before the story resolution all done to period and anachronistic needles drops of a truly great songs featuring styles as diverse as The Clash to standards such as Perhaps, Perhaps, Perhaps.

Screenwriter and novelists C. Robert Cargill may have found the perfect description for Cruella, “CRUELLA is like Guy Richie re-imagined THE DEVIL WEARS PRADA … “

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Streaming Review: A Song Called Hate

 

My sweetie-wife is a fan of an Icelandic BDSM inspired metal band called Hatari. This weekend a documentary about the band’s entry into the 2019 Eurovision contest dropping on the streaming service Vimeo but region locked against the US and the UK. Luckily, I had just upgraded my Norton anti-virus subscription to include their VPN (Virtual Private Network) capability and after resetting out location to Finland managed to unlock and rent the documentary.

First time documentary director Anna Hildur follows the controversial band noted for their outspoken style as they prepare to play in Tel Aviv Israel with a clear intention to violate Eurovision’s prohibition on making any political statement as part of the contest.

As anyone who really knows me understands Metal is not one of my preferred musical genres. However, that doesn’t impede my ability to enjoy a good documentary and have respect for artists willing to risk standing and cash in order to make a stand for what they believe is right. Art, on some level, is always political. Even if an artist makes even conscious choice to avoid political statements or stands that itself is a political stand. I am not here to comment on the correctness or fallacy of Hatari’s position concerning the Israeli/Palestinian conflict, but I will respect that they did not take their position lightly or without forethought.

A Song Called Hate does a very admirable job of revealing the member of Hatari as people and moves beyond the surface level of their costumes and performance. Without having been told there was nothing about the production that would have informed me that this was a first-time feature documentary director. At 90 minutes the run time perfectly balances the need to probe deep into its subjects but without overstaying in any particular scene.

All in all, thought the music is not to my taste and I am far from equipped to judge its quality A Song Called Hate is an illuminating and well-crafted piece of documentary cinema.

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Streaming Review: The Last Drive-In; Ginger Snaps

 

This weekend I decided to give Shudder’s original series The Last Drive In a test spin. Hosted by Joe Bob Briggs the series is a throwback to local television stations hosting horror themed fare. Briggs dismisses using an overtly horror inspired host gimmick instead going for a ‘regular’ country guy on his porch approach while provide production details and commentary during breaks in the presentation. Overall, I am not sold on this approach except for possibly campy and over-the-top titles which Ginger Snaps is not.

Ginger Snaps is a Canadian werewolf movie from 2000 starring Emily Perkins and Katherine Isabelle as sisters Brigitte and Ginger respectfully. Ginger is the older sister at sixteen while Brigette is just a year younger. Both are outcast, fascinated by the dark and morbid and thoroughly devoted to each other. When the film opens the suburban development where they live Bailey Downs is already in turmoil as some unknown beast has been killing the dogs of the area. While out on a nocturnal mission of revenge for Brigette’s abuse at the hand of a local bully the girls are attacked by the beast and Ginger bitten starting a chain of events that drives a wedge between the sister as Ginger embraces her new condition.

This film, while a very entertaining horror movie with a fresh take on the werewolf myth, blatantly discarding most of the tropes introduced in 1941’s The Wolf-Man is at its heart a coming-of-age story and deals with the tragic and traumatizing transformation from adolescence to adulthood by way of blood, gore, and horror. Written by Karen Walton the film has a distinctive female perspective and never losses focus on the sisters and their relationship. While modestly budgets at just 4.5 million dollars Ginger Snaps retains a high level of production value with lovely cinematography that provides an atmospheric mood of dread in a dull suburban setting.

The film found its following on home video and repeat broadcasts on HBO mainly because it never got distribution in the United States. It had an offer, but the distributer wanted a PG-13 rating and the direct was unwilling to censor the films prodigious use of ‘fuck’ in the script. (Good for him.) Still, it found enough success to develop a cult following and spawn a few sequels of questionable quality.

Ginger Snaps is a fun, thrilling, and thoughtful film that uses the lycanthrope trope to talk about identity and growing up. It is well worth watching.

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