Archive for the Horror Category

Color Out of Space

Posted in Horror, Science Fiction with tags on March 23, 2020 by Mark Hobin

color_out_of_space_ver2STARS2.5When Nicolas Cage goes “Full Cage” it gives me comfort in times like these.  All U.S. theaters have been ordered to close for an indefinite period in response to the Coronavirus pandemic.  Hollywood production (as is much of the rest of the world) is currently halted to slow the spread of the virus.  There won’t be any new movies playing in cinemas for a while.  This is unchartered territory.  How long this can last is anyone’s guess.  Yet I will persist.  This won’t deter me from writing.  As long as DVD & streaming still exists, I will review new releases on that platform.  Color Out of Space opened to a mere 81 theaters back on January 24, 2020, in the U.S.  Needless to say few people (including me) had the ability to see it — even if they wanted to.  It was subsequently released to VOD, Digital, DVD, and Blu-ray on February 25th.

I was primed to enjoy this production.  Color Out of Space is science fiction fueled horror from Richard Stanley, the director infamously fired from The Island of Dr. Moreau (1996).  That might be a cause for concern.  On the plus side, this was produced by the same people who brought us the bizarre 2018 action horror film, MandyMandy was directed by Panos Cosmatos (Beyond the Black Rainbow (2010)).  Now I’m not saying Mandy was great art, mind you, but it presented a bizarro appeal that I found amusing.  It’s was unique and that’s saying something in an age of reboots and sequels.  That cast featured Nicolas Cage in a wild acting display that added to its eccentricities.  He’s starring in this too and I can say his presence definitely adds to the strangeness.  The actor has been cultivating an offbeat persona ever since he starred in Valley Girl way back in 1983.  Anyone familiar with the actor’s work knows he chooses projects where he can bring an air of eccentricity.  This feature is no different in that respect and I can appreciate that.  In fact, there are a lot of similarities between the two films.  Nevertheless, where the quirks seemed to make sense in the former, it doesn’t serve much purpose here.

From a narrative standpoint, Color Out of Space is a fairly simple tale based on a short story by H. P. Lovecraft.  If you’re acquainted with that author, you know he can be a bit odd.  The text is significantly more scientifically detailed than what we observe onscreen.  The adaptation doesn’t have that much of a plot.  A meteorite plummets to Earth in a dazzling blaze of purple-pink hues and lands in their yard on a remote New England property.  Things get decidedly weirder from there.  Actually, I’m making the adventure seems like more than it is.  Meteor lands.  Mayhem ensues.  That’s it.  But there are some captivating special effects and an interesting visual style.  At one point, a large multi-eyed creature that resembles a praying mantis crawls out of the well. It’s a creepy moment.

Nicolas Cage gives another gonzo performance.  It takes a certain suspension of disbelief.  He plays a father married to his wife Theresa (Joely Richardson) with three kids Lavinia (Madeleine Arthur), Benny (Brendan Meyer) and Jack (Julian Hilliard).  They’re all living on a rural farm.  They also care for a herd of animals which allows Cage to say, and I quote “Now if you don’t mind, it’s time we milk the alpacas!”  The actor gets a lot of campy lines.  Another “delightful” exchange with his beloved daughter has him screaming at her to “Get the f— out of my sight, okay?”  Then he reconsiders and says “No, actually, I’ll save you the trouble and get the f— out of yours!”  He constantly reprimands his wife and kids with an exasperation that borders on comic relief.

This is not for people who idolize the work of H.P. Lovecraft.  It’s more like a springboard to create random vignettes.  Nonetheless, audiences who revel in Nicolas Cage doing his uniquely deranged schtick will find much to savor here.  The silliness doesn’t stop with the dialogue.  Another episode features mom making dinner.  While cutting carrots, she chops her own fingers instead of the vegetables.  I can’t even do the scene justice but everything is done for comedic effect.  The story is one big joke.  I admire this film for its silly sensibility and creative aesthetic.  However, those looking for a coherent account will find it lacking.  Oh, I forgot to mention that Tommy Chong pops up as an eccentric squatter who lives on the fringes of the family’s homestead.  He’s the cherry on top of a very messy sundae.

The Invisible Man

Posted in Horror, Mystery, Science Fiction, Thriller with tags on March 16, 2020 by Mark Hobin

invisible_manSTARS4I’ve seen a lot of good movies over the past year, but it’s been a while since an opening scene grabbed me as quickly as this one.  It’s so perfectly crafted.  A woman (Elisabeth Moss) wakes up in the middle of the night.  Cecilia is lying in bed.  There is a man (Oliver Jackson-Cohen) sleeping beside her.  His arm draped around her waist. A look of fear appears as she gently extricates herself from his grasp.  A nearby bottle of Diazepam suggests he has been drugged.  Quietly and methodically she retrieves her belongings, turns off the alarms and positions one camera to face Adrian, the sleeping man, so she can monitor him from her phone.  She attempts to leave.  However, at the last minute, his dog accidentally sets off a car alarm.  Cecilia is forced to make a run for it into the street where her sister (Harriet Dyer) is already waiting in a car.  No sooner has she entered the vehicle when Adrian comes out, smashing the window before Emily drives her away to safety.

I’m a big proponent of less is more.  Those early minutes are the very definition of that phrase. Despite the fact that no words are spoken, the introduction is a perfect tease to whet your appetite for more.  Sure you will have questions, but the answers are skillfully revealed over time in a way that supports the artistry of this narrative.  It may not rival Hitchcock, but someone has clearly studied his methods.  The Invisible Man was written and directed by Leigh Whannell – perhaps best known for writing movies directed by James Wan (Saw, Insidious).  Whannell may have made an unfortunate directorial debut in 2015 with Insidious: Chapter 3.  I won’t mince words.  It was an execrable work.  However, this feature is a solid example of his skills as a director.

The Invisible Man is such a fascinating endeavor.  That effectiveness is due in no small part to the performance of Elizabeth Moss.  The actress rarely does commercial releases like this.  She generally favors indie fare, although Us was a rare exception.  This is actually Moss’s first true lead role in a studio production and if it’s any indication of her abilities, there should be more.  We slowly come to learn the man she escaping from is Adrian Griffin (Oliver Jackson-Cohen), a powerful tech entrepreneur who also happens to be an abusive boyfriend.  No injury is depicted.  However, her behavior tells you everything you need to know.  The intro is rather sophisticated.  However, the rest of the account amps up the violence.  People are dragged, hit and thrown by an unseen force.  It’s pretty well done so I found that action to be captivating.  However, on two occasions a person’s throat is graphically sliced open and those demonstrations are decidedly less understated.

The Invisible Man is a remake of the classic 1933 Universal monster movie (which was based on H.G. Wells’ 123-year-old sci-fi novel.  This saga bears little resemblance to the original source.  They’ve basically extrapolated Wells’ seed of an idea to create a completely different film for a contemporary audience.  The feature was originally going to star Johnny Depp and be a part of Universal’s Dark Universe.  Then the reboot of The Mummy franchise starring Tom Cruise flopped.  It deserved to — it was simply awful.  So when the idea of continuing the “Dark Universe” was canceled, we narrowly avoided a potential catastrophe.  Given how great this smaller-scale version turned out, it now seems like a blessing in disguise.  The Invisible Man is so much better than I could have imagined.  A low-budget Blumhouse production may have more modest ambitions.  However, it still manages to highlight the creativity and character development that makes a story compelling.  These characteristics elevate this horror flick which remains one of the very best films in the first quarter of 2020.

03-10-20

Brahms: The Boy II

Posted in Horror, Mystery, Thriller with tags on February 25, 2020 by Mark Hobin

brahms_the_boy_iiSTARS1.5Brahms: The Boy II is a fittingly awkward title for a story that did not demand a continuation.  The Boy was a modestly budgeted horror release in January of 2016.  It went on to gross $35 million in the U.S. and ultimately made $68 million worldwide.  It only cost $10 million so the fact that a sequel was made isn’t surprising.  The bewildering concept is that the previous entry ended on a note of finality.   A clever reveal made it seemingly impossible to create a compelling follow-up from that basis.  None of the actors from the film return incidentally.  My fears were indeed justified.  This movie is utterly uninteresting.

Killer toys usually involve a doll coming to life.  It’s practically a horror genre unto itself now.  They have a long and rich history.  I often point to the 1963 episode “Living Doll” from the TV series The Twilight Zone as a key inspiration.  It wasn’t the first example but it was a notable work.  The Child’s Play series is probably the most famous incarnation for audiences of today.  The Boy is part of that tradition and it was a serviceable drama that offered an amusing twist.  For this work to exist, however, screenwriter Stacey Menear had to retroactively introduce new elements.  These additions change what made the original film unique and reduce this new offering into something wholly pedestrian and dull.

Brahms: The Boy II is so thoroughly generic, mundane, banal, mediocre, uninteresting that to write a longer review would essentially be a creative exercise in using a thesaurus.  Sadly the narrative is a complete zero.   Nevertheless, it has some nice attributes.  I will admit the production design is lush.  The old mansion with its rooms of ornate furniture is nicely photographed and there is an underlying sense that something exciting could happen at any point.  Actor Christopher Convery as 8-year-old Jude conveys weirdness.  Sitting in a sweater-tie combo alongside his porcelain doll dressed in identical attire is a captivating image.  Now how’s that for a plot twist?  A one-and-a-half star review that ends on a positive note.

Gretel & Hansel

Posted in Fantasy, Horror, Thriller with tags on February 4, 2020 by Mark Hobin

gretel_and_hansel_ver3STARS3.5Cinephiles know that January is a dumping ground for terrible movies.  I’m not talking about pictures like 1917 which go wide in the first month.  Award-worthy films like that have limited openings in December in New York and LA to qualify for the Oscars.  No, I mean productions that drop in January for the first time.  Horror flicks are especially suspect in the winter months because the best ones are usually distributed in summer and fall.  The Grudge and The Turning both opened to extremely negative reviews and “F” Cinemascores.  Gretel & Hansel is also a horror movie released this month.  Plot twist: It’s actually good.

Gretel & Hansel is indeed based on the 200-year-old German folklore tale.  Those fables collected by the Brothers Grimm have always been a little twisted so the fact that this has been reimagined as a dark adventure isn’t such a stretch.  Director Osgood Perkins or rather Oz (son of Anthony) essentially recounts the same legend but with a few tweaks.  As the reversal of the title implies, the girl is the focus in this drama.  Gretel (Sophia Lillis) is now a teenager looking after her younger brother, Hansel (Sam Leakey).  Their father has already passed on.  After their awful mother kicks them out of the house, the two venture into the woods in search of food.  They come across a dwelling in a clearing where they meet a mysterious woman named Holda (Alice Krige).  In exchange for food and shelter, they’ll cook and clean for her.  Sounds like a fair trade…or is it?

The cast is uniformly excellent — particularly actress Alice Krige (Star Trek: First Contact) who narrowly gets my vote for the MVP as the wonderfully creepy Holda.  She delivers her lines with a Shakespearean energy that imbues the words with more importance than they actually deserve.  Sophia Lillis is exceptional as Gretel too.  Her interaction with the aged woman — OK let’s be honest, witch — is an interesting relationship that propels the story forward.   Gretel may exhibit an anachronistic personality but that demeanor makes her more relatable to a modern audience in fact.   The behavior applies to her brother, Hansel (Sam Leakey) as well.  Gretel has visions that verge on nightmares.  The witch senses Gretel’s abilities.  She teaches Gretel how to tap into her powers.   Also worth mentioning is Jessica De Gouw as a young Holda who is a malevolent presence.

Gretel & Hansel is the third feature from director Perkins.  He bestows a vibrancy to this ancient yarn heretofore unknown.  His previous efforts were The Blackcoat’s Daughter which made a mere 20k domestically and I Am the Pretty Thing That Lives in the House which debuted on Netflix – both horror films.  It’s clear that Perkins loves the genre.  He explores it with a rare subtlety.  The box office of Gretel & Hansel may have been a modest achievement.  It earned just $6.1M in the U.S. opening weekend but given that the budget was only $5M, I’d call that a success.  It’s well on its way to profitability.

There is so much to recommend about this production.  As the PG-13 rating would imply, this movie relies far more on atmospherics than gore.   The outstanding production design is arguably the movie’s strongest asset.  Jeremy Reed extracts fear out of gloomy spaces.  The rooms and buildings have an ominous air to them.  Cinematographer Galo Olivares captures all of this with stylish elegance.  He was a collaborator on Roma and the talent he brought to that triumph is clearly evident here.  One particular set piece involving a bucket of guts leaves a lasting impression.  Now let’s talk about the soundtrack.  I love the Beatles and the Moody Blues so I’ve always been a sucker for any melody that features a mellotron.  The eerie synth-heavy score is composed by Paris-based composer ROB aka Robin Coudert (Maniac, Horns).  He adds a glorious soundscape that further immerses the viewer into a sinister environment.

If I must register a gripe, it’s that director Oz Perkins favors slow-burn pacing at the expense of a compelling story.  Ironically it’s during the climax that the chronicle suddenly feels rushed.  Plot is not this saga’s strong point.  However I enjoyed this overall, so I won’t end on a pessimistic note.  The gorgeous production is content to revel in a dark climate.  It’s intensely disturbing.  The music and visuals really add to the sense of dread.  I was quite taken by the mood.  Gretel & Hansel mesmerizes while it simultaneously unsettles.  What it lacks in a narrative, it more than makes up for in some hauntingly beautiful tableaus.

01-30-20

Doctor Sleep

Posted in Drama, Fantasy, Horror, Thriller with tags on November 14, 2019 by Mark Hobin

doctor_sleep_ver2STARS3Doctor Sleep vacillates between trying to please two factions.  Some audiences will come for the adaptation of Stephen King’s 2013 novel which the author wrote as a sequel to his 1977 bestseller The Shining.  Then there are the fans of Stanley Kubrick’s 1980 movie that arguably has an even more devoted following.  King himself was famously not a fan of Kubrick’s vision.  The now-classic was a gorgeous evocation of horror that relied on visual imagery, not on detailed explanations.  Conversely, Mike Flanagan (Ouija: Origin of Evil, Gerald’s Game) has directed an account that offers a lot of exposition for people hungry for answers.  This chronicle is more plot-driven with lots of folklore to deepen your understanding of what “shining” is.  Doctor Sleep tries to schizophrenically appease both camps.

The story concerns Danny Torrance, now Dan, (Ewan McGregor), best remembered as the little clairvoyant son of his mad father, Jack.  He has become an alcoholic, desperate to forget the events at the Overlook hotel.  He comforts the terminally ill while working at a hospice where the patients give him the nickname “Doctor Sleep”.  He meets another psychic, a teenage girl named Abra (Kyliegh Curran) and they band together to fight a malevolent clan called the True Knot.  The group is killing children with special powers and feeding off the steam that they emit.  It’s just as gruesome as it sounds and there’s one death in particular (Jacob Tremblay) that is extremely hard to watch.  I suspect the methodical depiction of what befalls him could be a deal-breaker for some people.  A couple of other individuals with close relationships will be introduced and then summarily killed off as well.  The tale has an uncomfortable disregard for the lives of characters whose deaths should mean more than just another offhand development.

This presentation is largely missing the stately grandeur of its precursor.  So in that respect, it will not appease the die-hards of Stanley Kubrick’s atmospheric reworking.  However, I can wholeheartedly recommend it to people who thought Kubrick’s version should’ve adhered closer to King’s original text.  If you crave exposition and plot, this is the production for you.  It’s a convoluted follow-up that attempts to give lots of unnecessary details about Dan’s extrasensory “shining” power.  The bulk of the narrative isn’t a continuation of the events from the first film but rather a saga about what Dan encounters after he grew up.   The focus is on his interactions with the True Knot, the aforementioned nomadic group of evil visionaries.  In that sense, Doctor Sleep becomes a superhero origin story of nefarious mutants with psychic powers and goofy names.  There’s Crow Daddy (Zahn McClarnon), Grandpa Flick (Carel Struycken) and Snakebite Andi (Emily Alyn Lind), among others.

Doctor Sleep is a mixed bag.  It ultimately can’t escape the shadow of the 1980 film.  “This also exists very much in the same cinematic universe that Kubrick established in his adaptation of The Shining,” director Mike Flanagan has said.  He leans heavily on imagery from Stanley Kubrick’s interpretation in several key scenes, particularly in the third act.  This might have been more thrilling if Steven Spielberg hadn’t already exploited the same iconography in 2018 with Ready Player One.  There are roughly 30 minutes of developments that include sets that tastefully recreate the Overlook Hotel.  Additionally, lookalike actors are cast playing the parts of Dan’s younger self (Roger Dale Floyd), his parents Wendy (Alex Essoe) and Jack (Henry Thomas) and Dick Hallorann (Carl Lumbly) the cook.  When this appropriates the visuals of its predecessor, it can be distracting.  Also, at 2 and a half hours it’s far too long.  Nevertheless, this movie has some good points.  Chief among them is Rebecca Ferguson who is great as the central villain Rose the Hat.  True to her moniker, she wears a top hat and exudes this Stevie Nicks vibe of beautiful witchery.  She clearly enjoys the fun of being the baddie and its a compelling performance.  When Doctor Sleep isn’t overly wrapped up in mythology and explanation and simply focuses on the performances of the main characters, it can be fitfully entertaining.

11-07-19

The Lighthouse

Posted in Drama, Fantasy, Horror with tags on October 26, 2019 by Mark Hobin

lighthouse_ver2STARS3I loved director Robert Eggers’ debut The Witch back in 2015.  His follow-up really doubles down on the lo-fi art house pretensions of his directorial debut.  Not only is it shot in black and white but it also presents a 1.19:1 aspect ratio reducing the screen down to an almost perfect square.  Furthermore, it’s another period piece this time set more than 200 years later in 1850 and it relies on the dialect and colloquialisms of the era.  Eggers co-wrote the script along with his brother Max Eggers.  The screenplay was heavily influenced by the 19th-century writings of author Sarah Orne Jewett.  The thick drawl of the dialogue can get a bit impenetrable to our 21st-century ears.  Lastly, this two-hander stars current indie idol Robert Pattinson (Cosmopolis, Good Time) as well as eccentric indie notable Willem Dafoe (The Florida Project, At Eternity’s Gate).  Each actor often gravitates toward inscrutable fare.  This film is a prime example.  As two bona fide movie stars should, they fully commit to their characters by bringing their A-game.   If nothing else, their performances are intense.  It’s still a challenging watch.

The Lighthouse has been described as psychological horror which is a nice description for a movie that traffics in an unsettling milieu without actually being scary.  On the surface, it’s a story about two co-workers forced to live together in a remote lighthouse on a tiny New England island.  They’re supposed to be there for four weeks until their replacements show up.  Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson) are roommates that don’t get along and their deteriorating relationship is the plot.  Thomas Wake is the old salt in charge and he makes life absolutely miserable for his young protege.  For the most part, the taciturn Winslow does what he is told.  The abusive Wake burdens Winslow with an inordinate amount of chores, forces him to drink, frequently passes gas and spends time with (ahem) himself.  Wake’s repulsive behavior offends Winslow.   Wake seems completely unstable — a taskmaster obsessed with power.  At one point Wake angrily demands that Winslow make the lighthouse “sparkle like a sperm whale’s pecker!”  The line reads as ridiculous as it sounds.  It was then that I realized I was watching a comedy albeit one inspired by the visual style of Sven Nykvist.

The pictorial tableau is crammed with haunting images.  They compel the viewer to remain riveted to the screen.  Indeed the cinematography is the most attractive feature of the spectacle.  Director of photography Jarin Blaschke makes bad things look beautiful. There’s a seductive mermaid (Valeriia Karaman), an impending storm, and claustrophobic quarters tainted by an unendurable stench.  Emptying a chamber pot filled with feces proves especially frustrating on a windy day.  Thank goodness this movie doesn’t utilize the 1960s innovation Smell-O-Vision because the odor would be intolerable.  The sound design is just as important as the visuals as a constantly blaring foghorn adds to the tension.  The spell of this film is to lull the audience into a state of unease and for a while, that’s enough.

The effect of extreme loneliness on the psyche is a theme.  As such, there’s a feeling that much of what we see isn’t real.  Are the consequences of their seclusion a product of their environment or the result of supernatural forces?  There is no definitive answer.  The film is playfully vague which cleverly provides a reason for people to discuss what is real and what is fantasy.  Oh did I mention that a bird steals the show?  Much as the goat Black Phillip in The Witch was an animal of malevolent evil, there’s a seagull here that traumatizes our protagonist.  I could have adored an entire conflict focused around him but alas our feathered friend is but a minor interlude.  The further along we go, the more we realize that the “story” is simply about creating a mood of despair.  Sticking the landing — so to speak — is so difficult in these productions high on atmospherics and low on substance.  That can be disheartening for people who crave a point – a final thought to think about as you leave the theater.  Sadly the narrative is “resolved” in a way that leaves even more doubt than resolution.  Admirers will defend, “it’s about the journey, not the destination.” Fans and detractors alike should happily agree on this point.

10-22-19

Zombieland: Double Tap

Posted in Adventure, Comedy, Horror with tags on October 21, 2019 by Mark Hobin

zombieland_double_tap_ver2STARS3.5So forgive the pun, but I am a DEAD-icated fan of the 2009 original film.  With that said, I didn’t need a sequel 10 years later but here we are.  I’m happy to report it’s a funny and well-paced tale.  Director Ruben Fleischer (Venom) returns along with the same screenwriters Rhett Reese and Paul Wernick (Deadpool).  Writer Dave Callaham is a new addition.  The script doesn’t overcomplicate things.  Zombies are still on the loose and our four protagonists are back to fight them.  Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Little Rock (Abigail Breslin) and Wichita (Emma Stone) all go by the cities where they’re from.  Those aren’t their actual names.  Getting too attached to people in this society is not encouraged.  Death by zombies is a serious reality.

Zombieland 2 Double Tap is an entertaining road movie about a family of sorts.  Little Rock isn’t a child anymore.  An adolescent often needs to rebel against a father figure.    She leaves the nest, so to speak, and meets up with a hippie/stoner/pacifist named Berkeley (Avan Jogia).  The others go out on the road in search of her.  That’s when the adventure starts to get interesting.  Along the way, they meet a blonde airhead named Madison.  Actress Zoey Deutch (Everybody Wants Some!!) is the MVP of this production.   How Madison has managed to survive in this post-apocalyptic wasteland is nothing short of a miracle.  Deutch is absolutely hilarious.  She steals every scene in which she appears.  No small feat given the caliber of talent assembled here.  These 4 stars have 8 Oscar nominations between them.  Emma Stone (La La Land) has actually won.

Our heroes have truly perfected their zombie-killing methods.  Over the years, walking corpses have evolved.   They’ve divided these monsters into different types by giving them humorous code names.  Brief vignettes detail the “zombie kills of the year” and each interlude is good for a few chuckles.  Columbus’ strict rules for survival frequently pop up like huge letters that take up space in the physical world to emphasize their importance.  In fact, a double-tap shooting technique is the most effective way to kill the undead.  However, I’ve also got a cinematic rule of my own.  Projectile vomiting is never okay.  This movie unfortunately breaks that rule.

Like its predecessor, Zombieland: Double Tap is a comedy first and a horror movie….well it really isn’t very scary at all.  Although it is incredibly violent.  Zombies are shot within point-blank range over and over.  The nonstop slaughter feels like a first-person-shooter video game in a comedic vein.  That flippant attitude pervades the adventure.  The playfulness helps to both lighten the mood as well as make the entire endeavor feel like a frivolous exercise.  These friends live at the White House, go to Graceland in one segment, meet their doppelgangers in another.  It’s all so very random – a series of gags that have been assembled together to make a feature.  Yet the dialogue-heavy screenplay has a lot of bright banter that truly elevates this clever zombie satire.  The conflict amongst this amiable extended family is far more engaging than any of the altercations with faceless ghouls.   As a compelling story the narrative is lacking, but as an afternoon diversion to make you laugh the production is quite successful.  Yes, this sequel is completely unnecessary but that doesn’t mean it’s not an enjoyable comedy.   I laughed out loud…a lot.

10-17-19

It Chapter Two

Posted in Horror, Thriller with tags on September 7, 2019 by Mark Hobin

it_chapter_two_ver3STARS1.5Warning: It Chapter Two is almost 3 hours which doesn’t translate into “better”, just “more”.  That means objectionable situations, jump scares, blood, and gore in perpetuity.  Director Andy Muschietti takes everything awful about his first film and significantly increases that unpleasantness exponentially.  I will say this. If you thoroughly enjoyed part one, I should think you’ll enjoy part two as well because it’s more of the same.  That’s about as ringing an endorsement I can give this turgid mess.

In 1989, the group of kids known as “The Losers” made a blood pact to return to the town of Derry if the entity known as “It” ever came back.  It Chapter Two begins in 2016 – 27 years later.  The picture opens with the shocking depiction of a vicious assault on Adrian (Xavier Dolan) and Don (Taylor Frey), a gay couple.  The men are mercilessly beaten by a group of homophobic thugs.  Then Adrian is thrown over a bridge into the water below.  He has an asthmatic attack and nearly drowns.  Suddenly the poor man is pulled out of the water by a scary looking clown.  He is then eaten alive.  His boyfriend Don watches in horror.  Few will realize that the violent hate crime that unethically sets off this intro is based on the real-life murder of Charlie Howard in Bangor, Maine in 1984.  Unbelievably this killing is thoughtlessly used to signify that Pennywise is back.

This act sets the story in motion.  Mike (Isiah Mustafa aka the Old Spice Guy), is now an adult and still living in Derry as the town librarian.  He alerts his childhood friends that they must once again fight IT.  We proceed to catch up with the other Losers in adulthood.  The original screenplay reduced these kids to basic simplistic traits.  That’s what passed for characterization in the first movie and so I’m obliged to use those same descriptive adjectives here.  There’s stuttering writer Bill (James McAvoy), sexually abused Beverly (Jessica Chastain), overweight turned hottie Ben (Jay Ryan), foul-mouthed comedian Richie (Bill Hader), hypochondriac risk assessor Eddie (James Ransone) and Jewish accountant Stanley (Andy Bean).  Neighborhood bully Henry (Teach Grant) is back again too.  He kills a guard and escapes a mental institution so he can continue to terrorize.  What, the clown isn’t enough?  As a secondary antagonist, his presence is completely unnecessary.  This isn’t a production that relies on acting.  However, Hader delivers the most recognizably human performance of someone with genuine feelings.  Also kudos to the casting director for hiring actors that perfectly suggest grown-up versions of their youthful selves.  The chronicle employs frequent flashbacks to the past and the similarity of the child actors to their adult counterparts is uncanny.  There aren’t many compliments I can bestow, but the optics of the cast are on point.

The brutal attack of the opening scene is merely one regrettable vignette.  Unfortunately, it kicks off the entire movie.  I was willing to get past that and still give this a chance.  Sadly, we’re assaulted by more heavy abuse that is exploited to inject superficial weight to a script that has no respect or understanding for the gravity of the issues it so carelessly desecrates.  Writer Gary Dauberman returns to adapt Stephen King’s novel.  When we’re introduced to Beverly (Jessica Chastain) as an adult, she’s married to an abusive husband named Tom (Will Beinbrink).  Beverly tells her husband that she must travel to Derry to visit friends.  However, he now thinks she is cheating on him because he heard Mike’s name.  Tom starts to physically beat Beverly and then attempts to rape her.  This is yet another really ugly spectacle.  Luckily she fights back and runs away, but the feeling that lingers is pure ick.  It casts a pall over this production.  This feeling never goes away.  Stanley (Andy Bean) is so scared to hear the news that he commits suicide by slitting his wrists in the bathtub so he doesn’t have to endure any more nastiness.  Dear Lord, please forgive me for saying this, but I envied him at this point.

I already hated this film 30 minutes in and it had only barely begun.  Remember it’s 3 hours.  The rest is just as appalling.  It Chapter Two is an absolute dumpster fire.  The piecemeal tale is manufactured from a conventional attempt to string together a lot of expensive special effects and jump scares.  The saga revisits the Losers as children in a protracted and convoluted sequence in the second hour.  This dump of a narrative throws everything it can at the audience including the kitchen sink.  The drama is so sloppily constructed, ultimately it doesn’t feel like a story but rather a highlight reel for the visual effects teams at Method Studios and Atomic Arts.  The impressive technology grows increasingly ubiquitous.  To make matters worse, the screenplay has no sensitivity for the sincere loss of human lives and suffering that it depicts.  There is no emotional connection to the depravity.  But I’ve grown tired of my rant as I’m sure you have too.  I needn’t continue to list this movie’s many offensives.  If I did, my review would be 10 pages long.

09-05-19

Ready or Not

Posted in Drama, Horror, Thriller with tags on August 25, 2019 by Mark Hobin

ready_or_notSTARS2If Ready or Not is the question, the answer most assuredly is “not”.  I didn’t much care for this umpteenth variation on The Most Dangerous Game.  It is a violent hunt where the audience’s pleasure is extracted from the way in which various characters are murdered.  Will they be bludgeoned, shot, or crushed to death?  Oh please don’t keep me in suspense! Somewhere, buried underneath this blood-soaked free for all, there is a seed of inspiration that could have sparked a more intellectual consideration that dealt with issues of classism.

Penniless Grace (Samara Weaving) is a bride about to marry her beloved.  By contrast, Alex ( Mark O’Brien ) the groom is exceedingly rich.  He is of the Le Domas family who made their fortune through board games.  Their impressive wealth has also afforded them the ownership of four professional sports teams.  They are a dynasty.  “We prefer dominion” the patriarch offers.  Grace is a foster child with no friends or relatives of her own.  This conveniently relieves the writers of having to give this poor woman any sort of backstory.  Tradition states that any new addition to their wealthy empire must randomly pick a card on their wedding night and play the game selected.  This has been decreed by the clan’s original benefactor, a mysterious figure named Mr. Le Bail.  Games in the past have included Old Maid, Checkers, and other ordinary selections.  But when Grace selects “Hide and Seek” the room grows silent.  This is the one card you do not want to draw.  She is unaware but soon she will be literally hunted to death through the halls of the estate by the rest of the household.  Crossbows, spears, axes, and muskets will be the weapons of choice.  Oh, and if I may quote Paul Thomas Anderson, there will be blood.

The superior cast disguises this B movie dross in a sheen that can camouflage the muck.  Lead heroine Samara Weaving is gamely athletic as Grace.  Naturally, we want her to live.  Yet this woman’s ability to continually evade her captors suspends disbelief to the point of exasperation.  She’s restricted to a mansion, not an entire country.  Eliminating her shouldn’t be this hard.  The affluent Le Domas clan includes some recognizable name actors.  Adam Brody (FOX TV’s The O.C.) is alcoholic brother Daniel.  Aunt Becky is portrayed by Andie MacDowell (Four Weddings and a Funeral, Groundhog Day) and patriarch Tony is embodied by old standby Henry Czerny.  He memorably played a bureaucratic jerk in Clear and Present Danger and has been reliably playing slimeballs ever since.  Melanie Scrofano (Syfy TV’s Wynonna Earp) is indelible as the fluttery, pill-popping Emilie.  Her theatrical character delivers lines that would sound a lot funnier on a stage.  “Why does this keep happening!” Emilie whines after she unintentionally kills the wrong person yet again.  Her lack of compassion is hilarious.  It’s just that the loss of human life amidst such gory details makes Emilie’s disinterest a lot less funny.  Her flippant reaction should be the punchline, not the brutal slaughter.

Ready or Not had the potential to be so much more.  As I watched this grisly pursuit unfold, I pictured the production reimagined as an unconventional play — an intricately plotted comedy of manners that satirized the upper class with a macabre sense of humor.  The screenplay by Guy Busick and R. Christopher Murphy obviously means to skewers the well-to-do as a godless class prone to murder and mayhem.  Yet there is no wit or subtly.  “They’re just trying to figure out if you’re a gold-digging whore,” one family member tells Grace early on.  It’s pretty heavy-handed.  Rich people are jerks is what passes for insight.  In time, various people will accidentally die in grotesque ways.  In a play, we’d only have to imagine the carnage.  The emphasis on the cruel deaths is at odds with the lighthearted feel of the script.  Violent murder isn’t funny in any era but when mass shootings seemingly occur on a weekly basis, the depiction is especially ill-timed.  In the hands of Busick and Murphy,  Ready or Not clumsily devolves into a ghastly and oppressive product.  The drama takes place in an ornate manor which suitably lends the setting an elegance.  The cinematography, however, wallows in dark tones which ultimately sabotage any feeling of lightness.  Grace’s wedding dress is completely covered in blood and guts by the end.  Thank goodness this is only 90 minutes long.  Under the auspices of a more capable writer, classism, not killing would be the raison d’être of this piece.  There are much more talented writers who could do this type of material justice.  Is John Guare available?

08-22-19

Scary Stories to Tell in the Dark

Posted in Horror, Mystery, Thriller with tags on August 10, 2019 by Mark Hobin

scary_stories_to_tell_in_the_darkSTARS2It’s Halloween night, 1968.  In the Mill Valley suburb of Pennsylvania, a group of misfit teenagers seek refuge in the abandoned mansion where Sarah Bellows (Kathleen Pollard) once lived.  The legend contends that the vengeful woman held a terrible secret.  There in her room, they discover a haunted journal of individual tales.  The book contains scary stories of the past but there are blank pages as well.  When nerdy horror novelist Stella (Zoe Margaret Colletti) carelessly recites an incantation from the tome, Sarah’s spirit is unleashed.  Soon new chapters begin to magically appear on the previously empty pages.  Each one will have a dire consequence for a person trespassing in her home.  The appealing cast includes Stella’s friends, intellectual Auggie (Gabriel Rush), mischievous Chuck (Austin Zajur) and an enigmatic teen drifter named Ramón (Michael Garza).  Chuck’s sister Ruth (Natalie Ganzhorn), a dumb blonde stereotype, shows up later along with her date Tommy (Austin Abrams), a football player/bully at the school.

Scary Stories to Tell in the Dark is an adaptation of Alvin Schwartz’s trilogy of children’s books that were published in 1981, 1984 and 1991.  Oscar-winner Guillermo del Toro is a producer and co-writer.  The books were a horror compendium of urban legends and folk tales.  The movie interpolates several of the short stories by weaving them into an overall feature.  The film can easily be broken apart into pieces.  “The Haunted House”, “Harold” The Red Spot”, “The Big Toe”, and “The Jangly Man” are all episodes within the narrative.  The pale lady of “The Dream” is a high point.  It’s the only time I was ever creeped out.  Still, the interlude is effective only because it produces a haunting image.  The simple story is merely about an obese woman that wants to hug you.  Some fables are lifted directly from the text.  Others are composites.  They’re all dull and perfunctory.  Although the drama presents this all as one united saga, it’s obvious from its episodic nature that this account has been cobbled together from disparate yarns.  It still has the divided feel of an anthology.  There are thematic parallels to Creepshow (1982).  There’s even a gross-out tale that resembles that flick’s cockroach scene.

The kids are ostensibly here to unravel the mystery of why Sarah Bellows, even in death, is still so ticked off.  They are frustratingly ineffective for the duration of the picture.  The kids watch in terror as one new chapter after another writes itself in blood on the page before them.  There’s a Spielbergian mood.  Properties like the TV show Stranger Things and the adaptation of Stephen King’s It (2017) are very much in vogue.  This production clearly wants to exploit that same demographic.  Each youthful victim is eliminated one by one.  The remaining survivors seemingly learn nothing from the previous death.  I mean if they did then the film would be over a lot faster, right?  There is a solution to stopping these casualties but it’s about as generic as something like telling the truth.  Until that occurs, bad things just keep happening to these people Final Destination-style so the writers can justify a nearly 2-hour running time.  Oh, and the chronicle makes sure to isolate each character when they face their demise.  That also adds to the disjointed, fragmentary nature of this story.  The screenplay by brothers Kevin and Dan Hageman is extremely poor.

There are some positives.  The setting is small-town America, 1968, so it’s an evocative period piece.  It uses the Vietnam War, racial injustice and the presidential election of Richard Nixon as background elements.  The atmosphere is more picturesque than say a film set in our modern-day.  Unfortunately, the script doesn’t do anything interesting with those ideas.  It simply uses them as window dressing.  For fans of the series, I do think director André Øvredal (Trollhunter) has done a nice job at visually embodying the original freaky illustrations by Stephen Gammell.  However, your imagination is always going to be scarier than something manifested so literally in gross detail.  The movie employs copious amounts of CGI.  Some scenes are eerie.  One concerning a pimple is too disgusting for words, but none of it is particularly scary.