Archive for the Thriller Category

Blade Runner 2049

Posted in Mystery, Science Fiction, Thriller with tags on October 9, 2017 by Mark Hobin

blade_runner_twenty_forty_nine_ver4STARS4Could we be in a golden age of sequels? I need to rethink my former convictions. Perhaps long-delayed continuations of old movies can be more than crass attempts to make money. Apparently, they can be an artistic triumphs in their own right. Mad Max: Fury Road was a cinematic achievement and The Force Awakens recaptured the spirit of the original Star Wars trilogy. Now Denis Villeneuve has taken on Ridley Scott’s Blade Runner and, if you haven’t figured out from my positive introduction, it’s a magnificent extension of an iconic classic.

Blade Runner cemented the cyberpunk aesthetic that would be utilized for a generation of sci-fi films. Its impact was legendary. This sequel picks up 30 years later but continues this thought. Bioengineered humans called replicants have been integrated into society. They are still being treated like second-class citizens, however. KD6.3-7 or K for short (Ryan Gosling) is one of these synthetic humans who works for the LAPD. Gosling is in Drive /Only God Forgives mode. He’s detached, showing little emotion or feelings. It makes sense. He’s a robot after all. He was created to “retire” older models that have been deemed a danger to civilization. In a routine investigation, K discovers the skeletal remains of what appears to be an android who died while giving birth. The ability for replicants to reproduce was thought to be impossible. This development is considered dangerous by K’s superior, Lieutenant Joshi (Robin Wright). She orders him to find and eliminate the child.

Blade Runner debuted in 1982 with a theatrical cut that has been both embraced and rejected over the ensuing years. The original favored a happier ending than the subsequent one that Scott proffered. There have actually been no less than 7 different versions that have been exhibited over the years. The most notable alternative is the 2007 Final Cut that was overseen by director Ridley Scott himself. His Final Cut eschewed the voice-over narration that clarified the focus of the narrative. Additionally, whether the main character Deckard was a replicant himself, is less ambiguous in The Final Cut. The question was, given the disparate endings, which interpretation would Villeneuve’s movie follow-up?

The brilliance of Denis Villeneuve’s vision is that he honors all of these variants by being purposefully ambiguous in his sequel. (He personally professed his love for the 1982 US theatrical edit in a recent interview.) You could have seen any one of these versions and Blade Runner 2049 will still make sense. In fact, I dare say that it is imperative you do see either the 1982 theatrical release or the 2007’s The Final Cut before seeing this picture. You will understand it regardless. However, it lays the groundwork for you to have an emotional connection to the new extension. What does it mean to be human? The original was a slow moving, meditative rumination on the nature of humanity. It was as exquisite as it was ambiguous. Blade Runner 2049 is a fittingly gorgeous continuation of the same themes. Denis Villeneuve could have delved into explaining unanswered questions from the first film. The famous “Tears in Rain” speech is a baffling mix of prosaic exposition. Nevertheless, Villeneuve wisely forgoes giving us lots of answers. Instead, he focuses on expanding the world. It remains somewhat vague but he imbues it with a deeper consideration. Production designer Dennis Gassner and art director Paul Inglis have expanded on the precursor’s approach in creating something reminiscent yet different. We get the flying cars and video advertising with which we are familiar. I’m happy to say ads for Pan Am and Atari have an enduring presence. And as great as everything looks, it sounds even better.  The setting has been invigorated with a new score by Hans Zimmer and Benjamin Wallfisch. Some echoes of the Blade Runner theme by Vangelis show up though. The climactic fight is so brazenly cacophonous my heart felt the reverberations of the score.

Blade Runner tantalizes with several supporting characters of note. Harrison Ford returns as Rick Deckard. Not a spoiler. His participation has been well publicized in trailers and posters. He’s not the star, but his relationship with replicant Rachel in the first film becomes a key plot point here as well. His humanity is on full display. Marvel at the martial arts style of Sylvia Hoeks who plays Luv, a killing machine. Meet her boss, replicant manufacturer Niander Wallace. Once again, Jared Leto plays a sociopath character that has less screen time than you were led to believe, but just enough to make an impression. We knew that replicants were outfitted with fake memories, but here we are presented with a visual as to how those memories are put together and assembled. It features Dr. Ana Stelline (Carla Juri) a memory maker creating the presentation of a girl blowing out the candles of a cake at a birthday party. It’s a fascinating scene. And finally, there’s Ana de Armas who plays Joi, a digital simulation of a human that plays K’s love interest. She is perhaps the most important addition. Her shimmering outfits change in seconds emphasizing her ephemeral beauty.  One minute she’s K’s live-in girlfriend the next she’s an advertising hologram 20 feet tall in the city square.

Blade Runner 2049 is a stunning looking film. It is a world in which to admire and luxuriate in its style. An urban Los Angeles still looks like a nightmare of neon advertising and endless rain while a bleak and desolate Las Vegas hypnotizes us with a somber spectacle of amber radioactive smog. Rooms with no discernible water source manifest aquatic reflections upon the walls. Holograms are everywhere. Elvis Presley flickers on and off in the interior of a dusty Las Vegas casino. Blink and you’ll miss Marilyn Monroe too. Frank Sinatra appears in a futuristic jukebox singing “One for My Baby.” Director of photography, Roger Deakins captures all this in his usual cinematographic style. At this point, the oft-nominated director of photography has been cited 13 times at the Oscars. It’s a safe bet he’ll be nominated for this as well. At almost three hours, the length of this production is a little problematic. Its melancholy mood has a depressive effect on the viewer. However, it’s never boring. I was transfixed to the screen to see where the story would go as it gradually unfolded. This is not an actioner in the way James Cameron’s Aliens separated itself from the more leisurely paced Alien, (also by Ridley Scott incidentally). Blade Runner 2049 maintains the spirit of the original film. It’s respectful and indebted to the past, but Blade Runner 2049 presents its own identity. It deserves to be a classic as well.

10-05-17

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Kingsman: The Golden Circle

Posted in Action, Adventure, Comedy, Thriller with tags on September 30, 2017 by Mark Hobin

kingsman_the_golden_circle_ver22STARS3I believe 2015’s Kingsman: The Secret Service was fine. I gave it a marginal recommendation but I wasn’t shouting my praise from the rooftops. I won’t rehash my thoughts but you can read them here. Kingsman: The Golden Circle is the sequel to that hit. It stars Taron Egerton, Mark Strong, and Colin Firth. Yes you read the right, Firth is back. Mild spoiler if you haven’t seen the first film, but it shouldn’t have been possible for his character to appear in another film. This kind of underscores the screenwriters’ relationship with logic and reason: we don’t give a flying fig as to what makes sense. Director Matthew Vaughn is back as well and he’s co-writing the screenplay once again with Jane Goldman, the identical team that wrote the first. Given that this features the same cast and crew, it makes sense that The Golden Circle is equally enjoyable.

Matthew Vaughn’s aesthetic is to take the spy thriller, à la James Bond, and subvert it with sarcastic gloss drenched in nihilism. Let’s give credit where it’s due first. Both movies are based on the comic book series Kingsman, created by Dave Gibbons and Mark Millar. It’s a category already known for absurdity but Vaughn takes it a step further. He doesn’t present the genre seriously. He’s a cheeky adolescent-minded rascal that gets his kicks through shock value. One’s pleasure is going to rely on how much you share his point of view. Those who delight in parody will be captivated. Moviegoers searching for depth won’t find it here. Expect well-choreographed fight sequences, extreme violence, vulgar discourse, and far-fetched gadgets. It’s a silly overblown hyper-violent fun fest that entertains as it plays. Yet it quickly evaporates from the mind a week later.

I’m already halfway through my review and I haven’t even mentioned what the story is about. The capricious details of the plot are merely an excuse to present random acts of mayhem but I’ll elaborate. It’s a year later and our superspy hero Eggsy Unwin (Taron Egerton) must do battle with Poppy Adams (Julianne Moore), a billionaire drug lord looking to decriminalize her enterprise by bullying the United States into legalizing drugs. She’s an over-the-top personality who commands a couple of robotic dogs while championing a love for campy 50s style. She obtains the names and addresses of everyone in the UK Kingsman organization. You may remember that the undercover headquarters of the team of spies was housed as a society of Savile Row tailors. The film opens with a major attack from rejected Kingsman recruit, Charlie Hesketh (Edward Holcroft). Virtually everyone is eliminated leaving only Eggsy and Merlin (Mark Strong) left. Oh and his mentor Harry Hart (Colin Firth) who has apparently survived. Nothing is what it seems. The dead can be brought back to life. This is essentially a cartoon after all. In their quest to save the world, they discover U.S. allies and meet agent Whiskey (Pedro Pascal). Together they join forces and attempt to stop the villainous Poppy Adams and her evil plans.

If you subscribe to the mantra that bigger is better, then The Golden Circle may just be what you crave. As far as action is concerned, director Matthew Vaughn is always operating at 100%. There are fight scenes galore and they feature enough brutality to highlight 3 or 4 spy films. There’s a cast of new stars in this too. Julianne Moore, Halle Berry, Pedro Pascal, Elton John, Channing Tatum and Jeff Bridges all show up. Each has a varying degree of involvement. Julianne Moore is in it so much that this could have been called “The Poppy Show.” She might even have more screen time than Taron Edgerton. Conversely, Channing Tatum is in it so briefly that if you use the restroom during his scene, you might miss his appearance. There’s a lot going on here. The mere sight of Elton John is enough to elicit at least a few chuckles. At 2 hours 21 minutes, it is overstuffed. It starts to wear out its welcome before it’s over. However, there’s still a great deal to enjoy. It doesn’t break any new ground, but if you’re looking for a louder, more expensive spectacle, then you’ll be comfortably entertained.

9-21-17

Good Time

Posted in Crime, Drama, Thriller with tags on September 6, 2017 by Mark Hobin

good_time_ver3STARS4Good Time doesn’t waste any time getting started — although it begins quietly enough. Nick Nikas (Benny Safdie) is in a therapy session with a psychiatrist (Peter Verby). He has an intellectual disability, but the doctor’s series of questions have an unnecessarily patronizing tone. Just as the discussion gradually causes Nick to get agitated, his brother Connie Nikas (Robert Pattinson) bursts into the room and takes him away from the environment. Next thing you realize, the two boys are robbing a bank.

Good Time is a production that feels alive. It’s a dynamic experience of dialogue and mood. A dark electronic soundtrack is provided by Daniel Lopatin, better known as Oneohtrix Point Never. If you need a descriptive reference point, think Vangelis’ work on Blade Runner. Hand-held but steady camera work by Sean Price Williams reinforces an immediacy to the proceedings. I was so immediately immersed into the world of Good Time that the moment the opening credits finally began flashing across the screen, they felt like an interruption. I was fully engrossed in the crime thriller from the get-go.

Good Time is a powerfully constructed character study from brothers Josh and Benny Safdie. The latter of whom portrays the aforementioned Nick. The Safdie brothers are rising talents amid the indie film scene of New York. Despite their still relative anonymity in the mainstream, they have a slew of credits to their name. I was surprised to learn this is actually their fourth movie. Their output also includes numerous shorts as well as the documentary Lenny Cooke. Good Time is the follow-up to their 2014 drama Heaven Knows What. You are forgiven if you’ve never heard of it. That feature showed in a mere 14 theaters at its widest distribution.  Granted they aren’t household names like the Coen brothers yet, but given their flair for telling a captivating story, that distinction would seem like an eventual inevitability.

Robert Pattinson is perhaps forever linked to the Twilight series, but with Good Time, he does more to make you forget the role of Edward Cullen than he ever has before. He looks offbeat – gaunt with sunken eyes and pasty skin.  He sports ragged, greasy hair.  First it’s brown, then dyed blonde.   He acts different too. His rabid performance as Connie Nikas is an actor reborn as a personality motivated by an all consuming devotion to his brother. When their bank heist goes awry, Nick is arrested while he is not. Connie’s focus becomes raising bail for his sibling so he can get him out. What follows is the personal odyssey of an individual that encounters one setback after another. The narrative is driven forward by the sympathetic objective of a desperate criminal with cunning street smarts.

Robert Pattinson is mesmerizing as Connie. He propels the adventure, but his interactions with other people are key. Connie’s frenzied desire to free Nick from jail has a galvanizing effect. Connie is a user and his loyalty to brother Nick inspires his manipulation of other people. This brings us to the supporting cast, an ensemble almost as engrossing as the lead protagonist. There’s Jennifer Jason Leigh (The Hateful Eight) as his girlfriend, Barkhad Abdi (Captain Phillips) as a night shift Security Guard, Taliah Webster (in her film debut) as a helpful teenage girl, and Buddy Duress (the Safdie brothers’ own Heaven Knows What) as a fellow criminal who is inadvertently ensnared into Connie’s plight. All of these people become enmeshed in his turbulent web of emotional desperation. Connie Nikas may not be someone to admire, but he’s someone with which to be fascinated.

8-26-17

Detroit

Posted in Crime, Drama, History, Thriller with tags on August 5, 2017 by Mark Hobin

detroit_ver2STARS4Detroit is such an all-encompassing title.  This story might perhaps more appropriately be called the Algiers Motel incident. The narrative essentially begins with the onset of the 1967 Detroit riot. The 5 days remain one of the most destructive protests in the history of the United States. Only the New York City draft riots during the Civil War in 1863 and the L.A. Riots in 1992 caused more damage. The events were precipitated by a police raid on an unlicensed, after-hours bar on 12th street. Many were arrested. The uneasy mix of white law officers and black patrons created a combustible flash point. The city became a war zone and tensions were high on both sides. On the third day of the uprising, the multiple firings of a shot gun from the Algiers Motel compelled the Detroit police department to storm the facility to investigate.

Director Kathryn Bigelow and writer Mark Boal have produced a powerful film fashioned around an intense nightmare of questioning. It does this in a way that demands your attention even when it’s hard to watch.  The police mistakenly believe the discharge of a starter pistol was sniper fire.  Kathryn Bigelow demonstrates the police had justifiable cause to determine a gun had been fired. However, the reaction and subsequent night of questioning is an absolute horror that portrays the utter desecration of civil rights. The Michigan State Police are the first responders, but the National Guard and a private security agent were also on the scene at various junctures. When cops and soldiers pulled away from the motel two hours later, they left the bodies of three dead teenaged civilians: Carl Cooper, 17; Fred Temple,18 and Aubrey Pollard, 19 – all black – and nine survivors, two white females and seven black males, that were badly beaten and humiliated by members of the Detroit Police Department.

The screenplay wisely affords us the chance to know these people. The victims are given detailed backstories. Larry (Algee Smith) is the lead singer of the Dramatics, an R&B group. Fred (Jacob Latimore) is his agent and friend., When their concert is canceled due to the riots, they end up at the Algiers Motel where they meet two white women at the pool, Julie (Hannah Murray) and Karen (Kaitlyn Dever).  They invite the men back to one of the hotel rooms where they find Carl (Jason Mitchell), Lee (Peyton Alex Smith), and Aubrey (Nathan Davis, Jr.). A young veteran of the Vietnam War named Robert Greene (Anthony Mackie) shows up later. Although real names are used for the victims, the name of the antagonists have been changed. The movie’s main villain is Officer Krauss (Will Poulter).  He still has the face of a child but wields control like an authoritarian drunk with power. Two of his followers are Officer Flynn (Ben O’Toole) who espouses clearly racist beliefs and Officer Demens (Jack Reynor), who gets caught up in the peer pressure mentality to impress his fellow partners.

It’s not fair but sometimes the most shocking reaction isn’t caused by the bad people committing atrocities, but the good people who stand idly by and allow it to occur. One especially memorable individual is Melvin Dismukes (John Boyega), a black security guard from a nearby store who shows up to maintain order. He is a character that inspires particularly extreme emotions. He inspires sympathy, yes, but also frustration from his actions, or lack thereof. Kathryn Bigelow and Mark Boal have worked before on both The Hurt Locker (2008) and Zero Dark Thirty (2012), where methods utilizing torture were used to extract information. It should be noted that those films involved whole countries at war. Conversely, Detroit only affected the U.S., a city under siege where a police force, designed to protect its citizens, becomes the very opposite.

Why this happened is a bit more perplexing.  Kathryn Bigelow takes the time to illustrate how circumstances spawned a feeling of unease between police and civilians. Things had gotten so bad that by day 3 the National Guard had been called in. It was a war zone. The police were tasked with maintaining public order but tensions were heightened given the conditions of an escalating riot. The account could have been even more exploitative.  There is care to show that some officers were concerned with preventing bloodshed using nonviolent methods.  Granted the task to keep the peace was almost impossible, but there are situations that become exasperating.  There are specifics that seem missing.  Lawlessness was increasing and the abuse of civil rights was getting worse. Early on, Krauss shoots an unarmed looter (Tyler James Williams) in the back as the man is running away from him, obviously not a threat.  Investigators later found the man dead.  An outraged detective (Darren Goldstein) informs Krauss he’ll be charged with his murder and then — inexplicably — sends him back to the streets. This unsupportable behavior demands an explanation if for no other reason than to acknowledge the sheer absurdity of his actions.

Detroit is a powder keg of a film. It will push buttons. Some of the developments defy comprehension. At one point the National Guard arrives to patrol the streets of Detroit as the riots continue. One little girl looks out her window to see the commotion that transpires outside. An officer shouts “It’s a sniper!” and a shotgun blasts away at the window.  Mark Boal talked with the survivors who recounted experiences that took place 50 years ago.  Given the passage of time, reminiscences are understandably based on recollections that may not be entirely factual.  At the end, we do get a title card that notifies us that some events have been fabricated and may be fictionalized. Granted weighty issues have been simplified. There is no other way. It’s a 2 hour 23 minute movie and they simply have to be. But what Kathryn Bigelow and Mark Boal have done is extraordinary. Time gives us a clearer perspective. They have employed a controversial incident from our nation’s past and presented it to a new generation that now prompts more consideration to illuminate an ongoing issue. I was angry, horrified, sad — but mostly infuriated at what I saw. It’s a visceral production that recreates a crisis. It is violent, but the details of what befell that night almost demand that the savagery must be portrayed. The subject of police brutality and #BlackLivesMatter currently dominates the discussion on newspapers, TV, and social media platforms. Detroit seems more relevant today than ever. It’s not an experience you will enjoy, but it depicts a reality you must see.

07-30-17

Baby Driver

Posted in Action, Crime, Music, Thriller with tags on July 6, 2017 by Mark Hobin

 photo baby_driver_ver2_zpswm3g3gkq.jpg photo starrating-4stars.jpgOk, can we get one thing out of the way first? Baby Driver is a terrible title. It sounds like either (1) a frivolous comedy about a chauffeur who works for a rich baby or (2) about an infant who can literally drive. Perhaps the follow-up sequel to DreamWorks’ animated hit The Boss Baby. None of this is correct. Baby, as it turns out, is the nickname of Ansel Elgort’s character, but he isn’t a baby. He’s a young man. He is a motorist though, a getaway driver actually. That much is true. Baby suffers from hearing loss. He incurred this ailment as a child when he was in a car accident which killed both his parents. To cope with the constant humming in his ears, he listens to music…all the time…on his iPod. That’s the set-up but it’s really just a great excuse to play a lot of classic songs.

Baby is a man of few words. He’s cool, laid back – a soft faced James Dean for our era. He’s a bit of a mystery, but we know he’s good at what he does. We’ve seen him in action. In the opening scene, he skillfully maneuverers the car that bank robbers Buddy (Jon Hamm), Darling (Eiza Gonzalez), and Griff (Jon Bernthal) jump into after their heist. Jon Spencer Blues Explosion’s 1995 single “Bellbottoms” blasts away in his headphones. Baby is employed as a getaway driver for Doc (Kevin Spacey), an intimidating crime boss that plans heists. Not entirely by choice. Baby is indebted to Doc for having stolen one of his cars. He’s currently working off the debt he incurred. Baby rarely speaks, often retreating into the world of the tunes playing on his iPod. You see, his music is our music. That is, what he hears and the score of the film, is exactly the same thing.

The movie is a cinematic construct, a heart-stirring, toe-tapping production in which diegetic music is synchronized to the action on the screen. Think of it as a jukebox musical in which director Edgar Wright has decided to assemble a playlist of 30+ songs that just so happen to have a story attached. Selections run the gamut from various eras but they mostly favor oldies before the 1980s. The Beach Boys, Carla Thomas, Queen, Barry White, The Commodores, Simon & Garfunkel, who provide the movie’s title, all have their moment. However, a few comparatively later compositions from the likes of Young MC, Beck, and Blur pop up too. “The Harlem Shuffle” is a particularly breathtaking set piece. We’re talking the 1963 original by Bob & Earl, not the Stones version. Sorry, it’s my age, but I can’t detect those opening horn blasts without thinking I’m about to hear “Jump Around” by House of Pain. The minor R&B hit underscores the second scene after the first heist, where Baby walks through the town while the city life happens in sync with the music. It’s a beautifully realized vignette that has to be seen multiple times to appreciate the complexity of its many details. Check out the graffiti on the walls that match the lyrics of the number.

The plot is kind of incidental but it provides the framework for a charismatic ensemble that meshes together like a finely tuned automotive machine. Baby’s foster father is a deaf man in a wheelchair named Joseph (CJ Jones) whom he cares for. They communicate via sign language. Baby goes to Bo’s Diner where he meets a pretty young waitress named Debora (Lily James), spelled exactly like a ditty by English glam rock band T. Rex. Then there’s the aforementioned Doc (Kevin Spacey), the crime boss for whom Baby works. Doc is capable of murder, but he’s frighteningly calm. You know that beneath his placid exterior there lies an evil temperament. “Your waitress girlfriend is cute,” he says to Baby. “Let’s keep it that way.” Doc assembles a rotating crew for each job. Buddy (Jon Hamm), Darling (Eiza Gonzalez), and Griff (Jon Bernthal) comprise the first team. Eddie No-Nose (Flea), JD (Lanny Joon), and Bats (Jamie Foxx) form another. Somewhere along the line, Paul Williams pops up as an arms dealer known as The Butcher. Unifying all the disparate parts is Baby, a criminal with a heart.

Baby Driver is a whole lot of action, a little comedy and a touch of romance. It’s a classic heist flick that conveniently builds to “one last job”. The screenplay weaves a simple story amidst a profusion of pop culture tunes. This amalgamation of constant music. quick cut editing and swooping cinematography is extremely showy. At times, it’s oppressively so. I was keenly aware of the director’s hand more than once. The unrelenting style subverts genuine emotion for an illustration of love. Ansel Elgort and Lily James are more like the symbol of an on-screen couple than the genuine article. But we’ve got elaborate chase sequences choreographed to music. If action bang for your movie buck is what you want, then you’ll get your money’s worth. I simply can’t overstate how exhilarating this whole exercise is. The flashy production is presented with technique and panache. It’s like a shiny new sports car — albeit one built with some previously available parts. The director himself has cited The Driver, Reservoir Dogs, Point Break, Heat and The Blues Brothers as influences. While it may have been assembled from the building blocks of previous films, there’s certainly no denying the craft that went into making it. In a summer of sequels and franchise installments, Edgar Wright’s vision is a distinctly welcome breath of fresh air.

07-01-17

The Book of Henry

Posted in Crime, Drama, Family, Thriller on June 29, 2017 by Mark Hobin

 photo book_of_henry_zpsgw3gibvv.jpg photo starrating-3andahalfstars.jpgIt’s a poignant melodrama about a terminal illness. Well to clarify, it’s more of a heart-rending tearjerker. No wait, it’s actually crime thriller. I know, it’s an inspirational family drama. Scratch that, it’s really a light comedy. In truth, The Book of Henry is all of these things – a cinematic yo-yo spinning wildly between a plethora of genres. Granted, the screenplay by crime author Gregg Hurwitz (Orphan X) may not follow the rules of how to gradually lead an audience through a saga, but I was absolutely fascinated by where it would take me next.

Henry Carpenter is an 11-year-old genius. He has used his gift to smartly invest in the stock market to build up a stable financial future for his household. In fact, he’s smarter than all of the adults in his life. Number one on that list would have to be his single mother Susan (Naomi Watts). Susan is a waitress, a working mom who writes picture books in her spare time. She’s also a parent to Peter (Jacob Tremblay), Henry’s younger brother. Enter Christina, their next door neighbor. She is Henry’s classmate and a girl with whom Henry has a crush. She’s predictably beautiful, but also very sad. The reveal of her predicament and how Henry tries to help her sets one major plot thread into motion. Henry is also beset with a dilemma of his own. Yes, two major problems that each could be the focus of their own film. I’m being purposefully vague because a big part of the allure is how each contrivance piles on top of another. That sounds like a slam, and it is, but it’s also kind of mesmerizing the way it plays out. Try to look away. You can’t. I was captivated and that counts for something.

The Book of Henry is a fantasy that could only exist in the mind of a writer. It’s a fable that concerns the real world but one invaded by outlandish developments that can feel too implausible to accept. It’s a tale of fabulism.  Lead Jaeden Lieberher has already starred in the acclaimed Midnight Special. Jacob Tremblay was featured in one of the best films of 2015, Room. The opportunity to see these two burgeoning talents in the same production had me sold. They do not disappoint. Add twice Oscar-nominated actress Naomi Watts and you have an unconventional family that had me enrapt. As mother and son, Watts and Lieberher have genuine chemistry. They both starred together in the wonderful St. Vincent. As a character, Susan is a bit intellectually stunted. Ok, that’s putting it mildly but then her son Henry is emotionally deficient. Younger son Peter is simply all around playful sweetness, Together these three form a sensitive triad, a sort of us-against-the-world dynamic that enticed my heart. They’ve got a soul. Buy into their relationship and you’ll buy into the movie.

I usually disregard the critical consensus when reviewing a movie. I’m here to detail my own thoughts. Yet this picture has received some of the most vitriolic reviews of anything this year. Why has this little family film (PG-13 rated for the dark subject matter) received so much hostility from critics? Director Colin Trevorrow burst onto the indie scene with a little gem called Safety Not Guaranteed in 2012. Then followed that indie achievement with the 4th biggest (as of this writing) U.S. blockbuster of all time, 2015’s Jurassic World. Perhaps when someone has a success another feel is unearned, the claws really come out when they stumble. No The Book of Henry isn’t for everyone. The script has got chutzpah for attempting something rather unique. I get that the genre-defying narrative is a bit bananas, but the hate is disproportionate to the movie’s shortcomings. The plot is simply too audacious to dismiss and the drama has too much heart. I was entertained for the entire duration of this chronicle.

06-18-17

It Comes at Night

Posted in Drama, Horror, Mystery, Thriller on June 15, 2017 by Mark Hobin

 photo it_comes_at_night_ver2_zpsckbwstrl.jpg photo starrating-3andahalfstars.jpgCall it psychological horror.  Call it wilderness survival.  Call it a post-apocalyptic tale of the unknown.  It Comes at Night is a bit of all of these things.  The production is assembled from cinematic components with which we are familiar.  It’s easy to think we have the story pegged and our expectations fall into line as to what we’re going to get.  But this drama innovates as it entertains.  It’s not predictable and that’s part of what makes this cleverly crafted piece of intensity so effective.

At its most elemental, It Comes at Night is a cabin-in-the-woods chronicle of survival. Paul, his wife Sarah and their teenage son Travis are holed up in the safe confines of a shack in the forest.  Meanwhile, some outside epidemic has had a devastating effect on the world as we know it.  Society has crumbled and it’s every man for himself.  The movie begins with Sarah’s father who has contracted the disease.  He is terminally ill.  The family has been forced to brutally put an end to his life in order to contain the threat.  It’s an unsettling way to begin a story, but it immediately establishes how dire circumstances have become.  The contamination is serious business and this family isn’t afraid to make some very harsh decisions.  Things grow more complicated when they encounter a man that has broken into their home.  Will (Christopher Abbott ) says he is searching for food for his wife Kim (Riley Keough ) and young son Andrew (Griffin Robert Faulkner).

Writer-director Trey Edward Shults is a filmmaker that is still finding his voice but he has presented a unified vision in both of his two features.  2016 saw the release of his debut Krisha.  That drama was about a woman being re-introduced to her family at Thanksgiving dinner after having struggled with addiction.  The narrative was emotional, claustrophobic, and unrelentingly uncomfortable.  Interestingly all of those descriptions apply to It Comes at Night as well.  Both are intimate accounts of human behavior.  In his new work, Shults isn’t really concerned with what is outside the cabin.  It’s what’s inside that counts. The production is photographed to highlight the dark and foreboding hallways in their little shack.  Although we are constantly reminded of the outside risk.  A red door, the only escape in or out, becomes an ominous motif of some unseen peril that lies out there.  

Human behavior is the focus.  Shults is fascinated with people and their conversations. The screenplay, which the director also penned, ratchets up the tension to the point where things become oppressive.  He assembles the composition like a play of human interactions.  The screenplay succeeds because of the believable work of the ensemble cast.  Actor Joel Edgerton is the most famous name.  He has the biggest role as Paul and he’s just as commanding a presence as you’d expect.  However up and coming actor Christopher Abbott (James White) is particularly noteworthy.  As the intruder that disturbs the safety of their world, he’s mysterious and vague in just the right way.  Also of note are Carmen Ejogo as Paul’s wife Sarah and Kelvin Harrison Jr. as their son Travis. They perfectly capture a palpable fear.  Our experience is heightened because we empathize with their unrelenting dread.

It Comes at Night is brilliantly constructed.  The mood is dire, barren, desolate.  As things get more intense, director Shults plays with perception, paranoia, and reality.  The saga is thrilling for his developing technique.  As in every movie, there’s a moment where the picture ultimately ends, the credits roll and the lights come up.  I sheepishly admit my immediate reaction was disappointment.  However, this is a film for discussion.  As I reflected on what I had seen, it gets clearer.  Director Trey Edward Shults has taken a visionary approach.  This is a thoughtful fable about humanity.  It’s about so much more than what is physically represented.

06-11-17

Alien: Covenant

Posted in Horror, Science Fiction, Thriller on May 19, 2017 by Mark Hobin

 photo alien_covenant_ver4_zpskj0mddqh.jpg photo starrating-2stars.jpgCut to the chase: Alien: Covenant is not a good movie.   Dear me though its failings are so diffuse, I don’t even know where to begin.  Let’s start with some fast facts: Covenant is a sequel to 2012’s Prometheus and is set 10 years later. Prometheus was an Alien prequel and this new production also details events that are supposed to have happened before that 1979 masterpiece. Alien was a nifty little horror gem that was brilliant in its focused simplicity to scare in style. It was unpretentious.  Conversely, Prometheus took the franchise into biological altering origins of life. I appreciated the attempt at something grander. However, Prometheus left audiences with more questions than answers and now Covenant struggles to further expand that storyline with more scientific mumbo jumbo as to why characters are doing what they’re doing and why things are the way they are.   Unfortunately with this installment, Ridley Scott exploits the admirable qualities of Prometheus to ill effect.  Perhaps a little heady thought was welcome, but now he’s gone full tilt into a philosophical consideration of existentialism. Where Prometheus‘ script was elegant and thoughtful, this reflection is brain dead.

Alien (1979) has such a high-minded reputation that it’s easy to forget that every installment in this franchise has always been served with a heaping cup of cheese. Yet Ridley Scott is directing and it’s highlighted by a talented cast that includes Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride, Demián Bichir, Carmen Ejogo, Amy Seimetz, and Jussie Smollett. Given that, I was expecting so much more. It makes the disappointment much more crushing. I acknowledge the crew members in these Alien films have always made a lot of dumb decisions, but Alien: Covenant tops them all.  Some random observations about that ensemble:  (1) Everyone is a couple on this expedition – including one same-sex duo.  (2) Katherine Waterston’s hairstyle recalls Jim Carrey’s bowl cut from Dumb & Dumber.  That’s not a reason to hate on a movie, but it’s such a distraction, I would be negligent not to at least mention it.

These crew members are more clueless than a group of sexually charged teens in a summer camp.  That a pair of naked lovers finds time to make out in the shower while one creature (known as a Xenomorph) prowls around the spaceship is the absolute nadir.  However, there are at least half a dozen examples where these people exhibit a brazen disregard for their own life.  Feels more like a Friday the 13th movie.  Protocols are ignored, nobody follows instructions, women weep and scream like it’s the 1950s. It becomes almost a laughable game of “Guess who’s next”. Whenever someone says they need to go off to a dark, isolated place (like use the bathroom) you know their role is coming to an end. The fact that these scientists, soldiers and shipmates have been entrusted with 2,000 human embryos to start a new colonization makes their behavior even more reckless.

The funny thing is, I can forgive a predictable elimination of lives if we’re still given an exciting version of And Then There Were None.   But no. Alien: Covenant is a really talky slog that is boring when it isn’t being thoroughly unpleasant.  Alien: Covenant does manage to serve up an abundance of gross-out “events” that are perfunctory demonstrations of body disfiguring horror.  Remember the chest bursting scene in the 1979 movie?  Of course you do. Well we get more of those. One from the front and another out of the back. But director Ridley Scott has traded on the memory of that spectacle so many times by now its impact has been destroyed. There’s nothing even remotely electrifying about these displays anymore. At a fundamental level, director Scott has satisfied a checklist of giving people the gore he thinks they want. Surprisingly most of this drama is dull until we’re served up some excitement in the final 30 minutes but you’ll have to sit through a slew of tedious conversations to get to it.

Alien: Covenant is trying to be all things to all people. On the one hand, it pacifies lovers of the original Alien by presenting a Grand Guignol-style horror film which gives the audience plenty of stomach-churning body mutilating carnage. On the other, it placates Prometheus lovers with ethical creationist theories. Crass pandering to both sides ends up satisfying neither. The best moments in Alien: Covenant center around Michael Fassbender who gets the opportunity to deliver two engaging performances. Here he plays lookalike androids: one named David (from Prometheus) and the other named Walter (an updated model). He delivers what little entertainment value can be found in this mess. By now, the slick aspects to champion in Alien: Covenant are nothing new. We get a colorful cast of astronauts differentiated by nationality, race, and gender, a gleaming set design of a spaceship and the soothing overhead voice of the ship’s onboard system they nickname “Mother”. These are the kinds of things that elevated Alien (and other sci-fi classics) from a rote story into a classy gem. But you can’t make a silk purse out of a sow’s ear.  I hate rehashing a cliché but it’s apropos.  This script is so bad it’s irredeemable no matter how much shellac you apply.

05-18-17

The Wall

Posted in Drama, Thriller, War with tags on May 16, 2017 by Mark Hobin

 photo wall_zps3dqmhke6.jpg photo starrating-3stars.jpgU.S. Army Sergeant Allen “Ize” Issac (Aaron Taylor-Johnson) and his spotter Staff Sergeant Shane Matthews (John Cena) are on a mission. They’re in Iraq to retaliate after U.S. contractors building a pipeline, are killed.  Matthews is shot by a sniper and when Ize attempts to rescue him, he too is injured by the unseen assailant. He seeks a safe area. The title refers to the long barrier of crumbling stones that Isaac quickly hides behind as he communicates with the adversary who is trying to take his life.

The Wall is a movie of words. The story by aspiring screenwriter Dwain Worrell actually made the Black List, a compilation of the most liked unproduced screenplays, in 2014. The Wall was ultimately purchased and produced by Amazon studios, their very first spec script. Worrell’s compact drama details a single conversation between the U.S.Issac and a heard but not seen Iraqi sniper (Laith Nakli). Director Doug Liman, known for action extravaganzas like Edge of Tomorrow, Mr. & Mrs. Smith and The Bourne Identity, scales his action aesthetic way back for this lean-and-mean war tale. And the chronicle is indeed mean. The situation is tense and the futility of war is highlighted with deft precision. It is particularly significant that we learn at the start that the Iraq war is supposedly over. Yet for these combatants, that designation is meaningless.

The Wall has a lot going for it. It has a tightly concentrated script by Dwain Worrell. There is an engaging performance from Aaron Taylor-Johnson in what is essentially a one-man show and it has a brisk running time. The screenplay is particularly clever as the sniper draws information from his opponent. Ize is clearly at a disadvantage and actor Taylor-Johnson makes this soldier immediately affecting.  It’s easy for the audience to feel empathy for this character. I was reminded of Rodrigo Cortés’ 2010 single location set Buried starring Ryan Reynolds. That also had a unique take on the Iraq war through a conversation. The Wall isn’t quite as claustrophobic as that picture, but it’s close. Their interaction plays out like a chess match as the unrelenting stress of the conditions escalates. The dusty bleak landscape only adds to the tension. The account ends in a manner over which I still have mixed emotions. It’s either smug or smart.  I’m on the fence…or more appropriately, “the wall”.  Either way, if brevity is the soul of wit, then this artfully focused drama is well worth your 80 minutes.

05-11-17

Life

Posted in Horror, Science Fiction, Thriller on March 25, 2017 by Mark Hobin

 photo life_ver3_zpseahijifv.jpg photo starrating-3andahalfstars.jpgLife concerns six astronauts from around the world aboard the International Space Station (ISS). The plot begins when they discover a single-celled organism in a soil sample from Mars. They revive the microscopic entity with some external stimuli. As a result, the little amoeba, which they’ve dubbed “Calvin” starts to develop at a rapid rate. It’s soon clear that their understanding of this entity is not very good. They’ve underestimated the intelligence of this thing. They make that error several times actually and it’s always to the delight of an audience seeking more thrills.

You can’t read a review of Life without the critique referencing a certain sci-fi classic. That’s totally fair. Life is made up of the DNA of others films, and one in particular. I’m not even going to name the picture because I think it unfairly poisons the mind against this production. Apparently, a story loses credibility if it’s inspired by another film, even one that came out nearly four decades ago. That’s hogwash. The act of homage isn’t a reason to castigate a film. Even the precise movie in question, now venerated as a masterpiece, was chastised as merely a remake of 1958’s It! The Terror from Beyond Space at the time, so there! Let’s give director Daniel Espinosa some credit. He stole from the best and he does it with the polished art of a seasoned pro.

Life has the look of quality in every detail from the elegant art direction to the talented cast. What better way to dress up your picture than with an A-list ensemble. Ryan Reynolds is Rory Adams, the wisecracking (is he ever anything else?) mechanic of the crew. He operates the machinery. The actor worked with Daniel Espinosa before in Safe House. The connection initially gave me pause because that drama was utterly generic. Life, in contrast, is not.  Jake Gyllenhaal plays the space station’s doctor, David Jordan. His limited part is eclipsed by the other actors in a bit of casting unpredictability. Rebecca Ferguson is Miranda North, a scientist from the Center for Disease Control. She’s responsible for keeping everyone safe. Let’s just say she’s not too good at her job. Ferguson is best known as the fetching Ilsa Faust in Mission: Impossible – Rogue Nation. She’s an appealing presence here as well.

The rest of the cast will be more unfamiliar to U.S. audiences, but no less captivating. Miranda is joined by fellow Brit Hugh Derry, a microbiologist played by Ariyon Bakare (British TV miniseries A Respectable Trade). ** Spoiler Alert ** The black guy does NOT die first – a refreshing twist. Japanese actor Hiroyuki Sanada (Sunshine, The Wolverine) is Shō Murakami the experienced astronaut who’s ready to retire. While on board, his wife gives birth back on Earth. Last but not least is Russian actress Olga Dihovichnaya as Katerina Golovkina, the commander of the ISS. She has appeared in a smattering of Russian films since 2002. The thespians go a long way into making this spectacle something engaging. After all, if we didn’t care about these people, the story would fail.

Life is an intense, heart-pounding saga that never lets up. The production design is dazzling. The opening scene, an uninterrupted nearly 7-minute take, is a marvel. The ISS set is constructed like a labyrinth and it’s easy to feel claustrophobic within. That adds to the tension as I was riveted throughout. Screenwriters Paul Wernick and Rhett Reese have worked together before (Zombieland, G.I. Joe: Retaliation, Deadpool). The script gives us just enough detailed jargon to seem cerebral but without getting bogged down in a lot of intellectual mumbo jumbo. They have a sophisticated take on this outer space thriller that really elevates the presentation into something classy. I mean let’s be clear. At heart, this is a formula sci-fi horror tale and nothing more. Don’t go in expecting to have your mind expanded. Nevertheless, it is nice to see something that isn’t part of some larger franchise. The action entertains a lot better than some warmed over reboot or sequel. Life is worth living….er uh I mean watching.