Archive for the Thriller Category

A Quiet Place

Posted in Drama, Horror, Thriller with tags on April 8, 2018 by Mark Hobin

quiet_placeSTARS3.5In the climax of a thriller, tension is often extracted when the main character is hiding from a dangerous threat lurking nearby.  It could be another person, an animal, an alien, whatever. You name it. As long as they don’t make noise, they’ll be OK. We hold our breath praying that our hero doesn’t give himself away. The menace looms closer. The protagonist’s heart beats faster. Our hearts beat faster in the audience. The stress can be unbearable. A Quiet Place is extremely clever. The story takes the crucial element of a horror film and makes that apex the entire picture. The anxiety is non-stop for the duration of the production.  It’s extremely compelling.

Things are hushed right from the beginning. A Quiet Place doesn’t waste time with exposition, but we can sort of gather info as things develop. We’re in the very near future. Earth has been taken over by some really scary looking aliens that prey on human beings. As long as people remain silent, they are safe. Make a sound, and individuals run the risk of being discovered. The Abbotts are a family simply trying to stay alive. You’ll find out within the first few minutes how hard that is. There’s Lee (John Krasinski), the father, mother Evelyn (Emily Blunt), and their daughter Regan (Millicent Simmonds). She happens to be deaf, both in the drama and in real life. Regan has two brothers as well: Marcus (Noah Jupe) and Beau (Cade Woodward). Complicating matters is when Evelyn becomes pregnant.   Psst….babies are kind of noisy.

A Quiet Place is an effective horror tale that entertains as it plays. To this fan, actor John Krasinski will forever be Jim Halpert on the NBC sitcom The Office. Clearly a man of many talents, he directed and co-wrote this screenplay with Bryan Woods and Scott Beck. He directed his real-life wife Emily Blunt who plays his fictional wife in the story.  That makes the role easier.  They’ve been married since 2010.  No need to feign onscreen chemistry.  They’ve had plenty of practice.  They’re the couple at the center of a very interesting but uncomplicated idea. For long stretches, there is virtually no sound at all. The tension is unbearably intense at times. The experience will require absolute silence in the theater too.   It will certainly be a most demanding test of a modern audience to not make a peep while watching a horror film. Obviously talking and cell phones are always forbidden but I’d recommend no food or drink as well. Loud popcorn eating and rusting candy wrappers were present at my screening, along with some hilariously exaggerated gasps as well. I could’ve done without the distractions. I’m not usually obsessive about such things, but go see this particular movie in a packed theater and then tell me I was wrong.

A Quiet Place is a sharp thriller made on a shoestring budget for only $17 million. Judging from the grosses this weekend it looks like it will ultimately reap at least 10 times that amount. I especially love when inexpensive productions (that I like) make a huge profit.  It proves you don’t always have to spend a great deal of money to earn a lot of money.  You simply need a good idea.  It doesn’t even have to be totally original either.  Director John Krasinski’s influences are simple and unmistakable. Like 1979’s Alien, these monsters are really big and ugly. Also like that feature, part of the giddy apprehension is how they’re introduced ever so carefully over time.  Just a glimpse of one here, another flash of one there.  These beasts cannot see, but they have extremely sensitive hearing.  The beautifully abhorrent details of the creatures become more and more familiar as the story wears on. “Don’t make a sound” was a gimmick recently used in 2016’s Don’t Breathe. That was good too, but A Quiet Place is more elegant and family friendly.  It’s rated PG-13.  It’s also incredibly exciting. Do go and enjoy it right now. Just please shut your trap when you do.

04-05-18

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Unsane

Posted in Horror, Thriller on March 28, 2018 by Mark Hobin

unsaneSTARS3.5Unsane now marks Steven Soderbergh’s 2nd theatrical feature since the director announced his retirement back in 2013. No rest for the wicked I suppose. Logan Lucky arrived in the summer of 2017 and now — for anyone who thought that heist movie was merely a one-shot deal — in the Spring of 2018 we get this new offering. The filmmaker is still keeping a lower profile though. To begin with, this isn’t a Hollywood studio undertaking. Like Logan Lucky, it’s distributed by Bleecker Street – a little independent film company based in New York. Secondly, it was entirely shot on an iPhone 7 Plus. Back in 2015, the game-changing Tangerine was notably filmed with an earlier version of the mobile device. Unsane further proves that the format can be a liberating option for any burgeoning (or established) artist with a creative story to tell.

Unsane details the mental collapse of a businesswoman named Sawyer Valentini (Claire Foy). Sawyer has recently started a new job in an unfamiliar city after moving away from her mother (Amy Irving). Following a panic attack during a blind date, we learn that Sawyer is not well. She visits Highland Creek, a mental-health facility and answers a few questions with the counselor on duty. After admitting she has contemplated suicide on occasion, she is presented with some forms to sign. Let this be a warning: ALWAYS READ THE FINE PRINT. As a result, Sawyer inadvertently commits herself to spend 24 hours in the hospital’s psychiatric ward. Her belligerent behavior quickly upgrades her stay to a full week.

Unsane is a nifty little thriller. In time she is confronted by a man (Joshua Leonard) working at the facility that she believes to be her former stalker. But what is real? Is Sawyer actually insane? Is she really in a mental institution? Is this nurse really her stalker? Savvy audiences are used to having the rug pulled out from under them. The screenplay by James Greer and Jonathan Bernstein skillfully exploits the mystery to great effect. Giving life to their efficient script is a masterful performance by English actress Claire Foy (TV’s The Crown) sporting an American Accent and long bob. She’s very convincing the role. In fact, she’s oddly reminiscent of Kristen Stewart. I’d love to see the two play sisters in some diabolical thriller, preferably directed by Olivier Assayas or David Fincher. Just take my money.

You might rightly classify this drama as a “woman-in-peril” potboiler. This is a B-movie at its most elemental core. Yet Steven Soderbergh is much too talented a director to succumb to clichés of the genre. The director keeps the action taut and suspenseful. There’s a lot of working components to stimulate the proceedings. Actors Jay Pharoah and Juno Temple portray two of Sawyer’s fellow patients. He is sympathetic. She is hostile. The primitive cinematography is assisted by a fisheye lens. The format lends a claustrophobic air to the proceedings. It’s an uncomfortable watch causing distress to the viewer. I can’t say I exactly “enjoyed” the experience but it effectively captivated my interest for 98 minutes. That’s a recommendation in my book.

The Post

Posted in Biography, Drama, History, Thriller with tags on January 11, 2018 by Mark Hobin

post_ver5STARS3.5It’s certainly a tribute to the talent involved that the saga of an entity that “came in second” has been fashioned into a fairly absorbing drama about freedom of the press. The chronicle details a newspaper and their efforts to publish The Pentagon Papers. The New York Times was there first. They are the ones that broke the story initially, but then they were restrained by an injunction from continuing to do so. Their hands were tied, unable to divulge anything more without reprisal. The Washington Post stepped in and picked up the pieces.

The Pentagon Papers were a top-secret study regarding United States’ military involvement in Vietnam from 1945 to 1967. In a nutshell, the research determined that the Vietnam War was unwinnable by the U.S. I’ll admit, that’s really simplifying things. The report comprised 47 volumes with approximately 7,000 pages of historical analysis and original government documents. Yet that itself was not the pivotal truth, but rather that Lyndon B. Johnson had actually lied to the American public about our ability to succeed in the war. In the recent Darkest Hour, Winston Churchill is depicted as doing the very same thing. Interestingly his actions are portrayed in a far more positive light. In The Post, however, the Pentagon Papers ultimately undermine both the Johnson administration and subsequently Richard Nixon’s as well. His crime was that he allowed things to progress without revealing the lie promoted by the earlier regime. Nixon is featured in a scathing scene at the very end. It’s hardly subtle, although most of the film is considerably more nuanced.

The Post was actually hastily assembled by director Steven Spielberg during some downtime while making his upcoming sci-fi epic Ready Player One. The production feels like a timely response to the current administration and their antagonistic relationship with the press. Tension is constructed around the First Amendment. That makes the representation feel socially relevant and extremely shrewd. The attempt to stifle the press is a key component of this narrative. Curiously, what makes this composition fascinating, isn’t its attack on the presidency and the abuse of power. No, what makes the account compelling is the distinct character of Kay Graham (Meryl Streep). She assumed the role of publisher of her family’s newspaper, the Washington Post following the death of her husband.

As interpreted by the inimitable Meryl Streep, Graham is further exalted as a woman making the biggest decision of her life – risking the reputation of her family’s newspaper on whether to publicize The Pentagon Papers. She’s unquestionably good, but it’s hard not to regard her mannered portrayal – as well as that of Tom Hanks as executive editor Ben Bradlee — as for your consideration bids to win awards. I never forgot that I was watching a talented actor giving a captivating performance.  As Bradlee’s wife Tony, Sarah Paulson is a bit more natural. She delivers a particularly juicy monologue late in the game in which she basically schools her husband as to why Kay Graham is worthy of our respect. Strangely, Daniel Ellsberg (Matthew Rhys) the U.S. military analyst who was directly responsible for releasing the Pentagon Papers, has a surprisingly minor part. In the true-life tale, he played a much bigger role.

The Post is a feminist anthem. As the only woman to hold such an exalted position, Kay Graham had difficulty being taken seriously by many of her male colleagues and employees. A scene highlighting her as the only woman in an all-male boardroom is notably effective. It’s apparent she was going to have to assert herself to be heard, It is that focus that makes this production unique. I hate comparing one picture with another. Movies should usually be judged independently of one another on their own merits. Nevertheless, it’s virtually inexcusable to not at least acknowledge the similarly themed Oscar Winner for Best Picture, Spotlight, when discussing this feature. That screenplay focused on reporting the information itself. With The Post, it’s more about the figure of Kay Graham as she risks picking up the pieces of what the New York Times initially started and continues on with it. That notion is less imperative by comparison. There are so many ways you could have approached this account. What the New York Times accomplished, what Daniel Ellsberg released, or how the Supreme Court ruled over these events. The meaningful details of these various plot threads demand far more attention than are given here. Nevertheless, in the hands of director Steven Spielberg and actors as talented as Streep and Hanks, it still becomes a pretty entertaining film.

12-01-17

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

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

baby_driver_ver2STARS4Ok, 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

book_of_henrySTARS3.5It’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

it_comes_at_night_ver2STARS3.5Call 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