Archive for the Thriller Category

Split

Posted in Horror, Thriller with tags on February 2, 2017 by Mark Hobin

 photo split_ver2_zpsatpjsbnf.jpg photo starrating-1star.jpgIt’s a testament to my tolerance level that I continue to give M. Night Shyamalan a chance despite overwhelming evidence to the contrary. I haven’t enjoyed any of his films since Signs in 2002. That was 15 years ago and yet I still keep hoping that one day he’ll exhibit a flicker of his former talent. I wasn’t even going to give his latest a chance after The Visit (2015), a shaky-cam found-footage non-starter of a project. However reviews for Split were positive and it drew a healthy box office so I thought, how bad could it be? Pretty awful as a matter of fact. I didn’t foresee that the big twist of this M. Night Shyamalan film was that such an inferior product would implausibly become a success.

Split starts out interestingly enough. Three girls (Anya Taylor-Joy, Haley Lu Richardson, Jessica Sula) are getting ready to leave a birthday party. The father of the guest of honor is going to drive them home. He is approached in the parking lot by a mysterious figure after the girls are already in the car. The next minute the stranger gets into the car and there’s a chilling moment where he sprays them with a toxin. This probably would have been more effective if it wasn’t already in the trailer, but that’s not the movie’s fault. Regardless, it’s a chilling beginning.  The man’s name is Kevin (James McAvoy) and he subsequently locks them up in a basement dungeon. I started getting shades of Silence of the Lambs at this point, but that’s about where the similarities end. This screenplay has none of the depth of that film. It’s also rated PG-13 so it’s less intense, but the subject matter still feels pretty icky. I certainly wouldn’t bring children to this. Honestly, I wouldn’t bring anyone because it’s simply not good.

It turns out that Kevin suffers from dissociative identity disorder (DID) and has 24 individual personalities living inside him. Already I’m not comfortable with that ridiculous number because it’s impossible for an actor to do 24 distinct characters justice. To be fair, he really only attempts like nine, but sadly, McAvoy doesn’t even give us one person that we can truly embrace. They’re a smorgasbord of various people: young/old, male/female. I thought about detailing some of them in my review but they’re really not interesting enough to warrant discussion. I will add though that the 24th entity is called The Beast. Not the same creature as in the biblical book of Revelation but I’m sure the allusion is intended.

Dissociative identity disorder (DID), previously known as multiple personality disorder, is a real mental illness. I suppose we should be thankful that Shyamalan at least knows the difference between schizophrenia and DID, but don’t look to this script for any real factual basis for the way it occurs. The movie does include a therapist, Dr. Karen Fletcher, played by Betty Buckley. She was the nice gym teacher in the Stephen King adaptation Carrie (1976) and starred in the TV series Eight is Enough. I’ve always liked her so it was nice to see she continues to get work. Her character sort of pops up at various points in the narrative. Another actor pops up near the end. I assume it’s another one of Shyamalan’s signature twists. So please enjoy that if you can even figure out what it all means. For the record, I did. Didn’t care.

Garbage is an epithet that’s thrown around so frequently these days that I hesitate to use the word, but here goes: Split is garbage. I don’t use that dismissive label lightly.  I’ll explain what took this beyond merely bad to downright offensive. M Night Shyamalan resorts to capitalizing on mental illness for sensational thrills without the care to even convey its complexities. It also exploits child abuse in a cheap attempt to give his weak story more meaning. It does not handle these subjects in a meaningful or sensitive way but rather shamelessly mines the inherent gravity in these issues for superficial kicks. It is artless. Split certainly isn’t the first film to manipulate weighty subjects in a crass manner. Last year’s The Girl on the Train served up a vulgar recipe of alcoholism, depression, and domestic abuse.   It was exploitative much in the same way and Split caused me to relive that awfulness.  Girl was one of my least favorite pictures of 2016, but it came out so late in the year that it was only among the “worst of 2016” for 3 months.  With Split‘s January release, we have a major contender just 20 days into 2017. This production has the potential to go the distance.

1-30-17

Nocturnal Animals

Posted in Drama, Thriller with tags on November 14, 2016 by Mark Hobin

 photo nocturnal_animals_ver5_zpse44rfy9v.jpg photo starrating-4stars.jpgWithout warning, wealthy art gallery owner Susan Morrow (Amy Adams) receives a letter from her ex-husband, Edward Sheffield (Jake Gyllenhaal). He requests that she read his first novel, Nocturnal Animals, which he has also included in the package. This lure is merely the tantalizing set-up for a crackerjack thriller. We learn that the title was Edward’s nickname for her. In fact, the manuscript has been dedicated to Susan. As she sits down to pore over the novel in her austere modern mansion in Beverly Hills, the wicked tale unfolds before our eyes. This story within a story has painful parallels to Susan and Edward’s failed marriage in the past. Edward was a dreamer. Susan loved that about him but his need to write ultimately became a source of consternation for her. It also resonates with her current situation because her relationship with husband Hutton (Armie Hammer), is also less than ideal.

Nocturnal Animals is highlighted by a colorful and diverse cast. Jake Gyllenhaal is essentially playing two roles, Susan’s ex- husband Edward Sheffield, but also Tony Hastings, the central character in the book. Tony is a gentle man driving his wife Laura (Isla Fisher) and their teenage daughter India (Ellie Bamber) on a road trip across a deserted West Texas highway late at night. Incidentally, if you think Amy Adams and Isla Fisher look alike, then you’re already making the right associations. Along the way, Tony is sucked into a nasty road rage duel with a gang of hillbilly rednecks (Aaron Taylor-Johnson, Karl Glusman, and Robert Aramayo). These guys look more like the appropriately distressed models for a jeans ad photoshoot than country hayseeds but hey this is a Tom Ford movie after all.

The violent tale becomes uncomfortable viewing but it never ceases to be captivating. Tony is forced off the road and a confrontation ensues. The narrative also manages to feature a mesmerizing performance by the always great Michael Shannon as a detective named Bobby Andes. The juicy role couldn’t be more tailor-made for the actor. He’s certain to garner some attention come awards season. Laura Linney is briefly seen in flashback as Susan’s Dallas-rich mother complete with bouffant hair and the requisite pearls. Her one scene is memorable. Finally, I have to add, that even though the chronicle is pretty dark, Jena Malone’s cameo as Susan’s millennial gallery assistant in the present is one of the funniest things I’ve seen in a film all year.

Nocturnal Animals simply oozes with cinematic style. American fashion designer Tom Ford not only directs but adapts the screenplay from the 1993 novel Tony and Susan by Austin Wright. Ford’s follow-up to A Single Man is even more accomplished, although this production should prove to be polarizing. I mean can we talk about those opening credits? They are a veritable slap in the face.  The visuals are perplexing to say the least. There’s simply no context at first.  These images may open the film, but I still won’t spoil the surprise. I will offer that they concern a video installation on display in Susan’s gallery. If you already think modern art is crass, this won’t change your opinion. Then again, maybe the intro is a biting commentary on the contemporary art world. So many interpretations and that’s just in the first 5 minutes.

Nocturnal Animals brilliantly juggles three different realities. As Susan reads the book we jump across shifting chronologies. There’s the adventure of the text, then forward to the present and then back to her past. The novel is the nifty little suspense within the proper film. In fact, I dare say it’s the most entertaining part of the picture. The clever framing device though is a nice touch because it draws parallels to the real and invented world and invites the audience to make conclusions about Susan Morrow based on the characters within the “fictional” literary work. As the account shifts through the various timelines, we start to uncover what went wrong in Edward and Susan’s marriage.

Tom Ford’s effort is a remarkably proficient saga that spans genres. It’s both a cruel Texas crime drama as well as gauzy middle-age melodrama. It’s not important that you like these people, but you will understand them. It will engender your empathy as you react to the situation of these different individuals. It’s artful sophistication blended with ugly sadism. The mix is tonally diverse but it all makes sense right down to the conclusion. I was initially put off by the final shot. It wasn’t what I was hoping for but then as I deliberated on the piece, I realized the ending actually bested my expectations. Tom Ford has crafted a meta mystery-thriller on which to reflect.

11-04-16

Arrival

Posted in Drama, Science Fiction, Thriller with tags on November 12, 2016 by Mark Hobin

 photo arrival_ver16_zpsbblz4gnr.jpg photo starrating-3stars.jpgOh, what hath 2001: A Space Odyssey wrought? Ever since Stanley Kubrick’s trippy, mind-expanding space adventure first unfurled back in 1968, the intersection of extraterrestrial life and the human experience at the movies has never been the same. The original set the bar inspiring a varying degree of diminishing results ever since. The latest sci-fi offering to delve into this concept is Dennis Villeneuve’s Arrival featuring a screenplay adapted from a short story by Ted Chiang called “Story of Your Life”. Like Robert Zemeckis’ Contact or Christopher Nolan’s Interstellar, Arrival is the “thinking man’s” alien invasion flick. Elevate your consciousness. That means expect lots of existentialist mumbo jumbo and less in the way of action or events.

Villeneuve is a category-defying filmmaker with successes in several genres including mystery (Incendies), thriller (Prisoners), psychobiological head trip (Enemy) and crime (Sicario) . His latest is an ethereal dissertation on what transpires after alien beings land on Earth. Twelve UFOs descend, hovering mysteriously in the sky. Tall, oblong shaped orbs dangling like colossal footballs over random locations across the planet. The one in the U.S. is over a field in Montana, The world is concerned. The key question must be addressed: “What is their purpose?”. In order to make contact, the U.S. Government taps Dr. Louise Banks (Amy Adams in the starring role), a top linguist, and a theoretical scientist (Jeremy Renner in a bit part), to help them to better understand their intention. She will try and establish communication with the extraterrestrial visitors.

Somber, eerie, and virtually devoid of color, Arrival is an atmospheric mood piece that treats the landing of visitors from another planet with the graveness of a heart attack. In the first half, there are moments of dread. The circumstances hold promise for the audience like a dangling carrot tempting a mule to move forward.  Dennis Villeneuve conveys so much on a small budget.  The set design is bleak. The spaceships loom large. The tension is palpable. The life forms are called heptapods . Their presence is frightening. Like huge long-limbed spiders, they present seven squid-like tentacles that emit an inky black substance. The amorphous liquid is their written language which forms circular shapes that Dr. Banks tries to decode. How do we interpret their language? What are they trying to tell us? Are they friend or foe? It’s a captivating set-up. Dr. Banks and her operation argue over whether the information they glean should be kept private or shared with the other teams corresponding with the pods in their parts of the world. The human race stands on the precipice of a global war. Arrival is great when it’s a twisty conundrum….until it isn’t.

To its credit, Arrival eventually answers all of its questions. The problem is that when the enigma is slowly disconnected, then so is the film.  Subplots become red herrings.  The narrative isn’t ultimately preoccupied with the alien threat. It’s fascinated by how language molds who we are. The idea is that people approach the world differently because of vocabulary. Reality varies according to the linguistic tools employed. Terminology frames our understanding. Dr. Banks is changed by the experience. That’s the gist of the account, but I’ve purposefully omitted the closing truth. Your enjoyment of Arrival will derive out of how fascinating you think the final reveal is. Perhaps it will positively blow your mind. It has a philosophical gist. In keeping with the production’s chilly tone, I found the ending too dispassionate. The denouement is rather underwhelming after such a promising introduction. Denis Villeneuve has erroneously created a drama left unfulfilled.

11-10-16

Jason Bourne

Posted in Action, Thriller on July 30, 2016 by Mark Hobin

 photo jason_bourne_ver2_zpsmypfjyrl.jpg photo starrating-2stars.jpgThe current season has another month to go, but I’d like to dub the preceding 3 months as “The Summer of the Blah Blockbuster”: X-Men: Apocalypse, Alice Through the Looking Glass, Independence Day: Resurgence, Ghostbusters, and Star Trek Beyond. All big budget productions that made far less than their hefty price tags prescribed. The audience numbers have been underwhelming. To be fair, not all cinematic product is created equal. I found the latest  X-Men enjoyable, but I still wouldn’t call it necessary viewing unless you’re an X-Men completist. And that’s true of all of these releases. Other than an opportunity to make money, their stories lack a reason to exist. Did we need this film? The answer is no in every case. Into this atmosphere we get the creatively titled Jason Bourne. It feels right at home in the prevailing Hollywood climate.

Jason Bourne is the fifth installment of the Bourne series. This is a direct sequel to The Bourne Ultimatum, the third chapter and the last to feature Matt Damon. You’d think the previous star Jeremy Renner might warrant a cameo, but no such luck. Paul Greengrass is back directing, making this is third venture into the Bourne franchise. I concede that recounting all these facts is kind of boring to read, but writing about such a workmanlike movie almost demands it.

The story picks up 10 years after the events of The Bourne Ultimatum. Jason Bourne is hiding out in Greece and has taken up illegal brawling. This is a good time to note that Matt Damon is seen knocking a big guy out in one punch and it’s the most clearly shot action scene in the whole picture. Anyway, the former CIA assassin and recovering amnesiac is finally starting to remember who he is. Ex-CIA agent Nicky Parsons (Julia Stiles) has discovered some distressing information and has decided to contact Bourne with the info.  Bourne seeks to find out the truth behind the death of his father, Richard Webb (Gregg Henry). Meanwhile CIA Director Robert Dewey (Tommy Lee Jones) and CIA agent Heather Lee (Alicia Vikander) aren’t happy with these developments. They are implementing a new program aimed at taking Jason Bourne down.

Jason Bourne is a somber thriller filled with dispassionate people doing very serious things. There’s some added nonsense about a Las Vegas tech convention with actor Riz Ahmed. He plays the CEO & Founder of a social networking app called Deep Dream. The CIA wants to spy on everyone through a back door surveillance program dubbed Operation Iron Hand. I couldn’t even summon up the energy to even give a care about this story tangent. I only mention it because actor Riz Ahmed was also in Nightcrawler and it’s another chance to promote the fine actor’s work in that film. At least his tech tycoon registers a little personality. None of the other actors express much emotion. No one even cracks a smile. Perhaps with Matt Damon, Tommy Lee Jones and Vincent Cassel, the stoicism is a bit more expected. However Alicia Vikander was such an effervescent presence in The Danish Girl. Although I admit she was also brilliant as a robot in Ex Machina. I’m just not sure why she was told to act like one here.

What follows is a lot of perfunctory chase sequences. We get shaky cam photography of chaotic movement edited with a hacksaw. Ladies and gentlemen, I present an entire feature made up of fast cutting. No scene lingers for more than 3 seconds before proceeding to the next shot. The ADHD cinematography can be frustrating. “Stop I want to get off!” I almost screamed, like right there out loud in the theater. Two people simply have a quiet conversation and the camera refuses to remain still – a nervous bundle of energy, constantly moving. Ok so at times it can be exhilarating as well. The camera jerks and dives to thrilling effect during a climactic fight. The motion gives the feeling of actually being physically hit before descending into a blurry mishmash where the human combatants are no longer discernible. Director Paul Greengrass is known for favoring this technique. He’s had much success in the past (United 93, Captain Phillips), but the plot developments aren’t memorable this time around. We’re just going through the motions.  In the end, I didn’t hate this movie. It’s too competent to be egregious. The effort fuses high production values with well choreographed action. Jason Bourne isn’t good, but it’s significant because it exemplifies how this kind of entertainment is now available on TV for free.

07-28-16

Green Room

Posted in Crime, Horror, Thriller with tags on May 2, 2016 by Mark Hobin

 photo green_room_ver2_zpsszgyt22s.jpg photo starrating-3stars.jpgThe release of writer-director Jeremy Saulnier’s Blue Ruin at the 2013 Cannes Film Festival heralded an important new talent. Only his second feature, it was the winner of the FIPRESCI award that year. The chronicle was ostensibly about an emotionally damaged, shadow of a man, out for revenge. What made that grisly thriller so much more than just a routine genre exercise, was that we somehow sympathized with the lead character and his plight.

Now Saulnier is back with Green Room, another well constructed, but no less gruesome, labor of malevolence. It concerns The Ain’t Rights, a down and out punk band from the East Coast, desperate for a paying gig. They appear to be in their mid-20s. Despite their youth, the four group members (played by Alia Shawkat, Anton Yelchin, Callum Turner and Joe Cole) have a kind of a been-there-seen-it-all world weariness that is rather amusing. They steal gas by siphoning it out of other cars, wake up in a cornfield because the driver fell asleep, and attend a podcast interview that is incredibly awkward. A question about their favorite “desert island band” becomes an amusing running gag throughout the entire picture right up through to the very last line of dialogue. The movie teases with humorous asides initially, but humor is not really the fabric of the film.

The proper tale begins when the foursome is booked to play a gig at a remote club in the woods outside Portland, Oregon. Unbeknownst to them, the bar is actually a popular hangout for neo-Nazi skinheads. The young punk rockers aren’t too keen on white supremacists, but they need the cash, so they play their set for the rowdy patrons and collect their money. As they’re about to leave, an extremely tense situation develops and the band is prevented from leaving by the skinhead bouncers. This is all under the direction of the club’s owner, Darcy, a calm white supremacist leader, portrayed in an inspired bit of casting by Star Trek: The Next Generation‘s Patrick Stewart. A less than committed skinhead (Imogen Poots), becomes an unexpected ally of our protagonists.

At first the band tries to calmly talk their way out of a sticky situation, but their negotiations fail. Now it’s punks vs. skinheads in an all out game of cat and mouse. The drama begins intelligently with words but ends morbidly with slaughter.  Ah but what are the stakes? There is an assortment of random human beings, but character development is anemic at best. Without that emotional connection, our desire to even give a care is severely diminished. Director Jeremy Saulnier relies on rising tension and it works for awhile. However after 60 minutes, the dialogue becomes less needed to further developments. Gore emerges as the story in the final third. Le carnage extraordinaire is the ultimate agenda for the day. People are sliced, diced and mutilated with guns, machetes and killer dogs. It’s competently done I suppose, but it’s not as terrifying as the intense standoff that came before it. It’s exactly what I expected would happen and after Blue Ruin, I expect more from Mr. Saulnier.

04-24-16

The Invitation

Posted in Drama, Thriller with tags on April 22, 2016 by Mark Hobin

 photo invitation_ver2_zpsdx4ycifp.jpg photo starrating-4stars.jpgHave you ever been invited to a dinner party you didn’t want to attend, but you went anyway because you figured the aftermath of skipping it would be worse than the actual event?  The Invitation concerns just such a get-together. As the story begins, Will (Logan Marshall-Green) and his girlfriend Kira (Emayatzy Corinealdi) are driving up the Hollywood Hills to his former home. His ex-wife Eden (Tammy Blanchard), is hosting an intimate soiree with her new husband David (Michiel Huisman). You can tell by Will’s demeanor that he’s dreading it. It’s been over two years since they’ve seen each other. The trip doesn’t get off to a good start. He accidentally hits a coyote on the way up and is forced to humanely kill the poor animal in order to put it out of its misery. The chance occurrence is random but it sets the tone.

A smattering of guests show up at the intimate gathering. There’s a mixture of mutual friends and a couple of unfamiliar acquaintances present too. Will’s relationship with his ex-wife Eden is key. They share a tragedy. Eden’s relationship with her new husband David is important too. Throughout the course of the film we gradually develop an understanding of who these people are and what makes them tick. Director Karyn Kusama injects brief flashbacks of Will and Eden’s former life together and we start to understand more about what happened in their marriage. Then the guests play a variation of the party game “Never Have I Ever” called “I Want.” You’ve seen this type of material before. The soul searching thirty-somethings expressing their thoughts over wine and hors d’oeuvres. But what makes The Invitation so effective is how it confounds expectations.

Writers Phil Hay and Matt Manfredi really take their time in establishing the characters. Hosts Eden and David are so cordial. Are they overtly so or is that just in our heads? Will senses something is amiss. He grows ever more anxious. There is a fair amount of build up. So much so that after awhile you may be checking your watch as to where all this is headed. Rest assured, the gradual unfolding of the narrative serves to make the denouement even more effective. Karyn Kusama is an American director who first made a critical splash with the independent Girlfight in 2000. Then went Hollywood with bigger budgets and did Æon Flux (2005) and Jennifer’s Body (2009). The Invitation would suggest that she’s at her best with smaller scale pictures free from studio interference. I haven’t gone into the point of The Invitation. That’s something the viewer needs to decide after watching. All I can say is, it most definitively made me feel something and I liked the experience.

Addendum: I love awkward dinner party movies. Rope (1948), Guess Who’s Coming to Dinner (1967), Clue (1985). A small gathering of people can produce uneasy situations of clashing ideologies. It’s a self contained universe. Back in 2014, American writer/director James Ward Byrkit came out with Coherence. It was nifty little independent picture. The Invitation reminded me of that film. You should watch them both.

04-17-16

Midnight Special

Posted in Adventure, Drama, Science Fiction, Thriller with tags on April 5, 2016 by Mark Hobin

 photo midnight_special_zpstoozevoh.jpg photo starrating-3andahalfstars.jpgRoy (Michael Shannon) and Lucas (Joel Edgerton) are waiting for the sun to go down in a darkened motel room. A television is on in the background. As we listen to a news report, we learn these very men have kidnapped an 8-year-old named Alton (Jaeden Lieberher). He sits reading comics with bizarre blue goggles over his eyes and noise canceling headphones on his head. Day turns into night and now they’re on the move again. A religious group and the federal government are both involved as well. Everyone seems preoccupied with the fate of this special little boy. It’s not even clear for awhile where our sympathies should lie. For example, is Roy a good guy or a bad guy? To even reveal that would be a disservice to the story.

The pleasure of this slow burn thriller is in the way it slowly disseminates information so that the audiences gradually understand what’s going on as developments arise. Our minds are held captive by the truth. The trick is how much to reveal and how soon. Midnight Special does a pretty outstanding job at keeping us interested for the majority of its run time. It’s fascinating how “wanting to know more” fuels our appetite. There are well placed reveals throughout and these have the power to satiate our desire. Director Jeff Nichols shows remarkable restraint. The full scope of the chronicle is a gradual understanding.

Less is more. If you were to boil Midnight Special down to its very essence, it’s essentially a chase movie. But there is beauty in simplicity. Nichols has always been a visual story teller and his latest is no different. This is his 4th directorial effort. The drama manipulates sci-fi into a tale about family. The spirit of Steven Spielberg permeates the account. As such it’s Nichols’ most accessible movie. Actor Michael Shannon has been featured in all of the director’s films. He’s appropriately intense. Kudos also to young Jaeden Lieberher as the enigmatic little boy. He was the central child at the focus of the wonderful 2014 comedy St. Vincent as well. What keeps Midnight Special from achieving greatness is that you ultimately need to have some sort of an ending. That’s the difficult part in a narrative that’s all about the journey. I liked being in the dark, but the script ultimately betrays its own ambiguity. It gives us a destination.  This could have been handled differently. The resolution is a little too, hmmm shall we say, specific in this case. It’s the finishing misstep that ultimately lingers in a movie that is mostly captivating.

03-31-16

Eye In The Sky

Posted in Drama, Thriller, War on March 24, 2016 by Mark Hobin

 photo eye_in_the_sky_zpsngimpfbv.jpg photo starrating-4stars.jpgA British mission to capture terrorists is led by Colonel Katherine Powell (Helen Mirren). The criminals are discovered in a safehouse in Nairobi. Among them are a radicalized British-born woman who has converted to Islam. There’s also her husband, a Somalian jihadi with American citizenship. The British operation is aided by on-the-ground intel (Barkhad Abdi) who uses remote controlled surveillance. These technologically advanced cameras work like something in a James Bond film. One is a robotic flying contraption designed to look like a hummingbird. It gives overhead views from a lamppost outside the terrorist’s house. The other is a tiny flying winged bug that has been carefully maneuvered to fly inside the house. This one is perched on a rafter giving clear perspectives of the individual rooms within.

Watching in safety from thousands of miles away at intelligence headquarters in London are the politicians and lawyers, including Powell’s military superior, Lieutenant General Frank Benson (the late Alan Rickman). They are trying to determine whether to take action. There’s much protocol debate over the various consequences of their actions and how they will be perceived. American drone pilot Steve Watts (Aaron Paul) is awaiting orders in a claustrophobic trailer at Creech Air Force near Las Vegas. He’s the one with his finger on the actual button – a missile connected to a flying drone, an unmanned combat aerial vehicle (UCAV).

Eye in the Sky is a fascinating ethical study surrounding the decision-making involved between the military and the government. It’s a brilliant set-up. The scenarios allow for a careful consideration regarding the complexities involved. The operation becomes more complicated when the terrorists are observed gearing up for a suicide bombing – an act that will endanger the lives of potentially hundreds of people. The objective to “capture” soon develops into “kill” – at least that’s what Colonel Katherine Powell recommends.

The legalities of drone warfare is a highlight of this thoughtful discussion. What are the ethical ramifications? The ability for governments to execute people from the safe comfort of a remote location in a different country is addressed. Also the collateral damage, specifically the possible loss of innocent human life, is taken into account. Director Gavin Hood takes a long time to set up the plot, but once the story catches spark, it’s pretty tense. He’s so much more engaging when directing these smaller films (Oscar-winning Tsotsi) than the big budget Hollywood blockbusters (X-Men Origins: Wolverine, Ender’s Game). The intricate consideration of numerous “what-ifs” form the crux of the drama. The moral dilemmas make Eye In The Sky essential viewing.

10 Cloverfield Lane

Posted in Drama, Horror, Mystery, Science Fiction, Thriller on March 14, 2016 by Mark Hobin

 photo ten_cloverfield_lane_zpse8bhkrgw.jpg photo starrating-3andahalfstars.jpgA woman (Mary Elizabeth Winstead) awakes from a car accident and finds herself in a concrete room chained to a wall with a saline IV in her arm. A heavy-set man named Howard (John Goodman) tells her that he is her solitary chance for survival. You see, it was he that “rescued” her and is now keeping her alive. Panicked, she tries to escape, but Howard sedates her. When she comes to, Howard explains that some kind of attack has already occurred in the world and the air up on the surface is now unbreathable. He speculates either the Russians, Koreans or maybe even aliens. His bunker is the only sanctuary left.

The title 10 Cloverfield Lane is supposed to recall the sci-fi monster movie Cloverfield from 2008. That picture was directed by Matt Reeves, written by Drew Goddard and produced by JJ Abrams and Bryan Burk. But just forget about any connection to that earlier picture. All of those guys are indeed back, as producers this time, but aside from some mutual personnel and the horror angle, this story has essentially nothing to do with that earlier production. Think of this as a spin-off of the Cloverfield universe. The sooner you let go of finding ties to that prior film, the more you’ll enjoy this one on its own terms.

If 10 Cloverfield Lane has a spiritual ancestor, it would be Alfred Hitchcock’s Rope, the 1948 psychological thriller based on the 1929 play by Patrick Hamilton. This debut feature from director Dan Trachtenberg virtually takes place entirely in a single enclosed space underground. The success of this three-character chamber piece rests on the charisma of its principal players as they interact with one another. John Goodman is suitably creepy. He’s memorable in a rare dramatic role. Yet he’s so visually iconic in comedic portrayals that I never forgot that I was still watching John Goodman, the actor. Mary Elizabeth Winstead is an appealing presence as a woman in a stressful situation. She radiates a mix of helplessness and moxie that snares our full attention and compassion. A sympathetic cellar-mate named Emmett (John Gallagher, Jr.) appears to be a fellow ally.

The atmosphere of this nail-bitter vacillates between a spirit of unease and relaxed camaraderie. The majority of the action is claustrophobic suspense that creates tension out of the unknown. What happened to the earth? Is life up there actually worse than their existence in the bunker? Can Howard be trusted? Questions of this variety fuel the narrative and warrant serious consideration as the drama plays out. We’ve seen this genre before. M. Night Shyamalan is a director that has built a career on this sort of thing. The fragments designed as a foundation on which to build a denouement that hopefully answers all of these questions and more.  The build-up is bit protracted, but don’t worry. Everything will indeed be explained by the time the credits roll. And let me affirm, I was more than satisfied by the resolution.

03-10-16

The Witch

Posted in Horror, Mystery, Thriller on February 22, 2016 by Mark Hobin

 photo witch_ver3_zpsv3zoodmn.jpg photo starrating-4stars.jpgBleak supernatural horror about a Calvinist household in 17th-century New England. Faith is an important part of their life as father frequently cites scripture. Right at the start, he dismisses those in the community as false Christians and so he and his family are banished from the village. The specifics of the disagreement over beliefs is never explicitly stated, but given the family’s devout commitment we can only assume they were too strict. Was that even possible in Puritan society? The clan is comprised of Father William (Ralph Ineson) his wife Katherine (Kate Dickie), daughter Thomasin (Anya Taylor-Joy), son Caleb (Harvey Scrimshaw), and fraternal twins Mercy (Ellie Grainger) and Jonas (Lucas Dawson). After a time they welcome the arrival of a fifth child, baby Samuel.

Initially the narrative suggests that their lack of money and failed crops could be the reason for their downward descent. But as time wears on, more definable tragedies torment the group. These events give rise to the idea that oldest daughter Thomasin could be an evil presence. These allegations, made by family members, have an effect on her psyche. The first sign that things are amiss is the fate of infant Samuel. While under Thomasin’s care, the baby vanishes from sight the moment her eyes are closed during a game of peekaboo. Later her frustration with the unruly twins’ behavior causes her to make an assertion she later regrets. The film’s main protagonist seems to fluctuate at first but Thomasin ultimately emerges as the lead.

The Witch is a beautifully realized period piece. A carefully constructed, deeply researched drama that utilizes the language of the time. A postscript informs the audience that the dialogue was inspired by court transcripts of the 1630s. To the contemporary ear it sounds just like Shakespeare. That would be the vocabulary of the Elizabethan era, but Jacobean is more accurate since this is the early 17th century. The spirit of the prose keenly enhances the atmosphere. Yet the isolation of their existence speaks louder than any words. The eerie hostility of the early American frontier is as nasty as a villain. The gloom of the surrounding forest takes on a malevolent nature. Even the animals like a goat they’ve named Black Phillip, and a beady-eyed rabbit who pops out of the forest, take on demonic overtones.

The Witch is a dark tale of foreboding. The austere, almost grim, daily existence is maintained throughout. Most modern viewers have a mixed understanding of Puritan society. Life in New England was a completely different world over three hundred years ago. It was a harsh reality. The Witch is set some 60 years before the Salem witch trials famously dramatized in The Crucible. Certainly the story recalls those historical events, but there are distinct differences. Arthur Miller’s play revealed how paranoia can spread to create mass hysteria in a community. Writer/director Robert Eggers chooses to depict the growing fear as it affects only one family – a close-knit group, separated from civilization. Another contrast is that the conspicuous rise in bizarre occurances would seem to justify their fears. There is definitely something sinister afoot, although the lies that follow undeniably tear them further apart. Director Eggers doesn’t rely on the traditional tools of the horror genre. This is more of a thought-provoking mood piece rooted in the Jacobean dialect of the times. As such, the deliberate pace won’t charm today’s audiences raised on physical shocks. However those partial to slavish attention to detail will find much favor here. This engrossing saga of a Puritan family’s worst nightmare is extremely artistic. That makes the thiller rather unique in this day and age.

02-18-16