Monthly Roundup – January 2018

31 Wednesday Jan 2018

Tags

Adrian Molina, Alexander Payne, Animation, Anthony Gonzalez, Awakening the Zodiac, Chadwick Boseman, Christoph Waltz, Coco, Comedy, Darkest Hour, Downsizing, Drama, Dylan Minnette, Fabrice du Welz, Family Fever, Gael García Bernal, Gary Oldman, Germany, Hallie Meyers-Shyer, History, Home Again, Horror, Jaume Collet-Serra, Joe Wright, Jonathan Wright, Kathrin Waligura, Kristin Scott Thomas, Lee Unkrich, Leslie Bibb, Liam Neeson, Matt Angel, Matt Damon, Meryl Streep, Message from the King, Mexico, Michael Sheen, Nico Sommer, Peter Trabner, Pixar, Reese Witherspoon, Reviews, Romance, Serial killer, Shane West, Steven Spielberg, Suzanne Coote, The Commuter, The Open House, The Pentagon Papers, The Post, The Washington Post, Thriller, Tom Hanks, True story, Vera Farmiga

Awakening the Zodiac (2017) / D: Jonathan Wright / 100m

Cast: Shane West, Leslie Bibb, Matt Craven, Nicholas Campbell, Kenneth Welsh, Stephen McHattie

Rating: 4/10 – no one knew it at the time but the notorious (and uncaptured) Zodiac killer filmed the murders he committed, something cash-strapped couple Mick and Zoe Branson (West, Bibb) discover when they come into possession of one of the reels, and then find themselves and those around them targeted by the Zodiac killer himself; there’s the germ of a good idea lurking somewhere in Awakening the Zodiac, but thanks to a sloppy script, wayward direction, and an indifferent approach to the Zodiac killer himself (by the end he’s just a generic movie-made serial killer), this never gets out of first gear, and settles for trundling along and signposting each narrative development with all the skill and style of a one-legged man at an ass-kicking contest.

Home Again (2017) / D: Hallie Meyers-Shyer / 97m

Cast: Reese Witherspoon, Michael Sheen, Candice Bergen, Pico Alexander, Jon Rudnitzky, Nat Wolff, Lake Bell

Rating: 7/10 – when middle-aged fledgling interior designer Alice (Witherspoon) splits from her unreliable husband (Sheen), the last thing she expects to do is allow three young men trying to break into the movie business to move into her guest house – and then become romantically involved with one of them (Alexander); it’s hard to criticise Home Again because despite it being almost drama-free and the very definition of innocuous, it also just wants to give audiences a good time, and on that very basic level it succeeds, but it’s still possibly the most lightweight romantic comedy of 2017.

Downsizing (2017) / D: Alexander Payne / 135m

Cast: Matt Damon, Christoph Waltz, Hong Chau, Kristen Wiig, Rolf Lassgård, Udo Kier, Søren Pilmark, Jason Sudeikis

Rating: 5/10 – the answer to the world’s population crisis is revealed to be shrinking people to the point where they’re five inches tall, something that sad-sack occupational therapist Paul Safranek (Damon) agrees to with alacrity, but being small proves to be no different from being normal-sized, and soon Paul is having to re-think everything he’s ever thought or believed; a closer examination of Downsizing (under a microscope perhaps) reveals a movie that contains too many scenes that pass by without contributing anything to the overall storyline, and a satirical approach to the idea itself that lacks purpose, and sadly for Payne fans, his trademark wit, making it all a dreary, leaden experience that goes on for waaaaaay too long.

Family Fever (2014) / D: Nico Sommer / 71m

Original title: Familien fieber

Cast: Kathrin Waligura, Peter Trabner, Deborah Kaufmann, Jörg Witte, Jan Amazigh Sid, Anais Urban

Rating: 7/10 – when two sets of parents get together for the weekend at the request of their respective children (who are a couple), none of them are able to deal with the fallout that comes with the revelation of a secret that threatens the security of both marriages; a German comedy/drama that doesn’t always go where the viewer might expect it to, Family Fever revels in the awkwardness and frustration felt by its quartet of main characters, and though it sadly runs out of steam in the last fifteen minutes, by then it’s done more than enough to provide plenty of wicked laughs and affecting drama.

Coco (2017) / D: Lee Unkrich, Adrian Molina / 105m

Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renee Victor, Jaime Camil, Alfonso Arau

Rating: 8/10 – Miguel (Gonzalez) is a young boy whose family has rejected any kind of music in order to focus on selling shoes, which leads him into all sorts of trouble in the Underworld on Mexico’s Day of the Dead, trouble that could also mean his never returning to the land of the living; right now you’re never quite sure how a Pixar movie is going to work out, but Coco is a treat, its mix of clever character design, beautifully rendered animation (naturally), heartfelt storylines, and memorable songs making it one to savour time and again… though, be warned, you will be in tears towards the end.

Darkest Hour (2017) / D: Joe Wright / 125m

Cast: Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ben Mendelsohn, Ronald Pickup, Nicholas Jones, Samuel West

Rating: 8/10 – it’s 1940 and Great Britain is faced with a challenge: who is to lead them against the fast-approaching menace of the Nazis, and if it has to be Winston Churchill (Oldman), then what can be done to undermine him and his authority?; the answer is quite a bit – for the most part – but history is firm on Churchill’s success, and so Darkest Hour, while featuring a superb performance from Oldman, has no choice but to succumb to retelling events that have already been retold numerous times before, and in doing so doesn’t offer the viewer anything new except for a number of very good performances and assured, and surprisingly sinewy direction from Wright.

Message from the King (2016) / D: Fabrice du Welz / 102m

Cast: Chadwick Boseman, Luke Evans, Alfred Molina, Teresa Palmer, Natalie Martinez, Arthur Darbinyan, Lucan Melkonian, Diego Josef, Tom Felton, Chris Mulkey, Jake Weary

Rating: 5/10 – when his younger sister dies in suspicious circumstances in Los Angeles, South African cab driver Jacob King (Boseman) travels there to find out who caused her death and why – and exact revenge; a throwback to the kind of blaxploitation movies made in the Seventies, Message from the King at least refers to King as an angry brother in the traditional sense, but the movie’s plot is hollow, and the likes of Evans and Molina are wasted in roles that might have seemed fresh (again) in the Seventies, but here feel like caricatures for the movie to focus on in between bouts of King exacting his violent revenge.

The Commuter (2018) / D: Jaume Collet-Serra / 105m

Cast: Liam Neeson, Vera Farmiga, Patrick Wilson, Jonathan Banks, Sam Neill, Elizabeth McGovern, Killian Scott, Shazad Latif, Andy Nyman, Clara Lago, Roland Møller, Florence Pugh

Rating: 4/10 – ex-cop turned insurance salesman Michael MacCauley (Neeson) is approached by a mysterious woman (Farmiga) on his train home and tasked with finding a complete stranger who’s also on the train – what could possibly go wrong?; everything as it turns out, with The Commuter going off the rails soon after, and never getting back on track, something confirmed (if there was any doubt before then) when the script throws in an “I’m Spartacus/I’m Brian” moment (take your pick), as well as reminding everyone that Neeson really is too old for this kind of thing.

The Post (2017) / D: Steven Spielberg / 116m

Cast: Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood, Matthew Rhys, Alison Brie, Carrie Coon, Jesse Plemons, David Cross, Zach Woods, Pat Healy

Rating: 9/10 – the publication of the Pentagon Papers, which exposed the level of deceit the US government had perpetrated on its citizens about its involvement in Vietnam, is explored through the days leading up to the Washington Times‘ courageous decision to publish despite the threat of imprisonment for treason that the White House was prepared to enforce; Streep is publisher Kay Graham, Hanks is legendary editor Ben Bradlee, and Spielberg is on excellent form, giving The Post a sense of immediacy and potency that other historical dramas can only dream of (and the relevance to today’s US political scene doesn’t even need to be made obvious).

The Open House (2018) / D: Matt Angel, Suzanne Coote / 94m

Cast: Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins, Aaron Abrams, Edward Olson, Katie Walder

Rating: 3/10 – a recent widow (Dalton) and her mopey son (Minnette) get away from their grief and their problems at a house that’s up for sale – and find strange things going on there right from the start; an awful thriller that just refuses to make any sense or make either of its two main characters sympathetic, The Open House does everything it can to make you look away… and not in a good way.

Welcome to the World of High Concept/Low Return – Don’t Breathe (2016) and The Shallows (2016)

18 Sunday Sep 2016

Posted by dullwood68 in Movies

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Tags

Action, Blake Lively, Blind man, Drama, Dylan Minnette, Fede Alvarez, Home invasion, Horror, Jane Levy, Jaume Collet-Serra, Medical student, Mexico, Murder, Review, Robbery, Seagull, Shark, Stephen Lang, Surfing, Thriller

Don’t Breathe (2016) / D: Fede Alvarez / 89m

Cast: Jane Levy, Dylan Minnette, Stephen Lang, Daniel Zovatto, Franciska Töröcsik

You can hear the pitch even now: “What if these thieves tried to steal a lot of money from someone, and that someone was blind and he trapped them in his house and turned the tables on them?” A grateful production executive greenlights the project in seconds, and sometime later, the finished project is hitting screens with all the fanfare required of an original thriller (Don’t Breathe is being advertised and touted as a horror movie. It’s not; but more of that later.)

However, the grateful production executive clearly abdicated any responsibility for the project once he gave it the go-ahead. If he hadn’t, then maybe he could have insisted that the basic storyline, the marginally interesting characters, and the increasingly silly narrative be better developed before filming began. Sadly, it wasn’t, and the intriguing pitch that started everything off goes nowhere fast before throwing itself head first into the Comedy Zone in its last twenty minutes.

Every year the critics – and audiences – latch on to a movie they believe is a cut above the rest when it comes to other thrillers/horror movies/comedies etc. Don’t Breathe is one such movie, but as it does so little to justify its elevated importance, it’s tempting to wonder if the critics – and audiences – have seen a completely different cut of the movie; and if they have, why aren’t we allowed to see it? The basic premise is somewhat intriguing – three delinquents, Rocky, Alex and Money (Levy, Minnette, Zovatto), decide to go for broke on their next robbery/home invasion, but come up against a blind man whose resourcefulness (and unnerving ability to be in the wrong place at the right time) puts them in a life or (mostly) death situation.

Alvarez is a rising star in the horror firmament, and his remake of Evil Dead (2013) was better than expected. But here he’s in classic thriller territory, with a group of “innocents” being pursued by a relentless killer (Lang’s preternatural blind man), and finding themselves pushed beyond their limits. And though Alvarez is undoubtedly talented, here it’s obvious that he doesn’t have any answers when a script breaks its own rules – repeatedly. The blind man is referred to as an Army veteran, and because he’s played by Lang, we know he’s going to be a hard man to beat. But where a blind person’s other senses are often enhanced, here they come and go on a whim and a prayer. One minute he can hear extremely well, enough to pinpoint someone’s position in a ventilation system, the next he can’t hear a heavily wounded Minnette sneak up on him.

The problem with Don’t Breathe is that it wants to be a thrill ride with bloody (but non-horror) moments, but it forgets to add the thrills. A string of attempts to escape the house are repeatedly set up for Rocky and Alex to fail (Money exits stage left early on), and the plot’s major “twist” seems at first to be “great”, but it’s more of a way to keep the plot from collapsing in on itself (and pad out what would otherwise be a pretty meagre running time). In the end, the script, by Alvarez and Rodo Sayagues, runs out of steam and values unfortunate laughs over the muted tension it’s achieved earlier on. And as for the coda, well, let’s just say that clumsy is as clumsy does, and the end of the movie is very, very clumsy indeed.

Rating: 5/10 – with no one to care about or root for, Don’t Breathe becomes an exercise in soulless thriller tropes that let’s down the viewer continually once the blind man makes his presence felt; notwithstanding an eerie sequence in the basement when the lights go out, and some excellent production design, the movie will have long-standing fans of the sub-genre yawning at the absurdity and hamfisted nature of it all.

The Shallows (2016) / D: Jaume Collet-Serra / 86m

Cast: Blake Lively, Óscar Jaenada, Angelo José Lozano Corzo, José Manuel Trujillo Salas, Brett Cullen, Sedona Legge, Diego Espejel

As with Don’t Breathe, you can hear the pitch just as clearly: “What if a surfer, a lone woman even, gets trapped on a rock two hundred yards from land, but can’t get there because there’s a huge great shark stopping her?” And once again, a grateful production executive greenlights the project in seconds, and sometime later, the finished project is hitting screens with all the fanfare required of an original thriller. And yet…

The problem with The Shallows, however, is that, like Don’t Breathe, you don’t get a chance to really care about the main character, Nancy (Lively). We get to spend an awful lot of time with her, and while her predicament is scary enough on its own, it isn’t really enough in general terms for it all to work as well and as harmoniously as it would like. We get some back story – Nancy’s making a pilgrimage to the beach her mother, who has died recently, fell in love with twenty-five years before – but it’s very perfunctory and serves to pad out the script at the movie’s beginning. Then we have an extended section that shows just how good a surfer Blake Lively’s stunt double is, before Nancy’s leg gets chomped on and she makes it to the rock (along with an injured seagull).

And then the movie does something unforgivable: it makes Nancy’s predicament boring to watch. As if realising that having its heroine stranded on a rock with nowhere to go isn’t quite as cinematic as it hoped, the movie brings in a drunken Mexican (and brings back two surfers from earlier on), and serves them up to the shark as a way of re-engaging the audience’s interest (the drunkard’s death is particularly nonsensical, and any viewer who doesn’t hang their head in despair at the way in which he goes to his death, should give up now if they think it makes any sense whatsoever). Then it’s full speed ahead to the final showdown, Nancy vs shark, and the kind of over the top outcome that provokes laughter instead of relief.

After a string of uneven yet mostly effective thrillers starring Liam Neeson – Unknown (2011), Non-Stop (2014), Run All Night (2015) – Collet-Serra seems unable to do anything positive with Anthony Jaswinski’s tension-free script. From the decision to shoot most of the movie against a green screen (making most shots and scenes look false and oddly lit), to failing to address issues of continuity (how do the two surfers fail to see the drunkard’s remains on the beach when they come back?), Collet-Serra allows the fractured narrative to play out with barely an attempt at tightening things up, or avoiding treating the viewer like a numpty (sure, you can “stitch” a bite wound with just a couple of pieces of jewellery and not bleed out – no problem).

As the injured yet resourceful Nancy, Lively is a good enough actress that she can overcome some of the more bizarre decisions her character makes – resetting a seagull’s dislocated wing, anyone? – but for most of the time she’s either yelling in pain or shouting for help. Some of the earlier scenes are geared around showing off her figure, and there’s a particularly gratuitous surfboard-cam cleavage shot that adds nothing to the sequence it appears in, but as the movie progresses she keeps covered up and her predicament is kept to the fore – until the end when she’s required to strip back down to her bikini. We may be in the twenty-first century but in certain regards, it seems, the times they aren’t a-changin’ (or are ever likely to).

Rating: 4/10 – a thriller that plays out by the odd numbers alone, The Shallows does everything it can to fall short of expectations and commitment; with its unhappy use of CGI, and an overbearing score courtesy of Marco Beltrami, it’s a movie that brings apathy and indifference to the table in ever increasing portions.

Goosebumps (2015)

06 Sunday Dec 2015

Posted by dullwood68 in Movies

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Tags

Abominable Snowman, Amy Ryan, Comedy, Delaware, Drama, Dylan Minnette, Fantasy, Giant praying mantis, Jack Black, Madison, Monsters, Odeya Rush, R.L. Stine, Review, Rob Letterman, Ryan Lee, Slappy, Wolfman

D: Rob Letterman / 103m

Cast: Jack Black, Dylan Minnette, Odeya Rush, Amy Ryan, Ryan Lee, Jillian Bell, Halston Sage, Ken Marino, Timothy Simons, Amanda Lund

There’s a moment in Goosebumps when Mr Shivers (Black), having already been rumbled as the writer R.L. Stine, tries to maintain his cover. Not believing him for a second, new neighbour Zach (Minnette) goads him by saying that he’s not as good a writer as Stephen King. Shivers/Stine rounds on Zach and in the process mentions that he’s sold way more books than “Steve”. It’s an odd moment in an otherwise straightforward, enjoyable imagining of Stine’s fictional world of monsters, and while it may be true, you can’t help but wonder if it’s there to give Stine some extra credibility now that he’s been adapted for the movies (not that he needs it). (And maybe it’s an issue for him.)

On the strength of this outing, Stine has little to be worried about. Although Goosebumps is a steadfastly homogenised horror fantasy for children – the zombies aren’t at all frightening, and the abominable snowman is played mostly for laughs – it has enough in the way of heavily stylised fantasy elements to keep its target audience happy for an hour and a half or so, and has been lucky enough to secure the services of Black as the “cursed” author. Black strikes just the right tone as an anxious, over-protective father-cum-author whose creations will spring fully formed and alive from the pages of his books if they’re opened (this doesn’t explain how his books have been published up til now, but it’s a great idea for a fantasy movie).

With Zach believing that his reclusive neighbour is mistreating his daughter, Hannah (Rush), he convinces a school friend, Champ (Lee) to help him break in to the house next door and ensure that Hannah is okay. Along the way, they discover bear traps in the basement and a bookcase full of Goosebumps novels that have locks on them. And in true children’s fantasy style, one of the books is opened, while the others all fall to the floor, leaving at least one of the books unlocked. The trouble is, this particular book features Slappy the ventriloquist’s dummy, and he’s the one monster that Stine doesn’t want to let out at all… and Slappy knows it.

Soon the town of Madison, Delaware is home to all sorts of rampaging monsters and creatures, and it’s down to Stine, Hannah, Zach and Champ to save the day by getting all of the author’s creations back in their books. But Slappy is one step ahead of them, and is making sure each book is burnt once the creature in it is released. This leaves the quartet with only one option: to make sure Stine has the time he needs to write a new story that involves all the monsters so that they can be returned to the new pages en masse.

There are the usual obstacles to their doing this, and the usual action sequences when they encounter any of the monsters – the lawn gnomes are particularly good – but it’s all done with an energy and a sense of fun that carries the movie along and doesn’t allow it to get bogged down by too many distractions. As mentioned before, Black is great as the author whose sense of responsibility has kept him moving from place to place and isolated his daughter in the process (though a plot twist two thirds in unfortunately cancels this out), while Rush, Minnette and Lee all play their standard teen characters with verve if not too much depth. Ryan is continually sidelined as Zach’s mother and high school vice principal, and Simons and Lund are given brief exposure as the town’s (apparently) lone law enforcement officers, with Lund’s gung ho approach bagging quite a few laughs.

In the hands of screenwriter Darren Lemke, Goosebumps sets out its stall quite early on and sticks to what is a safe formula: kids accidentally release monsters, team up with concerned adult, and find a way to save the day. But the movie avoids outstaying its welcome, though it does takes each new monstrous development in its stride, which is at a cost to the drama and the tension that should be inherent in the storyline. By ensuring that its target audience isn’t too frightened or worried, there’s no real sense of danger or peril, and each “threat” is neatly or quickly dealt with.

As you’d expect the special effects are woven seamlessly into the physical action, and there’s a pleasing sense of spectacle when the high school is besieged by all the creatures. Keeping things moving with an eye for the quirkier moments, Letterman allows his cast, both human and CGI, their individual moments to shine – Champ rescues the girl he likes from the wolfman, Slappy acknowledges his driving Stine’s car is compromised by not being able to reach the brakes – and includes enough adult humour to keep older viewers happy. And most of all, he manages to keep Zach and Hannah’s blossoming romance from becoming too mawkish or saccharine.

Rating: 7/10 – straying too close to formula to make it stand out from similar fare, Goosebumps is nevertheless a fun ride that can be enjoyed by children and adults alike; if there are to be any more adaptations of Stine’s work then that won’t be such a bad thing at all.