ONWARD Starring the voices of: Tom Holland and Chris Pratt Directed by: Dan Scanlon Rated: PG Running time: 1 hr 42 mins Walt Disney
Fathers and sons. As a father (and a son) I can tell you there
is nothing like the bond shared between the two. Films dealing with this special relationship
have been around since time immortal.
From “The Godfather” to “The Lion King,”… from “Field of Dreams” to “Indiana
Jones and the Temple of Doom,” the celebration of that bond is timeless. So, if you had only 24 hours to discover that
bond, wouldn’t you do ANYTHING to achieve it?
Ian Lightfoot (Holland) is
turning 16 but he doesn’t seem to pleased.
His mother (Julia Louis-Dreyfuss) wants him to invite his friends over
for a party but, with the exception of a few of his classmates, he really doesn’t
have any. Ian lives with his mom and his
older brother, Barley (Pratt). Ian’s
father passed away before Ian was born and today, to honor his pop, Ian is
wearing his dad’s favorite college sweatshirt.
A random meeting with a former classmate of his dad gives Ian a new
insight into him. To make things even
more exciting, his mother gives Ian a present that dad intended to give him on
this special day. It seems that dad was
a fan of wizardry and has bequeathed Ian his staff. He has also given him a spell that will allow
Ian to bring his father back for one day.
A day that Ian will remember forever.
I’ll have to admit that I
went into this film not expecting much.
Obviously, as it was from PIXAR, I knew that visually it would be
amazing (and I was right) but from the previews I didn’t think the story would
hold my attention. WRONG! Helped by the strong vocal performances from
the cast, “Onward” is a fine addition to the proud line up of films the company
has produced. It hits all of the
emotional notes and, if you’ve ever been a child who longed for a few extra
moments alone with your dad, it brings tears to your eyes.
Like most animated films
these days, the cast is top notch.
Holland brings his youthful exuberance to the role while Pratt is all
blustery bravado. Both actors inhabit
their characters. Louis-Dreyfuss,
Octavia Spencer and the rest of the cast do likewise. Visually, the film is gorgeous. Brightly colored and stunningly rendered,
this is a film that can stand proudly next to such recent fare as “Toy Story 4”
and “UP” as a can’t miss hit for the entire family to enjoy!
THE INVISIBLE MAN Starring: Elisabeth Moss, Oliver Jackson-Cohen Directed by: Leigh Whannell Rated: R Running time: 2 hrs 4 mins Universal
There’s a great joke I first
heard in the eighth grade that deals with a mishap involving Superman, Wonder
Woman and the Invisible Man. I can’t
relate it hear but believe me, the punchline is killer. So is the latest incarnation of the Invisible
Man.
We open on a couple in
bed. As Adrian (Jackson-Cohen) sleeps,
Cecilia (Moss) gets up, gathers some things and makes her way quietly out of
the state of the art house. Doing her
best to avoid cameras and not set off alarms, she makes her way to the road,
where a ride is waiting. But she will
soon find out that you can’t run away from some things, no matter how hard you
try.
Genuinely terrifying, with a
tour-de-force performance by Ms. Moss, “The Invisible Man” starts off slowly
and clumsy. 20-minutes in I resigned
myself to the fact that I was going to see a rehash of “Sleeping with the Enemy,”
only with a Patrick Bergin that I couldn’t see.
But just as that thought came into my head, writer/director Whannell
flipped the switch, taking the film into directions I never would have
imagined.
There have been many attempts
at filming H.G. Wells’ story of a man with the power of invisibility, from the
1933 Universal Horror Classic “The Invisible Man” starring Claude Rains to the
2000 Kevin Bacon-starrer “Hollow Man.”
Heck, even Kurt Russell and Chevy Chase have taken comedic shots at the
story. But here, the main theme is
terror, especially to an audience who is on the edge of their seats, intently
staring at the screen and looking for the slightest hint the bad guy is there.
Moss is a revelation
here. Best known for her television and
streaming work (“Mad Men,” “The Handmaids Tale”) and a strong supporting turn
in last year’s Jordan Peele horror masterpiece, “Us,” she has the unenviable
job of basically interacting with a character that the audience never
sees. Whether arguing, pleading or
physically fighting with our villain, it’s just her on the screen, yet you feel
her terror, especially when she is violently struggling with an entity that she
(nor the audience) can see. Mr.
Whannell, no stranger to horror thanks to his involvement in the “Saw” and “Insidious”
film series, keeps the pace moving (after the first half-hour) and uses his
camera as an almost additional character.
The musical score, by Benjamin Wallfisch (“IT,” “Bladerunner: 2049),
helps set the mood as well. The result
is the most terrifying film since the aforementioned “Us.” By all means, go see it…even if you can’t SEE
it!
EMMA Starring: Anya Taylor-Joy, Johnny Flynn Directed by: Autumn de Wilde Rated: Rated PG Running Time: 2 hrs 5 mins Focus Features
Patience is a virtue and you must be virtuous indeed to eventually enjoy the newest adaptation of Jane Austen’s 1815 classic novel, “Emma.” This is due to its initial pacing, which is lethargic, and it takes a bit to get comfortable with the cadence of the dialogue. Anya Taylor-Joy (“Glass,” “Split”) delivers a solid performance as the strong-willed title character, but excepting Bill Nighy as her character’s somewhat eccentric father, the remaining supporting cast doesn’t provide much that is memorable. Some of the blasé quality can arguably be attributed to “Emma” being the feature-length film debut for American director Autumn de Wilde, whose previous endeavors have predominately been video shorts. The trick for something so well known, and thus predictable like “Emma” is for it to be unpredictable. Sadly, it fails to surprise in any way.
This silver screen adaptation of Austen’s work begins by telling us that, “Emma Woodhouse, handsome, clever, and rich, with a comfortable home and a happy disposition… and had lived nearly twenty-one years in the world with very little to distress or vex her.” Having grown up in a privileged, aristocratic existence, Emma is spoiled and is vain about her matchmaking abilities. Her own self-aggrandizement has caused her to be blind to the dangers of playing with other people’s hearts.
With no wish to become married herself, even though she pines away for an often talked about yet unseen Frank Churchill (Callum Turner, “War & Peace”), it has become Emma’s desire to follow-up her most recent matchmaking success by finding a suitable suitor for her friend, Harriet Smith (Mia Goth, “Suspiria”). Harriet is a nice girl with a pleasant disposition but is not as high on the social ladder as Emma, which is a challenge for her because she wants to upgrade Harriet’s status.
Emma proves to be ignorant of a good thing right in front of her in the form of one George Knightley (Johnny Flynn, “Clouds of Sils Maria”), a gentleman of means who lives within walking distance. Generous and kind-hearted, George doesn’t mince words with Emma as he often expresses disdain for her meddling in other people’s affairs. Ultimately, Emma finds herself in an ostracized position and must look inward in order to make things right.
“Emma” contains some beautiful costume designs, wonderful locations, and good cinematography throughout its running time. It’s nice icing on the cake, but the cake itself is what’s truly important. There are a few moments that produce laughter, especially ones involving Nighy being a scene stealer, but de Wilde’s retelling fails to pull on the heartstrings enough to evoke a deep, emotional reaction when the climax arrives. It’s a decent enough film so that one doesn’t feel like they have wasted two hours of their life, yet “Emma” isn’t something that’s so impactful that you will still remember it say two years from now except, of course, for perhaps diehard Austen fans.
THE CALL OF THE WILD Starring: Harrison Ford Directed by: Chris Sanders Rated: Rated PG Running Time: 1 hr 40 mins 20th Century Studios
The 1903 novel “The Call of the Wild” by American novelist John “Jack” London (1876-1916) was written after the author had spent nearly a year in the wilds of the Canadian Yukon. It is arguably his most popular work and has been adapted to film several times – a silent film in 1923 followed by a 1935 version starring Clark Gable and Loretta Young, and numerous others since. Its indelible mark on American literature cannot be discounted as Hollywood has yet again decided to release another silver screen adaptation. Directed by Chris Sanders (“The Croods,” “How to Train Your Dragon”) and starring Harrison Ford, this newest incarnation is a dullish version of London’s classic tale. It’s tragic because the original story is full of harrowing adventure and timeless themes. However, its clear that Sanders and 20th Century Studios, formerly 20th Century Fox, wanted to make a more politically correct and kid-friendly story.
Set in 1897, we meet Buck, a 140-pound St. Bernard-Scotch Collie mix, at the Santa Clara Valley home of one Judge Miller (Bradley Whitford). A highly intelligent, happy-go-lucky pet, Buck has a knack for getting himself into trouble. It’s all nice and cute and feels like a Disney movie at this point, but what becomes annoying perpetually forward is that Buck is a CGI creation, and a poor one at that. It gives the film a phony quality, but of course it might have caused too much controversy if a real dog had been used instead. Be that as it may, after one trouble-filled occasion, Buck is forced to stay the night on the porch, which proves to be a fateful decision by Judge Miller. A nefarious local steals Buck for the money he will receive from those looking for good sled dogs in the Yukon.
After learning the law of the club, Buck is purchased by a mail deliverer and his assistant who need a new dog for their sled team. (Amidst this, Buck has his first encounter with John Thornton (Harrison Ford), a man with a wounded soul looking to disappear into the northern wilderness.) Gradually, Buck, guided by a black wolf that represents his inner call to the wild, learns to be a part of a pack, but he ends up butting heads with the team’s menacing sled leader, Spitz for leadership. This conflict, for example, has been watered-down to the point it fails to reflect the struggles of nature that London related in his work. However, it’s par for the course as London’s original, brilliant story is repeatedly gutted.
Eventually, Buck acquires yet another new master, but this one is cruel, naïve and blinded by gold lust. When Buck is worked nearly to death, it is Thornton who saves him and takes him in. Perpetually mourning the loss of his son, Thornton answers a call to adventure and sets out with Buck to find the wildest place they can. Once there, Buck is put in a position to decide if he wants to stay in the world of man or answer his ancestral calling. The real calling, though, that everyone should answer is stay away from this movie. Instead, pick up London’s book, or download it, and read it for yourself. You’ll be glad you did.
FEEDBACK Starring: Eddie Marsan, Paul Anderson, Ivana Baquero Directed By: Pedro C. Alonso Not Rated Running Time 98 min Blue Fox Entertainment
A London radio station transforms into a pressure cooker when a late night host is held captive in his own recording studio. What starts as a not-wholly-unexpected hostage situation for the controversial host quickly reveals the thugs have more personal than political reasons for their chosen target. Director Pedro Alonso’s Feedback, which is now out on VOD and releases February 18th on DVD, is a tightly orchestrated thriller that hinges on a strong leading performance from Eddie Marsan despite a questionable point of view.
Dolan Jarvis (Marsan) has been attacked before. Anchoring a late night radio show called “Grim Reality” where he rages on all things political (Brexit, Russian election tampering, et al), he isn’t as shaken as the average person returning to work after having been attacked by angry listeners. That said, his producer (Anthony Head) is still angling to force a co-host on him in the form of rocker Andrew Wilde (Paul Anderson, “Peaky Blinders”). As he starts his usual broadcast, a group of masked thugs trap Jarvis in his studio and threaten him to stick to their exact script when Wilde arrives. At first Jarvis balks but he gets on board when he realizes his daughter, who also happens to be in the radio offices that night, as well as his young studio technicians are threatened as well.
What should be a limiting contrivance–holding all action captive in a recording space–is actually one of the film’s strengths. Alonso goes a long way to making sure that the viewers feel Jarvis’s claustrophobia as his assailants bear down on him. The pristine studio also makes for a good visual contrast with the acts of violence. Then in the latter stages of the film, he keeps throwing Marsan further into situations where he feels more and more like a rat in a maze. It’s highly stressful and highly effective.
Marsan meanwhile as the victim gains a lot of sympathy when he’s first caught that pays off in dividends for the film. Alonso pulls a bit of a switcheroo by firmly placing the audience on Jarvis’s team so to speak before the ostensible villains of the piece get him and Wilde to expose more of their past digressions on air. If it weren’t for Marsan and Anderson’s respective charisma, I think this film would have run a real risk of losing viewers completely when all is said and done. Your mileage may vary, but despite where the film takes the characters, it still delivers several gasp-inducing thrills and is worthwhile for Marsan’s performance.
DOWNHILL Starring: Will Ferrell and Julia Louis-Dreyfuss Directed by: Nat Faxon and Jim Rash Rated: R Searchlight Pictures
WARNING: Do not be
fooled by the previews for the film “Downhill” which highlight a few humorous
scenes from the film. If it’s funny you’re
looking for…this aint it!
Pete and Billie (Ferrell and Louis-Dreyfuss) have arrived in
Austria for a skiing vacation with their children. On the surface things seem fine and the first
night in their hotel goes swimmingly.
The next morning Pete brings out his father’s old ski hat and we learn
that he is still grieving the man’s passing several months before. While lunching on the terrace of their chalet
a “planned” avalanche heads towards the chalet and buries everyone on the
terrace in a pile of snow. Except for
Pete. At the moment of truth he has
hopped off his chair, grabbed his cell phone and run off, leaving Billie to try
to shield her sons from the white peril.
They are fine but Billie can not understand why Pete left them. And here is where we learn the film’s title
refers not to the skiing but to Pete and Billie’s relationship. Are you laughing yet?
Based on a French film titled “Force Majeure” – a term which
is defined as “unforeseeable
circumstances that prevent someone from fulfilling a contract” – “Downhill” is
more a drama than a comedy. Pete must
deal with his feelings of loss regarding his father and the look of shame in
his boy’s eyes for his cowardice. Billie
must deal with her perceived loss of trust in Pete to look out for and care for
the family. A “chance” meeting with one
of Pete’s co-workers and his lady friend, both of whom seem carefree compared
to Pete and Billie, only make things worse.
There are some funny parts but most of them are contributed by Miranda
Otto who plays “Charlotte,” a lady at the chalet looking to enjoy her life and
the adventures it holds.
Not to say that Ferrell and Louis-Dreyfuss aren’t fine in
their roles. They each handle the
dramatics well. I think it’s the fact
that the film took me off guard concerning it’s theme that resulted in the
rating I’ve given it. I mean, I honestly
think I laughed more at “Joker.” Co-directors
Faxon and Rash also did the same thing on a film I loved called “The Way Way
Back.” They also co-wrote it, as the did
here along with Jessie Armstrong. “The
Way Way Back” was also a mix of drama and comedy but it had something that “Downhill”
is clearly missing. Heart.
Now that the Oscars dust has settled, it’s time to take a look at how we here at Media Mikes, readers and writers alike, voted for our top cinematic achievements of 2019 in our 9th Annual Media Mikes Awards
“Joker,” Todd Phillips’s dark look at the origins of Batman’s greatest enemy, “Once Upon a Time…in Hollywood,” Quentin Tarantino’s fable about the summer of 1969 and Sam Mendes’s enthralling WWI drama, “1917”, topped our lists with two awards each.
“Hollywood” took home the big prize as the year’s Best Picture and also nabbed Best Supporting Actor award for Brad Pitt. “Joker” earned wins for Joaquin Phoenix as Best Actor as well as Best Original Score, written and composed by Hildur Guðnadóttir. “1917” earned the award for Best Director for Sam Mendes and was also recognized for its cinematography by the legendary Roger Deakins.
Additional winners included Reneé Zellwegger as Best Actress for her portrayal of Judy Garland in “Judy” and Scarlett Johansson as Best Supporting Actress for her work in “JoJo Rabbit.”
“Toy Story 4” was chosen as the year’s Best Animated Feature.
This year saw more than 3,000 readers submit their choices in the seven top categories, check out the complete list of our winners below
Reader Voted Awards Went to…
Best Picture – “Once Upon a Time…in Hollywood” Best Director – Sam Mendes, “1917” Best Actor – Joaquin Phoenix, “Joker” Best Actress – Renee Zellweger, “Judy” Best Supporting Actress – Scarlett Johansson, “Jojo Rabbit” Best Supporting Actor – “Brad Pitt, Once Upon a Time…in Hollywood” Best Animated Feature – “Toy Story 4”
Awards chosen by our Media Mikes writers went to…
Best Original Screenplay – Bong Joon Ho and Han Jin Won, “Parasite” Best Adapted Screenplay – Greta Gerwig, “Little Women” Best Documentary Feature – “David Crosby: Remember my Name” Best Cinematography – Roger Deakins, “1917” Best Original Score – Hildur Guðnadóttir, “Joker”
Composer John Williams, who recently earned his 52nd Academy Award nomination, was name the recipient of this years Media Mikes Lifetime Achievement Award.
Congratulations to the winners and thank you to everyone who voted!
Starring: Brian Emond, Zach Lamplugh and Jeffrey Stephenson Directed by: Zach Lamplugh Rated: R Running Time: 90 minutes
I used to work as a morning news producer in the Kansas City metropolitan area. One of the strangest things I ever came across during my time was during the closure of the Wentworth Military College in Lexington, Missouri. Cpt. Scott Nelson, an instructor at the former private university, believes to have tapped into the language of Bigfoot (or is it Bigfeet?). He believed in it so thoroughly, he served as a keynote speaker at several Sasquatch conventions. I guess what I’m trying to say is, not every Bigfoot believer is some backwoods simpleton. That’s one of the few charming takeaways you’ll get as well if you happen to catch “The Vice Guide to Bigfoot.”
Vice reporter Brian (Emond) loathes his job. He entered journalism in hopes of tracking down a juicy story or saving the world. Instead he’s chasing after clickbait stories and highlighting war torn Crimea’s craft beer scene. Brian’s constant in life, other than the terrible stories he reports on, are his cameraman and producer, Zach (Lamplugh). Brian reaches his breaking point when the two are tasked with going on a hunt for the infamous, Bigfoot, along with Youtube Sasquatch hunter Jeff (Stephenson).
“The Vice Guide to Bigfoot” is almost a mockumentary in the same vein of “What We Do in the Shadows,” but it’s more focused on mocking other things, like the current state of journalism and Vice’s attempts at it. It also has a lot of humor at the sake of online cryptozoologists, hillbillies and social media. While there is a lot of comedy, at a character’s expense, the film is never cruel. Everyone is given their own backstory that’s sympathetic, so that they can have their own form of redemption by the film’s end.
In a lot of ways, the movie is far from being about Bigfoot which works to its benefit. Especially since some found footage or mockumentaries prior, like “Willow Creek,” more or less tread familiar tropes despite a change of scenery. While it’s a pretty damn funny movie, it’s hard to see myself watching this again by myself. I may watch it again if I want someone else I know to watch it, since some jokes work better with a group. In some ways that’s a knock at the movie, but I feel that it’s sufficiently funny and entertaining enough, that it’s worth a watch.
BIRDS OF PREY Starring: Margot Robbie, Ewan McGregor, Rosie Perez, Jurnee Smollett-Bell, Mary Elizabeth Winstead, Ella Jay Basco Directed By: Cathy Yan Rated: R Running Time: 109 mins. Warner Brothers
After a major breakup, one Harley Quinn is down in the dumps. But dammit if she’s not going to lift herself out of it and take audiences along for the ride. And what a wild ride it is. Cathy Yan and producer/Harley herself, Margot Robbie deliver a creative, intense and above all, fun burst of action that really couldn’t be better placed on the calendar than right before Valentine’s Day. Grab your favorite colorful candy, your friends, your pet hyenas (just not any shitty exes) and go.
For those unfamiliar with Ms Quinn, director Yan opens with a helpful primer without having to look at a single frame of Suicide Squad. HQ was a brilliant med student-turned-psychiatrist-turned-lover of the Joker, her former patient. It was a position that allowed her to get away with murder, possibly literally. No one was crossing the Clown Prince of Crime. Unfortunately for her, it was also a subjugated position. Her schemes weren’t appreciated when they succeeded, she was abused and taken for granted. Yan doesn’t go into the particulars of the breakup and blessedly doesn’t bring Jared Leto or any other iteration of “Mr. J” in here—because he’s besides the point—but Harley is a bit of a mess as a result. She’s already dealing with an identity crisis when a crime lord named Roman Sionis (McGregor) places a bounty on the young girl that Harley herself is meant to be delivering to him in 24 hours, on pain of death.
If the above has you questioning where the “Birds of Prey” from the title come in, you would be right, but I’d also wonder if you watched a single trailer for this movie. This is very much the Harley show. Her teammates come in gradually—Black Canary (Smolett-Bell) first and most prominently, followed by police officer Renee Montoya (Perez) and Huntress (Winstead). They all have their own grievances with Roman. The good news is, Harley cheerfully gets you up to speed on their backstories as they join the party. Meanwhile the actresses truly make the most of their limited screen time. Winstead in particular sells an assassin who is as fierce in battle as she is socially awkward. I mean, if all you do is train for vengeance, yeah, you might not be great with new friends.
The person who gets the most time to balance out Harley’s zaniness with his own brand of ham is Ewan McGregor as Roman, aka The Black Mask. He and main enforcer, Mr. Zsasz (Chris Messina) are operating on their own levels of strange and flamboyant and I was into it. Again, he could have even gone for more over the top as far as I’m concerned, but his finale left me more than satisfied. Above all, if the worst I can say about this movie is I wanted more and not less in a time where bloated two and a half hour runtimes are the norm (sorry, Aquaman!) that’s not a bad thing.
Finally not to mix up my IPs or anything, but as this movie unfurled, I actually thought of Disney Imagineers. As it goes, they’re encouraged to “plus” their rides and attractions–a phrase they use when taking a solid idea and ramping it up with “what if?” possibilities. Every action sequence in Birds of Prey feels like it’s been plussed. It’s not enough that the stunt work be impeccable but what if everyone also dressed fantastic? Or what if a gunfight takes place among rainbow smoke bombs? Turn on some sprinklers while you’re at it! Have a climax in a carnival. The result is a film that feels like a comic book in the best of ways.
Going into the new year, I was majorly psyched for the trifecta of big name female-led superhero movies we have coming our way. Birds of Prey just blew the doors off 2020 and raised the shiny, glittery bar. Bring on Natasha and Diana.
Starring: Jeremy King, Noah Segan and Toni Trucks Directed by: Courtney and Hillary Andujar, Anthony Cousins, Emily Hagins, Aaron B. Koontz, Chris McInroy, Noah Segan and Baron Vaugh Rated: R Running Time: 103 minutes
For a moment if you could, look at two different subgenres; horror anthologies and horror parodies. There are some strong candidates in each category. For anthologies, you got “Creepshow” and “Trick R Treat.” For parodies, you got “Scary Movie” and “Tucker and Dale vs. Evil.” I know I’m leaving a few movies out of the categories, but there’s a reason I want you to think about these two. How difficult do you think it is to combine them? I know what some of you are thinking. “Cabin in the Woods.” But what if a horror anthology parody film even subverted that?
I know my opening salvo promises grand things, but for most horror aficionados, I promise that you’ll love “Scare Package.” Very rarely do I want to immediately rewatch an anthology film or parody after leaving the theater, so this is a rare occasion for me. The main reason is that anthologies stay out their welcome and parodies require an audience to soak up the hit or miss laughs. “Scare Package” is the kind of film that’s prime for an audience, but will certainly make most people sitting at home alone smirk at its mocking nature.
The one thing that makes “Scare Package” work, is Aaron B. Koontz, the man in charge of the wrap-around story, as well as the overall product. One caveat that Koontz revealed at Panic Fest, which this movie was screened at, was that he allowed creative freedom to all other directors and writers, while providing oversight. He wasn’t a guiding hand, but he certain was able to cherry pick the scripts that best fit his overall vision. It’s a delicate balancing act, which pays off in dividends. While some shorts in the anthology fit the ridiculing nature, other shorts don’t sneer as much, but still pay homage to an idea or manage to riff on a pop-culture idea.
I’d really like to dive into the individual shorts, but I’d feel it’s unfair and that I’d fall into the stereotype of reviewing anthology films; breaking each one down, outlining strengths and weaknesses while revealing which ones I favored. For a movie like “V/H/S,” I’d find that as a completely fair form of critique, but for “Scare Package,” it feels unfair. While a film like “V/H/S” is so scattershot, “Scare Package” is a, not to sound cliché, complete package. Everything is so fluid, you sometimes forget you’re watching an anthology.
The one thing “Scare Package” avoids is length. Sometimes these movies linger too long, even if the shorts and movie as a whole are good. A movie like “ABCs of Death” can work, but you find yourself fast forwarding on rewatches. With “Scare Package” you’ll undoubtedly find yourself finding some new nod or wink every time. The movie as a whole, and each individual short, serve as little bows to the ideas and genres that they parody. But like I said at the beginning, it also parodies “Cabin in the Woods,” which is becoming a genre on its own, where characters knowingly acknowledge or reference the tropes of the genre that are currently on display. It’s a difficult feat to pull off, but Koontz does it well, without disregarding the merits of the idea altogether.
“Scare Package” not only serves as a blueprint for future horror anthology parodies, but a blueprint for anthologies and parodies. It’ll make horror fans roar with laughter, and for those who aren’t into scary flicks, they’ll find fun in all the pokes and prods at the films they can’t stomach. I enjoy the fact that the horror community enjoys comedy, even when it’s directed at themselves. “Scare Package” is damn near a revelation, especially considering that one of the modern lovers of horror/shock films, Joe Bob Briggs himself, arrives on scene. “Scare Package” pulls out all the stops to make the audience laugh and grin. Koontz talked about the makings of a sequel, with a promise that it’ll parody sequels. I look forward to the promise, and the possibility of a franchise that’ll inevitably parody franchises, remakes, and nostalgia culture.
Starring: Kyle Gallner, Ryan Guzman and Alix Angelis Directed by: Damien LeVeck Rated: R Running Time: 94 minutes Shudder
Can found footage survive anymore? 2014’s “Unfriended” and 2018’s “Truth or Dare” played with the idea of realism by showing us that the paranormal can seep into social media and the Internet. Enter 2020’s “The Cleansing Hour,” a movie about an online stream that televises exorcisms to curious onlookers and morbid fans around the globe. Although the exorcisms, aren’t real.
Expanding on his 2016 short, Director Damien LeVeck squeezes out every drop of fun he can have in “The Cleansing Hour.” Reverend Max (Guzman) is far from being the man of God he portrays. Max and his friend Drew (Gallner) stage exorcisms, working with an online encyclopedia of demons so that every episode is fresh with a new other-worldly villain to fight. Afterwards, they generally drink and Max takes home a girl to record performing sexual acts. Their lifestyle is interrupted when things go awry during their latest broadcast though. The actor who was going to show up and be “possessed” never shows, so Drew’s fiancé Lane (Angelis) substitutes. But her acting is too good. Her voice changes, she digs her fingers into the chair she’s strapped into, shattering her nails, and her eyes have turned a stained yellow.
The movie doesn’t necessarily criticize or turn a mirror towards society, but it does take subtle digs at the social media culture permeating throughout the globe. While some people watch in horror, fully believing it’s real, others watch laughing. A livestream chat shows people who type trollish remarks as people on set begin to die, believing that it isn’t real. Or maybe they do and the Internet has made them soulless creatures. Although when the demon inhabiting Lane decides to poke fun at the digital age like one of the Evil Dead, the commentary and humor fall flat.
What helps “The Cleansing Hour,” as opposed to a film like “Truth or Dare,” is the small budget charm. The practical gore and blood effects explode, figuratively and literally. The actors, while not the best, may have a career after this film, especially Angelis who gnaws on the scenery like a demon hungry for human souls. It’s easy to forgive the cast and crew since they had a shoestring budget for a lot of the film’s flaws. Just don’t expect anything new to the exorcism genre other than the setting.
“The Cleansing Hour” is late-night fun that blends a couple of original concepts and tropes of the genre. Some might say the film has a twist, but for veterans of these movies, they’ll be able to spot the set-up. Even though I suspected the eventual outcome, I didn’t mind because of how brisk the pacing is. “The Cleaning Hour” is a surprise for those who come across it on Shudder, but don’t expect the 21st century equivalent of “The Exorcist.”
COLOR OUT OF SPACE Starring: Nicolas Cage, Madeleine Arthur Directed by: Richard Stanley Rated: Unrated Running Time: 1 hr 51 mins RJLE Films
Ladies and gentlemen, if you’re going to plunge into a pool of psychedelically deranged lunacy you might as well jump in feet first. Richard Stanley has arrived with a holiday gift that’s a little late but greatly appreciated and it’s gift wrapped in Alpaca fur. Its contents is the offspring of the trifecta of mania that no one imagined they’d ever see but secretly wished for: Cult-favorite director, Richard Stanley adapting a nearly century old tale of cosmically horrifying oddity by H.P. Lovecraft, top-lined by Nicolas Cage, who is maybe strictly here to ooze an excess of eccentricity (which is okay because it’s working!)
“Color Out of Space” opens with an excerpt of Lovecraft’s story, guiding us through a tour of rolling vegetative forestry, swollen from mist and fog. Combined with the onset of composer Colin Stetson’s majestic score (a follow up to his unforgettable work on Ari Aster’s “Hereditary”), it is clear that if nothing else the audience should buckle in for a highly satisfying visual and aural experience.
The Gardner family has moved into an inherited remote farmhouse to recollect and cope with matriarch Theresa’s (Joely Richardson) cancer diagnosis. Her husband, Nathan, (Nicolas Cage) has been dealing with his newfound domestic isolation by raising alpacas. Their three children are settling in individually via decidedly caricatured teenage ways – son Benny (Brendan Meyer) has started smoking pot with a local squatter-weirdo named Ezra (Tommy Chong, naturally) while their daughter Lavinia (Madeleine Arthur) has taken to theatrically carrying around a copy of Lovecraft’s omnipresent Necronomicon and practicing spells whilst cloaked on a white horse. Lavinia’s meeting of a local hydrologist turns the faucet on for a slow drip of Easter eggs that will please Lovecraftian fans everywhere, placing this story specifically just outside fictional Arkham, MA with references to H.P.’s Miskatonic University and other locations peppered in.
The Gardner family is barely settled in when a luminous meteorite crashes in front of their house. Curiosity not to be ignored, the family investigate and while the children complain of high-pitched sounds, Nathan continuously and independently notes it is emanating a horrific unidentifiable odor… right before remembering he has to tend to the alpacas.
Things progress quickly from here. The hydrologist advises the Gardners that he suspects the area’s water table may be unsuitable to consume, the meteorite deteriorates and disappears into the Earth, their farm is suddenly billowing with exotic, colorful and alien plant and animal life. So, yes, now there’s exotic animal life AND alpacas. We learn that whatever the meteorite was… it’s in the water, it’s in the soil and it’s universe altering. It’s part of the farm and now it’s become a part of the Gardners and if you’re here for the Nicolas Cage variety hour, now is the time to prepare for some full-force scenery chewing.
The family’s afflictions are all uniquely fashioned. Their youngest child is hearing voices coming from the family’s well, Nathan and Theresa become aggressively manic with their children and Lavinia can’t stop puking meteorite juice. Things are about to get a little… well, psychedelic.
There’s no time for a why, how or what else after because this movie is ultimately singularly about the destruction of this one family and their space. Color Out of Space’s third act brings a full artillery of body horror, gore and disgusting imagery that’s stitched together with brain-melting and fur-sliming sequences of fantastical imagery and effects. Did I mention the alpacas?! Nathan tells his family they’re the animal of the future and they are most certainly the apex of this glorious fever dream. At this juncture some viewers may feel that narrative has fallen casualty to special effect work, a sacrifice I’m happily willing to make if I must for a film like this, but ultimately the unknown is very much your co-pilot here.
There needs to be more Richard Stanley in Hollywood and certainly more Lovecraft. Arguably there’s probably JUST enough Nic Cage but when he hits, it’s a home run of wild eyed lunacy that’s always welcome in my universe.
The brilliance of Lovecraft’s story is that it’s terror is limited only by the confines of one’s imagination. Put to screen it will immediately never satisfy all fans and therefore this film is probably best utilized as an experience of your senses. This is a film to see in a theater if it all possible given its limited release. “Color Out of Space” will check all the boxes if you’re looking for satisfying cosmic horror, a colorful Lovecraftian journey or if you’re just scratching an itch for wanting to watch Cage’s mind unravel for awhile and it will do and or all of these things with the dial turned to eleven.
Starring: Meave Higgins, Barry Ward and Will Forte Directed by: Mike Ahern and Enda Lougman Rated: R Running Time: 94 minutes Wildcard Distribution
Driving instructor Rose has a bit of a secret. Only a few people know about it, and every once and awhile, someone who is told about that secret will seek her services. That secret is her ability to communicate with the dead. But an even bigger secret, is the key to her psychic abilities which is her father, who is no longer with her. She saw the disastrous and absurd result of those abilities and refuses to use them, even if it’s for good. That is until a cute, recently widowed father, Martin (Ward), comes along because he’s been pestered by his recently deceased wife.
There’s more to the spiritual rom-com “Extra Ordinary” than just Rose and her pursuit of happiness. Causing an equal amount of commotion in the background is a one-hit wonder musician, Christian (Forte). He’s looking to rejuvenate his deceased rock career, but not with a catchy new song. He’s on the hunt for a virgin sacrifice that’ll be offered up to Satan during the blood Moon. He enters Rose’s realm when the virgin he has an eye on is Martin’s teenage daughter.
One of the biggest strengths about this film is its irreverent humor. It’s never too peculiar, it’s never too crass or mean towards it’s cast and it seems to hover like a specter in this gray area where it remains charming, no matter how outlandish it gets. Credit goes to the directors and writers, Mike Ahern and Enda Lougman, but an equal amount goes to Forte and Higgins. Higgins provides this warmth and sincerity to Rose that’ll charm your pants off, or hopefully Martin’s. Forte, a mainstay in the bizarre comedy scene of America, taps into his natural off-the-wall humor and makes every scene with Christian an absolute delight.
As much as I’d love to give this ghostly rom-com a higher grade, it still feels like the plot has been stretched a bit too thin. If it wasn’t for the consistent jokes, this movie could have easily outstayed its welcome, and nearly does. It easily could have benefited from having a five to 10 minute shave off the runtime. However, when things start to feel a little bit too long the final third of the film, “Extra Ordinary” goes straight for the comedic jugular in its final act. So without that ending, as well as the performances, this movie came precariously close to failing to live up to its title.
From the silly things ghosts inhabit to Rose’s attitude towards life, this film is a pleasant surprise. It may be a hard sell, especially since the movie begins like a “Tim and Eric” sketch and Forte’s gonzo slapstick can be a bit much for some. If you find “Extra Ordinary” on a streaming service late at night, I guarantee it’ll find a way to put a smile on your face.
THE GENTLEMEN Starring: Matthew McConaughey abd Charlie Hunnam Directed by: Guy Ritchie Rated: Rated R Running Time: 1 hr 53 mins STX Entertainment
There’s little that’s gentlemanly about the sordid cast of characters in director Guy Ritchie’s new action crime thriller “The Gentlemen.” However, there is plenty to enjoy in this wonderful caper that’s brimming with sharp dialogue, a delicious plot and a few laughs along the way. It is certainly Ritchie’s best effort since 2011’s “Sherlock Holmes: A Game of Shadows” and is only surpassed by 2000’s “Snatch” as his greatest overall work. With a talented, all-star ensemble cast, and a terrific hook at the start, Ritchie takes us on an exciting, twisting journey that’s certainly not for the kiddos.
From an impoverished childhood in the United States, Mickey Pearson (Matthew McConaughey) rose above his situation to earn a Rhodes Scholarship to England’s esteemed Oxford University. Instead of becoming a law-abiding scholar, Mickey saw the monetary potential in selling marijuana to his fellow students. Those humble beginnings led Mickey, often through violent means, to build a multi-million-dollar illegal empire. Despite the power, and prestige he commands, Mickey has grown tired of the game and wants out to spend time with his beloved, yet equally criminal wife, Rosalind (Michelle Dockery, “Downton Abbey”), for whom he will do anything.
Much of this background information is told to us during an extended, elaborate conversation between an unsavory, thick-accented private investigator named Fletcher (scene stealer Hugh Grant), who’s been hired by a jilted tabloid editor snubbed in public by Mickey, and Mickey’s righthand enforcer, Ray (played with subdued rage by Charlie Hunnam, “Sons of Anarchy”). For his efforts, which he has typed up in a screenplay form, Fletcher wants 20 million British pounds to keep his scoop silent.
Meanwhile, Mickey finds a potential buyer for his empire, but there is a concern that this will show competitors that he has become weak. Blood is spilled in the water when one of Mickey’s illegal sites is robbed by a group of young, social media savvy thugs led by a man known simply as Coach (Colin Farrell). The plot only thickens with the introduction of overly ambitious, young Chinese mobster Dry Eye (Henry Golding, “Crazy Rich Asians”) and the accidental death of a Russian mobster’s son.
McConaughey is perfect for this role. Of course, he is quite adept at playing it cool, calm and collected, as demonstrated in a variety of his previous performances. What makes this more notable is the vengeful side he fleshes out while playing Mickey. It’s something we don’t normally see from him and he is brilliant at unleashing the lion in “The Gentlemen.” For their parts, Golding is a nice surprise as a villain and Farrell is marvelously entertaining, harkening back to Brad Pitt’s unintelligible performance in “Snatch.”
Written by Ritchie, the plot is chock full of twists and surprises that keep one glue to the silver screen, waiting on edge as to what is going to happen next. There are some laughs amidst the violence, which is brutal enough, along with adult-oriented lingo, to make “The Gentlemen” non-kid friendly. Ritchie’s pacing is just as quick as the dialogue with nary a dull moment. In the end, “The Gentlemen” is a jolly good time and the best release of the new year thus far!
THREE CHRISTS Starring: Richard Gere, Peter Dinklage Directed by: John Avnet Rated: R Running Time: 1 hr 57 mins IFC Films
When you think of great films with mental hospitals as the setting, indelible titles such as 1975’s “One Flew Over the Cuckoo’s Nest” or 1990’s “Awakenings” probably come to mind. With a similar backdrop, the drama “Three Christs,” starring Richard Gere, boldly attempts to delve into the realm of paranoid schizophrenia by exploring a time when pre-fontal lobotomies, insulin-induced comas, and electroshock therapies were standard treatments. Directed by John Avnet (“Fried Green Tomatoes”), “Three Christs” alas fails to achieve any level of greatness as it is saturated with terrible melodrama and an overall lack of emotional connectivity.
An adaptation of the 1964 psychiatric case study “The Three Christs of Ypsilanti” by psychologist Milton Rokeach, “Three Christs” takes us back to December 1960 when a bruised Dr. Alan Stone (Gere) is recording a defense of himself against accusations leveled at him by a disciplinary board. It’s a nice hook as it gives off a sense of mystery. We are soon taken back to the beginning during the summer of 1959 when he arrives at the Ypsilanti State Hospital.
Having left a prolific teaching and writing career to pursue a study of delusional patients, Dr. Stone, with the help of his new assistant Becky (Charlotte Hope, “The Theory of Everything”), finds three men who all claim to be Jesus Christ. Joseph (Peter Dinklage), Leon (Walton Goggins) and Clyde (Bradley Whitford) are tragic figures with sad pasts. Each has been diagnosed as paranoid schizophrenics and left to essentially rot in near-barbaric conditions.
With the encouragement of his wife (Julianna Marguiles), Dr. Stone challenges his peers and a reluctant hospital head by using more modern methods that don’t involve inflicting pain. The irony is that he is treating three men collectively who believe they are Christ while he himself does not believe in organized religion. Gradually he makes progress, but countless roadblocks make it a treacherous path.
Despite having a solid cast, “Three Christs” falls flat on nearly every level imaginable. The story is without any unique qualities as it feels like any other run-of-the-mill medical drama. Its characters are nothing special and Gere seems to just rely upon every facial gesture he has ever used in his past films instead of pushing for something more. The pacing is sluggish, and the plot is predictable. Gere is also not believable as the father to two young, pre-teen daughters considering he was roughly 67 years old at the time of filming. Furthermore, we are supposed to believe Dr. Stone fought in WWII and Korea. Assuming his character matches his age, then Dr. Stone would have been 59 or 60 while fighting on the front lines against North Korea. Uh, no. Of course, to be fair I should mention the rest of the cast, which can be covered in one statement – every actor is so over-the-top with their performances you have to wonder how on earth the film ever got released, much less contemplate if Avnet should ever direct again.
