Film Review: “The Little Stranger”

THE LITTLE STRANGER
Starring Domhnall Gleeson, Ruth Wilson, Charlotte Rampling and Will Poulter
Directed By Lenny Abrahamson
Rated R
Runtime: 1hr. 51mins.
Focus Features
The pitfall of turning a gothic tale into a feature film seems to be Hollywood’s tendency to sell it as a horror film. As most trailers do, they cram the most exciting visuals or scares into two minute bites hoping to draw that genre’s audience while never considering the ill will they’re potentially engendering with such a mischaracterization. It fascinates me as far as choices go in this age of Cinescore post-screening chatter although I can’t begrudge the trailer makers for their need to get butts in seats. I say this all up front because that is the case with Lenny Abrahamson’s The Little Stranger, an adaptation of the 2009 novel by Sarah Waters. What they really have is a carefully crafted and, critically, a glacially slow paced period drama where the “big” bloody moments are few and far between. To be clear, I actually am more of an ideal audience member for English period drama than horror but even my limits were tested. The talented cast languishes in beautiful atmosphere and effective sound design that amounts to a pile of supernatural McGuffins.
The year is 1949 and Dr. Faraday (Domhnall Gleeson) is summoned to Hundreds Hall to check in on the Ayres family’s young maid, Betty (Liv Hill). Betty isn’t sick so much as she’d like a doctor’s excuse to send her back home. The drafty house’s halls don’t sit well with Betty. This uneasiness is chalked up to youth and inexperience but as the doctor learns, her line of thinking isn’t isolated among the inhabitants. Roderick (Will Poulter), the man of the house and brutally scarred up WW2 vet, also swears by a malevolent presence that’s out for his family. Again, dismissed by the rational doctor as well as Roderick’s caretaker sister Caroline (Ruth Wilson). To complicate things, Faraday has a kind of reverence for the place having been enchanted by being brought there as a child in 1919 with his mother, then a member of the house’s full staff. Over all of this lies the spectre of Caroline and Roderick’s dead sister whom the young Faraday had a brief encounter with during that long ago visit. Faraday’s love for the estate drives him to grow closer to the Ayreses, Caroline in particular.

I was excited to check out The Little Stranger, being a fan of Abrahamson’s previous three films (all also adaptations) as well as Domhnall Gleeson who is consistently reliable. The trouble is The Little Stranger can’t quite decide what it wants to be. The awkward romance between Faraday and Caroline occupies far too much screentime for where it ultimately goes while the horror and supernatural aspects of the story pretty much plateau rather than ramping up to a satisfying conclusion. I couldn’t tell if said conclusion was actually meant to be a twist or not because I had connected the dots so so long before the story wended its way to meeting me there and when it arrived, did not add anything exciting. I suspect Waters’s novel made much of the turmoil the Ayres family finds themselves in in Hundreds Hall but the film leans too heavily on its production design to fill in the gaps of its stilted characters.

Win Tickets to the Kansas City Premiere of “Goodbye Christopher Robin”

Media Mikes has teamed up with their friends at Fox Searchlight to give 50 of our readers and a guest the chance to be among the first to see the new film “Goodbye Christopher Robin.”

The film, starring Domnhall Gleeson and Margot Robbie, will be screened at the Glenwood Arts Theatre on Monday, October 23rd and will begin at 7:00 p.m.

All you have to do is click here and download your pass. The first 50 people to do so will receive a pass for two to attend the screening. This is a first come/first serve giveaway. After the allotted 50 passes have been claimed the giveaway is ended. Good luck!

When: Monday, October 23, 2017 – 7:00 pm
Where: Glenwood Arts Theatre
Leawood, Kansas

Film Review: “American Made”

Starring: Tom Cruise, Domhnall Gleeson and Sarah Wright
Directed By: Doug Liman
Rated: R
Running Time: 115 minutes
Universal Pictures

How does a TWA pilot go from tedious commercial flights and a blue collar existence to the Walter White of international arms and drug sales? The tale of Barry Seal (Cruise) almost seems to outlandish to be true as he finds himself working for the CIA and one of the most notorious drug cartels, at the same time. The tag, “Based on a True Story,” is stretched to the max in “American Made,” but at least they had a hell of a time embellishing the facts and telling a few fibs along the way.

We meet Seal midway through life and quickly learn that he hasn’t always been straight and narrow. Even while charting passengers across the country on the daily basis as one of the youngest pilots to be hired by the once major airliner, Seal was a low-time smuggler. Apparently smuggling Cuban cigars here and there for some extra side cash was enough to attract the attention of Schafer (Gleeson), a mysterious CIA agent who wants Seal to take his aeronautical expertise to help spy for the U.S. government.

Spying then turns into drug and weapons smuggling for both sides. At $2,000 a pound, Seal gladly begins smuggling cocaine for the Medellin Cartel. And when spy photos aren’t enough for the CIA, under the direction of the Reagan administration, Seal is asked to help run guns to the Contras. Seal is even given a slice of land by the U.S. in rural Alabama so that he can keep up the charade that he’s a small-time business owner who happens to own his own tiny airport and fleet. Of course all of this is only the tip of the iceberg as Seal goes full-Heisenberg and carves off his own slice of the criminal underworld to create a smuggling juggernaut.

For historians, “American Made” is pulpy trash, glorifying a drug smuggler turned informant, but for everyone else it’s a funny and entertaining take on a biographical crime tale. Cruise, who’s best when he’s unbalanced, is the every man of Louisiana looking for a thrilling escape from monotony, and finds it by playing both sides of a dangerous game. Cruise is doing some of his best humor since “Tropic Thunder” and finding fresh acting life outside his stereotypical smug good guy role.

But “American Made” suffers from pop-culture being saturated with multiple anti-heroes over the past couple of decades. Everyone from Omar Little of “The Wire” to Tony Soprano of “The Sopranos” have familiarized audiences with the genre’s tropes so much so that much of the film’s runtime comes with few surprises, making for an elongated ending to Seal’s entrepreneurial smuggling empire. That’s not to say that “American Made” spends most of its runtime having fun. The film proves that maybe in 30 years, we’ll be able to have a good laugh about the current impending doom we’re experiencing with North Korea’s nuclear capabilities. Maybe.

“American Made” works best as a comedy. There are hints of global political satire, where at the end of the day, no one is really the good guy and that it all comes down to who’s responsible for the lowest body count. That kind of bleak humor is kept on the back burner as Seal smooth talks his way out of precarious situations. There are also plenty of visual gags to feast on, outside of Cruise’s physical and verbal humor.

In amateur hands, “American Made” would be a mixed bag, but Cruise and Director Doug Liman, who previously worked on “Edge of Tomorrow,” combine for infectious manic energy. Cruise makes” American Made” charming in a way that Jon Hamm made Don Draper a likeable womanizer and scumbag. Cruise isn’t only slick with criminals and government officials, but he’s also drawing in the audience to cheer on his illegal shenanigans. History be damned, “American Made” is an engaging circus act with a realistic final bite to keep its audiences grounded in reality.