Disappearance at Clifton Hill


Trying to pretend an alien isn’t eavesdropping on their conversation.

(2019) Suspense (IFC Midnight) Tuppence Middleton, Hannah Gross, Eric Johnson, David Cronenberg, Marie-Josée Croze, Andy McQueen, Noah Reid, Dan Lett, Aaron Poole, Paulino Nunes, Elizabeth Saunders, Mikayla Radan, Addison Tymec, Tim Beresford, Janet Porter, Clyde Witham, Maxwell McCabe-Lokos, Kris Hagen, Connor Lucas-Loan, Devon Hauth, Alanis Peart. Directed by Albert Shin

 

Coming home again is never easy. It’s even harder after a beloved parent dies and you’re there to dispose of her worldlies. How difficult must it be on top of all that when it is the scene of a traumatic act that has shaped your entire life?

Abby (Middleton) is in that latter situation. Her mother is gone and her mom’s one asset, the Rainbow Hotel in the seedy tourist trap area of Niagara Falls known as Clifton Hill, needs to be sold to pay off debts. Fortunately, there’s a taker; Charles Lake III (Johnson), the head of the Charles Lake Corporation (a.k.a. CLC) which owns most of the run-down tourist attractions in town – hell, he owns the town!

What has haunted Abby her entire life was the occasion of seeing a terrified one-eyed boy beaten and kidnapped before her very eyes. When she tells her sister Laure (Gross) what she saw, Laure doesn’t believe her. Laure probes to be justified as Abby embarks on what could charitably be called a checkered life.

But now the events of that Thanksgiving weekend have resurfaced to haunt her and Abby is determined to get to the bottom of it and prove once and for all that she wasn’t crazy. She identifies the boy as Albert Moulin, the son of a pair of second-rate magicians (Nunes, Croze) who at the time were the big dogs in the small pond.

She finds an unlikely ally in Walter Bell (Cronenberg), a local historian/conspiracy theorist/podcaster/line cook at a local themed restaurant called the Flying Saucer Café. Walter also worked with a group called the Diving Bells who recovered bodies from the Falls. “Ever seen someone who jumped into the gorge?” he inquires in a soft but intense voice, “It’s like they swallowed a live hand grenade.”

Bell leads her in the direction of Lake, who has a checkered past of his own and an apparent taste for small boys. Abby is sure that Charles had Albert killed and decides to go out to prove it, which isn’t a very good idea considering that he owns the hotel her mother built and he has the police force and City Hall in his pocket. Still, Abby feels compelled to vindicate herself after all those years in the eyes of her sister, but the cost of vindication could be unbearably high.

Shin is a talented young Canadian director who is very clearly influenced by the work of fellow Canadian director Cronenberg. Casting him here was a stroke of genius because Cronenberg is actually a pretty talented actor as well. He plays Walter as quirky but never a parody of the paranoid conspiracy theorist. His laconic delivery is on the low-key side but it actually adds to the character’s allure.

Middleton, who most know from the Downton Abbey series (I wonder if the character’s name was an intentional in-joke or just a coincidence) gives Abby just the right amount of edge to make the audience call into question her veracity as a narrator. That is really at the heart of the movie; can a congenital liar be believed? Obviously, the audience is rooting for yes, but the final twists of the movie call into question even that.

The score by Alex Sowinsky and Leland Whitty is the kind of dissonant jazz that William S. Burroughs would have loved and serves to keep the audience off-balance. Shin excels at that and it is the movie’s greatest strength. On the weakness end, there are too many extraneous bits of business and characters refer to what are apparently important events that aren’t explained until later. It’s maddening and makes it feel like the filmmakers were winging it ore than they actually did.

All in all, though, it’s a pretty decent thriller that utilizes its Niagara Falls location excellently, even if we get no cliché shots of the famous “horseshoe” falls. Middleton makes an appealing lead and Cronenberg makes a compelling addition. If you’re looking for a good thriller, you could certainly do much worse than this.

REASONS TO SEE: Shin takes his cues from David Cronenberg’s early work; it’s therefore fitting that he cast the legendary director in his film.
REASONS TO AVOID: Gets a little bit jumbled, particularly towards the end.
FAMILY VALUES: There is a fair amount of profanity as well as some sexual situations.
TRIVIAL PURSUIT: The film was originally titled Clifton Hill when it debuted at the Toronto Film Festival last year, but the name was changed when it was picked up by a distributor.
CRITICAL MASS: As of 3/1/20: Rotten Tomatoes:69% positive reviews: Metacritic: 61/100.
COMPARISON SHOPPING: Deep End of the Ocean
FINAL RATING: 6.5/10
NEXT:
Maria by Callas

Murder Death Koreatown


Even the couches are out to get you in Koreatown.

(2020) Found Footage Thriller (Self-Released) Cast unknown. Directed by Unknown

Some movies come to critics with reams of information; pages of publicity notes, director’s quotes, actor and crew bios and so on. Others come to us with much less information to go on. This one came with almost none.

Found footage films are not always received kindly in the critical community and among horror fans in general. There was a time when the market became over-saturated with them and let’s face it, most of them were really bad. The best-known were the original, The Blair Witch Project and Paranormal Activity, both of which would eventually see sequels made by major studios.

=The film centers around an unemployed man who is shocked to discover that a murder has taken place in a nearby apartment in which a young wife suddenly and without explanation brutally murdered her husband (it is implied although not directly stated that she stabbed her husband to death). The man is seriously shaken by the brutal event so close to home, but there are some things that are troubling him. For one thing, there are blood spatters on the sidewalk away from the crime scene. Also, the arrest of the suspect took place nearly a block away from the crime scene.

He takes out his cell phone and starts talking to people around the neighborhood, filming the interviews. At first, most of the subjects know less than he does. As he looks into it, there are a few people who admit to knowing the slain man and his wife and they are baffled by the event; all of them say that the suspect was a real sweet girl, although a co-worker of the husband noted that he hadn’t been sleeping and he thought that the couple were fighting which was uncharacteristic of them.

=The more that the filmmaker delves into the crime, the more dead ends arise. One theory gets squashed and another one arises, only to be squashed also. Leads don’t pan out; then things get creepy. People he talks to begin to disappear. Mysterious graffiti in Korean begin to appear all around him and the filmmaker begins to get unhinged. His girlfriend begs him to drop the investigation, concerned for his well-being at first and then angry when he ignores her. Strange things begin to happen; he hears voices. He sees things that can’t be real. Is the murder victim trying to contact him from the dead, or is he losing his mind? And who are the mysterious Pastors?

Like most critics, I have grown weary of found footage movies but I was pleasantly surprised by this one. Put simply, it is the best in the genre to come out since the original Blair Witch Project way back in 1999. It’s taut and believable; the interview subjects don’t feel like they’re acting and even though the camera is very shaky (it IS supposed to be cell phone footage), there are some really good cinematic moments of bright blue L.A. skies and the palm trees of Paradise in SoCal.

I give the unknown filmmakers props for having the foresight to keep the story simple and stick with it. Even though the movie leads in unexpected directions, all of those shift changes are organically done and don’t feel forced. It does take a little while to get going and the coda is a bit anti-climactic but there is a powerful payoff in the film’s climax.

Sometimes the best movies come out of left field and this one certainly does. They aren’t re-inventing the wheel here; they’re taking a straightforward story and telling it in a straightforward manner. That’s something Hollywood veterans sometimes have a hard time doing.

The best found footage films make you feel as if you might be watching something real, and this one does. You are left unbalanced; is there something weird happening here? Is there a conspiracy going on? Or is this guy losing his mind? There is a disclaimer in the closing credits (what little there are) that state that “No reasonable person would believe this film or its claims are real…Investigations into this project or its subject is strictly discouraged. There is nothing to find. It’s just a movie.” Even given that disclaimer, I was left wondering if it was real. That’s how the film messes with your head. It truly is creepy AF.

The movie at present has no distribution and has played but once. Hopefully a local film festival near you will find their way clear to show this; ask your local art house to look into it. In the meantime, be aware that this is out there and if it does manage to make its way to a film festival, movie theater that is willing to play indie fare, or a streaming service, for sure check it out. This one is solid gold.

REASONS TO SEE: Maybe the best found footage film since the first one. When clicking it feels very real.
REASONS TO AVOID: Loses steam in the middle third.
FAMILY VALUES: This is quite a bit of profanity, some gruesome and unsettling images and terror.
TRIVIAL PURSUIT: The movie made its world premiere on Leap Day at the Unnamed Footage Festival.
CRITICAL MASS: As of 3/1/20: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING:  The Blair Witch Project
FINAL RATING: 8.5/10
NEXT:
Disappearance at Clifton Hill