Dig Two Graves


Samantha Isler and the tunnel of terror.

(2014) Thriller (Area23a) Ted Levine, Samantha Isler, Danny Goldring, Troy Ruptash, Rachael Drummond, Dean Evans, Bradley Grant Smith, Gabriel Cain, Ryan Kitley, Audrey Francis, Mark Lancaster, Mikush Lieshdedaj, Bert Matias, Gregorio Parker, Ben Schneider, Ann Sonneville, Sauda Namir, Tom Hertenstein, Kara Zediker. Directed by Hunter Adams

 

Guilt when coupled with grief can make a very potent emotional stew. It can drive us to do things we would never ordinarily consider doing, to completely rewrite our moral codes. It takes a very strong will to grapple with these emotions at once and come out on top.

Jake Mather (Isler) however has the disadvantage of being a pre-teen. She and her brother Sean (Schneider) were standing on a cliff above a quarry which is now a lake. He urged her to jump. She didn’t want to. He offered to hold her hand. She said yes but at the last minute let go. Over the side he went and into the water, never to resurface. In fact, his body was never recovered.

She is soon approached by a trio of gypsy moonshiners who have the devil’s own offer for her; she can get her brother back if only she can get someone to take his place. They even have a specific person in mind – Willie Proctor (Cain) who has a huge crush on her. As it turns out their grandfathers have a connection to the gypsies going back to 1947, thirty years earlier. That connection has dark connotations for the two children who weren’t even born when the events took place.

Jake’s grandfather (Levine), the town sheriff, has been holding the guilt of those events in and as he investigates the mysterious gypsies and their designs on Jake, memories come flooding back, unpleasant ones. Keeping Jake alive will be hard enough; keeping her soul pure will be something else entirely.

Although this was filmed in Southern Illinois, there is more of a West Virginia vibe to it from my point of view. The movie seems to take its cues from Southern Gothic authors like Flannery O’Connor and Shirley Jackson. There is palpable menace but nothing so overt or concrete that we can identify exactly what it is. That makes the movie doubly scary. Adams chooses to take things slowly rather than racing towards the finish line; it’s a calculated risk but it serves the overall tone well.

Ted Levine is a fine character actor who is best known as the serial killer in Silence of the Lambs and the beleaguered San Francisco police captain in Monk. He goes subtle here, playing the haunted Sheriff Waterhouse mostly through the eyes and the cheroots he smokes. The sheriff loves his granddaughter fiercely and feels the pain of her grief keenly but he never talks down to her. I never thought I’d say this, but Ted Levine is the kind of grandfather I’d want to have. Most of the rest of the cast is decent although special mention must be given for Samantha Isler, who a couple years after this was filmed made Captain Fantastic. Her performance has depth far beyond that of most young actors.

The one place the movie goes wrong is the final act. It just seems to lose steam and never really regains it. There are some good moments that involve the Sheriff and his predecessor and we finally find out what the connection between the gypsies, Willie Proctor and Jake Mather is but I think a little bit too much is given away during the flashback sequences and as a result it comes as something of an anticlimax. I would have liked a bit more dramatic tension in the ending but at this point the film’s slower pace and languid tone work against it.

The rural setting is inherently creepy and dare I say haunted; thankfully, the horror elements are kept subtle and not too far-fetched. Adams has a very sure hand and the pacing is wonderfully slow. I’m absolutely flabbergasted this sat on the shelf so long but to be honest, this isn’t going to be everybody’s cup of tea. In these days of short attention spans and easily distracted youth, slow rolling thrillers simply aren’t going to get the audiences that quick cutting big budget CGI-laden franchise films are going to. And that’s okay; but there is an audience for movies like this and hopefully Dig Two Graves will find it.

REASONS TO GO: The film has a wonderful Southern Gothic feel to it.
REASONS TO STAY: It runs out of steam in the final act.
FAMILY VALUES: There is some violence, a few disturbing images, some nudity and gore.
TRIVIAL PURSUIT: Although the movie is just now getting a limited release, it actually debuted at the 2014 New Orleans Film Festival.
BEYOND THE THEATERS: iTunes
CRITICAL MASS: As of 3/24/17: Rotten Tomatoes: 79% positive reviews. Metacritic: 67/100.
COMPARISON SHOPPING: Jessabelle
FINAL RATING: 6.5/10
NEXT: Spectral

Advertisements

The Great Gatsby (2013)


It's my party and I'll smirk if I want to.

It’s my party and I’ll smirk if I want to.

(2013) Drama (Warner Brothers) Leonardo di Caprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Elizabeth Debicki, Adelaide Clemens, Jack Thompson, Amitabh Bachchan, Gus Murray, Kate Mulvany, Barry Otto, Daniel Gill, Iota, Eden Falk, Steve Bisley, Vince Colosimo, Max Cullen, Gemma Ward, Olga Miller. Directed by Baz Luhrmann   

The Jazz Age of the Roaring ’20s was known for conspicuous wealth and the wealthy who partied capriciously even as a stock market crash loomed ever closer. It was an age of the flapper, of gangsters and bootleggers, of old money sneering at the nouveau riche with all the venom of an aging viper whose territory is being taken over by a younger and deadlier snake.

F. Scott Fitzgerald wrote what is arguably his masterpiece in 1925 to tepid sales and lackluster reviews. When he passed away in 1940, he believed himself to be a failure although ironically his work would receive the acclaim and sales only a few years later. ‘Tis the melancholy truth about artists – most have to die in order for their work to matter.

So what’s so great about Gatsby? Well, a lot of things – it’s depiction of the lavish excesses and the empty morality of the very rich, but also the language. Few understood the American idiom quite as well as Fitzgerald and the words truly flow beautifully off the page. Read it aloud and you might think you’re delivering the words of an American Shakespeare into the ether. That is, perhaps, overpraising the work but many consider it to be the Great American Novel and if not that, at least the Great American Tragedy.

Given the lavish excess of the book, Australian director Baz Luhrmann might well be the perfect choice to make the film version. Three others have preceded it – a 1926 silent version which sadly has been lost to the mists of time as no prints are known to exist, although a trailer for it does and if you look it up on YouTube, you can see it. Another version was filmed in 1949 starring Alan Ladd and Betty Field but has been held up for 60 years over mysterious copyright litigation which someone needs to sort out. The most famous version is the 1974 Robert Redford/Mia Farrow version which famously flopped and has been disowned by nearly everyone involved (there was also a made for television version in 2000).

However, this one is the only one that I am aware of that is available in grand and glorious 3D. Why is it available in such a format, you might ask? So that the glitter and confetti from the various parties might seem to pop out of the screen at you. Otherwise there really is no particular necessity for it.

The film follows the book pretty faithfully – surprisingly so. Midwesterner Nick Carroway (Maguire) moves into a carriage house in the fictional Long Island community of West Egg on the grounds of the fabulous mansion of Jay Gatsby (di Caprio), a reclusive sort who throws lavish parties for which everyone who is anyone shows up at uninvited and about whom all sorts of rumors are floating about.

Nick’s cousin Daisy Buchanan (Mulligan) lives across the bay – in fact directly across from Gatsby’s mansion – with her philandering husband Tom (Edgerton), an old money sort who is a racist jerk who makes Daisy’s life miserable. Tom inexplicably bonds with Nick and takes him to visit his mistress Myrtle Wilson (Fisher), a clingy shrewish sort who is married to George (Clarke), an auto mechanic who is somewhat slavishly devoted to Myrtle and treats Tom, whose cars he repairs, as something like a potentate.

But Daisy has a secret of her own; prior to meeting Tom she was courted by Jay Gatsby, then an officer in the Army preparing to be deployed into the Great War. By the time he returned, she was married to Tom. Gatsby then set to amassing a fortune by as it turned out fairly nefarious means, utilizing underworld businessman Meyer Wolfsheim (Bachchan)  as a go-between.

Gatsby wants Nick to invite Daisy over for tea which he does; Nick genuinely likes Gatsby whose optimism appeals to Nick’s sensibilities. Once Daisy and Gatsby are together it’s like a flickering torch reignited. The two realize they are meant for each other. Gatsby urges Daisy to tell Tom that she doesn’t love him. Daisy is extremely reluctant, although it’s true. This will lead to a confrontation in the Plaza Hotel in New York that will have deadly consequences.

Luhrmann is known for visual spectacle and for thinking outside the box. He frames the story with Nick in his later years committed to a sanitarium for alcoholism, writing down the events of his youth as a means of therapy ordered by his doctor (Thompson). Fitzgerald’s words literally flow into the film as 3D graphics. It’s a nice conceit.

Luhrmann is also known for willful anachronisms – filming period films with a modern soundtrack (which includes songs by Lana del Rey, Jay Z – who supervised the soundtrack – and Andre 3000, among others) which as a personal note drives me entirely crazy. Why go to the trouble of meticulously re-creating an era which Luhrmann does and then immediately take his audience right out of it by having a jazz orchestra rapping? Methinks that Luhrmann doesn’t care if his audience is immersed in the film or not as long as they know who directed it.

Gatsby is one of the most enigmatic literary characters of the 20th century and is a notorious part to get down properly. He is a driven soul, passionate in his feelings for Daisy but absolutely amoral when it comes to money. He is a self-made man, largely willing his own image of himself into reality only to  come to understand too late that these things are illusions that are ultimately empty reflections in a mirror that we can’t see. Di Caprio once again reminds us that he is a powerful actor capable of mesmerizing performances at any given time. This is certainly one of his better works, capturing that enigma that is Gatsby and giving it flesh and soul.

Nick is our surrogate, floating in a world of wealth and privilege with eyes wide open. He joins in on the debauchery and recoils in horror as it turns savagely on itself. He watches the events unfold towards their inevitable conclusion and manages to retain his own humanity. He is a decent sort who is thoroughly capable of being corrupted – and to an extent he is – but in the end it’s his own decency that saves him. Maguire is particularly adept at radiating decency and does so here. He’s not particularly memorable – he was never going to be in this kind of role and opposite di Caprio – but he does everything you could ask of him here.

Mulligan, who burst onto the scene not long ago with an amazing performance in An Education has continued to blossom as an actress since then. This is not really a role she’s well-suited for; Daisy is a self-centered and vacuous soul who doesn’t have the courage of her own convictions. Mulligan is far too intelligent an actress to play vacuous and thus she isn’t terribly convincing in the role. Nicole Kidman might have been a better choice and she’s closer to di Caprio’s age range to boot.

There is a lot of spectacle here but sadly it is sabotaged by Luhrmann’s own imagination, which is kind of ironic. Spectacle for spectacle’s sake, as Jay Gatsby would surely have known, is an ultimately empty gesture. There is plenty here to like but one gets too distracted by the fluff. Brevity is the soul of wit and Fitzgerald was fully aware of how to use language economically. So too, simplicity is the soul of film and that is a lesson Luhrmann has yet to learn.

REASONS TO GO: Di Caprio delivers another bravura performance. Captures the era in many ways. Follows Fitzgerald’s story surprisingly closely.

REASONS TO STAY: Far too many instances of “Look, Ma, I’m Directing.” Afflicted with the Curse of the Deliberate Anachronism.

FAMILY VALUES:  There are some violent images (although none especially shocking), some sensuality, partying and smoking within a historical context and a bit of foul language.

TRIVIAL PURSUIT: Duesenbergs are the automobile of choice for Jay Gatsby but the real things are far too rare and valuable to be used as movie props. The one you see in the film is one of two replicas, each painted yellow and modified to match each other for filming.

CRITICAL MASS: As of 5/20/13: Rotten Tomatoes: 49% positive reviews. Metacritic: 54/100; critics were pretty much split right down the middle on this one.

COMPARISON SHOPPING: Moulin Rouge

FINAL RATING: 6.5/10

NEXT: The Iceman