Hell Fest


Seeing a guy in a hoodie and a mask carrying a knife is never a good thing.

(2018) Horror (CBS) Reign Edwards, Bex Taylor-Klaus, Tony Todd, Amy Forsyth, Michael Tourek, Courtney Dietz, Christian James, Matt Mercurio, Elle Graham, Benjamin Weaver, Mason Pike, Roby Attal, Brooke Jaye Taylor, Stephen Conroy, Markus Silbiger, Ashley Ueker, Quandae Stewart, Alicia Rosato, Kimberly Battista. Directed by Gregory Plotkin

Let’s face it; getting scared is fun. It makes our hearts beat faster, our adrenalin spike and our breath quicken. For young men, it gives us a chance to be protective of our dates who might even be suitably grateful afterwards. It’s why we go to horror movies and why we go to haunted attractions.

Natalie (Forsyth) has returned home from school. Her best friend Brooke (Edwards) is happy to see her – Brooke’s roommate Taylor (Taylor-Klaus) not so much. But young Gavin (Attal) really wants to see Natalie after a summer flirtation. So much so that he’s gotten VIP passes to Hell Fest for the three girls as well as the boyfriends of Brooke and Taylor. Hell Fest is one of the biggest haunted attractions here is, a traveling amusement park with horror-themed rides and mazes. It’s a big deal every time it shows up. Brooke and Taylor are very psyched for it; Natalie is less enthusiastic, not being terribly fond of being scared.

The real difference at this particular edition of Hell Fest is that there is an actual psycho among the costumed actors who can dispatch young girls in full view of the patrons – it’s all part of the show, right? – with nobody being the wiser. He’s done it before, as we see in a prologue.

So when a terrified girl who knows that fantasy has crossed the line into reality begs Natalie to save her from The Other (Conroy), as the killer is known as here. Laconically, Natalie tells the masked figure “Do it. That’s why we’re here – to be scared.” And so the killer obliges. And now he has a new target to chase around the park.

I suppose the concept of having an actual killer hiding in plain sight in a haunted amusement park has some merit, although something similar was attempted earlier this year in the independent Blood Fest – which was actually much better than this although as my British friends might say, that film was also daftier. The other main difference is that while that film was obviously made by people who not only believed in what they were doing, they were having a great time doing it. This movie appears to have been approached with all the joy and enthusiasm of a high school student approaching a term paper on Pilgrim’s Progress.

It’s not that Hell Fest is a bad movie; it’s not. It’s just not a good one. It shows little imagination or passion in any aspect, from the writing to the acting to the directing. Only the production design seems to have been approached with any sort of zeal. There are no real sore spots anywhere; neither are there any real bright spots (again, other than the production design).

The characters are literally just cookie cutters without depth and all ready to be ground into crumbs. The inevitable string of murders is neither imaginative nor particularly frightening. They’re just…there, like a misunderstanding in a rom-com. The last thing you want from a horror movie is a feeling of meh. Even a bad horror movie has its merits; there is nobody who itches to see a mediocre scary movie. That’s really what you have here; the horror equivalent of Wonder bread slathered with mayonnaise and American cheese. Horror fans deserve better. Heck, all of us deserve better. Natalie herself said “We’re here to get scared.” It’s a shame the folks who made her film didn’t listen to her.

REASONS TO GO: It’s not really bad in any category.
REASONS TO STAY: It’s not really good in any category either.
FAMILY VALUES: There is a fair amount of violence, some gore, a bit of profanity and some sexual references.
TRIVIAL PURSUIT: Many of the scare characters walking around the park during the beginning of the film are actually employed by the Netherworld haunted attraction in Atlanta, one of the top ten in the country.
CRITICAL MASS: As of 10/30/18: Rotten Tomatoes: 40% positive reviews. Metacritic: 25/100
COMPARISON SHOPPING: Blood Fest
FINAL RATING: 5/10
NEXT:
Six Days of Darkness concludes

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Winchester


Sarah Winchester doesn’t get out much.

(2018) Horror (CBS) Helen Mirren, Jason Clarke, Sarah Snook, Emm Wiseman, Finn Scicluna-O’Prey, Tyler Coppin, Angus Sampson, Alice Chaston, Eamon Farren, Michael Carmen, Bruce Spence, Curtis Bock, Andy de Lore, Adam Bowes, Laura Brent, Amos Ciza, Red Horse Rivera, Tom Heath, Phoenix Suhrou-Dimarco, Laura Sutton. Directed by Michael Spierig and Peter Spierig

 

In the face of multiple and intolerable tragedies the human psyche can react in a variety of ways. Sometimes, it gets stronger, allowing the person to become better, more charitable and closer to those they love. Sometimes, it builds a wall, shutting everyone out. Other times, it simply goes around the bend, preferring to explain those tragedies with some sort of preposterous explanation.

By all accounts Sarah Winchester (Mirren) took the latter course. The heiress to the massive fortune of the Winchester Repeating Arms Company, following the untimely deaths of her husband and only son became convinced that her family was cursed due to all the deaths caused by the guns her family company had manufactured. She was convinced that the only thing appeasing the ghosts was 24 hour a day seven day a week construction on the mansion she inhabited in San Jose, California – then an orchard-filled backwater town south of San Francisco.

Alarmed at the prospect that the person running the company was a certified loon, the officers of the company set out to, well, certify her. They enlist the aid of San Francisco psychiatrist Eric Price (Clarke) who is slowly drugging himself to oblivion with laudanum, a potent combination of whiskey and opium, after the tragic death of his wife.

Dr. Price is given the rare opportunity to observe Winchester in the confines of her massive home and as time goes by, he discovers that the woman is far from the mentally frail old woman she is portrayed to be; she is, quite frankly, an imposing independent woman who is very clearly in charge of her own household. Yes, she is getting architectural instructions for her kooky mansion via séance but even given that she seems no less sane than you or I…which then leaves the unthinkable conclusion: that she is right about the curse.

I lived for more than a decade in the San Jose area and have been to the Winchester Mystery House; yes, it’s a real mansion and the story of Mrs. Winchester believing the family to be cursed is a true one. Pretty much there is where the similarity between fact and fiction ends. I will say that I have many fond memories of my visits to the mansion and that may color my review a bit. I can tell you that the interiors, built on a set in Australia, are reasonably close to the actual rooms in the mansion that are shown on the tour (the external shots were of the actual house).

Mirren is one of the finest actresses working today and to her credit she makes her portrayal of Sarah Winchester a memorable one, even if it isn’t anything like what the real woman’s personality was said to be – she was rarely seen publicly (only one photograph exists of her) and she was said to be shy and somewhat easily shaken up. The Sarah Winchester here is more of a warrior than a wimp. Clarke also delivers a strong performance here and holds his own against Mirren, no easy task indeed.

There are an awful lot of jump scares – too many for my taste – but when the Spierig brothers go for genuine atmosphere, they succeed. They also use a minimal amount of CGI, opting for more practical effects and dong so makes the movie feel a bit homier, if you get my drift. This is how they used to make them and given the setting, it makes a lot of sense that the Spierigs opted for that route.

This is a haunted house movie that delivers the goods for the most part. While there are some historical inaccuracies (there are references to victims of the Winchester rifle during the Civil War but the company wasn’t formed until 1866, the year after the Civil War ended), the final test of any good horror film is whether you come out the other side grinning ear to ear and so I did. This is complete nonsense but it’s wonderful nonsense.

REASONS TO GO: When it is at its best, the movie succeeds. Mirren is a force of nature here.
REASONS TO STAY: History is played with in a fast and loose manner.
FAMILY VALUES: There is supernatural (and natural) violence, disturbing images, some drug use and sexual allusions.
TRIVIAL PURSUIT: The real Sarah Winchester was a mere 4’11” tall and walked with a distinctive gait due to her severe and debilitating arthritis. By comparison, Helen Mirren is 5’4” tall.
CRITICAL MASS: As of 3/28/18: Rotten Tomatoes: 14% positive reviews. Metacritic: 28/100.
COMPARISON SHOPPING: Insidious: The Last Key
FINAL RATING: 7/10
NEXT:
War Machine

Dean


Life is a day at the beach for Demetri Martin.

(2016) Dramedy (CBS) Demetri Martin, Kevin Kline, Gillian Jacobs, Mary Steenburgen, Ginger Gonzaga, Luka Jones, Briga Heelan, Levi MacDougall, Rory Scovel, Drew Tarver, Barry Rothbert, Meryl Hathaway, Nicholas Delany, Kate Berlant, Asif Ali, Florence Marcisak, Pierce Minor, Michael Oberholtzer, Victoria Vitkowski-Bennett, Reid Scott, Jamila Webb, Jessica Ruane. Directed by Demetri Martin

You never know when your life is going to change irrevocably – or how. It could be the death of a loved one. It could be a romance that will turn out to last a lifetime. When it comes right down to it, life is a roller coaster ride we take while blindfolded.

Dean (Martin) is a cartoonist (and by the way, Demetri Martin drew the New Yorker-style cartoons seen throughout the movie) who lives in New York City. He has just broken up with his fiancée (Vitkowski-Bennett) and he is having trouble finishing his second book of toons. One of the reasons for that is he is still grieving for his mother (Marcisak) who recently passed away unexpectedly.

His life is in a bit of a stall. His relationship with his father Robert (Kline) is tenuous to say the least; neither man approves of how the other is grieving. When Robert drops the bombshell that he plans to sell the family home that Dean grew up in, Dean refuses to even discuss the matter and when Robert insists that he start clearing out his room, Dean flees to Los Angeles, ostensibly to listen to a job offer (that he never really took seriously to begin with) but more to hang out with his buddy Eric (Scovel) who takes him to a party where he meets Nicky (Jacobs), an Angelino whom he falls head over heels for – literally. His first act when he makes eye contact with her is to do a face plant on the floor.

Nonetheless their relationship starts to take off. Meanwhile, back in New York City, Robert is developing feelings for his real estate agent Carol (Steenburgen) that he’s not ready to act on, or at least thinks he isn’t. They do go out but the date ends disastrously. Both men are at a crossroads and need to get on with their lives, but do they have the will to move on?

If the movie sounds like something Woody Allen might have done back in the 70s, you’re probably right. Martin’s sensibility as a writer seems to fall in line with that of the Great Neurotic. However, this isn’t straight rip-off by any means; while Martin is almost certainly influenced by Allen, he isn’t slavish about it. Dean is certainly somewhat neurotic (his cartoons since his mother passed all have to do with the Grim Reaper) but not of the “ohmygawd he needs therapy” variety, which was where Allen mined much of his best material.

Martin is definitely a multi-threat performer; not only is he a terrific stand-up but he shows that he has the ability to be a lead in a theatrical narrative. Yes, the Beatles haircut is distracting but no more than some of the crazy hair-dos of comic actors we’ve seen of late. Martin’s delivery is a little sad sack (which fits the circumstances) but he has a kind of puppy dog cuteness that will certainly win him some fans. As a director he’s still learning his craft, but this is an effort that is impressive for a first full-length feature.

While Martin has a promising future, there are some cast members who are terrific now. Casting Kline and Steenburgen – so wonderful together in My Life as a House – was inspired and the two still have tons of chemistry. Some critics have found the storyline involving the two of them more interesting than the one between Martin and Jacobs and I can’t say as I disagree. I wouldn’t mind seeing more movies with Kline and Steenburgen in them. I would also like to see Jacobs’ role a little more fleshed out. Like Martin, she also has a bunch of screen presence and could be an onscreen force someday.

While the film wasn’t as consistently funny as I might have liked, it had enough humor in it to tickle the funny bone yet didn’t sink into parody or low comedy. The humor is, like Martin’s stand-up act, intelligent and a bit off-kilter. While this isn’t a movie that is going to make big waves on the Hollywood ocean, it should get enough notice to further the careers of everyone involved, or at least I hope so. It certainly is worth indie film lovers taking the time to check out.

REASONS TO GO: Martin has a whole lot of potential. A stellar supporting cast helps power the movie.
REASONS TO STAY: The film comes off in places as a knockoff of Woody Allen.
FAMILY VALUES: There’s a fair amount of profanity as well as some sexually suggestive material.
TRIVIAL PURSUIT: Jacobs and Heelan also star together in the Netflix series Love.
CRITICAL MASS: As of 6/17/17: Rotten Tomatoes: 63% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: Sleepwalk With Me
FINAL RATING: 7/10
NEXT: The Journey

The Sense of an Ending


Jim Broadbent may be stalking YOU.

(2017) Romance (CBS) Jim Broadbent, Charlotte Rampling, Harriet Walter, Michelle Dockery, Matthew Goode, Emily Mortimer, James Wilby, Edward Holcroft, Billy Howle, Freya Mavor, Joe Alwyn, Peter White, Hilton McRae, Jack Loxton, Timothy Innes, Andrew Buckley, Karina Hernandez, Nick Mohammed, Charles Furness, Guy Paul, Alexa Davies, Dorothy Duffy, Kelly Price. Directed by Ritesh Batra

 

Our memories are in many ways what shape us; they are the filter of our experiences and our means of recalling the important things in our lives both positive and negative. As any police detective will tell you however memory is notoriously unreliable; we have a tendency to bury the unpleasant ones and often change facts to suit our world view. Confronted with the things that actually happened to us, our memories can turn out to be a fragile, ephemeral thing.

Tony Webster (Broadbent) is retired and spends his days running a used camera shop in London, one of those delightful niche shops that give London character. He is a bit of a curmudgeon who compared to most shopkeepers doesn’t really want to be bothered by actual customers; they tend to throw a monkey wrench into his carefully organized existence which he protects like a mama bear with her cubs. He has an existence largely removed from the world and that’s very much by choice.

He is essentially a jovial sort on the surface but a bit of a dodderer, enough to be the source of rolling eyes for his barrister ex-wife Margaret (Walter) and his pregnant lesbian daughter Susie (Dockery) who is preparing to embark on single motherhood. Both feel genuine affection for the man (Margaret keeping his last name even though they’re long divorced) but he can be exasperating at times.

Then he gets a letter from a solicitor announcing that the mother (Mortimer) of an ex-girlfriend has passed away, bequeathing to him a small sum of money and more important to Tony, the diary of his ex-friend Adrian (Alwyn). He is reminded of his college days when he (Howle) and Veronica (Mavor) were a thing and Adrian was his closest friend and a person he looked up to with almost a sense of hero-worship. However when Veronica ends up dumping Tony in favor of Adrian, the young Tony writes a poisoned pen letter to the both of them that ends up with tragic consequences.

Now the aged Veronica (Rampling) isn’t willing to part with the diary and Tony isn’t willing to let it lie on general principles (“She willed it to me. It belongs to me” he whines) and  so he pursues legal recourse but possession is nine tenths of the law and in any case no constable is going to force a grieving daughter to give up a diary that she doesn’t want to. Without other recourse, Tony decides to take matters into his own hands and starts stalking Veronica and discovers that what happened in his past isn’t exactly what he thought happened and his own role in events was not what he remembered.

Based on a novel by Julian Barnes, this is directed at a somewhat stately pace by Batra who has also helmed the excellent The Lunchbox. In some ways this has a Merchant-Ivory vibe to it, not necessarily because some of it is set in the past but more the literary feel to the film as well as content that appeals to a more mature, thinking person’s audience.

The smartest thing Batra did was casting Jim Broadbent. One of the most reliable actors of our time, Broadbent – who has an Oscar nomination on his resumé – is given a complex character to work with and to his credit gives that character further dimension. Tony has a heavy streak of self-deception in his nature and Broadbent humanizes that aspect of the part. When confronted with his behavior, I do believe Tony doesn’t realize he’s done anything wrong and he is surprised when others think so. He simply doesn’t understand why Veronica behaves towards him as she does. He may not even realize that he opened a second-hand camera shop due to her influence (she was a photographer when he met her and her love for Leica cameras stayed with him to this very day) although I suspect he does.

Rampling is fresh off an Oscar nomination of her own and while this is a much different role for her, she reminds us what a capable actress she always has been and continues to impress with roles that in lesser hands might have ended up being one-dimensional or at least possessed of less depth. Veronica has been visited by tragedy that Tony simply doesn’t understand and it has haunted her the remainder of her days.

The movie won’t appeal much to those looking for escape or for those who may lack the seasoning to appreciate the movies nuance. In my own taste I don’t think there is such a thing but I have to say that it may be too nuanced for some. While I generally recommend reading a book to watching a movie in most cases, this has a very literary feel that I find refreshing in a day and age when movies tend to rely more on CGI and star power.

The film is a bit flawed in the sense that its twist is heavily telegraphed although to be fair the book this is based on is told chronologically so in a sense that follows the book as well although the movie relies on flashbacks more so than the book. What makes the movie worth seeing is the character study particularly of Tony; Broadbent gives us plenty of meat to chew on from that standpoint.

Definitely if you are in the mood for a mindless blockbuster this isn’t where you want to go but if you are in the mood to have something appeal to your intellect, if you want a slice of English life or if you just want to watch some fine acting this is a pretty good selection in that category. It’s definitely flawed but Broadbent and Rampling are both so wonderful that they make even a flawed movie seem like great art.

REASONS TO GO: Broadbent and Rampling deliver strong performances as you might expect.
REASONS TO STAY: This is probably not for younger audiences.
FAMILY VALUES: There is some profanity as well as an image of violence, a bit of sexuality and mature thematic concerns.
TRIVIAL PURSUIT: Mortimer and Goode were previously featured together in Woody Allen’s 2005 film Match Point.
CRITICAL MASS: As of 4/19/17: Rotten Tomatoes: 73% positive reviews. Metacritic: 61/100.
COMPARISON SHOPPING: 45 Years
FINAL RATING: 6.5/10
NEXT: Six Rounds

Patriots Day


These cops have no idea what's coming.

These cops have no idea what’s coming.

(2016) True Life Drama (CBS) Mark Wahlberg, John Goodman, Michele Monaghan, Kevin Bacon, J.K. Simmons, Christopher O’Shea, Rachel Brosnahan, Jake Picking, Lana Condor, Jimmy O. Yang, Melissa Benoist, Alex Wolff, Themo Melikidze, Martine Asaf, Michael Beach, Khandi Alexander, Cliff Moylan, Claudia Castriotta, James Colby, Billy Smith, Paige MacLean. Directed by Peter Berg

 

In many ways, our worth is determined by how our resolve is tested. It is at our worst moments when the best in us is drawn out. When the city of Boston was faced with an attack on their very identity, they showed the world more than extraordinary strength; they were Boston strong.

Tommy Saunders (Wahlberg) is not having a good day. He’s a gifted police officer who also has a gift for opening his mouth at the wrong moment. He has one more punishment duty to deal with – working as a uniformed officer at the finish line of the Boston Marathon. That also means putting on the yellow reflective vest which he thinks makes him look silly. His wife Carol (Monaghan) thinks it looks cute. To top it all off, Tommy’s knee is aching after kicking in a drug dealer’s door the night before and he forgets his brace at home; he asks Carol to bring it down to the finish line for him.

But Tommy’s day is about to get worse. Two Chechnyan brothers, Douchebag #1 (Melikidze) and Douchebag #2 (Wolff) have plans of their own. They plant two homemade bombs among the throngs watching the race at the finish line. After they stroll away, lost in the crowd, the bombs detonate, killing three people (including a child) and wounding scores. All is mayhem at the finish line.

Tommy takes charge, getting ambulances routed in and telling race officials to keep runners away. Medical personnel – some of them ex-military who knew what to do with wounds of this nature – respond immediately. Tommy’s boss, Commissioner Ed Davis (Goodman) takes charge as the FBI, in the person of Special Agent Richard DesLauriers (Bacon) who takes immediate charge once he recognizes this was an act of terrorism.

But finding the bombers is like finding a needle in a haystack. Even with all the cameras trained on the event, not many were pointed at the crowd. With Tommy’s help knowing the area as well as he does, the authorities begin to close in on the perpetrators of this vile act but it will take the largest manhunt in U.S. history to catch these guys.

I was really glad I saw the documentary on the Marathon bombing (see below) the night before I saw this movie, mainly because I was able to see how close to the actual events the movie came. While the documentary focused on the victims and their recovery, this movie has more focus on the manhunt and those participating in it.

One of those participating in it is Saunders and while Wahlberg does a great job of developing his character, one of the big problems is that Saunders is wholly fictional. We soon realize that because he appears at nearly every major plot point in the film which after awhile takes me as a viewer out of the realism of the movie because other than that the movie is extremely realistic which is an impressive accomplishment for a Hollywood film.

The recreation of the bombing itself is impressive; Berg masterfully works in actual camera footage of the blast along with staged re-creations of it. Berg repeats this at various portions of the film. The Patriots Day bombing was one of the most documented incidents in history and there is a lot of footage available, some of it wildly seen, some of it not so much. Still, we get a good glimpse of the various stages of the manhunt, from the bombing itself to the capture of Douchebag #1 and Douchebag #2.

If you’re wondering why I don’t use the names of the two bombers, it’s because I don’t want history to remember them. If I could, I’d expunge their names from every document, from every post – from everywhere. People like this should be erased from history. They don’t deserve to be remembered.

On the other hand, the good people of Boston – the survivors of the bombing, the law enforcement personnel who chased and caught those miserable scumbags, the medics and surgeons who worked tirelessly on healing the wounded, even those who came out in support of Boston. There has been some grousing that this was made too soon after the bombing – only three years had passed when this was released. I probably am not someone who can judge this properly; I would leave that to the citizens of Boston, particularly those affected by the tragedy. However, this is certainly a movie that honors and respects the victims and those who fought to bring the douchebags to justice so all in all, I don’t think anyone can complain overly much about that.

REASONS TO GO: The film is surprisingly accurate. Strong performances throughout the cast buoy the film.
REASONS TO STAY: There is a loss of credibility by having Wahlberg play a fictional character.
FAMILY VALUES: There is violence and graphic images of injuries, some drug use and profanity throughout.
TRIVIAL PURSUIT: This is the third collaboration between Berg and Wahlberg that was based on a true story; the other two are Lone Survivor and Deepwater Horizon.
CRITICAL MASS: As of 2/27/17: Rotten Tomatoes: 81% positive reviews. Metacritic: 69/100.
COMPARISON SHOPPING: Marathon: The Patriots Day Bombing
FINAL RATING: 7/10
NEXT: Decanted: A Winemaker’s Journey

Hell or High Water


Chris Pine finds that those "Beam Me Up, Scotty" jokes get old fast.

Chris Pine finds that those “Beam Me Up, Scotty” jokes get old fast.

(2016) Crime Drama (CBS) Jeff Bridges, Chris Pine, Ben Foster, Katy Mixon, Gil Birmingham, Buck Taylor, Dale Dickey, William Sterchi, Marin Ireland, John-Paul Howard, Debrianna Mansini, Kevin Rankin, Paul Howard Smith, Christopher W. Garcia, Heidi Sulzman, Richard Christie, Gregory Cruz, Amber Midthunder, Kristin Berg. Directed by David Mackenzie

 

Sometimes things happen to us. Other times, we make things happen. There are also occasions when things that happen to us force us to make things happen, things that we would never do under ordinary circumstances. When times are tough, that becomes a far more common occurrence.

A small regional bank in Texas is having its branches getting robbed. The two robbers are very clever and seem to know the workings of each bank thoroughly, although they are prone to making mistakes. The frequency of the robberies gets the attention of the Texas Rangers (not the baseball team) and elder statesman Marcus Hamilton (Bridges), just short of retirement, is assigned to the case along with his partner Alberto Parker (Birmingham), who is of Mexican and Indian descent which are both causes for un-PC teasing for Marcus.

Marcus is a dogged detective and he follows the thieves through their next few strikes. He correctly deduces that they are only taking small bills (harder to trace) and seem to be working towards a fixed number. He is confident that given the mistakes they have made that he will catch them soon enough.

As for the bank robbers, they are in reality two brothers. Tanner Howard (Foster) was recently released from jail after a stint for armed robbery. He has a wild streak and can behave unpredictably. His brother Toby (Pine) is more restrained; a family man in the midst of a divorce. The boys’ mother recently passed away and her property, a farm which has been in the family for generations, is about to be foreclosed on by the same bank that they are robbing unless they can pay off the remainder of her loan by Friday of that week. The boys are using a local casino to convert the ill-gotten gains from cash to chips and back to cash again – sometimes with a little extra that Tanner won at the tables.

But the law is closing in as is their deadline. To make matters worse, the boys are having a bit of a disagreement on certain aspects of their plan. Still, they are brothers and blood is thicker than water. They are determined to meet their deadline come hell or high water – and a certain Texas Ranger means to catch them before that.

In the dry dusty desert that has been the summer movie season of 2016 this is like a desert rose. The script is smarter than usual, even if there are a number of tropes present here, like the bank robbers who aren’t really bad guys, the bank as main villain, the brothers who have each other’s backs even when they are squabbling. Blood is certainly thicker than water, but only just; the relationship between the Rangers is portrayed as being as close as that of the brothers Howard. There is a moment of shock late in the film when Hamilton is faced with an unspeakable tragedy from his point of view; he literally loses it for a moment. It is one of Bridges’ best moments as an actor ever.

Pine also does some of his best work as the smarter brother. On the surface it seems that Tanner is the more violent one and the one to be feared but as the movie develops, we discover that Toby is the true rattlesnake who is in many ways even more cold and vicious than his brother, who is more of a ball of fire exploding overhead.

Foster, who is proving to be a very versatile and talented actor, has fun with his role. Tanner is occasionally mean and certainly amoral but he’s loyal to a fault, and Foster captures all of the facets of his personality, making the character kind of an anti-hero and showing both sides of him without putting undue emphasis on one side or the other. It’s a bit of a tightrope he walks but he walks it perfectly.

Mackenzie has some well-regarded films on his filmography including Asylum and Tonight You’re Mine. It surprised me that he is an Englishman; he certainly gets the rhythms and the pulse of West Texas really well. He also was smart enough to hire Nick Cave and his frequent collaborator Warren Ellis to do the soundtrack. That’s reason for going to see this right there.

The movie takes place in the midst of economic recession and the reputation of banks, never sterling to begin with, is still as low as ever. Most people believe banks are run by money-grubbing scoundrels who care only about getting every last penny they can for themselves and aren’t above screwing over the working people to get it – largely because that seems to be the case. In a sense, this is a bit of revenge porn for most of us who have been screwed over by financial institutions one way or another, either through predatory loans, outrageous fees and onerous interest rates or all the way down to shitty customer service. Most people these days look at banks pretty much the same way they look at drug cartels and if we can see a movie about a person sticking it to a bank, most of us are quite all right with that. If you’re not okay with that, you might want to give this one a miss.

REASONS TO GO: Tremendous performances by the three leads, all worth savoring. The cinematography of the desolate West Texas plains is starkly beautiful. The juxtaposition of the relationships between the brothers and the Rangers is thought-provoking.
REASONS TO STAY: The commentary on economic issues may be unwelcome to conservative sorts.
FAMILY VALUES:  There’s a good deal of violence and bloodshed, profanity throughout and a couple of scenes of sexuality.
TRIVIAL PURSUIT:  Pine and Foster also co-starred in The Finest Hours earlier this year.
CRITICAL MASS: As of 9/14/16: Rotten Tomatoes: 98% positive reviews. Metacritic: 88/100.
COMPARISON SHOPPING: August: Osage County
FINAL RATING: 8.5/10
NEXT: The People vs. Fritz Bauer

What If (2014)


Indie cute OD.

Indie cute OD.

(2014) Romantic Comedy (CBS) Daniel Radcliffe, Zoe Kazan, Adam Driver, Rafe Spall, Megan Park, Mackenzie Davis, Lucius Hoyos, Jemima Rooper, Tommie-Amber Pirie, Meghan Heffern, Jonathan Cherry, Rebecca Northan, Jordan Hayes, Oona Chaplin, Adam Fergus, Sam Moses, Ennis Esmer, Mike Wilmot, George Tchortov, Tamara Duarte, Vanessa Matsui. Directed by Michael Dowse

Finding The One is a matter not only of chemistry but of timing. Both of you have to be in the right place to be able to accept someone into that kind of intimacy. Both of you have to be available. It would help a lot if you’re both as attractive, cool and hip as Daniel Radcliffe and Zoe Kazan.

Wallace (Radcliffe) is a medical school dropout who has had his heart broken one too many times. He lives in his sister’s (Rooper) attic as a kind of live-in babysitter to her son (Hoyos) and spends a lot of time sitting on the roof of his sister’s house gazing soulfully at the Toronto skyline.

His cynical friend Allan (Driver) gets him to go to a party where he meets Chantry (Kazan). The two hit it off right away and spend much of the evening talking. To Wallace’s surprise (and perhaps disgust) Allan has hooked up with Nicole (Davis) and those two are going at it like sailors on a 24 hour pass in a brothel. Not much chance of that happening with Wallace and Chantry though – she has a boyfriend named Ben (Spall) who is a pretty decent fellow who works for the U.N. Kind of a rough challenge for an unemployed medical school dropout to take on, y’know.

 

Nonetheless Wallace and Chantry become the best of friends and when Ben’s work takes him to Dublin for six months, the opportunity is there although Wallace – something of a wimp – shies away from it even though it is clear to everyone who knows him that he’s hopelessly smitten by the comely young Chantry. And for her part, Chantry’s friends suspect she likes Wallace a lot more than she’s letting on, although she lets her somewhat slutty sister Dalia (Park) take a crack at Wallace which ends up pretty disastrously. However as Chantry begins to question her relationship with Ben and a major opportunity knocks for her which might send her halfway around the world. Wallace has the choice of doing the right thing, or…but what is the right thing in this situation, anyway?

This Canadian-made rom com based on a stage play has the advantage of having some attractive leads but the disadvantage of fairly bland personalities for the both of them. Sure, Chantry is an animator whose scribblings occasionally come to life but this contributes to a cuter-than-thou vibe that over-sweetens this concoction like someone dumping a whole jar of refined sugar into a glass of tea. The animations really add nothing to the movie other than to be a distraction reflecting Chantry’s occasional melancholy. Sure Wallace comes off as cooler than the average bear but with a sweet sensitive side that is apt to get all the indie gals in their vintage dresses and fuchsia hair misty-eyed.

Radcliffe, now a grown-up after we watched him grow up in the Harry Potter movies, is an engaging romantic lead, not conventionally handsome like a Hugh Grant but having the same tripping-over-his-own-feet awkwardness that Grant made into a trademark in the 90s. His character here has little in the way of backbone and tries so hard to do the right thing that he ends up making everybody around him miserable. Sometimes doing the wrong thing is the right thing.

Like a few other critics, I found the relationship between Allan and Nicole far more interesting and would have appreciated much more insight into their relationship, even though they do pull a few dick moves during the movie. Their characters seemed more realistic and more alive than the sometimes walking cliches that are Wallace and Chantry.

That’s not to say that the relationship between the two leads doesn’t have its moments. There’s the slapstick sequence that sends Ben out of a window during a disastrous dinner party but sadly there isn’t enough of that. When late in the movie the two of them “break up” as friends due to an issue that could have been resolved simply with a phone call and seems blown way out of proportion in order to manufacture conflict, I could feel my eyes rolling into the back of my head. This is one of the most egregious of rom-com cliches of the 21st century.

This is basically a movie that has a lot of potential but tries too hard to be charming in a Bohemian way, sort of like Toronto doing the East Village and realizing far too late that they’re far too polite and less pretentious to make that work effectively. I liked Radcliffe and Driver, with a hint of Davis and Spall but after that there is much less to love.

REASONS TO GO: Daniel Radcliffe is awfully engaging.

REASONS TO STAY: Way too cute. A surfeit of indie rom-com cliches.

FAMILY VALUES:  A whole lot of sexual references including some brief partial nudity and not an inconsequential amount of profanity.

TRIVIAL PURSUIT: Casey Affleck and Mary Elizabeth Winstead were originally cast as the leads but the producers decided they wanted to go with younger actors instead which is ironic since Zoe Kazan is in fact older than Mary Elizabeth Winstead.

CRITICAL MASS: As of 8/19/14: Rotten Tomatoes: 72% positive reviews. Metacritic: 59/100.

COMPARISON SHOPPING: When Harry Met Sally

FINAL RATING: 6/10

NEXT: Bellflower