The Belko Experiment


Things are getting a little heated back at the office.

(2016) Horror (BH Tilt/High Top/Orion) John Gallagher Jr., Adria Arjona, Tony Goldwyn, John C. McGinley, Melonie Diaz, Owain Yeoman, Sean Gunn, Brent Sexton, Josh Brener, David Dastmalchian, David Del Rio, Gregg Henry, Michael Rooker, Rusty Schwimmer, Gail Bean, James Earl, Abraham Benrubi, Valentine Miele, Steven Blackehart, Benjamin Byron Davis, Silvia de Dios. Directed by Greg McLean

 

There’s no doubt that the corporate environment in 2017 is as cutthroat as it’s ever been. Ambitious office drones plot their way to promotions that bring them out of the environment of living paycheck to paycheck and into management where they can make some real money; others plot to preserve their place in the pecking order. Either way, the office is no place for the faint of heart.

Belko Corporation is described as a non-profit that helps large companies recruit American workers to South American locations. They have a large tower located outside of Bogota, Colombia – well outside of Bogota. Mike Milch (Gallagher) is a fairly humdrum middle management type who is involved in a clandestine romance with co-worker Leandra Florez (Arjona) as that sort of thing is discouraged by Belko, who somewhat appropriately incorporate the figure of an eye into their corporate logo. It is not stretching things to say that most of the people who work in the building have no clue what they do for the company.

One unremarkable morning Mike drives into work to discover an increased security presence and that all the local Colombian workers are being turned away from work. He thinks nothing of it – until a disembodied voice comes on the PA system to announce that the 80 or so workers remaining in the building must select two among their number to murder – or else double that number would be selected at random. Everyone thinks it’s a practical joke in poor taste – until the heads of four people suddenly explode.

At first believing the carnage to be the work of a random sniper, there is panic as people try to get under cover. That’s when large blowtorch-proof metal doors and shutters encase the building in a steel cocoon. There is no leaving and as the voice informs them that they’ll need to find 20 workers to dispatch to the choir invisible or once again double that number would be random victims.

Quickly the social order begins to devolve. The company’s COO Barry Norris (Goldwyn) tries to preach calm and order until he becomes convinced that the only way to buy time is to do what the voice commands, especially when it becomes apparent that every move they make is being observed (remember the eye?) by the disembodied voice. Joining him are a number of management types who want to maintain control of the situation, including Wendell Dukes (McGinley), the kind of manager nobody ever wants to work under. Mike is trying to keep from having anyone die but his voice is not getting heard in the increasing panic. Before too long things fall completely apart and everyone starts looking out for their own ass if they are to survive the worst workday ever.

The movie was penned by current fan favorite James Gunn (Guardians of the Galaxy Vol. 2) as a bit of a passion project but it has languished on the shelf while Gunn has been shepherding the two Marvel space operas to money-printing status. He left the property however in the capable hands of Aussie director McLean (Wolf Creek) who does a yeoman job bringing the script to life.

Most of the actors are better known by face than by name and while there is a black comedy element to the proceedings it never gets to the point of silliness which often happens with horror comedies. Of course, this is as allegorical as it gets to what corporate culture has become in terms of treating employees as disposable resources in which salary and benefits are necessary evils and when the need for those workers dissipates, so do the workers.

Rooker, who has become one of Gunn’s go-to guys, excels as a building engineer as does Goldwyn as a boss who is friendly and supportive on the outside but loses any semblance of concern for his employees when the rubber hits the road. Gallagher and Arjona are okay in the lead roles but aren’t particularly memorable. James’ brother Sean is memorable as a stoner and Schwimmer as the office mother hen is strong.

There are a lot of heads exploding here (having to do with a tracking chip that American workers receive in countries where kidnappings are common) and many gruesome deaths by axe to the face or stapler to the skull. I might have wished for a little more variety to the murders – I would imagine in an office environment there would be plenty of supplies that could do some real damage. A little more imagination in this department would have been welcome. It also should be said that those sensitive to gore and carnage will likely have a rough time with The Belko Experiment.

The movie loses momentum in the second half which is basically a survivalist epic and the denouement is a bit disappointing although there are some pop culture references of the blink and you’ll miss them variety that add some richness to the last moments of the movie. I was hoping for a little bit more from the film but to be honest it is solidly entertaining and horror fans looking for something a little bit different could do a lot worse than to look in this direction.

REASONS TO GO: The film is clever, particularly in the first half. Some fine actors turn in strong performances.
REASONS TO STAY: The gore might be a little bit too extreme for some. The film loses steam in the second half.
FAMILY VALUES: Oh my, there’s plenty of gore and violence, profanity, some drug use and brief sensuality.
TRIVIAL PURSUIT: James Gunn was originally set to direct this from his own screenplay but felt that the violence was not what he needed in his life as he was going through a painful divorce, plus he was also hard at work on Guardians of the Galaxy Vol. 2.
CRITICAL MASS: As of 5/9/17: Rotten Tomatoes: 49% positive reviews. Metacritic: 44/100.
COMPARISON SHOPPING: Battle Royale
FINAL RATING: 6.5/10
NEXT: New Chefs on the Block

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Spiral


Spiral

Joel David Moore is getting tired of all the wedgies.

(Anchor Bay) Joel David Moore, Amber Tamblyn, Zachary Levi, Tricia Helfer, David Muller, Annie Neal, Amber Dahl, Kristin Luman, Ryan Chase. Directed by Adam Green and Joel David Moore

We are, all of us, victims of our past. The demons that are a result of past traumas often drive our present behavior. Some of us have demons that are more insistent and more deadly than others.

Mason (Moore) is a socially awkward cubicle dweller living in Portland, Oregon. Most of his fellow co-workers ignore him; Mason’s neuroses are many and notorious at work. That suits Mason just fine; he tends to be on the reclusive side in any case and prefers to spend most of his time listening to jazz records (we’re talking LPs here; Mason prefers the warmth of vinyl to the cold soullessness of CDs) and painting, and Mason is surprisingly talented at both.

At work his only friend (and we use the term loosely here) is Berkeley (Levi), who also happens to be his boss. Berkeley is not particularly a nice guy, but he seems to have a soft spot for Mason and kind of adopts him, which Mason seems to accept albeit not with great enthusiasm. Mason exists in the curious shadowland that is Portland in the fall, when the nights get darker and the rain falls incessantly in a cold curtain of camouflage.

His life turns around when he meets Amber (Tamblyn), a new co-worker who is as gregarious as Mason is shy. She is drawn to the shy young man, her curiosity piqued and for his part Mason is moved by her kindness and starts to come out of his shell. When Amber discovers Mason’s talent as an artist, she insists that he paint a portrait of her.

What Amber doesn’t know is that Mason is not at all well; he has been scarred by the murder of his mother by his father and is tormented by awful nightmares, nightmares that Mason thinks might possibly be real and if they are, Mason could very well be a mass murderer. Only Berkeley knows about the dreams and has dismissed them as just that, dreams. If he’s wrong, however, Amber is in mortal danger.

Moore’s name shows up all over this film as a co-writer, co-director and co-producer, as well as the lead actor so much of the blame or credit, depending on your opinion of the movie, will be directed his way. He certainly surrounded himself with able support; co-director Green went on to direct the much-acclaimed thriller Frozen, while Levi is best known for his work in “Chuck” (and he’s quite good here in a very different role). Tamblyn is one of the more underrated actresses working these days and she turns in a terrific performance as the lonely and insecure Amber who masks her insecurities with a kind of false sense of bonhomie.

Moore himself is best-known as being the gangly geek in Dodgeball and the scientific nebbish in Avatar. His own performance is not too shabby; he seems to be on the verge of tears often but there is a rage and tension just below the surface that makes you wonder if instead of tears we might not see homicidal mayhem instead. That’s the centerpiece of Spiral and the movie doesn’t work if you don’t believe it. Fortunately, I did.

I liked the sense of place and time in the movie; the environment of Portland becomes a big part of the mood and it is shot exceedingly well. There is almost the feel of an indie romantic drama here, and that also serves the movie well, making the jolts more effective when they come.

Like most movies, there is a twist to it and it’s not a bad one. One of the problems with psychological thrillers in general is that you’re expecting a twist so you spend most of the movie looking for one, and most veteran observers of the genre can usually spot them early on, but I didn’t so kudos on that account.

On the negative side, this feels a bit long and some of the scenes felt more like padding. It could have used a little more judicious editing to cut out some of the material that seemed to me to be extraneous, with certain scenes merely confirming what has already been established elsewhere in the movie. Still, this is a satisfying movie for its genre, a sandwich that could have used a bit more meat and a little less bread, but delicious even so.

WHY RENT THIS: The movie works because of its indie romantic drama feel that helps make the jolts more effective. Fine performances, particularly from Tamblyn and Levi, as well as Moore, characterize the film.

WHY RENT SOMETHING ELSE: Some of the scenes were unnecessary in terms of plot development and action and could easily have been snipped out.

FAMILY VALUES: There is some fairly disturbing imagery here as well as partial nudity and a bit of violence. The language is a bit blue in places. Probably okay for mature teens.

TRIVIAL PURSUIT: Amber Tamblyn’s dad Russ, he of West Side Story fame, shows up here as an extra.

NOTABLE DVD EXTRAS: None listed.

FINAL RATING: 6/10

TOMORROW: TiMER