Caught


You never know what you might have caught.

(2017) Horror (Cinedigm) Mickey Sumner, Ruben Crow, Cian Barry, April Pearson, Aaron Davis, Dave Mounfield. Directed by Jamie Patterson

 

There are doubtlessly readers old enough to remember the Grindhouse films of the 70s and 80s; movies that played in decrepit theaters and rarely saw the light of day in the local multiplex. They were mainly genre films and generally were the cinematic version of fast food; a bit greasy, not at all pretty to see and the consumer was better off not knowing too much about the product.

Caught is a British ode to the movies of that era and that classification. Set in 1972 in the wilds of the moors of Sussex, the film follows married journalists Julie (Sumner) – the writer – and Andrew (Crow) – the photographer. They’d noticed some sort of military activity going on in the normally peaceful neighboring moor and are trying to convince their London editor to run the story. The two work from home, Julie having sent off their son Toby (Davis) off to school while their infant daughter sleeps.

Then a strange couple approach. Introducing themselves as Mr. (Barry) and Mrs. (Pearson) Blair, the two wear neatly tidy matching suits (his and hers) and are impeccably coiffed. Because of the strangeness of their dress, Andrew at first mistakes them for religious proselytizers but they soon tell him they’re “from the moors” and have a few questions to ask. Andrew, thinking he and Julie can get some information out of them as well, invites them in. That turns out to be a very bad idea.

Most of the talking is done by Mr. Blair in stilted, almost robotic speech. He seems to have trouble with certain words and phrases, as if English is not his first language. As the questions grow more and more bizarre and Mr. Blair seems to have an unhealthy focus on when Toby would be home from school, the journalists at last realize something is amiss. By that time, it’s far too late.

Patterson certainly references grindhouse films of the era from the weird and unsettling atmosphere to the score that sounds like it was bought from a generic film score supplier. The former is welcome; the latter is not. Often the music is incongruously energetic when the overall tone of the scene is low-key, proving to be a jarring combination as if the composer hadn’t bothered to watch the film or the editor didn’t quite match up the score to the proper scene.

Fortunately there are some very satisfying performances from Barry, Pearson, Sumner and Crow. While none of them run away with the movie, the first two particularly portray quiet menace that suddenly morphs into screaming violence without warning while Sumner and Crow manage to give a realistic portrayal of terrified parents who realize that the people they’ve invited into their home are not normal at all.

Who the Blairs really are is never fully explained. Are they demonic in origin, or garden variety invading aliens? Are they merely psychotic? One of Andrew’s photographs has the answer but we are never allowed to see it; instead, we see the reaction of Andrew and Julie to it. Generally I applaud filmmakers brave enough to let the audience’s imagination fill in the blanks but some may find the lack of information infuriating.

The trailer for this film is much better than the film itself; Patterson and writers Dave Allsop and Alex Francis never really go anywhere with the concept. Patterson does a great job of building up the tension but then it seems to plateau. One of the biggest issues I had was that it never felt like Andrew and Julie ever had a shot at getting away so there’s a lot less dramatic tension than there might have been. When the ending comes, it seems pretty much inevitable.

That’s a shame because there are a lot of worthwhile elements here, but sadly not enough for me to recommend this with any enthusiasm. Fans of grindhouse movies of the 70s though might get a kick out of this one.

REASONS TO GO: This is a seriously weird movie with a very bizarre tone. The four lead actors deliver strong performances.
REASONS TO STAY: The violence was unconvincing. The retro-style score was often annoying..
FAMILY VALUES: There is profanity and violence.
TRIVIAL PURSUIT: Sumner is the daughter of producer Trudie Styler and rock musician Sting of The Police.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 4/2/18: Rotten Tomatoes: 80% positive reviews. Metacritic: No score yet
COMPARISON SHOPPING: The Strangers
FINAL RATING: 5.5/10
NEXT:
A Suitable Girl

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The Jazz Loft According to W. Eugene Smith


Watching the world go by - and photographing it as it does.

Watching the world go by – and photographing it as it does.

(2016) Documentary (Lumiere) Carla Bley, Steve Reich, Sy Johnson, Dan Morgenstern, Bill Crow, David Amram, Phil Woods, Harry Colomby, Steve Swallow, Freddy Red, Ben Ratliff, Sam Stephenson, Charles Harbutt, John Morris, Harold Feinstein, Robert Northern, Chuck Israels, David Rothman, John Cohen, Robin D.G. Kelley, Carman Moore, Vicki Goldberg. Directed by Sara Fishko

Florida Film Festival 2016

From the 50s into the 60s, New York City was legitimately the center of the universe. It almost glowed with a creative vibe, with poets, writers, photographers, musicians…everything was happening in New York. It was an exciting time to be alive.

That era is gone, although New York continues to throb with artistic activity. However, nobody can deny that the era I referred to was something of a golden age. In a small loft on Sixth Avenue, jazz musicians would come and jam and hang out in the apartment of Hall Overton, a Julliard instructor and composer of classical music who was discovering jazz. Folks like Zoot Sims and Thelonious Monk were regular visitors and painter Salvador Dali would drop in from time to time. Young musicians like Carla Bley and Steve Reich (ho would eventually become a noted composer) also were regulars.Next door, acclaimed Life magazine photographer W. Eugene Smith documented everything, not only in photographs but also on audio tapes.

Smith was already a former war correspondent and currently a successful photographer for Life with his photo essays winning awards and acclaim. However, his obsessive and compulsive tendencies led him to leave his suburban home and family for a dilapidated building in the Flower District not zoned for residential use. There, jazz musicians would gather for all night jams without fear of waking the neighbors.

The footage here is not just of Smith’s incredible photos, although they are the centerpiece, but there is also film footage from the era as well. While the extraordinary talents that were making music in the loft made for subjects that span time, for me part of the fascination is Smith’s use of his window as a kind of peephole into the lives of those on the streets below as he documented people going about their business, unaware that their image was being preserved forever. People simply going about their day doing mundane things…I don’t know why, but that kind of thing creates a connection for me that spans across the decades and makes the era relatable. Maybe there are pictures of you and I somewhere that we don’t know about, in an era even more obsessed with documenting everything than Smith was.

But mostly, the attraction are the musicians. Smith went to great lengths to make sure he captured everything, installing microphones everywhere, even drilling through the floor into the loft above to capture rehearsals and jams. When discovered, there were more than 40,000 negatives and 4,000 hours of audio tape recordings ranging from the banal to the sublime. Monk spent two weeks in Overton’s apartment arranging the music that would eventually become The Thelonious Monk Orchestra Live at Town Hall, one of the most iconic works of the jazz legend’s career.

Produced initially as a ten part series on WNYC radio, the producer of that series made the transition to documentary and wisely lets most of the material speak for itself. However, there are some fairly dry passages that feel more like an academic lecture than a film. But all in all, this is a fascinating look at a bygone era and at the luminaries who provided an entire city – and the world – with its energy and creative vibe.

My mom and dad met in New York City during that era and lived in an apartment on the Lower East Side briefly in the late 50s, moving to the suburbs shortly after I was born in 1960. My dad is gone, but my mom still speaks very fondly of that place and that time. Judging from what I saw here, I can see why.

REASONS TO GO: Wonderful archival footage of a glorious era. There’s a temptation to close your eyes and just listen to the music.
REASONS TO STAY: More of a seminar than a film.
FAMILY VALUES: Some mild profanity and period smoking.
TRIVIAL PURSUIT: Most of Smith’s material from this period currently resides at the Center for Creative Photography at the University of Arizona.
CRITICAL MASS: As of 4/13/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: On the Road
FINAL RATING: 7.5/10
NEXT: Mad