Drag Me to Hell


Drag Me to Hell

This isn't exactly the girl-on-girl action I had in mind.

(Universal) Alison Lohman, Justin Long, Lorna Raver, Jessica Lucas, David Paymer, Dileep Rao, Adriana Barraza, Chelcie Ross, Reggie Lee. Directed by Sam Raimi

Director Sam Raimi made his bones, so to speak, in the horror genre. His Evil Dead trilogy still remains today a classic of the genre, hallmarks of Raimi’s patented horror-with-laughs style. After doing Army of Darkness, the last of the trilogy, Raimi moved on to doing the Spider-Man movies as well as a couple of other non-horror movies, but the genre has never been far from his heart – his Ghost House Pictures production shingle has been responsible for such fare as The Messengers, 30 Days of Night and The Grudge trilogy.

Now he makes his return to the genre as a director with this nifty little film. Christine Brown (Lohman), a sweet, mousy blonde, is gunning for a promotion at the bank where she works. If it were given on competence alone, she’d be a lock but the slimy, smarmy Stu Rubin (Lee) is undercutting her and looks to have the promotion sewn up. Her boss, Mr. Jacks (Paymer) tells her that she needs to be making tougher decisions.

She puts this into practice when Mrs. Ganush (Raver) comes to her desk, begging for an extension on the third mortgage for her house. Christine is inclined to give it to her – she doesn’t have the stomach for throwing an old woman out into the street – but she reeeally wants that promotion so she turns her down, even when Mrs. Ganush gets down on her knees.

Christine has forgotten one of the basic rules of horror movies – never humiliate a gypsy. Has she learned nothing from Stephen King? Apparently not, so she reaps the consequences and hideous they are. Mrs. Ganush levels a curse on her that gives her three days before a demon drags her soul straight to H-E-double hockey sticks.

Before she gets there, however, she will go through all manner of being terrorized and grossed out, having all sorts of bodily fluids vomited onto her by the demonic Mrs. Ganush and her minions. Her incredulous boyfriend Clay Dalton (Long) thinks she’s out of her mind at first, but is supportive nonetheless – and as unexplainable things begin to pile up he too becomes a believer, sorta kinda.

She’s not alone in her fight, however; Indian spiritualist Rham Jas (Rao) helps her figure out what’s going on, and takes her to see legitimate psychic Shaun San Dena (Barraza) who fought one of these curses once before and lost, so is eager to redeem herself. It won’t be easy though, and with every possibility exhausted, there remains one last desperate hope for Christine, one that involves doing something terrible.

Most horror movies these days are either remakes of iconic franchises from the ‘70s and ‘80s, remakes of far superior Asian films, or the kind of torture porn of the Saw and Hostel series. It’s refreshing to see a good horror movie that has some great scares to it, a reasonably original premise and is a great ride to boot. Raimi hasn’t forgotten his skills as a genre director and has added to it the experience of making big-budget mega-effects driven movies, which help him increase the scope of his vision here.

Lohman has had something of a checkered career as an actress, but here she nails it. Her character doesn’t necessarily lack a moral compass in that she knows the right thing to do; she just doesn’t have the backbone to follow it. That makes her far more human than either a complete saint or an utter bitch might in that role.

Raver makes this a career highlight reel; she is astonishing as the old woman and after a career of soap operas and TV show guest appearances, she gets the kind of role finally that really lets her cut loose, even if you can barely recognize her under all the make-up. She takes a standard gypsy character and turns her into one of the most frightening movie characters of the last decade; it wouldn’t surprise me a bit if they bring her back to curse other people in sequels to this if Raimi decides to make one.

While the rest of the cast is solid, kudos should be directed at Rao who turns his charlatan psychic which was meant to serve as a plot explainer into an integral part of the movie’s success. It’s not strictly comic relief, but suffice to work that he works similarly to what the Suresh character does in the “Heroes” TV show.

There are plenty of scares here and not all of them are the artificially manufactured kind, either – you know, the ones with the jumpy soundtrack, loud crashing noises and cats jumping out of dark spaces. Nope, this is a movie where the scares are earned, and the laughs that follow them legitimate. While the movie didn’t do gangbusters at the box office (only raking in $40 million domestically), it was so cheaply produced that it turned a tidy profit so the powers that be at Universal may be amenable to sequels, even though the movie doesn’t really seem to promise one.

For my part, I’ve found the American horror movie in something of a rut in the 21st century for all the reasons outlined above. While some terrific horror movies have come from places like Japan, South Korea, New Zealand and England, there have been very few to come from the States and there is something galling about that. Fortunately here comes Sam Raimi to deliver a movie that shows you why few movies can scare the bejeezus from you like an American horror movie can.

WHY RENT THIS: This might just be the best horror movie so far of the 21st century. 

WHY RENT SOMETHING ELSE: Christine is so ditzy and spineless at times it’s hard to really feel sympathy for her. The ending was a bit of a disappointment.

FAMILY VALUES: This is plenty scary, gang. Seriously, unless your kids don’t ever have nightmares, think twice about letting them see this – some of the imagery is really, really intense.

TRIVIAL PURSUIT: This is the first movie directed by Sam Raimi in which actor Bruce Campbell didn’t appear (he was busy with his television show “Burn Notice”).  

NOTABLE DVD EXTRAS: While the DVD and Blu-Ray covers trumpet that this is an unrated version, the difference between this and the theatrical release is a single scene; the unrated version is actually nine seconds shorter in total than the theatrical version. 

FINAL RATING: 7.5/10

TOMORROW: Charlie St. Cloud

Inception


Inception

Joseph Gordon-Levitt's world is all askew.

(Warner Brothers) Leonardo di Caprio, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy, Cillian Murphy, Michael Caine, Pete Postlethwaite, Dileep Rao, Tom Berenger, Marion Cotillard, Lukas Haas, Tai-Li Lee. Directed by Christopher Nolan

In perhaps the most famous soliloquy of all time, Hamlet muses “To sleep, perchance to dream.” In this speech, he’s referring to death, wondering what the dead dream of. Perhaps death is a dreaming in a way, the ultimate dream. Maybe life itself is the dream – who’s to know?

Dom Cobb (Di Caprio) is a corporate thief with an unusual technique; he enters the dreams of CEOs and billionaires to extract the secrets that their mind has locked in those dreams. It’s an apparently lucrative profession; he seems to have a fairly extensive bankroll. However, Cobb isn’t a happy man. His wife Mal (Cotillard) died recently, and he was implicated in her death. Their children are being cared for by Mal’s mother, and Cobb hasn’t seen them in awhile, although he longs to.

Getting back to them is problematic, until Japanese billionaire Saito (Watanabe) comes up with an offer. He can take away Dom’s fugitive status if Dom will do one job for him, but instead of stealing an idea, he wants one implanted. This process, called inception, is deemed impossible…by everybody except Dom, who claims to have done it on one occasion.

Dom puts together a team of experts, including his right hand man and researcher Arthur (Gordon-Levitt), con man, impersonator and demolitions expert Eames (Hardy) and chemist Yusuf (Rao). The last they need to put the subject into a deep sleep, deep enough so that the dream architecture doesn’t collapse, because in order to make the idea work without his mind removing a foreign idea from itself (similarly in the way antibodies tackle viruses), the idea must be implanted so deeply that the subject thinks that the idea is his own.

The subject is Robert Fischer (Murphy), the son of a billionaire energy mogul whose father (Postlethwaite) is dying and stands to inherit his company. That company, which supplies nearly 80% of all the earth’s energy needs, has become too big to stand against and is in danger of becoming a power rivaling that of nations.

Dom also needs a dream architect and for that, he visits his father-in-law (Caine), who teaches the architecture of dreams and who helped Dom become what he is (although dear old dad-in-law disapproves of how Dom utilizes his gifts). Dom needs one of his students, a particularly gifted one, to create a realistic enough world that will fool Fischer into believing he is awake. That student is Ariadne (Page), who in Greek mythology led Theseus safely through the labyrinth on Crete where he slew the Minotaur.

This Ariadne is required to construct a labyrinth, because once the mind realizes that there are intruders in it, it sends what are called constructs to remove the intruders. The maze serves to keep the constructs off your back, at least for a little while. Not forever, however, and once the constructs arrive they are well armed and willing to shoot first and ask questions not at all. Once you are killed in the dream, you wake up – quite a different take on the usual Hollywood mythology which has dreamers dying in real life when they die in dreams. However, because they are going so deep into the dream, those who die in this dream will be sent to a limbo of the subconscious where they will slowly go mad until they awaken.

There is a time dilation too – while in a normal dream, five minutes of real time equates to an hour of dreamtime, the deeper level you go to, the more pronounced the dreamtime – to the point where five minutes can equal ten years.

There is also another wrinkle. Dom has never really been able to get over the death of his wife, and she is a powerful figure in his subconscious, so powerful that she has been able to manifest in the dreams of others and wreak havoc. This is why Dom needs another architect instead of doing it himself. Her presence in his subconscious is becoming more and more pronounced and only Ariadne, who went into one of Dom’s own dreams to figure out what was going on, knows the truth. Will Dom be able to overcome his own subconscious in order to win him the freedom he so desperately desires?

Nolan began writing this when he was filming Memento (2000), and it took him eight years to complete it. That’s largely because of how densely layered a tale this is; this is one of the most complexly plotted movies you’ll ever see. Pull one thread out and everything collapses.

Fortunately, Nolan is a good enough writer that he can pull it off. First, he has to create a believable dream mythology. Secondly, he has to create characters that the audience can relate to and care about. Thirdly, he has to inject a real sense of jeopardy. Finally, he has to make the plot simple enough for a general audience to keep up with, yet complex enough to make all the elements work.

He succeeds in all these points. The mythology is believable; the science may suffer from a little bit of what I call “mumbo jumbo science” – an overuse of technobabble – but it isn’t so much that you shake your head and feel stupid. The characters aren’t cardboard cutouts; they live and breathe and seem real.

The jeopardy part is accomplished by a series of car chases and shootouts which rankles some critics; “My dreams aren’t about car chases,” grouses A.O. Scott of the New York Times, which apparently means nobody else’s are either; of course, nobody has ever accused Scott of a lack of hubris.

All right, that was a bit of a below-the-belt shot at a fellow critic. Still, when one is discussing dreams, it’s a given there are no rules. Perhaps the dreamscapes that Nolan invents for Inception aren’t as outside the box in some ways as What Dreams May Come, that doesn’t mean there isn’t invention here. The sequences wherein Ariadne folds Paris onto itself (having cars driving Escher-like down vertical streets), or when Arthur fights a construct in a corridor that is revolving (the reason for which is explained nicely in the movie) are as breathtaking as anything you’ll see this summer.

I have a soft spot for movies that make you consider the nature of reality and leave you to form your own conclusions about what just happened. Roger Ebert says correctly that this is a movie about the process more than the plot; I can give you spoilers about plot points but the full effect isn’t as bad because those spoilers lose their effect because it’s more about how we reached that point, not about the point itself. Is this a dream? Is it a memory? Is it reality? Is there a reality? There are no easy answers to that, and Nolan wisely allows the audience to reach their own conclusions. If he has his own ideas, he keeps them to himself.

Di Caprio has never been my favorite actor – he’s a bit too angst-suffused for my taste – but this is surely one of his best performances ever. He plays Dom as a man who appears to be emotional on the surface, but the deeper we delve into the character the more we realize he represses his emotions to the extent that most psychiatrists would probably see him as borderline disturbed.

This is the kind of movie you can spend hours in discussion about. Is it a masterpiece or a conversation piece? The answer is it’s a little bit of both. Certainly people will be talking about the ending and its meaning for quite awhile. Movies that can satisfy the need for visceral action sequences and stimulate the mind simultaneously are rare indeed, and Inception does both. In a summer plagued by weak box office and mediocre movies, Inception easily shines as the best movie of the summer season.

REASONS TO GO: Thought-provoking science fiction with some amazing visuals. Di Caprio gives one of the better performances of his career and his terrific supporting cast doesn’t disappoint.

REASONS TO STAY: The plot is hard to follow along with in places, and there is a high degree of mumbo jumbo science going on.

FAMILY VALUES: There is a lot of action and some violence (a lot of shooting). The themes are sufficiently adult enough that I might think twice before bringing very young children who might have trouble following the plot; otherwise, this is suitable for mature pre-teens and older.

TRIVIAL PURSUIT: The name of Leonardo di Caprio’s character, Dom Cobb, was also the name of a main character in Nolan’s first movie, Following (1998) – furthermore, both characters are thieves.

HOME OR THEATER: The amazing visuals in the movie are best experienced in a movie theater and are even better in the IMAX format if you have an IMAX screen nearby.

FINAL RATING: 8/10

TOMORROW: Five Minutes of Heaven