The Last Color


Being a woman in India is walking the tightrope between tradition and equality.

(2019) Drama (Saffron PenNeena Gupta, Aqsa Siddiqui, Budrani Chhetri, Rajeshwar Khanna, Aslam Sheikh. Directed by Vikas Khanna

 

India has an amazing culture with much to admire about it. One of the things that is an exception is in the way that women are treated, particularly widows and orphans. In many ways, Indian society is downright repressive to those who have few advocates.

Noor Saxena is one such advocate. A lawyer, she has wrangled a decision from India’s highest court that grants rights to widows that they have not had for centuries. In Indian tradition, widows only wear white. They live lives devoid of color – they are forbidden from taking part in the Holi festival that celebrates the oncoming of spring. You may know it as the one where people throw colored powders at one another in a frenzy of joyful fun. Widows don’t get to take part in that.

Chhoti (Siddiqui) is a street rat living in the slums of Benares, a Hindu holy city along the Ganges. She makes money by doing a tightrope act and selling flowers in the streets. She hopes one day to earn enough to go to school and rise above her station. She befriends 70-year-old Noor (Gupta), a widow living in an ashram for widows who live lives of colorless and passionless reflection. As with most widows, her life is expected to be over when her husband dies; her body is just walking around until she can join him.

Chhoti also hangs out with Chintu (R. Khanna), a fellow orphan who aids her in her high wire act. The two dodge police officers trying to make enough to survive. They are aided by transgender woman Anarkali (Chhetri) who supports herself as a sex worker, mainly catering to brutal men like Raja (Sheikh), an ill-tempered cop who sees himself as king of his little part of the world. He is doubly frustrated because his wife not only hasn’t given him a son (only daughters) but she refuses to bathe in a sacred pool which would guarantee the birth of a strapping young son. He passes through the world as kind of a rage junkie, always looking for a reason to cause pain.

Still, Chhoti never fails to stand up for herself and with Noor guiding her and pushing her to be better than her lot, she falls under the vengeful gaze of Raja, particularly after she witnesses the evil cop doing something particularly heinous, something that could get him thrown in jail. Will Noor defy tradition and stand with her friend?

The movie looks at cultural attitudes towards women in general and the more marginalized women – transgenders, widows and “untouchables” in particular – and the traditions that keep them down. First-time director Vikas Khanna has a wonderful eye for color; the movie is gorgeous to look at even in its occasional brutality and squalor.

Gupta also gives Noor a ton of dignity and gravitas, perhaps more than the movie deserves. It sometimes seems to move at a very deliberate pace which can be maddening; hammering us over the head with how widows and orphans are treated might get the point across but it also at times feels like we’re being talked down to. When you’re trying to deliver a message with your movie, that’s a pitfall you want to avoid.

Still, there is a lot here that is worth checking out. The movie had a brief Los Angeles run and may yet make some appearances elsewhere; there may even be a VOD slot in its future although nothing official has been announced as of yet. Either way, this is worth keeping an eye out for.

REASONS TO SEE: Wonderful use of color throughout the film.
REASONS TO AVOID: Rather slow-moving.
FAMILY VALUES: There is violence, particularly of the domestic sort; also, sexual situations and adult themes.
TRIVIAL PURSUIT: Khanna is best-known as a James Beard award-winning chef. The film is based on a novel that he wrote decrying the state of women’s rights in his home country.
CRITICAL MASS: As of 12/7/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Lipstick Under My Burkha
FINAL RATING: 6.5/10
NEXT:
Klaus

Mickey and the Bear


The obligatory uncomfortable car ride shot.

(2019) Drama (UtopiaCamila Morrone, James Badge Dale, Calvin Demba, Ben Rosenfield, Rebecca Henderson, Rob Grabow, Gabriel Vega, Katee Ferguson. Directed by Annabelle Attanasio

 

Recently, director Martin Scorsese stirred up an Internet hornet’s nest when he disparaged Marvel films (and their like). He spoke about the films he grew up watching and quite frankly, this one from first-time director Attanasio would be the sort of film that he would dig.

Mickey (Morrone) lives in the small Big Sky town of Anaconda, Montana. Her mother has recently passed away due to cancer; the toxic waste from mining operations there have decimated the population of the town. Mickey’s dad Hank (Dale) is an ex-Marine who came home with a drinking problem, a severe case of PTSD and wild mood swings that his medication isn’t really regulating anymore. Mickey is his sole caregiver and support; she works after school in a taxidermy shop and supplements his veterans benefits with the little income she can make. Hank is chronically unemployed, and an object of pity in the town; he is not only a vet but a widower. He is essentially given a pass for his bad behavior, which is growing steadily worse.

Mickey has a boyfriend, Aron (Rosenfield) who professes undying love for Mickey, but steals her father’s Oxycontin and seems most interested in her female parts than in any other part of her. Mickey is trapped in the small town, unable to leave because her father couldn’t survive without her, but sees any sort of hope for a life of her own slipping away from her.

But there are some bright spots. New kid at school, Wyatt (Demba) – a transfer from the UK – sees potential in her and encourages her to go out and seek it. VA psychiatrist Leslee Watkins (Henderson) takes an interest in her and sees that the situation she’s in is not likely to improve…ever. Mickey is beginning to take tentative steps out of her situation but then her father drags her right back into the nest.

Attanasio is one of the new breed of female directors who not only has something to say but knows how to say it in a compelling manner. It’s hard to believe this is her first feature; it’s even harder to believe that she was only 25 years old when she made this. It’s directed with such assurance that you would think that the person behind the camera had decades of experience in the director’s chair. I’m excited for the future of this young woman.

It doesn’t hurt that she has a pair of actors giving career-defining performances. Dale, a veteran character actor, has never been better. He walks a tightrope between portraying Hank as an utter bastard and an object of pity. Hank is neither; he is prideful and his mood swings can lead to violence. At the same time, there’s just enough charm to allow us to see what he must have been like before he went off to war. This isn’t a textbook PTSD performance; it’s more true to life.

The revelation, however, is Morrone. With a limited resume behind her, there was no reason to believe she had this kind of performance inside her but quite frankly, it’s Oscar-worthy. Mickey is strong and vulnerable; making a terrible decision one moment and standing up for herself the next. She is, in short, a young woman who has seen far too much of life for a girl her age; it has caused her to grow up way too fast, but she is still at the end of the day only 18 years old.

Most of the other performances are strong as well, although Demba looks way too old to be a high school student. The Montana landscape is shown off nicely while the town is basically the working-class kind of place that has been hit particularly hard by the economic hardships that have caused them to embrace outsiders in politics. There’s a quiet desperation in the town that is heartbreaking; elitist liberals would do well to take notice.

Attanasio keeps the mood tense; one never knows when Hank is going to erupt. It’s a slow burn rather than an explosive conclusion. At the end of the day, the only flaw here is that the ending feels a bit more cliché than the rest of the film. Even though the final image of Mickey is hopeful and inspiring, it doesn’t really jive with the tone of the film.

The movie is currently playing in New York and opening in Los Angeles later this week; at the end of the month, it will start playing nationwide. Keep an eye out for it; this is a very strong movie that cinephiles should want to experience for themselves.

REASONS TO SEE: While Badge does a good job, Morrone is incredible. Gritty Americana at its finest.
REASONS TO AVOID: The ending is a little too pat, too predictable.
FAMILY VALUES: There’s a good deal of profanity, scenes of drug abuse, some sexual situations and violence.
TRIVIAL PURSUIT: Attanasio is best known as an actress on the CBS drama Bull; she left the show following the third season in order to shoot this movie, her directorial debut.
CRITICAL MASS: As of 11/19/19: Rotten Tomatoes: 100% positive reviews: Metacritic: 76/100.
COMPARISON SHOPPING: Princess of the Row
FINAL RATING: 7.5/10
NEXT:
Jim and Andy: The Great Beyond

Tomorrow, Maybe


Father doesn’t always know best.

(2017) Drama (Random MediaRobert Blanche, Bethany Jacobs, Grant Davis, Brian Sutherland, Robert McKeehan, Garfield Wedderburn, Erin Hagen, Pamela O’Hare, Kyle Vahan, Todd A. Robinson, John Branch, Roy Frank Kirk 1st, Jeffrey Arrington, Jace Daniel, Alysse Fozmark. Directed by Jace Daniel

 

Making amends is no easy thing. It is, first and foremost, an admission of wrongdoing, taking ownership of mistreatment. Taking ownership of our less proud moments is difficult even for the saintliest among us. The hardest part, however, is often getting those we have wrong to allow us to make amends in the first place.

Lloyd (Blanche) has just been released from prison and is a changed man  He realizes full well that he has wasted most of his life to petty criminality and drug abuse. The relationship with his daughter Iris (Jacobs) is certainly strained; he essentially abandoned her early on and she has been disappointed by him again and again and again, ad nauseam.

Lloyd is looking to leave his past behind him and start a new life on the straight and narrow. In so doing, he hopes to get a second chance with his daughter and become a part of her life. She is understandably reluctant to trust her dad but gradually his sincerity begins to win her over.

He’s picked a pretty good time to return to her life; her husband Bobby (Davis), a cop, has developed a savage drinking problem and is spiraling out of control. He has begun to get violent and Iris doesn’t know what to do about it. Lloyd wants to help salvage things with her husband but things get so bad that Iris kicks Bobby to the curb. Bobby is growing more irrational by the day and blames Lloyd for the issues between him and Iris, believing that Lloyd is turning his daughter against him. The three are on a collision course with tragedy if they’re not careful.

Actually, the film is essentially told in flashback form with audiences being told somewhat of the crowning incident which I will not spoil here even though the filmmakers sort of do. That’s a bit of a tactical error; the director/writer Daniel is trying to pull off a twist in the plot but I think it would have been more effective if we didn’t have an inkling of what all this was leading to.

Otherwise, the movie gets kudos for tackling domestic abuse in a realistic way as well as the issues of making amends. Yeah, at times the film goes for easy answers rather than slogging through some rough emotional terrain while at other times Daniel seems quite willing to do that. Those moments tend to be the highlights of the film.

The three leads need to deliver powerhouse performances and they aren’t quite up to the task. Blanche fares best, giving Lloyd a rough-hewn charm, a man clearly reaching out and a bit confused by the vagaries of life. It’s hard not to root for him and while we clearly understand that his difficulties are largely his own doing, you end up hoping his daughter will give him that chance he so desperately desires.

Jacobs is less successful but truth be told is given less to work with, even though she’s the emotional center of the film. As a woman who has been consistently let down by the men in her life both as a child and as an adult, there is a wariness and a weariness to her manner but at times Jacobs is a bit flat in her line delivery. Davis is a little bit in the middle although it is essentially a thankless role; Bobby turns out to be a fairly irredeemable a-hole so even when we learn the source of his pain, his rage and his drinking, there’s not a lot of sympathy there.

The movie’s tiny budget is evident; often the scenes are underlit or might have used a few more takes. Still, as independent dramas go this one isn’t bad. It’s not Oscar material by a long stretch but it at least has a certain amount of ambition and seems to have at least honest intentions. Not all indie films can claim that.

REASONS TO SEE: Blanche gives a solid performance.
REASONS TO AVOID: Has a tendency to go for easy answers.
FAMILY VALUES: There is a fair amount of profanity, some violence and a scene of sexuality.
TRIVIAL PURSUIT: The three leads all at one time or another appeared in the TV series Grimm.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/26/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Sleeping With the Enemy
FINAL RATING: 6/10
NEXT:
The Peanut Butter Falcon

I, Tonya


Some mother and daughter relationships aren’t exactly storybook perfect.

(2017) Biographical Dramedy (Neon) Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Paul Walter Hauser, Bobby Cannavale, Bojana Novakovic, Caitlin Carver, Maizie Smith, Mckenna Grace, Suehyla El-Attar, Jason Davis, Mea Allen, Cory Chapman, Amy Fox, Cara Mantella, Joshua Mikel, Lynne Ashe, Steve Wedan, Brandon O’Dell, Kelly O’Neal. Directed by Craig Gillespie

 

Fame is a double edged sword. It can give you the keys to the kingdom; everything in life you ever could want. It can also turn back savagely on you and make you a national laughingstock.

Those around in the mid-1990s will remember Tonya Harding (Robbie) as a gifted figure skater who had a legitimate shot at Olympic gold. The first (and to date only) woman to complete a triple axel in competition, it all came crashing down on her just prior to the 1994 Olympics in Norway.

This acid-tongued biopic shows Tonya being pushed into the rink by her overbearing mother LaVona (Janney). Single, bitter and ruthless, LaVona pushes Tonya through physical and emotional abuse, explaining it off as “she skates better angry.” A legitimate athlete, Tonya had a hard time winning judges over with her handmade costumes and her rough-around-the-edges charm.

Tonya moves from one abusive relationship to another; she meets Jeff Gillooly (Stan) at the rink. He falls head over heels for the waif who is something of a combination of Miss America and pro wrestling valet to the working class Gillooly. The two end up marrying but the relationship is tempestuous. He has a vicious temper and that temper gets physical.

She’s desperately lonely and wants to be accepted for what she is – one of the world’s best in her sport. However, her crude language and temperament get the better of her and she continues to place lower than she thinks she deserves. Then, she has that one perfect day – nailing the triple axel and winning the U.S. Figure Skating Championships, making her the odds-on favorite to medal at the Olympics. A combination of bad luck and bad decisions keep getting in her way however, and after separating, then reconciling and at last separating again with Gillooly, she switches coaches and looks to try and make a comeback. Her rivalry with Nancy Kerrigan (Carver) and a death threat that thoroughly plays with Tonya’s head and threatens to derail her chances once again leads Gillooly to conspire with his friend Shawn Eckhardt (Hauser)  to do the same to Kerrigan – except the incompetent Eckhardt decides on his own to take it a step further…

The movie is based on a series of face to face interviews with Harding and Gillooly which are often contradictory. The interviews are recreated with Robbie and Stan standing in. The actors also show the events that are being described, often stopping and turning to the camera and addressing the audience to say “I never did this,” or “She actually did this,” or make some other comment. The breaking of the fourth wall is effective and provides some of the best and most comedic moments of the film.

Several critics have groused that the film seems to be using domestic abuse (and there is a lot of it, starkly and graphically portrayed) as a punch line, but that’s quite the knee-jerk reaction in my humble opinion. Perhaps there are some folks who might find that stuff funny but there weren’t any in the screening I attended. The domestic abuse was in stark contrast to the lighter moments of sheer dumbassery displayed by Eckhardt and Gillooly, reflected by some of the more bizarre “you couldn’t make this stuff up” aspects of the actual events.

Gillespie and writer Steven Rogers make it clear their sympathies are with Harding, who was definitely dealt a difficult hand by life. She came from poverty and had to struggle for everything; to her mom’s credit (and you really can’t give her much) she found a way to outfit her with skates and skating lessons which couldn’t have been cheap. However, LaVona does some pretty awful things; she refuses to allow little Tonya a bathroom break until the poor child pees herself on the ice, which only elicits a disgusted expression from Mommy Dearest who will certainly elicit similar expressions from audience members. Class distinctions are a major theme in the film; Harding often acts like trailer trash (to use an awful expression which is to the poor the equivalent of a slur) because that’s all she knows. Still, she wills herself into success and that’s something she is almost never given credit for, mainly because she became tabloid fodder and the butt of late night comedian’s jokes.

Robbie is scary good in the movie, making Tonya hard-assed but also vulnerable. We see the pain in her face when she gives a smile for the cameras but that smile is as tight as saran wrap on her face and threatens to break at any moment. Robbie captures the attitude and vocal patterns of someone from those circumstances and makes Tonya a living, breathing person instead of a media invention.

Janney, who was so good in The West Wing returns to that kind of greatness with a much different role. There is nothing to like about LaVona and Janney gives us a character who is unapologetic and a little bit whacko. We sense that she’s been kicked in the teeth enough but there’s little context; all we see is that life has made her a ten karat bitch and someone who put Tonya on a collision course with infamy.

This is an Oscar contender on a lot of different levels and one of the best movies of the year. It’s just now hitting a limited release and should be going wide shortly. This is one you’ll want to see; even if the Tonya Harding scandal doesn’t interest you, if good filmmaking and incredible acting are more your thing, this movie covers both of those bases with room to spare.

REASONS TO GO: Robbie and Janney both give award-worthy performances. Some excellent camera work, particularly in the skating scenes. The soundtrack is near-perfect. Harding is turned from a joke into a sympathetic character.
REASONS TO STAY: The biting social commentary seems at odds with some of the humor.
FAMILY VALUES: There is plenty of profanity, a scene of shocking violence and some sexuality.
TRIVIAL PURSUIT: Janney actually trained as a figure skater through most of her youth until an accident caused a leg injury that effectively ended her career.
CRITICAL MASS: As of 1/12/17: Rotten Tomatoes: 89% positive reviews. Metacritic: 77/100.
COMPARISON SHOPPING: Florence Foster Jenkins
FINAL RATING: 8.5/10
NEXT:
Jigsaw

Colossal


Put ’em up!

(2017) Sci-Fi Dramedy (Neon) Anne Hathaway, Jason Sudeikis, Austin Stowell, Tim Blake Nelson, Dan Stevens, Hannah Cheramy, Nathan Ellison, Sarah Surh, Haeun Hannah Cho, Carlos Joe Costa, Melissa Montgomery, Christine Lee, Rukiya Bernard, James Yi, Alyssa Dawson, Miho Suzuki, Charles Raahul Singh, Jenny Mitchell, Maddie Smith, Everett Adams, Agamdeep Darshi. Directed by Nacho Vigalondo

It is said that within all of us there are both angels and monsters. For the most part, the majority of us try as hard as we can to keep that monster inside and let the angel out but it can be difficult, particularly if we are coping with more than we can handle. That’s when those monsters can show their faces and take control.

Gloria (Hathaway) has some issues. She is chronically unemployed or underemployed. She goes out and parties with friends most nights; sometimes for days. She drinks far too much and often doesn’t remember what she did the night before. Finally, her boyfriend Tim (Stevens) has had enough. While he loves Gloria, he can’t stand being around her anymore. Nothing he can say or do has helped. It’s time for him to remove this toxic person from his life and he not only dumps her, he packs up her stuff and tells her she has to move out of their New York apartment…or rather, his New York apartment.

With no other options, Gloria moves back to her childhood home upstate that her recently deceased mom left to her. While there she runs into childhood playmate Oscar (Sudeikis) who has an inheritance of his own – his parents bar. He offers Gloria a job waitressing there which she gratefully accepts although perhaps working in a bar isn’t exactly the best place to be for an alcoholic. By day, Oscar helps out by buying her things to help furnish her empty home; by night, they work at the bar which has bottomed out in popularity in recent years. Oscar has closed off a huge chunk of it, decorated in cowboy fashion. Gloria resolves to spruce it up and reopen it. In between, there are late nights drinking with Oscar and his friends Garth (Nelson), a philosophical drunk and Joel (Stowell), a handsome local who catches Gloria’s eye.

But things take a turn for the strange when news reports show a gigantic monster rampaging in Seoul, South Korea and then disappearing. Like everyone else, Gloria is amazed and alarmed. Unlike everyone else, Gloria discovers she has a strange connection with the monster. The monster makes strange hand gestures that are very much reminiscent of the same quirky gestures Gloria makes. She also discovers that the monsters rampages take place when she is in the playground at a local park. She begins to realize that she is the monster.

Before too long, a second monster appears – a giant robot and Gloria’s monster is needed to do battle with it. She also finds she needs to do battle in real life as well with someone she trusted who has become abusive and controlling. Can she summon the strength to fight on both fronts and in doing so, save the lives of millions of people in Seoul?

Giant monster or kaiju films have regained popularity recently with the successes of Godzilla and Kong: Skull Island as well as dozens of films in Asia. This is a very different take on them. Spanish director Vigalondo has been an up-and-coming name in horror films in recent years and this might just be his best work yet. It’s imaginative and thought-provoking, the latter of which being a rare quality in movies that are as entertaining as this one.

Hathaway gives a marvelous performance as a woman who has lost control of her life and who’s made a ton of bad choices, many of which were informed by alcohol abuse. She is appealing here as she is in most of her films and even though her character isn’t always doing the right thing we still end up rooting for her. Sudeikis is also a very likable screen personality and while the movie begins with him playing a role that is typical for him it changes somewhat as the film progresses. It’s really a marvelous role for him as it allows him to expand his range.

While the special effects reflect the movie’s small budget, the movie explores all sorts of things during the course of its run time from living with substance abusers to domestic violence and taking responsibility. These are some heavy topics for what is essentially a kaiju comedy that turns into something a little deeper.

This played the Florida Film Festival last month and one of the programmers for the Festival reported that a couple of angry ladies accosted him following the screening of this film and complained that it glorifies domestic abuse. Quite frankly with respect to the ladies making the complaint, I believe that their interpretation is quite a bit off the mark. One of the points that the movie is making is that domestic violence can come from people who are the nicest of guys outwardly; that’s why it’s so shocking when it happens in the film. Rather than glorifying domestic violence, the scenes depicting it show it for what it is – a disgusting, cowardly act.

While the movie’s final third is a little less impressive than the first two, it maintains interest throughout. Vigalondo has the annoying habit of having the onscreen characters visibly react to things that the audience can’t see which after having been done a few times gets to be a little bit annoying, but that’s really small potatoes. This is an inventive take on the giant monster movies that is both retro and modern. It’s cinematic fun of the highest order and should be a must-see for anyone who likes good entertainment with a dash of perspective.

REASONS TO GO: It’s definitely a different take on kaiju films. Hathaway makes an appealing drunk. Sudeikis is so charming to begin with his attitude change is all the more shocking. It is refreshing for a movie this entertaining to be this thoughtful as well.
REASONS TO STAY: It loses steam about 2/3 of the way through. The film has the annoying habit of showing actors reacting to things not revealed to the audience.
FAMILY VALUES: There is a whole lot of profanity and scenes of mass destruction and violence.
TRIVIAL PURSUIT: Hathaway was in the second trimester of her pregnancy while she filmed this.
CRITICAL MASS: As of 5/5/17: Rotten Tomatoes: 79% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Big in Japan
FINAL RATING: 8/10
NEXT: Unrest

The Perfect Husband


A walk in the woods.

A walk in the woods.

(2014) Thriller (Artsploitation) Gabriella Wright, Bret Roberts, Carl Wharton, Tania Bambaci, Daniel Vivian, Philippe Reinhardt, Maria Ester Grasso. Directed by Lucas Pavetto

 

Who knows what goes on behind bedroom doors? The relationship between a husband and a wife is largely unknown to the world other than to the two people in it; the things they choose to share with close friends and family may shed some light on at least the perspective of one member of the couple, but at the end of the day, the truth is known only to the husband and the wife.

Nicola (Roberts) and his wife Viola (Wright) have been going through a very rough patch. After a family tragedy had left her wallowing in grief and him trying to resurrect their marriage from the strained doldrums it’s fallen into, he decides that maybe the best thing for them would be a change of venue. Accordingly, he drives the two of them out into the Italian countryside where his Uncle has a cabin up in the mountains. It would seem to be a good place to reconnect and rekindle.

The problem is that Viola seems diffident to any kind of reconciliation; she’s high-strung, sneaking smokes when she thinks her husband can’t see her, and refusing any sort of sexual advance by him. His frustration is growing; he is trying to be as perfect a husband as it’s possible to be but she won’t give him even an inch of slack. Something has got to give…but when it does, what will be the cost?

The plot here is pretty simple and could be extremely effective in the right circumstances. Sadly, these aren’t them. The acting here for one thing is extremely inconsistent. The two leads are required to carry nearly the entire film and I’m not sure if the case here is that they’re not equal to the task, or if they didn’t get the direction they needed to turn in the kind of performances that the movie needed – and didn’t get. Roberts, in particular, seems particularly stiff; at times he looks like he would rather be anywhere but in this film. His character changes drastically about two thirds of the way through; the change comes off drastically with little warning and makes one feel as if they are lurching on a train that is in the process of derailing; there are no subtle hints as to why his character changes or any indication that he’s going to change. I suspect that is more the director’s choice than Roberts’ idea. Wright fares little better, but at least she conveys some modicum of feeling.

Pavetto is an Italian director who is working on an English-language film and that might have hampered him somewhat; the dialogue is a bit flat-sounding to my ears, and quite frankly, the tension that the movie needed to succeed isn’t always there. The last 30 minutes of the movie should be tense and pulse-pounding but at this point the viewer is checking their watch or loading up another movie to watch.

But the movie isn’t completely without merit. One thing that Pavetto does nicely is combine the genres of 80s slasher films and Italian giallo into a nice little mix of styles that actually works, or would have worked with a little more realism in the acting department. Cinematographer Davide Manca gets full marks for setting up some beautiful shots that seem to indicate that there is someone watching, occasionally giving some startle scares with half-glimpsed figures that make one wonder if there is more to the story than meets the eye. As it turns out, there is – but you have to sit through the entire film to discover what it is.

Therein lies the rub; the movie has an ending that does have quite the twist involved, but in order to suss it out you have to sit through a movie that doesn’t do the twist justice. It is incumbent upon the viewer to determine whether that payoff is worth sitting through the rest of the movie for and to be honest, I can’t really advise you one way or the other whether you should; it will depend on your tolerance for subpar acting. I found it enough to give the movie a very mild recommendation, but you might not agree. The gore ‘n’ guts crowd will probably appreciate some of the violence but will bemoan the lack of nudity. The rest of us will likely bemoan the lack of passion.

WHY RENT THIS: A nice mash-up of giallo and 80s slasher-films. There’s some nice cinematography here.
WHY RENT SOMETHING ELSE: The acting is a bit stiff. The film could have used a little more tension.
FAMILY VALUES: There’s violence, some of it graphic and brutal; some sexual scenes, rape and disturbing content.
TRIVIAL PURSUIT: Pavetto originally made a short by the same name, but later fleshed it out into a feature with a new cast and filming in English rather than Italian which the original was in.
NOTABLE DVD EXTRAS: The original short film is included.
BOX OFFICE PERFORMANCE: Not available.
SITES TO SEE: Vimeo
COMPARISON SHOPPING: Sleeping with the Enemy
FINAL RATING: 5/10
NEXT: Captain Fantastic

Deliver Us From Evil


Eric Bana is impressed by Edgar Ramirez' iMDB page.

Eric Bana is impressed by Edgar Ramirez’ iMDB page.

(2014) Supernatural Horror (Screen Gems) Eric Bana, Edgar Ramirez, Olivia Munn, Sean Harris, Joel McHale, Chris Coy, Dorian Missick, Mike Houston, Lulu Wilson, Olivia Horton, Scott Johnsen, Daniel Sauli, Antoinette LaVecchia, Aidan Gemme, Jenna Gavigan, Skylar Toddings, Sebastian LaCause, Steve Hamm, Sean Nelson, Tijuana Nicks, Lolita Foster. Directed by Scott Derrickson

Usually when you hear things that go bump in the night it’s a sign that it’s time to move. In horror movies, most people who hear such things tend to go looking around for what’s causing those noises and that’s never a good idea.

Ralph Sarchie (Bana) is an NYPD detective stationed in the Bronx. His partner Butler (McHale) is an adrenaline junkie who relies on his partner’s “radar” to figure out when real bad stuff is going down. Ralph, a lapsed Catholic,  thinks of himself as having a “hard hand” as a cop and he has the scars to prove it. He’s a family man too, with his wife Jen (Munn) pregnant with their second child – adorable moppet Christina (Wilson) is their first. However, as of late he hasn’t exactly been present at home.

The truth is Ralph is beginning to crack a little. Finding dead babies in dumpsters doesn’t do a lot to maintain your faith in humanity. When he arrives on a scene where a disturbed mother (Horton) throws her infant into the lion pit at the Bronx Zoo, he has an odd confrontation with a painter who turns out to be an Iraq War vet named Santino (Harris) who had a strange and frightening encounter in the Middle East.

Taking an interest in the case is Father Mendoza (Ramirez), an unorthodox Jesuit priest (which is something of an oxymoron) who has seen true evil in his time. He knows that what Ralph is facing isn’t run of the mill evil perpetrated by deranged or amoral men, but something more primordial and far-reaching. Ralph is skeptical of this at first, but when his daughter starts hearing scratching noises under her floorboards and her stuffed animals begin to menace her, the pragmatic cop begins to realize that he might be in way over his head.

Derrickson, who also helmed the horror hit Sinister has got the creepiness factor down. He orchestrates an excruciating terror that begins early on and never lets you out of its grip for the remainder of the movie. A good horror film requires the proper atmosphere to work properly and Derrickson supplies that.

Bana is a very underrated actor, one who has done impressive work in films like Munich but has never really crossed over into superstar territory. He probably won’t with his work here, but it’s very capable which is a standard with Bana. I don’t think I’ve ever seen him turn in a bad performance even in films that are not very good.

There is a real Ralph Sarchie and this is based on some of the cases that he has been involved with. As with most horror movies that use real life events as a springboard, this takes an awful lot of liberties with Sarchie’s story (he wrote a book with Lisa Collier Cool entitled Beware the Night). There are elements of a lot of different cases in this single case and the character of Father Mendoza is an amalgam of a couple of different Catholic clerics. Take the “based on a true story” thing with a grain of salt; true stories are rarely as exciting as they are portrayed to be on the big screen.

This is equal parts police procedural and gross-out supernatural scare film. Some of the scares are legit here, and there’s plenty of squirm-inducing images. Cat lovers, be forewarned – there are some scenes that you will find quite disturbing and there are a couple of gruesome murders shown in detail onscreen. While there’s nothing here that is particularly standard-setting, neither do the make-up and special effects disgrace themselves either.

This movie is a bit of a metaphor for the overall summer season; while it has a lot of elements that could have made it a great film, it goes the safe route in a lot of ways and ends up being just a solid, entertaining film. I will say the climactic exorcism scene is pretty nifty, but it lacks the sheer on the edge of your seat tension that the similar scene in The Exorcist possessed (no pun intended). From my point of view, this is solid but unremarkable horror entertainment for the summer months.

REASONS TO GO: Bana always delivers and Ramirez is an interesting priest. Some legitimate scares and uninterrupted creepy vibe.

REASONS TO STAY: The usual horror movie cliches.

FAMILY VALUES:  There are some disturbing images, a good deal of violence that is generally bloody and gory, salty language and yes, terror. It’s a horror film after all.

TRIVIAL PURSUIT: The Ralph Sarchie role was originally offered to Mark Wahlberg who declined. Eventually Bana accepted the part.

CRITICAL MASS: As of 7/20/14: Rotten Tomatoes: 30% positive reviews. Metacritic: 40/100.

COMPARISON SHOPPING: The Devil Inside

FINAL RATING: 6/10

NEXT: Tammy