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

New Releases for the Week of March 17, 2017


BEAUTY AND THE BEAST

(Disney) Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Emma Thompson, Ewan McGregor, Ian McKellen, Stanley Tucci, Gugu Mbatha-Raw. Directed by Bill Condon

This live-action version of the beloved Disney animation contains the classic songs from the original as well as some brand new songs by original composer Alan Mencken and legendary lyricist Tim Rice. We all know the story; an inquisitive young girl rescues her father who has been poking around a castle where he shouldn’t have been and has been captured by a terrible Beast. She offers herself in his stead and stays at the castle where everything is alive – even the candlesticks. What she doesn’t know is that a curse has been laid on the Beast and his castle and time is running out on reversing it. It will take a miracle; after all, how could Beauty ever love a Beast?

See the trailer, interviews, clips, featurette and B-Roll video here.
For more on the movie this is the website.

Release Formats: Standard, 3D, IMAX 3D
Genre: Romantic Fantasy
Now Playing: Wide Release

Rating: PG (for some action violence, peril and frightening images)

The Belko Experiment

(BH Tilt/Orion/MGM) John Gallagher Jr., Tony Goldwyn, John C. McGinley, Melonie Diaz. A group of American workers are trapped in a high rise where a mysterious voice orders them to kill some of their number – or more of them will be killed at random by the owners. And as things progress, the dog eat dog world of business turns into a deadly game of survival. James Gunn, director of the upcoming Guardians of the Galaxy Vol. 2 wrote this.

See the trailer and a clip here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Thriller
Now Playing: Wide Release

Rating: R (for strong bloody violence throughout, language including sexual references, and some drug use)

Kedi

(Oscilloscope Laboratories) Bülent Ustün. Istanbul (not Constantinople) is one of the world’s most ancient cities. They’ve had a tradition over the years of taking care of stray cats as a community. The cats have become an indelible part of Istanbul’s charm and personality. Told from a distinctly feline point of view, this is the viral cat video to end all viral cat videos.

See the trailer here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Documentary
Now Playing: Regal Winter Park Village

Rating: NR

Land of Mine

(Sony Classics) Roland Møller, Louis Hofmann, Joel Basman, Mikel Boe Følsgaard. As World War II came to a close, German prisoners of war in Denmark are given a daunting task to complete before being allowed to return to their homes. They must clear a beach of literally thousands of land mines that had been placed there by the German army. The painstaking and crazy dangerous work is high stress and the Danes are not terribly happy about having the Germans around at all but slowly the Danes begin to see the Germans differently as the beach is slowly made safe again.

See the trailer and clips here.
For more on the movie this is the website.

Release Formats: Standard
Genre: War
Now Playing: Regal Winter Park Village

Rating: R (for violence, some grisly images, and language)

The Last Word

(Bleecker Street) Shirley MacLaine, Amanda Seyfried, Ann’Jewel Lee, Philip Baker Hall. A formidable woman, in the twilight of her life, has been of late reading obituaries of people she knows and finds that the obituary writer is making their somewhat ordinary lives sound extraordinary. She decides that having exerted control over everything her entire life she wants to read her obituary before she actually dies, but to get the kind of write-up she wants she may need to make a few changes. Cinema365 was privileged to be invited to a press screening for this; the review will run tomorrow.

See the trailer, clips and interviews here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: Regal Winter Park Village

Rating: PG-13 (for language)

The Sense of an Ending

(CBS) Jim Broadbent, Charlotte Rampling, Matthew Goode, Emily Mortimer. A recluse who is happy in his quiet existence is confronted with secrets from his past. This will force him to face that his flawed recollections of what actually happened are not the truth about his first love and that he has yet to experience the full consequences of decisions made long ago.

See the trailer, clips, interviews, featurettes and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village

Rating: PG-13 (for thematic elements, a violent image, sexuality, and brief strong language)

10 Cloverfield Lane


Mary Elizabeth Winstead goes for a late night snack in the larder.

Mary Elizabeth Winstead goes for a late night snack in the larder.

(2016) Thriller/Horror (Paramount) Mary Elizabeth Winstead, John Goodman, John Gallagher Jr., Douglas M. Griffin, Suzanne Cryer, Bradley Cooper (voice), Sumalee Montano (voice), Frank Mottek (voice), Jamie Clay, Mat Vairo, Cindy Hogan. Directed by Dan Trachtenberg

 

Some things are bad, like getting into a car accident. Some things are worse, like waking up from a car accident chained to a wall in a bunker with people you don’t recognize. Other things are unfathomable, like discovering that the reason you’re in a bunker is because there’s been an invasion that killed millions.

But that’s what happens to Michelle (Winstead) who discovers herself in precisely that situation. Her apparent benefactor is Frank (Goodman), a twitchy survivalist whose ham-fisted insistence on gratitude and civilized behavior indicates that the man beneath the façade may be truly a monster; then again, he may not be. Also in the bunker is Emmett (Gallagher) who is one of those guys who has a kindly heart but above the neck, not a lot going on.

You may have noticed the address referenced in the title and yes, there is a kind of connection with the hit found footage film Cloverfield but most of it doesn’t become apparent until the final ten minutes, unless one is sharp-eyed and intimately familiar with every facet of the film. There are little Easter eggs (Frank apparently worked at one time for the satellite manufacturing company that figured in the very end of Cloverfield) scattered about as well.

First-time director Trachtenberg shows a lot of big league confidence and skill as he brings up the tension level to about a 9. One never knows what’s going to set Frank off so the other characters are walking on eggshells around him and there is the nagging feeling that Frank isn’t telling the whole truth about the situation to either Michelle or Emmett (who knows a lot more about what’s going on than Michelle does). The effect is extremely unsettling.

Goodman is absolutely fantastic here; he can be a gigantic bear or a kitty cat when he wants to be  Here he’s like storm clouds rolling over the prairie, erupting into massive discharges of lightning and thunder without a moment’s notice. Goodman dominates the film from beginning to end and delivers a performance that emphasizes why he’s one of the best pros in Hollywood today. Winstead is no slouch either, an actress who in a just world would be a big star right now. She continues to hover around the edges and deliver outstanding performances but something tells me this won’t be the breakout she needs to take that next step.

The biggest problem here and the one that really explains the low rating is the movie’s last ten minutes. In attempt to be a mash-up, the movie veers from one genre – the taut claustrophobic thriller it has been all along – into something else entirely. You can pretty much guess where it goes based on the title of the movie, and the effect is jarring like taking an abrupt left turn off Broadway in New York and finding yourself in an alley in Kabul and feels like this part of the movie was tacked on in a hurry by studio suits wanting to take advantage of a brand name that might put butts in seats.

I’ve seen critics compare this movie to Room but it’s nothing like that – whereas the Oscar-nominated film focuses on people emerging from a small, cramped, locked room, this film focuses on the situation within that small, cramped, locked room. This is a thriller, not a drama – so beware of specious comparisons. Still, this is a solid if unspectacular thriller that doesn’t quite fit in the Cloverfield mold but is kind of forced into it by producers maybe out to keep the brand name alive or simply to make a buck; I’m not sure which but I would have preferred that they would have made the transition from one genre to the other a little more smoothly – or not at all.

REASONS TO GO: Goodman is a force of nature. Excellent tension built throughout.
REASONS TO STAY: The ending veers off into a strange turn. More of a slow burn than a rapid boil.
FAMILY VALUES: Thematic elements including some frightening sequences of threat and claustrophobic conditions, some occasional violence (some of it brutal) and brief foul language.
TRIVIAL PURSUIT: Bradley Cooper provides the voice of Michelle’s boyfriend Ben over the phone during the opening scenes of the film.
CRITICAL MASS: As of 3/20/16: Rotten Tomatoes: 90% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Blast from the Past
FINAL RATING: 5.5/10
NEXT: Admiral

Short Term 12


Sharing is caring.

Sharing is caring.

(2013) Drama (Cinedigm) Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek, Alex Calloway, Kevin Hernandez, Lydia Du Veaux, Keith Stanfield, Frantz Turner, Diana Maria Riva, Harold Cannon, Silvia Curiel, Melora Walters, Bran’dee Allen, Danny Roper, Elyssa Gutierrez, Garryson Zamora, Michael Marto, Patricia Barrett, Tanya Maria A. Bitanga. Directed by Destin Cretton

We call them “at-risk” kids but for the most part, we haven’t a clue what they’re really at risk from. Sure, we have a general idea that they’re runaways and come from less-than-perfect homes but the horrors that these kids live through doesn’t really hit home unless we’ve lived it, or know someone who did.

Grace (Larson) is the floor supervisor at Short Term 12, a residence facility for troubled teens. Most of them come from homes of abuse both physical and emotional and some of these kids can barely function in a normal society. She is compassionate and actually listens to the kids which makes her atypical for most humans. Her boyfriend Mason (Gallagher) also works at the home, along with newbie Nate (Malek) who’s just started.

Some of the kids are pretty messed up. Sammy (Calloway) periodically runs out of the facility screaming at the top of his lungs; he has a collection of toys that he clings to and has a somewhat creative imagination. Marcus (Stanfield) is about to turn 18 at which time he’ll be forced to leave this temporary facility and he’s intimidated at having to make it in the real world, so his normal quiet demeanor has turned angry and he is acting out more than usual, particularly when it comes to Luis (Hernandez) who likes to pick on him.

Into this volatile environment comes Jayden (Dever), a young girl with a whole lot of attitude. She’s a cutter – inflicts wounds on herself in order to relieve her psychological pain – and has a hair-trigger temper that explodes at the least provocation. She’s a problem child but Grace is patient and soon begins to notice that the two of them are not quite so different as it would first appear.

Grace however turns out to have some issues of her own – she rarely takes the advice she hands out her own kids and talk out her problems with Mason. However, Mason isn’t willing to give up on her and with the patience of a saint, waits for whatever it takes for her to open up and commit and as Grace faces an imminent life changing event, everything she’s built threatens to crumble down around her.

Cretton apparently worked in a facility such as the one depicted here and the first observation that comes to mind is “authentic.” The kids here aren’t monsters but they aren’t saints either; they’re just trying to cope despite having a deck particularly stacked against them. Grace, likewise is neither monster nor saint – she tries to help out the best she can but there is little authority that she can exercise (while the kids can be forcibly be brought back inside if they try to run away, once they actually leave the property they can’t be touched although staff member will follow them to whatever destination they have in mind and try to talk them back). As she tells Nate “We’re not therapists. You’re here to create a safe environment, and that’s it.” That’s a task not unlikely trying to juggle chainsaws and live hand grenades.

The relationship between Grace and Mason is genuine as well. They’re both twenty-somethings who spend nearly the entire day together but Grace has intimacy issues – not necessarily having to do with sex. Letting Mason in is nearly impossible for her and as it turns out with good reason. He is moon-crazy about her and she knows it and it tears her apart that she can’t give him what he needs. This is romance in the real world although men as patient as Mason are pretty hard to come by. Most guys would have said “hasta la vista” to Grace awhile ago.

This is extremely well-acted. Gallagher, who has turned a few heads for his work on the acclaimed HBO series The Newsroom shows big screen promise here. While at times Mason’s a bit too good to be true, he’s basically the kind of guy that most young women search their entire lives for. Not all of them find one.

Dever, who plays the youngest daughter on the Tim Allen sitcom Last Man Standing is also a revelation. This is a very different role for her, much more of a stretch than Gallagher had to make. I was impressed at the depth of emotion Dever went to and basically this is her clarion call to one and all that here is a very fine young actress who is going to be competing for some top acting awards in the future. Meryl Streep, watch your back.

However the movie truly belongs to Brie Larson and this is also a big step forward from The United States of Tara. If this movie had been distributed by a major studio, Larson would doubtlessly be on the short list for Best Oscar actress buzz this year. Maybe she still will be – certainly if critics voted for them she would be. This is a layered, deep portrayal of a young woman helping kids with some pretty serious issues while her own just-as-serious issues remain unresolved. She’s keeping it together with smoke and mirrors and as her façade begins to crumble, we see at last her rage and sorrow not just at Jayden’s predicament but at her own.

This isn’t all hankies and angst. There are some pretty humorous moments, like the opening scene in which Mason tells a self-deprecating story which very cleverly sets up the rules for the facility and sets the tone for the film. It is a masterful piece of writing (and acting) that labels Cretton as a talent to keep an eye on. While there are a few scenes that are somewhat predictable if you’ve watched any of ABC’s Afternoon Specials, by and large this is a rare take at a major societal problem from a point of view we rarely get to see – those young people who are actually responsible for the day-to-day care for troubled kids at facilities like this.

Many critics and film buffs have labeled this one of the best movies of the year and I have to agree. It’s still out there on a few screens but your best bet to catch it is on home video where it will be arriving soon. Keep an eye out for it – this is the kind of movie that you won’t soon forget.

REASONS TO GO: Heart-breaking and heart-warming. Larson, Dever and Gallagher are amazing. Exceedingly authentic and well-written.

REASONS TO STAY: A couple of scenes carry the faint smell of Afterschool Specialness.

FAMILY VALUES:  Some fairly salty language and a bit of sexuality, not to mention some fairly adult themes.

TRIVIAL PURSUIT: Cretton previously directed a short film with the same title and setting but with a completely different cast of characters and plot.

CRITICAL MASS: As of 11/2/13: Rotten Tomatoes: 98% positive reviews. Metacritic: 82/100.

COMPARISON SHOPPING: Warrendale

FINAL RATING: 9/10

NEXT: Escape Plan