Till Death


Some men see women as little more than ornaments.

(2021) Thriller (Screen Media) Megan Fox, Eoin Macken, Callan Mulvey, Jack Roth, Ami Ameen, Stefanie Rozhko, Julian Belahurov, Lili Rich, Teodora Djuric. Directed by S.K. Dale

 

We all know the traditional wedding vows; to love and cherish, to have and to hold, in sickness and in health, for richer and for poorer, till death do us part. With a 50% divorce rate (or thereabouts), the final part isn’t so much of a factor anymore but for some it still holds true.

You would think Emma (Fox) has The Life. Married to a handsome, wealthy and connected lawyer named Mark (Macken), she was a photographer who was in the wrong place at the wrong time and became collateral damage in a botched robbery attempt. Mark was the lawyer who represented her, and eventually the two married. Bad idea.

It turns out Mark was far from the white knight Emma thought he was. He is a control freak of the highest order, and sees his wife as a reflection of his own manhood and power. He wants her to look a certain way, act a certain way. It’s no wonder that she has taken part in an extramarital affair with Tom (Ameen), a colleague of her husband’s. However, she decides to call things off with Tom, using the fact that its her wedding anniversary as a reason.

Mark appears to be completely ignorant of the affair, showering Emma with gifts and a surprise; blindfolding her and driving her out to their lake house, even though it is the middle of winter. After a night of romance and wine, she wakes up to a cold house and handcuffed to her husband. Then comes a shocking event – and everything in her world has suddenly become a life-or-death survival situation. And to make matters worse, Mark has invited a few other guests to the party.

The plot doesn’t always make a lot of sense, but then again, it is at least kept pretty simple. The real surprise is Fox. She has always been known more for her beauty than her acting ability, but slap my britches and call me Sally, she actually does a commendable job here. While her performance here is occasionally erratic (as in line delivery mainly), for the most part she does a great job as a woman who has been intimidated and emotionally abused into numbness, who is then placed into a situation where she must fight or die.

It was less believable that Emma, wearing a flimsy nightie and no shoes, seemed to not be that affected by the cold, even when out in the snow and on the frozen lake. You would think that she might shiver, a little. But that might just be chalked up to Hollywood shorthand; Emma is strong enough to stand up to Mark and the two hit men (Mulvey, Roth) he’s sent out to finish her off, a little chill isn’t going to bother her much.

In fact it’s when the two hit men (who have a connection to the story that’s a little far-fetched) arrive in the movie that things really begin to take off and the movie really hits its stride. Dale shows a deft hand with some of these sequels and might well have a future in bigger budget action/thriller films down the line. As far as now goes, however, he’s brewed up a nifty little film that you might keep an eye out for – even if you’re not particularly fond of Megan Fox, as I was not. This might just change your mind about her.

REASONS TO SEE: Fox shows some range.
REASONS TO AVOID: Stretches believability to the breaking point.
FAMILY VALUES: There is all sorts of profanity, gruesome violence and some grisly images.
TRIVIAL PURSUIT: This is Dale’s feature film debut; previously he has only directed short films.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Microsoft, Redbox, Spectrum, Vudu, YouTube
CRITICAL MASS: As of 7/27/21: Rotten Tomatoes: 93% positive reviews; Metacritic: 66/100.
COMPARISON SHOPPING: Gerald’s Game
FINAL RATING: 6.5/10
NEXT:
Meander

It Follows


Post-coital bliss.

Post-coital bliss.

(2015) Horror (Radius) Maika Monroe, Keir Gilchrist, Lili Sepe, Olivia Luccardi, Jake Weary, Daniel Zovatto, Bailey Spry, Carolette Phillips, Loren Bass, Charles Gertner, Debbie Williams, Ruby Harris, Linda Boston, Leisa Pulido, D.J. Oliver, Ingrid Mortimer, Kourtney Bell, Alexyss Spradlin, Mike Lanier, Scott Norman, Claire Sloma. Directed by David Robert Mitchell

Horror films are kind of the bastard stepchildren of cinema. Disrespected critically, nonetheless horror films have a rabid following that have kept it the most profitable genre in movies as they tend to cost very little to make but when they connect with audiences, they can bring in hundreds of millions in revenue.

However, horror movies tend to attract a lot of hack filmmakers who assume that they can just recycle a tired concept, throw some fake blood at the camera and that millions of teenagers will automatically love them. It doesn’t work that way. Truly innovative horror movies are a sad rarity these days and ones that are skillfully made even less so. We’ve been in a drought over the past six or seven years in terms of really good horror movies, but there are indications that not only is that drought over but we may be entering a new golden age of really good horror movies much as we did back in the late ’70s.

This movie is giving me reason for that kind of hope. The premise is terrifyingly simple; Jay (Monroe), a beautiful blonde teen girl living in the suburbs of Detroit, has been dating a sweet young man named Hugh (Weary). As teenagers will do, they have sex together in a parked car. Then the wheels fall off.

It turns out that Hugh – which isn’t his real name – has a curse. Not a sexually transmitted disease, although it is sexually transmitted, and he has passed it on to Jay. She is now being stalked by a demonic presence that approaches at a slow walking pace. If it touches her, she’ll die. The only way to stop the curse is to pass it on to someone else – by having sex with them, and then telling them the rules. If the demon kills one of the cursed, it then goes after the person who gave the curse back to them and then down the line, presumably to the person who started it all. Oh, and the person infected is the only person who can see the demon, who takes human form, often of people that the victim knows.

Of course, Jay’s circle of friends – her sister Kelly (Sepe), their bookish friend Yara (Luccardi) and their quiet friend Paul (Gilchrist) who has a huge crush on Jay which he’s had since grade school, as well as neighborly stud Greg (Zovatto) – are skeptical at first. Then, they experience the demon themselves, which has a physical presence, they just can’t see it so it manifests itself by moving objects or throwing them about like rag dolls. Since they don’t have the curse, its touch isn’t deadly to them. See how that works?

Mitchell, whose previous film was the gentle comedy The Myth of the American Sleepover shows that he has the proper chops for a horror master. Few movies have ever pulled off the kind of tension that Mitchell has. Basically from the first ten minutes on most audience members will be on the edge of their seat. Think about it; any person at any time that is walking towards the main character can be the demon. It can make for some harrowing viewing.

Mitchell doesn’t give a lot of information about the rules beyond what I’ve already explained; this is a good and a bad thing. Good in that it doesn’t overburden the movie with exposition, bad in that at some points the movie could have used some.

The teen characters here act a lot like teens; they don’t always make smart decisions and they tend to operate more on hormones and emotions rather than good sense. They aren’t bad kids, mind you – they’re more like normal kids who are capable of being both real sweet and real assholes. Like I said, just like normal teens. The acting is solid though not spectacular and all of the kids here are more or less attractive.

One of the ongoing bits of business in the movie is that Yara, the bookish friend, is constantly reading from a Kindle-like device that’s shaped like a clam shell for no discernible reason although for the sake of transparency I did hear one teen in the audience at my screening exclaim “I want one” so maybe there was a reason. This leads to the point that the time period that the movie is set in is kind of indeterminate; the cars and houses look like they came from the early ’80s, the clam shell device from a few years from now and the movies the kids watch are all at least 50 years old. That makes It Follows kind of timeless.

There are a few nitpicks. The book Yara is reading is by Dostoyevsky which isn’t what I would call normal teen reading; it would have been more believable to have her reading one of the Twilight books although I would imagine getting the rights to use the name of that series might have been too dear for a micro-budgeted indie horror film like this.

The main problem is the climax, set in a gorgeous public swimming pool in Detroit which provides a spooky enough setting without adding a CGI thunderstorm (which they add anyway). The idea of lining the edges of the pool with electrical devices plugged into wall sockets with the idea of kicking them all in simultaneously once the demon gets into the water without knowing whether or not the thing is immune to electrical shock seems a bit dumb; clearly the electrical devices don’t work on Jay because the creature tosses them in the pool while she’s in it to no discernible effect. The last image in the movie is rather ambiguous but I kind of liked that; I respect any filmmaker who lets audiences draw their own conclusions.

I was strongly reminded of the feeling I got seeing the John Carpenter Halloween in theaters back in ’78. It Follows has the same Midwestern suburban vibe but as a modern twist it adds the crumbling structure of Detroit itself with ruined and abandoned buildings providing an eerie backdrop, like pretending to be normal as the world is ending. I suspect that this will be considered a horror classic the same way Halloween was and I wouldn’t be surprised if there were plenty of imitators that come out after this, but hopefully that will also spur a lot of really good directors and writers to try their hands at making a horror movie that’s smart, scary and innovative. The fact that the response at the box office was so strong that Radius was prompted to change their distribution plans from a slight release in a few select theaters with a simultaneous VOD release to a wide release while postponing the VOD release. Horror fans should make a point of seeing this as should fans of good movies. Definitely one of the year’s best thus far.

REASONS TO GO: One of the most tense horror films of the past 20 years. Imaginative concept. Propulsive score.
REASONS TO STAY: The climax is a bit of a stretch.
FAMILY VALUES: Disturbing violence and sexuality with graphic nudity, terrifying images, and a fair amount of foul language.
TRIVIAL PURSUIT: The Redford Theater depicted in the film really exists in Detroit. It has a Wurlitzer Organ and is one of the finest revival houses in the Midwest.
CRITICAL MASS: As of 4/3/15: Rotten Tomatoes: 95% positive reviews. Metacritic: 83/100.
COMPARISON SHOPPING: Halloween (1978)
FINAL RATING: 9/10
NEXT: Higher Ground

Run All Night


Liam Neeson's having a bad night.

Liam Neeson’s having a bad night.

(2015) Action (Warner Brothers) Liam Neeson, Ed Harris, Joel Kinnaman, Vincent D’Onofrio, Nick Nolte, Genesis Rodriguez, Boyd Holbrook, Bruce McGill, Common, Lois Smith, Beau Knapp, Patricia Kalember, Daniel Stewart Sherman, James Martinez, Radivoje Bukvic, Tony Naumovski, Lisa Branch, Holt McCallany, Aubrey Joseph, Jessica Ecklund. Directed by Jaume Collet-Serra

No matter how low you sink, there is always family. Sure, occasionally there are those who sink so low that their family loses sight, maybe even give up on them but that doesn’t mean they don’t stop loving them – nor does it mean they wouldn’t do anything to help.

You can’t sink much lower than Jimmy Conlon (Neeson). Once one of the most feared assassins in the Irish Mob, he was known by his nickname of The Gravedigger. He worked for his childhood friend Shawn Maguire (Harris) until Shawn decided to go legitimate and divest himself of his illegal activities. Shawn keeps Jimmy around these days more out of a sense of loyalty.

Jimmy’s activities have cost him everything. His wife, from whom he was estranged at the time of her death and his son Michael (Kinnaman) who is trying to build himself a good, straight and narrow life with a pregnant wife (Rodriguez), a little girl and working two jobs; one as a boxing coach for underprivileged kids, the other as a limo driver to keep the bills paid.

Jimmy isn’t really getting his bills paid, although his buddy Shawn bails him out once in awhile. Jimmy has crawled into a bottle and looks to stay there; even Detective Harding (D’Onofrio) who’s been chasing him for decades has given up on Jimmy, although he still wheedles him for the names of those he’s murdered so that some closure might be brought.

Shawn’s son Danny (Holbrook) is the heir apparent to Shawn’s legitimate business concerns but Shawn is a drug addict and a hothead who wants to follow in his father’s criminal footsteps. He makes a deal with Albanian drug dealers to import some heroin into the U.S. and wants to bring his dad aboard to legitimize the deal but Shawn is having none of it.

This is a problem for Danny because the Albanians gave him money to make the deal with his dad. Now the deal has collapsed and the money has essentially gone up Danny’s nose. The Albanians, who have a certain amount of taste for the good life, take a limo to Danny’s house to collect. The only thing they end up collecting is a bunch of bullets from Danny’s gun.

Danny witnesses this and flees home. Shawn finds out about the debacle and asks Jimmy to talk to Michael and make sure he keeps what he saw to himself. He also orders his son Danny to stay put. Danny being Danny heads over to Michael’s house instead and is set to shoot dead his childhood friend. Instead Jimmy kills Danny before he can kill his son.

Shawn doesn’t take the news well. He assures Jimmy that he is going to go after Michael with everything he has and once Michael is dead, only then will he allow Jimmy to die. Jimmy tells Shawn that this is a very bad idea but Shawn won’t listen and so Jimmy’s gotta do what he’s gotta do to help his son, who hasn’t talked to him in years, stay alive through the course of a very long and cold December New York City night.

This is pretty typical for Neeson’s recent action movies; lone wolf killer sort on the downward swing, protecting family, killing anyone and everyone who threatens said family even if they’re wearing a badge. Neeson has this kind of character down pat and even though he could play it in his sleep gives it a professional effort.

Collet-Serra has collaborated with Neeson on some of his better films, Unknown and Non-Stop, of his action era. This is a slickly produced and photographed action piece, with Collet-Serra using the lurid neon and dimly lit bars and pubs of New York as an expressive backdrop. Although Shawn is rich, his home is the residence of essentially a blue collar guy, the background from whence Shawn sprang. Jimmy’s apartment is the home of a drunk, the last place on earth anyone would want to live but Jimmy looks at home there. Details like that can elevate a mediocre film into a good one.

The story won’t set the world on fire; we’ve seen this sort of thing before but Collet-Serra does it as well as it can be done, at least thus far. There are some peripheral characters, chief among which is Andrew Price, a methodical and fastidious hit man played by rapper Common and done surprisingly well – he’s impressive in this brief role and shows the chops it takes to become a big time leading man which hopefully we’ll soon see him become.

I have to admit, I’m an Ed Harris fan. He’s one of those actors who seems to never phone in a performance, always giving a terrific performance no matter what the role or how good the movie it’s in. He elevates every movie he appears in and he’s no different here. Shawn clearly loves Jimmy as a brother but is heartbroken over the death of his boy, driven to unspeakable rage that will mean the obliteration of his friend and his family. There’s a Shakespearean component to the role in many ways.

Run All Night is like many March movies in that it isn’t going to win any awards and is not likely to break box office records. It’s not going to wow many critics nor is it going to inspire legions of devoted fans. What it will do is provide consistent, solid entertainment for those who love action movies and Liam Neeson’s version of them in particular. Chances are you’ll get exactly what you expect you’ll get when you buy your ticket and you really can’t ask any more from a movie than that.

REASONS TO GO: Nobody does the hangdog action hero better than Neeson. Harris always lends credibility to any production he’s in.
REASONS TO STAY: Plays to Irish stereotypes. Somewhat predictable.
FAMILY VALUES: Tons o’ violence, plenty of un-charming foul language, some drug use and lots of Irish temperament.
TRIVIAL PURSUIT: The two young men in the film, the sons of Shawn and Jimmy respectively are named Danny and Michael, which are also the names of Liam Neeson’s sons in real life.
CRITICAL MASS: As of 3/27/15: Rotten Tomatoes: 60% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: A Walk Among the Tombstones
FINAL RATING: 6/10
NEXT: Cinderella