Little Woods


When you’re knocked to the floor it can be a savage affair getting back to your feet.

(2018) Drama (NEON) Tessa Thompson, Lily James, Lance Reddick, Luke Kirby, James Badge Dale, Elizabeth Maxwell, Luci Christian, Rochelle Robinson, Morgana Shaw, Joe Stevens, Brandon Potter, Alexis West, Lydia Tracy, Gary Teague, Jeremy St. James, Carolyn Hoffman, Lawrence Varnado, Jason Newman, Stan Taylor, Charlie Ray Reid, Max Hartman, Allison Moseley. Directed by Nia DaCosta

Sometimes, I wonder how on earth we ever ended up with our current President. One need look no further than this film which addresses issues that hit close to home for far too many working Americans, particularly those in rural areas – issues that the other party failed to address in 2016 and if they don’t get their act together and start talking to these same working Americans about these issues, will end up in a very similar result in 2020.

Ollie (Thompson) lives in a bleak town in North Dakota near the Canadian border. The town is booming thanks to the fracking industry and filled with plenty of rough and tumble men who work the pipeline. However, it’s a rough existence in which muscles are constantly in pain and the nagging work injuries aren’t well-served by the town clinic where the waits exceed the amount of time these men have to visit a medical facility so they rely on drug smugglers bringing Oxy from Canada at prices they can afford. This isn’t their story.

Ollie was one such smuggler who got caught. Out on probation, she is mourning her mother for whom she was caretaker during an extensive and eventually terminal illness. She remains in her mom’s house, sleeping on the floor of her mom’s room, trying to eke out a living selling coffee and sandwiches in lieu of painkillers. The house is in foreclosure and the bank isn’t particularly compassionate. Making money legitimately for a woman in this town is almost impossible; the career choices that pay enough to survive for women are essentially what Ollie got busted for and dancing on a pole (the world’s oldest profession goes unremarked upon but is likely a choice as well).

Ollie’s estranged sister Deb (James) returns at an inopportune time. Pregnant by her abusive alcoholic boyfriend (Dale) and trying to support a little boy on her own, Deb lives in a trailer illegally parked on a diner waitress paycheck that doesn’t begin to cover the cost of her pregnancy. The nearest abortion clinic (and the only one in the state) is 200 miles away and is still expensive enough that Deb can’t afford it. As Ollie puts it, your choices are only as good as your options.

The two manage to reconcile but it becomes obvious to Ollie that the only way out is to resume her previous life. She will need to make a run to Canada and get a Manitoba health care card for her sister to do it; the drug dealer (Evans) she worked for previously who is as dangerous as they come. As things spiral down from bad to worse to untenable, the two women must find an inner reservoir of strength that may not even be enough to get them through.

Although the movie addresses a lot of topics that have some serious political ramifications here in 2019, this isn’t the kind of movie that hits you in the face with its politics. DaCosta sets up a situation that is not uncommon among women in rural areas and lets the characters tell their own stories. When considering the assault on reproductive rights and Roe v. Wade that is occurring in certain states at the moment, one can appreciate the frustration and concern among women who are stuck in similar situations where money isn’t plentiful and neither are good options.

Okay, I need to stop getting political here but it can’t be denied that the issues are exceedingly timely. It also can’t be denied that Thompson, as Ollie, shows a range that puts her in very elite company and marks her as a potential Oscar contender down the road – maybe not necessarily for this film but for others that follow. She has that kind of capability. DaCosta, who has been tapped by Jordan Peele to helm the upcoming Candyman reboot, has a similar capability.

My issue is that the movie is taking too many clues from films like Frozen River and Winter’s Bone, both with powerful female leads placed in an environment of despair, drugs and bleak prospects. It gives the overall film a sense of familiarity that isn’t a good thing. The movie’s ending is also a bit disappointing and derivative. DaCosta didn’t have to reinvent the wheel but I thought her choice was a bit too safe. I also thought the score was a bit intrusive.

There is much to like about the film and despite its relatively low score I do urge most cinephiles to check it out. There is some real talent here in front of and behind the camera. There is a raw tone to the movie that might turn off some but nonetheless as mentioned before these are the people who are suffering in 21st century America and whose needs are far from being met. There is enough power here that despite the film’s flaws it is worthwhile to consider it for a look.

REASONS TO SEE: Thompson cements her reputation as an actress with big things ahead of her.
REASONS TO AVOID: Been there, seen that.
FAMILY VALUES: There are a lot of drug references and profanity.
TRIVIAL PURSUIT: The story was conceived as a modern retelling of Shakespeare’s Othello.
CRITICAL MASS: As of 5/25/19: Rotten Tomatoes: 96% positive reviews: Metacritic: 74/100.
COMPARISON SHOPPING: Frozen River
FINAL RATING: 6.5/10
NEXT:
If the Dancer Dances

Advertisements

The Monster Project


The suggestion of something terrifying is more frightening than the sight of something terrifying.

(2017) Horror (Epic) Toby Hemingway, Justin Bruening, Murielle Zuker, Jamal Quezaire, Yvonne Zima, Steven Flores, Shiori Ideta, James Storm, Susan Stangl, Phillip Sebal, Pat Scott, Shayne Eastin, Chase Olswang, Zac Cracknell, Allie Marie Costa, Jim Beinke (voice), Victor Mathieu (voice), Martin Lee White, PeiPei Alena Yuan. Directed by Victor Mathieu

 

So a vampire, a werewolf and a demon go into a bar and… That’s how a joke might begin but that’s loosely the premise in this indie horror film, only it’s an old abandoned house instead of a bar. Although it might have worked out better if it had been a bar; old abandoned houses are so cliché.

Devon (Hemingway) and Jamal (Quezaire) have been pretty successful making homemade YouTube horror movies. Devon is convinced that they are ready to take the next step – and make a horror feature. Jamal is a little hesitant but Devon talks him into a fairly high concept idea; their films have been faked “real” encounters with monsters – Devon in a cheap costume, Jamal running around with the camera. They were getting thousands of hits. What if they recruit people who actually think they’re monsters and interview them?

Devon recruits his ex-girlfriend Murielle (Zuker) and her current beau Bryan (Bruening) who is fresh out of his most recent stint in rehab – yes, there’s been more than one – to direct and run sound, respectively. Murielle is still angry at Devon for the break-up but jumps at the chance to direct a feature. Through Craigslist – iMDB for potential victims – they get responses from Steven (Flores), a native American who is a cop on the reservation and a skinwalker, or a sort of werewolf; Shayla (Zima), a pretty albeit heavily tattooed vampire who apparently has the hots for Bryan, and Shiori (Ideta), a miserable young Japanese girl who believes she’s demonically possessed.

The dashing Devon gathers them all together in a house that has a history – a devil-worshiping coven once operated out of it – on the night of a lunar eclipse. Now I don’t know about you but all sorts of alarm bells would be going off in my head if a friend tried to drag me into a situation like that. I mean, I’ve seen a few horror movies, y’know? In any case, it turns out that not only do these people think they’re monsters, they actually are the monsters they think they are.

Locked in the house with three beings possessed of plenty of fangs, teeth, claws and muscle, the four filmmakers are going to have a hell of a time (pun intended) escaping the house and getting home alive but it soon becomes apparent that there is something much larger at work – and something far more powerful with sinister plans in mind for all of them.

This is a micro-budget indie horror movie which in the genre means nothing; great movies have been made on budgets that wouldn’t cover the coffee budget on a mid-sized studio film. The movie has some strong points – the creature effects, considering the budget, are really effective. The last hour of the film is basically shot in darkness however so there’s a kind of “night vision” sheen to the cinematography that makes things a little murky, so we don’t get the full effect of the effects, if you’ll forgive a bad joke.

Found footage films, which this is, can be entertaining or they can be pretty rote and this one follows a pretty standard found footage template with an ending that isn’t unlike what you get with most found footage films; after all, if the footage is found it must first be lost. It does lack a framing story – if nothing else a graphic stating “this footage was found in the middle of the desert blah blah blah” to give the movie context but then again, considering how it ends, it doesn’t really need it. However, like nearly all found footage films, a lot of the movie consists of terrified videographers running with their cameras. After awhile it gets pretty old and quite frankly, that’s one of the qualities of found footage films that I dislike the most. I’d gladly trade the “you are there” quality for something more watchable.

The performances are pretty solid from the unknown cast. Zima is phenomenally beautiful as the vamp but she does overdo a bit. Beyond that, I can’t really complain; there’s not a lot of character development here but I think the whole point is to get to the part where the monsters show up which is about forty minutes into the hour and forty minute film. Quite frankly, the movie could have used some trimming as well

Still in all, this is a fair to okay effort in indie horror that will certainly have its fans. While I can’t really rave about it, I can say that the movie pretty much meets the standards of the genre. I would have liked some more legitimate scares – the film is far more action-oriented than horror-oriented in delivery which I think doesn’t do the film any favors – but nonetheless I can say that you’re not wasting your time if you rent this or see it in the limited theatrical release it’s getting. Indie horror films have been on a bit of a hot streak lately and while this isn’t one of those big buzz indie scare flicks, it is at least competently made and has some gee whiz moments that will keep the fans happy.

REASONS TO GO: The creature effects are pretty nifty. The acting is for the most part pretty solid.
REASONS TO STAY: The cinematography is murky and like most found footage films the shaky cam gets old. It’s a little light on the scares.
FAMILY VALUES: There is violence and terror, plenty of profanity, drug references and some sexual innuendo.
TRIVIAL PURSUIT: The Shiori demon makes an early appearance in the DVD she gives Devon and Jamal.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/23/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Blair Witch Project
FINAL RATING: 5/10
NEXT: The Trip to Spain