Gone


Amanda Seyfried wants to have a talk with her agent.

Amanda Seyfried wants to have a talk with her agent.

(2012) Thriller (Summit) Amanda Seyfried, Daniel Sunjata, Jennifer Carpenter, Sebastian Stan, Wes Bentley, Nick Searcy, Socratis Otto, Emily Wickersham, Joel David Moore, Katherine Moennig, Michael Pare, Sam Upton, Ted Rooney, Erin Carufel, Amy Lawhorn, Susan Hess Logeias, Jeanine Jackson, Blaine Palmer, Victor Morris, Ted Cole, Tracy Pacana, Madison Wray. Directed by Heitor Dhalia

Woman Power

The thought of being kidnapped by a serial killer, thrown in a hole and being left there, waiting to die, is something most of us don’t really even consider. The thought of escaping that hole only to have nobody believe you that the ordeal was real is unimaginable.

But Jill (Seyfried) more than imagines it; this is what her life is. She’s certain that there is a serial killer out there, who has dug a large hole in Portland’s Forest Park, some 5100 acres of heavily wooded land in Oregon’s largest city. The police haven’t been able to find any hole, any trace that there are missing women buried there. Jill has a history of alcoholism and mental breakdowns; when her parents died some years earlier she was briefly institutionalized. She is so insistent that this horrible ordeal happened to her that eventually she is sent back to the hospital for evaluation.

A year afterwards, she is still obsessed with it, although less obviously. She works third shift at a diner as a waitress, about the only job she can get given her background. At night she patrols Forest Park, looking for the place she was taken to. She has been operating on a meticulous grid-by-grid method of searching, marking off each grid with a red pen but she still has a long way to go.

After a night of searching the park she returns home to wake up her sister Molly (Wickersham) who wanted to get up early to study for an exam she had  later that day, only to find her bed empty. Jill checks with Molly’s boyfriend Billy (Stan) who informs her that Molly didn’t spend the night, then later on he tells her that she didn’t show up for the exam. Jill gets a bad feeling about the whole thing, and goes to the police.

The cops who had worked her case, Lt. Bozeman (Pare), Sgt. Powers (Sunjata) and Detective Lonsdale (Moennig) are all skeptical, given Jill’s history. They dismiss her claims, looking for reasons that Jill might not have gone to her test, and all of them think this whole scenario is going on inside Jill’s head. Only the newest homicide detective, Peter Hood (Bentley) believes her.

Knowing that she won’t get help through official sources, Jill is bound and determined to find Molly on her own and will do anything, break any law to find her sister who is the only family she has left. She’ll lie, cheat and steal – and if she finds the man who has her, kill – to get her sister back.

This is the kind of movie that should have everything going for it; Seyfried is an extremely underrated actress who shows here that she can take on roles like this and make them work. There’s also the Brazilian director Dhalia who is best known in this country for Adrift and has made some fine films in his native land. Then there’s Portland itself, one of those cities that should have more films made there; it is certainly underutilized.

Seyfried is terrific here. This is the kind of role that is often overplayed and the lead character can go from insistent and focused to shrill and unlikable in an instant. Jill is certainly not without her demons but who among us wouldn’t do the things she does to save a sister? Certainly not me. If Jill is on the ragged edge, it is very understandable and Seyfried makes her actually likable, even in her worst moments. It’s marvelous work and shows that Seyfried is a versatile performer who can do drama, comedy and musicals, all of which she’s done notably in the past.

Now for the bad news; the studio seems to have interfered a good deal on this project, insisting that the movie get a PG-13 rating (the director apparently thought it should be R rated) and made Dhalia’s life so miserable to the point that he considered taking his name off the project. In this particular case, I think Dhalia was right; the movie would have benefitted from being allowed to go to a harder rating. It needed more edge to it.

Worse still, the writing doesn’t do the role of Jill justice. It’s full of logical holes – for instance, how does a girl working a third shift waitress job at a diner afford to hold on to a beautiful home in a nice neighborhood and send her sister to college?  Since she’s going into the woods by herself anyway, why does the killer need to go to such elaborate lengths to get her into the woods?

But worse still, she has the police doing and saying things no self-respecting police department would ever do. I get that the writer, Allison Burnett, wants to completely isolate Jill and force her to take action on her own which is the crux of the whole movie, but certainly there had to be ways that she could have done it that were more imaginative. And I think the movie would have been more effective as well if the audience were left wondering if the whole thing wasn’t REALLY in Jill’s head, right up to the very end.

Still, the beautiful scenery in and around Portland and especially Seyfried’s performance make this worth a look. Granted, the movie got terrible reviews and I can’t say as I blame some of my colleagues for ripping this film a new one, but I can forgive a lot when you get a performance like Seyfried’s in the kind of role – the thriller hero that takes matters into their own hands – that is more of a traditional male bastion. That alone is worth a look-see.

WHY RENT THIS: Seyfried takes a strong role and runs with it. Pretty cinematography.
WHY RENT SOMETHING ELSE: Lazy writing. Illogical plot.
FAMILY VALUES: There’s plenty of violence and depictions of women being terrorized, sexuality, some drug references and brief harsh language.
TRIVIAL PURSUIT: The hardware store that Jill shops at in the movie is a real hardware store in Portland and at exactly the location that the film shows it to be.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $18.1M on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental only). Amazon, VuduiTunes
COMPARISON SHOPPING: Kiss the Girls
FINAL RATING: 5.5/10
NEXT: Woman Power continues!

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I, Frankenstein


Aaron Eckhart is pissed off that his agent let him sign up for this film.

Aaron Eckhart is pissed off that his agent let him sign up for this film.

(2014) Horror Fantasy (Lionsgate) Aaron Eckhart, Bill Nighy, Yvonne Strahovsky, Miranda Otto, Jai Courtney, Socratis Otto, Aden Young, Caitlin Stasey, Mahesh Jadu, Steve Mouzakis, Nicholas Bell, Deniz Akdeniz, Chris Pang, Kevin Grevioux, Bruce Spence, Virginie Le Brun, Penny Higgs, Goran Kleut, Yasca Sinigaglia, Nicole Downs, Angela Kennedy, Samantha Reed. Directed by Stuart Beattie

We are born and then we are created. We are all of us blank slates that are filled up by our experiences and our mentors, parents and friends. Of course if you don’t have the latter, you are left to interpret things on your own.

Victor Frankenstein (Young) had found the secret of creation, animating a sewn-together quilt of body parts and grafted skin. Part scientist and part madman, he had promised his creature (Eckhart) that he would one day animate a companion for him but later went back on his promise. In a fit of rage, the creature murdered Frankenstein’s wife (Le Brun) which completely unhinges his creator, who follows his creation up above the Arctic circle and promptly freezes to death. For reasons even he probably can’t understand, the creature carries the body back to the graveyard to bury his creator alongside his wife when the creature is attacked by demons. A pair of gargoyles witness the event in which the creature kills (and sends their spirits back to Hell) most of his attackers. Sounds plenty biblical to me.

They take him back (none too willingly) to a huge Notre Dame-like cathedral in some unnamed Eurocity where he is introduced to Leonore (Otto), Queen of the Gargoyles. She explains to the creature (whom she names Adam) that there is a war going on between the Demons of Hell and the Gargoyles who are the agents of Heaven (apparently the angels didn’t want to get their wings dirty) and that for whatever reason the demon Prince Naberius (Nighy) had chosen to involve Adam, he was nevertheless caught in the middle. However, Adam who is kind of pissed off at life in general (talk about someone who never asked to be born) chooses to turn his back, heading someplace where humans can’t find him. Or demons. Or gargoyles.

200 years pass and Adam, tired of being stalked by demons and still pissed off at life in general, decides to go on the offensive. Things haven’t changed much in gargoyle-land except that they are now willing to win by any means necessary and they don’t trust Adam much. Naberius, masquerading as a tech industrialist, has hired Dr. Terra (Strahovsky), a respected scientist, to help Naberius figure out a way to replicate Victor Frankenstein’s work. Of course, she doesn’t realize she’s working for a demon prince or she’d probably have asked for enough of a salary increase to afford a better apartment.

She’s able to re-animate rats but not humans yet; the reappearance of Adam and the existence of Victor Frankenstein’s journal in the possession of the gargoyles gives her a shot at actually reanimating human corpses. But what does Naberius want with reanimated corpses and how will that lead to the end of the world? And what will Adam, still pissed off at life in general, do about it – if anything?

Based on the Kevin Grevioux (who has a small role in the film) graphic novel, this has a lot of the same elements of the Underworld series; since some of the producer of that series are involved, it isn’t a stretch to figure out why the movie has much the same look as that hit movie franchise. Mainly set at night or at dusk, with palates of blue and grey predominant in the mix, the movie looks slick.

There is of course plenty of CGI gargoyles and demons to augment the slick look, with lots of digital flame and blue light to denote when a gargoyle or demon respectively bites the dust (the flames descend downward, the blue light ascends upward). The only thing missing is a black leather catsuit for Strahovsky.

Eckhart has been one of Hollywood’s most interesting leading men over the last decade but this is a definite misfire. His only expression is anger with a side trip into annoyed. He’s like the Clint Eastwood character in Gran Torino only with a murderous glare and lots of scars. He’s still charismatic but we get no sense of his inner journey – he eventually decides to help (not much of a spoiler gang) but we never get a clear sense of why; for someone who just wants to be left alone he really sticks his nose in things.

Nighy is one of my favorite actors and he’s essentially entertaining in everything he does. He can be light and charming, or dark and menacing as he is here. He makes for a fine demon prince, urbane and charming on the surface but with a whole load of delicious evil below it. Something tells me that a movie about his character would have been much more fun. Strahovsky, best known as the love interest in the TV show Chuck, looks pretty good on the big screen. I think she’ll make the transition just fine if that’s where she wants to go. Sadly, all three of these fine actors deserved better (as does Miranda Otto as the wishy-washy gargoyle queen).

In movies like Legion and Max Payne we get a very similar background story with a very similar look to both movies, and this one doesn’t really distinguish itself from those other two (and a whole mess o’ B-movies with similar themes). While some of the effects are nice and the leading actors do their job, the dialogue can be cringeworthy and you get the sense that director Beattie – who has some pretty good movies to his credit – lost a whole lot of battles to the producers and/or studio. In any case, this is bound to be heading to home video pretty quickly and while I won’t say it’s a complete waste of your time, you might be better off waiting for it to be a cheaper ticket than the ten dollars plus for the 3D version that are out there now.

REASONS TO GO: Bill Nighy is always entertaining. Aaron Eckhart is a solid leading man. Some nice eye candy.

REASONS TO STAY: Plot is very much paint-by-numbers. All concept and no substance.

FAMILY VALUES:  Throughout the movie there’s plenty of action and violence although not much gore.

TRIVIAL PURSUIT: The monster was given the name Adam in Mary Shelley’s original novel. Few of the movies have utilized it but this one does.

CRITICAL MASS: As of 2/4/14: Rotten Tomatoes: 5% positive reviews. Metacritic: 30/100.

COMPARISON SHOPPING: Constantine

FINAL RATING: 4/10

NEXT: Labor Day

New Releases for the Week of January 24, 2014


I, FrankensteinI, FRANKENSTEIN

(Lionsgate) Aaron Eckhart, Bill Nighy, Yvonne Strahovsky, Miranda Otto, Jai Courtney, Socratis Otto, Kevin Grevioux, Bruce Spence, Caitlin Stasey. Directed by Stuart Beattie

Caught in a war between Heaven and Hell with all of humanity hanging in the balance, the creation of Victor Frankenstein is sought to choose sides. With the secrets that brought him life re-discovered and an army of creatures like him set to tip the balance, the Creature’s assistance could be the difference between survival for the human race and utter annihilation but on which side will he fight – assuming he fights at all?

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX (opens Thursday)

Genre: Horror Action

Rating: PG-13 (for sequences of intense fantasy action and violence throughout)

Gimme Shelter

(Roadside Attractions) Vanessa Hudgens, Rosario Dawson, Brendan Fraser, James Earl Jones. A pregnant teenager, trying to navigate her life on the harsh streets, is taken in by a shelter after being rejected by her father and escaping from her drug-abusing mother. There she finds sisterhood, empowerment and support the likes of which she’s never known. Based on a true story.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG-13 (for mature thematic material involving mistreatment, some drug content, language and violence – all concerning teens)

The Invisible Woman

(Sony Classics) Ralph Fiennes, Felicity Jones, Kristin Scott Thomas, Tom Hollander. Acclaimed author Charles Dickens was beloved by all of England, penning such all-time classic works as Oliver Twist, A Tale of Two Cities and A Christmas Carol. However behind his public facade he was carrying on an affair for 13 years up to the time of his death with a younger woman who would chafe under the great man’s shadow.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Biographical Drama

Rating: R (for some sexual content)

Jai Ho

(Eros International) Salman Khan, Tabu, Sana Khan, Daisy Shah. A former army officer decides to use his skills to help the people of India and take on those who would oppress them. A remake of the Telugu film Stalin.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR