The Stairs


There are things in the woods.

(2021) Sci-Fi Horror (Cinedigm) Adam Korson, Tyra Colar, Thomas Wethington, Josh Crotty, Brent Bailey, Stacey Oristano, John Schneider, Kathleen Quinlan, Trin Miller, Russell Hodgkinson, Karleena Gore, David S. Hogan, Mark Klein, Sandy Klein, Elena Flory-Barnes, Gordon Frye, Robin Cheung, Derek R. McKean, Jeff Mendenhall, Katherine Grant-Suttie. Directed by Peter “Drago” Tiemann

 

There is a reason why so many horror movies are set in the woods. For one thing, they are remote; the protagonist(s) are forced to rely on themselves to escape whatever horror they are facing. For another thing, they are beautiful. It makes for good cinematography and the juxtaposition of beautiful scenery and blood-curdling terror is a good one. Also, you don’t need to pay a large cast and crew in the woods. It keeps costs down. But most importantly, forests are just dang creepy.

Jesse Martin (Wethington), a young 11-year-old boy, is headed out on a hunting trip with his grandpa (Schneider). Grandma (Quinlan) has packed them both a sack lunch, notably without bacon for the cholesterol-challenged grandpa and their daughter Kate (Miller) drops off Jesse with an admonition to pick up some tomatoes for canning on the way home. But that isn’t going to happen. While out in the woods, Jesse is distracted by a strange sound and wanders off to find an astonishing structure in the woods – a grand staircase. Grandpa, discovering his grandson is missing, goes after him only to witness his grandson being dragged off into a doorway on the back of the structure. Being a good grandpa who is packing a hunting rifle, he grimly goes off to rescue the boy.

Twenty years later, a group of young people are going on a hike in the same area; Nick (Korson), Josh (Bailey), Rebeccah (Oristano), pragmatic Jordon (Colar) and “Dirty” Doug (Crotty) who comes by his nickname honestly. As happens in most horror movies, a local clerk (M. Klein) warns the kids to be careful because it’s a blood moon tonight and people disappear during a blood moon. As also happens in most horror movies, the kids ignore the warning.

At first, the hike is pretty much a standard nature hike as practiced by a group of young city kids. But things start to get weird. Rebeccah in particular sees some strange things, although none stranger than the one vision they all witness – an agitated man with a horrific head wound (Hogan) waving a gun around while his deformed wife (Gore) cradles their baby – a giant maggot. But instead of hightailing it out of the woods, they go further in. That’s where the Stairs are waiting for them.

Okay, the plot description has a little bit of snarkiness in it (can’t help myself – I’m just in a mood) but this is a surprisingly well-acted, taut horror picture with some impressive practical effects. Sure, the plot is a little hoary and there are a few holes in it here and there, but you kind of expect that out of a horror movie these days. In many ways, this is the kind of movie that could easily have been made back in the Eighties – except if it had been made then, there would have been an excuse for one or both of the actresses to take off their tops. Back then, female nudity in horror movies was pretty much as necessary as fake blood. We live in more enlightened times now.

And while the story isn’t anything to write home about, there is much here to praise; the cinematography is ably done, the characters are developed more than you would find in an average modern horror movie and there are a couple of really nicely set up scares as well as a fairly high gross-out factor. All in all, if there was one word that ably describes the film, it’s nifty.

REASONS TO SEE: Surprisingly strong acting performances.
REASONS TO AVOID: Pedestrian plot.
FAMILY VALUES: There is violence, profanity and gore. There is also a depiction of deer hunting that might upset those who love animals.
TRIVIAL PURSUIT: Was voted Best Feature Film at the 2021 UK Haunted House Fearfest.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Hoopla, Microsoft, Spectrum, Vudu, YouTube
CRITICAL MASS: As of 9/3/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Wrong Turn
FINAL RATING: 6.5/10
NEXT:
Shang-Chi and the Legend of the Ten Rings

Interstellar


To infinity and beyond.

To infinity and beyond.

(2014) Science Fiction (Paramount) Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Mackenzie Foy, John Lithgow, Casey Affleck, Wes Bentley, Bill Irwin (voice), Ellen Burstyn, Timothee Chalamet, David Oyelowo, Collette Wolf, William Devane, David Gyasi, Topher Grace, Josh Stewart (voice), Matt Damon, Leah Cairns. Directed by Christopher Nolan

Physics is a fascinating and maddening field of study. The wonder of the universe is written in the language of physics but so too are its rules and regulations. There are those that see the handwriting of God in physics but there are also those who see it as a frustratingly difficult to coalesce glimpse of the infinite simply because we are still learning to understand the language. In that sense, we are as children trying to speak in a language we only know a few words of.

Reality is a bit less hard to fathom. The Earth is dying. Something called the blight has killed most of the crops and, it seems, the animal life on Earth other than the human species. Only corn remains and when that goes, humanity starves. America has become a gigantic dust bowl straight out of the Depression, covering everything in dust and despair.

Cooper (McConaughey) is a farmer who once had higher aspirations. A test pilot and engineer who’d worked for NASA until a crash had taken him out of the ballgame, he grouses to father-in-law Donald (Lithgow) that whereas once mankind looked up at the stars and wondered at our place in the universe, these days mankind looks down at the ground and wonders at our place in the dirt. As with most intelligent people, he can read the writing on the wall but still he labors to try and get his crop in as best he can while raising his 15-year-old son Tom (Chalamet) and his 10-year-old daughter Murph (Foy) in a world of frequent dust storms and a malaise where technology is no longer worshiped or seen as the answer to our problems (where in fact technology is largely seen as the source of our problems) and nations no longer bother to field armies because, well, why bother?

Murph and Cooper have a special relationship. Whereas Tom seeks only to follow in his father’s boots as a farmer, Murph is smart, inquisitive and a bit of a firecracker. When she says she’s haunted by a ghost, Cooper gently tells her that ghosts aren’t real from a scientific standpoint, and yet books get knocked off of her bookcase without explanation, and dust that blows into her room settles into a strange patter which turns out to be a binary code of co-ordinates.

Intrigued, Coop drives to the location of the co-ordinates and finds a secret base where NASA still functions. Led by his old mentor Professor Brand (Caine), the facility is constructing one final rocket. It turns out that a wormhole has opened up near the rings of Saturn and have made accessible a dozen planets that are potentially capable of supporting human life. Probes have been sent as well as brave human astronauts. One last mission is planned; to choose between three of the most promising locations and either set up a human colony there or if Professor Brand is able to solve an equation that will allow him to do it, to relocate the remainder of the human race from dying Earth to a new home. However, human astronauts would be needed to make decisions a computer or robot cannot and the journey would be a long one – two years just to make it to Saturn. Coop, being a test pilot and an engineer would be the perfect choice to lead the mission, particularly since he was apparently led to NASA by divine providence – or an alien fifth-dimensional beings who might have a benevolent interest in the human race.

This doesn’t sit too well with Murph who is furious that her father is abandoning her but Coop knows that if he doesn’t go his children will be the last generation of humanity left. Along with Professor Brand’s super-smart daughter (Hathaway), astronauts Doyle (Bentley) and Romilly (Gyasi) as well as a couple of military robots named TARS (Irwin) and CASE (Stewart). In a ring-shaped ship the astronauts enter the wormhole for a system dominated by a giant black hole to find a new home for humanity but the mission becomes even more critical as the relative aging of the crew is drastically affected by the proximity of the black hole. Hours spent exploring a planet will pass in decades on Earth. This means that even if the spaceship is able to return home, Coop will be the same age as Tom (Affleck) and Murph (Chastain) when he returns. While Murph has grown up to assist Professor Brand at NASA, Tom – who thinks all of this is foolishness – continues to farm despite the mounting odds against human survival.

This is as epic a movie as you could hope to make about human survival. It is not an action-packed apocalypse with roaming outlaws and thunderdomes, but one of resignation and despair. It depicts a human race going out essentially with a whimper largely, although there are those fighting to try and make it a bang. Seems reasonably accurate to me.

In fact, the accuracy of the science is one of the film’s selling points. Physicist Kip Thorne, one of the most honored in the field, is a producer and has vetted the science. While some of what is onscreen is conjecture, it is based on real scientific theorem about the nature of wormholes, black holes and relativity. This is science fact, not science fantasy.

McConaughey continues his career renaissance with not only a high profile role but a fine performance in it. His Cooper is extremely conflicted, motivated not so much to save the world but his two children which really is what heroism boils down to – saving those closest to us. It isn’t the kind of stunning Oscar-worthy work that was Dallas Buyers Club but it is memorable nonetheless. Also worthy of mention is Chastain’s performance as the adult Murph. She’s angry but also open-minded and eventually comes to believe in the mission and her dad. Lithgow also is impressive in a brief role as the curmudgeonly father-in-law who is absolutely devoted to his grandkids.

The visuals here are breathtaking, from the majestic black hole to the rings of Saturn to the psychedelic wormhole. As with Gravity before it, you get a real impression of space flight and while no human being has witnessed a lot of the wonders depicted here, again the science is carefully sound so that even physicists have written papers based on the science and images of the film. I don’t think you can get a better testimonial when it comes to authenticity than that.

The one sour note in the symphony are the last 20 minutes. I won’t discuss specifics other than to say that of all the potential doors that the writers could have chosen to go through to end the movie, it felt like they chose the closest one. I won’t say easiest because it requires a bit of explanation but it felt like they painted themselves into a corner and then bent space and time to extricate themselves. Most people who dislike the movie do so because of this sequence.

However, I won’t discount the two and a half hours of magnificent filmmaking that preceded it because of essentially a poor choice of finishes. Perhaps that makes the movie all the more worthwhile to remind us that even Christopher Nolan is human, and even smart humans can make questionable calls.

This is the kind of movie that can be discussed endlessly. Like Stanley Kubrick’s iconic opus which in many ways influences Nolan here, there is plenty of room to figure out What It All Means. This is a movie which rather than staring at the ground and wondering about our place in the dirt looks up at the sky and wonders at our place in the universe. While the filmmaking here does have a major flaw which keeps it from a higher score, it nonetheless is worthwhile filmmaking that deserves your attention and can be recommended wholeheartedly not only to film lovers but to science geeks as well.

REASONS TO GO: Epic sci-fi filmmaking on a grand scale. A rare scientifically accurate sci-fi movie.
REASONS TO STAY: Last 20 minutes are disappointing.
FAMILY VALUES: There is a little bit of rough language and some fairly intense sci-fi peril.
TRIVIAL PURSUIT: In the original screenplay for the movie, Murph is a male.
CRITICAL MASS: As of 11/30/14: Rotten Tomatoes: 73% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: 2001: A Space Odyssey
FINAL RATING: 8/10
NEXT: The Hunger Games: Mockingjay – Part I