Anthem of a Teenage Prohet


In a world where appearance is everything, posing is a natural extension of life.

(2018) Drama (SP Releasing) Cameron Monaghan, Grayson Gabriel, Peyton List, Juliette Lewis, Aaron Pearl, Richard de Klerk, Alex MacNicoll, Alex McKenna, Patti Allan, Beau Daniels, Sebastian Greaves, Joshua Close, Jasmine Sky Sarin, Danny Woodburn, Alex Lennarson, Malcolm Craig, Jaden Rain, Spencer List, Robert W. Perkins, Raj Lal. Directed by Robin Hays

 

Being a teenager is nothing resembling easy. Coping with a world whose rules shift almost daily and are confusing even on a good day coupled with raging hormones that make rational thought nearly impossible make it no wonder that teens are synonymous with angst. When you throw in some supernatural abilities, things get even more complicated.

Luke Hunter (Monaghan) is a fairly typical teen in a small Michigan town in the mid-90s. He gets from place to place via skateboard, hangs out with a group of friends who listen to rap but dress like grunge, smokes way too much, drinks when he can, gets stoned when he can and generally tries to figure out who he is and what he wants to do with his life.

One afternoon while hanging out with his friends including his boyhood friend Fang (Grayson) who likes to climb things and golden boy Stan (MacNicoll) who is the boyfriend of Faith (P.List) whom he has a fairly serious crush on, he has a vision. Stoned out of his mind, Luke blurts out that one of them is going to die the next day, hit by a truck with out of state plates. “Blood on the sidewalk,” he murmurs while everyone looks at him in amusement. Luke’s really baked isn’t he ha ha ha.

But nobody is laughing the next day when Luke’s prediction comes horribly true down to the smallest detail. The looks change from amusement to suspicion and downright fear. When a reporter overhears one of the incredulous teens blurt out that Luke had predicted the tragedy and later broadcasts it on the air, Luke’s life becomes something of a media circus.

Luke withdraws further into himself despite his supportive ex-hippie mom (Lewis) and somewhat clueless dad (Pearl). Faith, suffering through the loss of someone she cared about, is drawn to Luke who is going through the same thing. However, it’s not quite the same thing; Faith is not in the media’s eye as Luke is, nor is she an object of fascination in the same way Luke is. He doesn’t know what to do and ends up lashing out. Not to mention that he gets another vision about someone who is going to die.

Some may be drawn to this movie, which is based on a novel by Joanne Proulx, by the supernatural element but those folks are bound to be disappointed as that element is definitely played down. This is much more about surviving the teenage years than about dying during them. We are witnessing Luke’s emotional growth which isn’t always pretty. Luke is a complex character, one who is a talented artist, who adores his mother (as much as any teen boy would be willing to admit to) and pretty much just wants to be left alone to find his own way, also pretty much like all teen boys.

Monaghan is best known for playing a Joker-like character in the Fox Batman show Gotham but this is an entirely different performance here. Far from being manic, Luke is a bit of an introvert and Monaghan captures that personality well, from the distrust of others to the banter he has with those he does let inside. Given the diversity of performances in the two I’ve seen of him so far, I think that it isn’t being premature to say that this actor has enormous potential. Time will tell whether he can acquire the roles that will allow him to realize it. My one problem with him is that he tends to pose a little too much; it doesn’t look natural.

The writers and actors do a great job of capturing the swagger of boys on the cusp of becoming men. They think of themselves as invincible and their lack of life experiences don’t bother them – they revel in their inexperience in many ways. They are young and un-bloodied by life until the death of one of them catches them all up short.

While the swagger is perfectly depicted, the dialogue is less successful. It’s not that the dialogue isn’t intelligent and snappy – it is both those things – but it is not the way teen boys in the mid-1990s talked. It is more like the way boys in 2018 talk, from the rhythms of their speech to the expressions they use. Kids tend to use a lot of slang and jargon, which is a way of setting their own generation apart. You get none of that here.

While the film borrows its tone from a few disparate sources (one that I noticed was Final Destination minus the macabre deaths) other critics have name-checked the work of John Hughes and Gus van Sant. While the movie is a little bit on the long side, it is a very different teen movies. It doesn’t talk down to its intended audience and it tackles some fairly serious concepts. I don’t know how many teen boys will want to see this movie – this isn’t the kind of movie they typically choose to see – but this is a movie about them and one they would no doubt recognize. That may work against the film as its niche audience may somewhat ironically be disinclined to see it. Still, it is a worthwhile watch for those who want to understand teens a little better.

REASONS TO GO: The film nicely captures teenage boy swagger.
REASONS TO STAY: The dialogue sounds more like 21st century than mid-90s.
FAMILY VALUES: There is all sorts of profanity, teen drinking, smoking and drug use, some violence and dangerous behavior.
TRIVIAL PURSUIT: At the time of filming, Monaghan and List were dating.
BEYOND THE THEATERS: Fandango Now, iTunes, Vudu
CRITICAL MASS: As of 1/16/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Project Almanac
FINAL RATING: 6.5/10
NEXT:
An Acceptable Loss

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Rockaway


The young cast of Rockaway.

(2018) True Life Coming of Age Drama (Paladin/Gravitas) Keidrich Sallati, Maxwell Apple, James DiGiacomo, Tanner Flood, Colin Critchley, Harrison Wittmeyer, Nolan Lyons, Sophia Rose, Wass Stevens, Marjan Neshat, Frankie J. Alvarez, Wendall Lloyd, Nicholas J. Coleman, Jake Taylor, Luke Guldan, Drew Powell, Dan Puck, Christy Escobar, Samantha Cocozza. Directed by John J. Budion

 

NOTE: If you haven’t seen this movie yet, skip the rest of the review down to the last paragraph and just read that. Basically going through almost any element of the plot or evaluation of the various elements of the film may spoil your experience of it. If you’ve already seen it, read on…

There are plenty of coming of age dramas out there; films that depict a season or a year in the life of the lead character which becomes critical to shaping them into what they eventually become. Often these films are viewed largely through a sepia lens, the tones of summer and autumn becoming golden and sun-dappled with the warm refraction of memory. It is difficult not to compare those celluloid memories to your own.

Anthony (Sallati) and John (Apple) are a couple of kids growing up in a small town on Long Island long since immortalized by the Ramones but when this is set, 1994, the boys have bigger fish to fry. Their drunken stepfather (Stevens) beats on their long-suffering mom (Neshat) and on the boys themselves; when the younger John comes home with a slightly and easily mended shirt, dear old dad smacks the boy upside the head and not in a friendly, dad fashion but in a mean drunk fashion with the express intent to intimidate.

Still, there are things that the boys have to look forward to – their beloved New York Knicks are in the midst of an unlikely run into the NBA Finals against the heavily favored Houston Rockets. While Patrick Ewing was the ostensible star of the team, the player who had captured both of their hearts (especially John’s) and much of New York City as well was blue collar shooting guard John Starks.

They also have a plan to murder their stepfather, involving a broken light fixture, a whole lot of tennis balls, and a boiler. Whenever their stepfather is drunk and arguing (and smacking around) their mom which is nearly every night, Anthony soothes his plucky but timid little brother with tales of Mr. Doo, who is anthropomorphized poo and the stinkiest stool in town.  Anthony is extremely protective of his little brother; following the torn shirt incident, Anthony swears to John that their stepdad will never touch him again.

The two boys lean on each other exclusively and while Anthony is very affectionate with his mom, he has no illusions that she will ever get rid of the monster in her bedroom and knows he will have to do it if the family is to survive. However, into this horrifying situation comes a group of guys who become almost like family – the leader Billy (Wittmeyer), intelligent and thoughtful Brian (Flood), small tough-talking Dom (DiGiacomo) and motormouth Sal (Critchley) who clearly went to the Vinnie Barbarino School of Charm.

The boys will bond over bicycles, baseball games, the mystery of boobs and the improbable run of the Knicks and a deep friendship will result. It’s a bond that will last a lifetime, but they could have no way of knowing the type of curveball that will be thrown their way.

For some reason after reading the synopsis of the movie I wasn’t particularly enthusiastic about seeing it but I was pleasantly surprised that this is actually a solid film. It’s not a movie that sheds any particularly novel light on domestic abuse, although the matter-of-fact tone it takes about it gives the viewer an idea of how a family in the grip of an unpredictable drunk bully suffers through uncertainty over just when he will erupt and what will trigger it. Walking on eggshells doesn’t even begin to describe it.

That said, the coming of age aspect of the movie has all the right feels and while the end of the movie becomes anti-climactic after a fashion (the big emotional scene that precedes it tends to drain the viewer) the story keeps the viewer largely engaged. There feels like lately a tendency to make movies run a bit longer than the story supports it; this one runs exactly as long as it needs to be.

They don’t really do a great job of re-creating the era; some of the cars parked at the side of the road and in parking lots and driveways were manufactured well after 1994 (imagine if in American Grafitti there were AMC Pacers and Chevy El Caminos parked at the sock hop. The amount of years that separated 1955 from 1973 is a little less than 1994 until 2018 – 18 years versus 24 years for the math-challenged.

The movie rests strongly on the shoulders of the juvenile actors; other than the mom and the stepdad there are almost no adults visible in the film. The problem with most juvenile actors is that they try to act and that’s what happens here; the performances come off as mainly stiff and forced. They would have benefited from a hand at the helm that would calm them down and elicit performances that feel less like performances. It doesn’t help that most of the characters are essentially one-dimensional. Even John, the stand-in for writer/director Budion, doesn’t have a ton of depth to him beyond his obsession with Starks, his devotion to his big brother and his terror of his father. Anthony comes off as nearly too good to be true; he is the emotional center of the movie without a doubt but even he sometimes feels more like an archetype than a real person.

I liked this movie a lot more than I expected to and that’s not easy to do. It snuck up on me and maybe that’s the best way to approach it. If you read all the way through the review to this point and haven’t seen the film yet (ignoring the advice I gave you at the very beginning), this is still a film worthy of seeing but the experience you have with it, having soaked in what I’ve already written about it, will be much less meaningful than if you followed my advice. If you skipped down to this paragraph, by all means stop what you’re doing and stream the movie on whichever service you prefer (see below) and then come back and re-read the review. See if you don’t agree.

REASONS TO GO: This is a coming of age movie with an edge and has all the feels you need.
REASONS TO STAY: Some of the young actors try too hard and end up with performances that don’t feel true.
FAMILY VALUES: There is some profanity and domestic violence.
TRIVIAL PURSUIT: Budion began his career as a special effects supervisor, working on such films as Beasts of No Nation and The Grand Hotel Budapest. This is his first feature as a director and the film is loosely based on events from his own childhood.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play,  iTunes, Vudu, YouTube
CRITICAL MASS: As of 1/14/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Sandlot
FINAL RATING: 7.5/10
NEXT:
Anthem of a Teenage Prophet

Pledge


The cast of a raunchy teenage sex comedy suddenly realizes they’re in a horror movie.

(2018) Horror/Thriller (IFC Midnight) Zachery Byrd, Phillip Andre Botello, Aaron Dalla Villa, Zack Weiner, Erica Boozer, Cameron Cowperthwaite, Jesse Pimentel, Jean-Louis Droulers, Joe Gallagher, Melanie Rothman, Jim Calello, Steve Lipman, Billy Thomas Myott, Sam Naismith, Jason Polinsky, Max Schuster, Emerald Toller, Keith Weiss, Natalie Walsh, Jackie Taylor. Directed by Daniel Robbins

 

Part of the college experience is rush week. Various fraternities and sororities try to lure potential members with parties, free booze and the promise of social acceptance and lifetime friendships. Of course, in some cases there is always the implied promise of a college career full of debauchery but that’s not always the case. However, those that do choose to pledge generally have to go through a series of tests that will test their limits, often to the breaking point.

Not everyone is accepted though. In the case of Ethan (Botello), Justin (Byrd) and David (Weiner), they have gone to party after party, often not even getting in the door. The three are freshmen who not only are socially awkward they wouldn’t seem out of place at either a sci-fi convention – or a raunchy sex comedy.

Disillusioned (although hope springs eternal for David), they are walking back to their dorm, with Ethan and Justin ready to spend the night there drinking when they meet Rachel (Boozer), a gorgeous and sexy coed who invites them to a party at a house somewhat more remote than the others they’ve seen. When they get there, they are treated to a party of well-dressed preppy sorts, and wonder of wonders the three (and two other seemingly less socially awkward guys) are accepted into the frat – excuse me, it’s a social club, not a frat – and the hazing begins.

Except the hazing starts with actual branding and goes downhill from there. The three pledges realize that they are in a world of hurt and in way above their heads. The three frat brothers – I mean, club members – diminutive Max (Dalla Villa), intimidating Bret (Pimentel) and enigmatic Ricky (Cowperthwaite) don’t seem disposed to letting anyone out the door but out the door the boys must go if they are to survive the night.

Frat hazing gone wrong movies are not in and of themselves anything particularly new. Sometimes these movies are fairly tame when considering the actual shenanigans that go on in college campuses nationwide. Weiner, who wrote the movie and conceived it along with Robbins and executive producer Matthew Barrett, seems to have based the lead characters on himself, Robbins and Barrett. However, their role model for the social club seems to be more Skull and Bones society rather than Greek.

The acting is solid if unspectacular and the violence here is occasionally unnerving. Robbins proves to be an adept director who does a lot with very little budget; every penny looks to be onscreen, and Robbins doesn’t waste a moment with unnecessary dialogue or exposition. He introduces the characters by showing how they are perceived by the frat brothers of the various fraternities they visit and eventually we get the sense that while their main character traits are pretty standard (overweight guy, minority and eager but clueless ringleader) Ethan and Justin show some pain at the way they are treated. They just don’t laugh it off. In fact while there are some decent comedic moments, the movie is pretty much played with a straight face.

Unfortunately, that’s where the real innovation ends. For the most part it’s a standard slasher film with a side of torture porn. It’s not going to rewrite the horror book – but it is pretty entertainment and most horror buffs should end up appreciating it. Those who are a bit more discerning may find it overly familiar.

REASONS TO GO: Robbins packs a lot of tension into the short run time; not a moment is wasted.
REASONS TO STAY: This film really doesn’t add anything to the subgenre.
FAMILY VALUES: There is a lot of violence, much profanity, some sexuality and plenty of teen drinking..
TRIVIAL PURSUIT: The producers found the house they used as a filming location through AirBnB.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Vudu
CRITICAL MASS: As of 1/12/19: Rotten Tomatoes: 78% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: Hell Night
FINAL RATING: 6.5/10
NEXT:
Rockaway

Lasso


Skyler Cooper gives an electric performance.

(2018) Horror (Epic) Sean Patrick Flanery, Lindsey Morgan, Andrew Jacobs, Benedita Pereira, Karen Grassle, Steven Anthony Jones, Molly Goode, Monique Bricca, Don Demico, Tony Vella, Zoe Swenson Graham, Joe Sobalo Jr., Thomas Cokenias, Travis Andre Ross, Halliny Ferreira, Todd Myers, Skyler Cooper, Seldor Helderman, Michael Gomes, Heather Mignon, Melissa Tracy. Directed by Evan Cecil

 

What could be more all-American than a rodeo? Although the name (and the concept) is derived from the Spanish, we have adopted it and turned it into something that represents what many believe is the epitome of being an American – the cowboy. But like all things American, there is a dark side to it.

An active seniors group is going on an outing to the Hackett Rodeo. Young and perky guide Kit (Morgan) and her less-enthusiastic assistant Simon (Jacobs) bring them to the faux Western town where there are games of chance and of course plenty of shopping. Then there’s the rodeo arena itself, where bronco busters, calf ropers and creepy clowns entertain the crowds.

But as the crowd thins out the senior group dally a bit too long and they witness a grisly murder by a dark cowboy with a barbed whip that rips out the innards of a young woman, and then the carotid artery of their driver. Panicked, Kit escapes with most of her charges but Simon – who had gone back to find a lost hairbrush for imperious Lillian (Grassle) – is left behind to be captured and thrown into a pen with one-armed cowboy Ennis (Flanery), muscle-bound African-American Trish (Cooper) and rodeo queen Rosheen (Mignon).

A mysterious rodeo clown (Gomes) helps them escape from their cell but they discover that Hackett (Cokenias) and his rodeo personnel are all tweaked on horse steroids that are not meant for human consumption and has not only made them muscular but also psychotic. The ‘roid ragers are putting on a show for their own amusement and are taking clues from Grand Guignol and Herschell Gordon Lewis, murdering strays in grisly ways having to do with the rodeo (as in one girl being roped by the feet and arms and being pulled apart by a couple of dark horsemen).

In the meantime, the seniors’ bus has overheated and stalled near the entrance of the ranch. Kit is desperately trying to fix the bus but her charges are decidedly unhelpful. What they don’t know is that they are being stalked by cowboys; while some of them are going to be set aside for the show, some of them won’t make it to the arena. Fame, she is fickle, no?

I actually really like the concept and to be honest, some of the murders are truly clever. If you like gore, you won’t leave this one disappointed. However, there is almost zero character development, Simon is one of the most annoying heroes ever as he botches plan after plan, and the most interesting characters tend to be killed early on. Poor Ennis is the most luckless character you’ll ever see; he survives some horrific injuries but like the Energizer bunny, he keeps on coming back for more. I like the idea that one of the good guys is unkillable instead of the maniac.

Having two separate groups being threatened by the cowboys is unnecessary and causes the movie to run a little longer than it should. Personally, I would have gone with the seniors – that would have made for a much more interesting movie, although Flanery as Ennis gets a gold star for his work. In fact, it is impressive that all the actors buy into the silliness with a straight face. There is some humor here but this is primarily and defiantly a horror film and it doesn’t apologize for being one. It doesn’t pander to horror fans either, which is unusual for a lot of horror films these days.

The last couple of years has seen an influx of really talented directors in the genre and movies that have pushed the envelope of scary. This isn’t necessarily one of those but Cecil shows a great deal of promise and there are a lot of things to like about Lasso. It misses a few too many opportunities to get a rave review, but it takes advantage of enough of them to be recommended.

REASONS TO GO: As far as I know, this is the only slasher film to ever be set at a rodeo.
REASONS TO STAY: Given the opportunity for doing something different, the movie is fairly cliché.
FAMILY VALUES: There is plenty of violence and gore and a fair amount of profanity.
TRIVIAL PURSUIT: Cecil is a veteran television director making his feature film debut.
BEYOND THE THEATERS: Amazon, Fandango Now, iTunes
CRITICAL MASS: As of 1/11/19: Rotten Tomatoes: 71% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Trip With Teacher
FINAL RATING: 6.5/10
NEXT:
Pledge

The Christmas Chronicles


He sees you when you’re sleeping…

(2018) Holiday (Netflix) Kurt Russell, Darby Camp, Judah Lewis, Kimberly Williams-Paisley, Steven van Zandt, Oliver Hudson, Vella Lovell, Jameson Kraemer, Solla Park, Seth Mohan, Kayla Lakhani, Glen McDonald, Danielle Bourgon, Tony Nappo, Martin Roach, Lamorne Morris, Marc Ribler, Jeff Teravainen, Elizabeth Phoenix Caro, JaQuita May. Directed by Clay Kaytis

 

Every year at Christmas time there is a plethora of made-for-TV Christmas films that generally are barely tolerable. Once upon a time though, major studios made Christmas films that were heartwarming, sent a positive message and were actually entertaining but frankly, there hasn’t been one like that in the multiplexes since Elf.

Netflix has the last couple of years looked to fill that gap, with this being the crown jewel in this year’s crop of four or five Christmas releases. It has a big star, a well-known name in family filmmaking behind the camera (producer Chris Columbus) and a fairly big budget for effects and such. Does this have the makings of a Christmas perennial?

Through a series of home movies we are introduced to the Pierce family. Doug (Hudson), a firefighter, is one of those guys who puts a ton of effort into Christmas. His kids adore him and his wife is head over heels for him. Firefighting is, sadly, a very dangerous occupation and one year Dad is not there at Christmas. His wife Claire (Williams-Paisley) works in the local Emergency Room and on Christmas Eve she’s called in to cover a shift. Times being what they are – single moms need to work all the shifts they can, particularly at Christmas – she puts teen Teddy (Lewis) in charge of moppet Kate (Camp) and off sh goes to earn a living.

Kate still believes in Santa Claus which Teddy finds to be an eye-rolling mess. Teddy has fallen in with a bad crowd and is doing some underage drinking and worse, stealing cars. Kate clings to Dad’s massively outdated camcorder like Linus clings to his security blanket. She manages to convince Teddy – who against all odds decides to stay and babysit rather than go out with his friends as he’d planned to – to set up the camera to catch Santa in the act. To Teddy’s absolute shock, they do.

Going outside to get a better look at the magical sleigh, the two are accidentally taken along when Santa (Russell) takes off for his next destination. When he discovers the stowaways, he is taken by surprise and in the process loses his magic hat (which allows him to deliver presents at lightning sped), his sack of presents, the flying reindeer and the sleigh itself which crashes to Earth – in Chicago. Had Alex Jones made this movie, Santa would have had to be packing in order to make it out alive.

In any case the two kids responsible for Santa’s nightmare have to help him reclaim all his items and deliver the presents before dawn or else Christmas spirit would be drained from the world. The last time that happened, Santa tells us, the Dark Ages ensued. Somebody needs to tell Santa that there’s a good chance that the Second Dark Ages have already begun.

On the way to rescuing Christmas Santa gets arrested (!) and performs a blues musical number with Little Steven and the Disciples of Soul in the jailhouse (!!) while Kate scrambles to find the elves who turn out to be Minion-like merchandising opportunities creatures who speak in an unintelligible language. But can these two kids help Santa save Christmas – and can Santa save this family in crisis? Duh – it’s Christmas!

Russell was an inspired choice for St. Nick. He’s not the jolly old geezer that we’ve seen in past films, nor the hot mess that Tim Allen made him to be. This Santa is a straight shooter, a bit rough around the edges and well, some female reviewers have taken to calling him “hot Santa” which was enough to curl the mistletoe in my home.

As a counterpoint though are the two children. The performers are okay but they needed to be more than that to carry this film, which ends up being a Kurt Russell-fest because of it. Not that it’s a bad thing mind you but the film spends a lot of time following the kids and quite frankly you don’t want to spend a lot of time with them after the first few minutes. Kate’s actions imperil Christmas but there are no repercussions, no remorse really on her end; it’s just “they made a mess and it got cleaned up so everything’s copacetic.” Worse, there are absolutely no consequences for Teddy’s crimes which is criminal for a family film, and in fact Santa participates in a carjacking himself! It’s enough to make an elf burst into tears.

The special effects lack the wow factor of previous Santa-themed Christmas films and the stock aerial footage looks outdated. Much of the action is fairly predictable and rote and while the blues number seems a bit against the grain, it’s actually one of the best moments in the film overall – Russell really brings it. Still, it really doesn’t hold up to the Christmas movies that we tend to watch year after year. This one might get an occasional viewing once you’ve seen it once but even the least discerning Netflix viewers will probably think twice about a second streaming session but Russell’s performance is worth viewing at least once.

REASONS TO GO: Russell makes for a terrific Santa.
REASONS TO STAY: Parents might want to consider the message the film is sending.
FAMILY VALUES: There is some mild profanity and kid mischief.
TRIVIAL PURSUIT: Kurt Russell grew his beard out for the role; that’s actually his hair and beard he’s wearing as Santa, not an appliance.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 1/8/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 52/100.
COMPARISON SHOPPING: The Santa Clause
FINAL RATING: 6/10
NEXT:
Lasso

Rust Creek


Kentucky back roads are full of unusual roadkill.

(2018) Thriller (IFC Midnight) Hermione Corfield, Jay Paulson, Micah Hauptman, Sean O’Bryan, Daniel R. Hill, John Marshall Jones, Jeremy Glazer, Jake Kidwell, Denise Dal Vera, Laura Guzman, Virginia Schneider. Directed by Jen McGowan

 

Road trips are a favorite of mine. There’s no better way to see the countryside, to get a feel for those who live there. However, there are some roads that are best not traveled upon.

Sawyer (Corfield) is one of those college students who are popping up everywhere – bright, ambitious, and fiercely determined to follow the road they’ve mapped out for themselves. Yes, that spells “irritating” for us older folks who once were bright, ambitious and fiercely determined to follow the road we mapped out for ourselves but somehow took a wrong turn.

Sawyer has also made a wrong turn. She’s driving through the backwoods of Kentucky during Thanksgiving week to get to Washington DC for a job interview and not just any job interview – one for her dream job. The Interstate is literally bumper to bumper with holiday traffic so she decides to take a road less traveled. Her GPS turns out to be unhelpful to say the least – sending her down roads that don’t exist or in dubious directions. Hopelessly lost, she stops to get her bearings and consult an actual paper map.

That’s when she gets the attention of Hollister (Hauptman) and Buck (Hill), a couple of locals – brothers and from an inbred family, judging from appearances. Things quickly get creepy and before you can say “isn’t that the kid from Deliverance?” she’s saying “you’re making me uncomfortable” and one of them makes a try for a Presidential pussy grab which goes over about as well as you’d expect. Things escalate and both of the Backwoods Boys get stabbed but unfortunately so does our heroine.

She escapes into the woods though, but that’s not necessarily a good thing. She’s bleeding and the Kentucky woods are no joke in November. She eventually passes out and finds herself awake and in restraint in a trailer that looks like its seen better days. So too has the guy living there, Josh (Kidwell) who to make matters worse is a meth cooker and brother to both Hollister and Buck.

But Josh is different and he knows what the score is; why the Sheriff (O’Bryan) seems unconcerned with an abandoned car and missing persons report, and what Buck and Hollister were up to. Sawyer knows she’s in over her head but if she’s going to get out of this alive she’s going to have to be even tougher than she’s ever been.

Sawyer is one of the strongest and fiercest female characters in a low budget thriller to come along in a long time and Corfield does her justice. She could well be a 21st century Ripley, but strangely during the second half of the film her character’s strength seems to be sapped and she is almost waiting for Josh to save her. I can understand that a character as traumatized as she is during the course of the movie might lose some of her steam but I think the film would have been better served had Sawyer been more of a force throughout. I could see her being a role model but then….well, not so much.

Cinematographer Michelle Lawler gets to play in the Kentucky woods and she hits it out of the park, turning this into as beautifully shot a thriller as you are likely to see anytime soon. The woods are deceptively beautiful, the bad guys notwithstanding and it almost gives me thoughts of moving there someday. Almost.

The movie is a little bit on the long side as we learn more about meth cooking than I think most of us will ever want to know. Also Buck and Hollister are so stereotypical that the state of Kentucky might seriously think of protesting the film for perpetuating those stereotypes. I’m not saying that guys like his don’t exist, but they’re given not a lick of character development and that, too, hurts the film.

Still, this is a solid and eminently watchable thriller that has some really high points but just misses on others. It’s out in theaters for a limited run and also on VOD if it’s not playing in a theater convenient to you. As January films go, this one isn’t half-bad.

REASONS TO GO: Corfield is one of the strongest and fiercest scream queens to come along in years. The Kentucky scenery is gorgeous.
REASONS TO STAY: The movie is somewhat long. The villains are for the most part stereotypical rednecks.
FAMILY VALUES: There is violence, profanity and some drug references.
TRIVIAL PURSUIT: The production company, Lunacy, has a mandate to support female filmmakers; thus most of the key behind the camera roles have been filled by women, including director, writer, director of photography, production designer, sound mixer and colorist.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 1/7/19: Rotten Tomatoes: 83% positive reviews: Metacritic: 58/100.
COMPARISON SHOPPING: The Archer
FINAL RATING: 6.5/10
NEXT:
The Christmas Chronicles

Santa Claus (Le père Noël)


Even Santa Claus has to do laundry once in awhile.

(2014) Family (Under the Milky Way) Tahar Rahim, Victor Cabal, Annelise Hesme, Michael Abiteboul, Philippe Rebbot, Amélie Glenn, Jean-François Cayrey, Djibril Gueye, Naoufel Aliju, Satya Dusaugey, Charlie Dupont, Lou Ballon, Charles Albiol, Steve Tran, Mathieu Lourdel, Yamina Meghraoul, Jérôme Benilouz, Laurence Pollet-Villard, Pierre Core, Dominique Baconnet. Directed by Alexandre Coffre

 

Our heroes don’t always hold up to close scrutiny. Look closely enough and you’ll find faults as egregious as, well, our own. It never occurs to us that those we admire the most are just as fallible, just as flawed as us. And let us not forget, to the average six-year-old there is no bigger hero than Santa Claus.

Young Antoine (Cabal) is just that age and still a believer in Father Christmas. He reads his list of Christmas wishes, certain that Santa can hear them. When his mother (Hesme) urges him to get to bed on Christmas Eve or Santa won’t arrive, he follows her instructions – but going to bed as every child and most parents know is very different than going to sleep.

Antoine hears a clatter out on the balcony of his family’s Paris high-rise apartment building and arises to see just what is the matter. On the balcony he sees such a sight as he never believed he would see; Santa Claus in full red suit and beard. But this Santa (Rahim) isn’t there to deliver presents; he’s there to rob the occupants of the apartment. He manages to convince the wide-eyed tyke that Santa’s sleigh is broken and requires gold to run again – so with no time to return to the North Pole to retrieve some, he needs to take what he can find so that the presents can be delivered around the world by sunrise.

The thief’s glib lie backfires on him when Antoine decides he’s going to stick to Santa like glue. Antoine believes he’ll be rewarded by night’s end with a ride in Santa’s sleigh. Unfortunately, “Santa” is being chased by some real bad men who he owes a lot of money to (hence the need for gold) as well as the cops who have been getting reports of a thieving Santa all night long. As the crazy Christmas Eve moves into Christmas morning, man and boy form a special bond. They may be able to provide the things the other needs – if they both don’t end up in jail.

In case you wondered if lowbrow family films were exclusively the province of American filmmakers, here is the proof they exist in France as well. This French-Belgian co-production has all the family film clichés that it feels like you’ve seen it all before unless you’re Antoine’s age. When they say the plot almost writes itself, well, here’s a case where it probably do – the baseball team’s worth of writers notwithstanding.

Rahim is certainly charming and while any Americans who are familiar with the actor likely know his work in A Prophet, in a much different role he shows he has the star power to carry a film on his own. Unfortunately, Cabal is given a role that has been written as if all six year olds are absolute morons. I know that six-year-olds are trusting sorts but there are things here that Antoine takes on faith that even a four year old might say “Hey now, that just doesn’t make any sense!!!”

Seeing Paris at night during the Christmas season is a joy in and of itself, and the music by Klaus Badelt is truly complimentary to what’s going on in the film. Unfortunately these things aren’t enough to rescue a film that is ultimately one giant cliché written by a committee of folks who think that being a kid with little experience means being foolish and accepting of the laziest plot devices. Your kid deserves a better movie than this, particularly if he/she has the gumption to read subtitles o top of everything else.

REASONS TO GO: The music is nice and the night scenes of Paris during the holidays are magical.
REASONS TO STAY: Cabal is massively annoying and the character dumbed down.
FAMILY VALUES: There is some violence and child peril.
TRIVIAL PURSUIT: There are nine writers credited to the film.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Vudu
CRITICAL MASS: As of 1/1/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Santa Clause
FINAL RATING: 5.5/10
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Dark Fortune