The Cakemaker


Bake me a cake just as fast as you can!

(2017) Drama (Strand) Sarah Adler, Tim Kalkhof, Roy Miller, Zohar Shtrauss, Sandra Sadeh, Stephanie Stremler, Eliezer Shimon, Iyad Msalma, Tagel Eliyahu, David Koren, Tamir Ben Yehuda, Sagi Shemesh, Gal Gonen. Directed by Ofir Raul Gralzer

The loss of a loved one is always devastating. Some find themselves having a hard time facing the fact that their loved one is gone. Others feel the need to wrap themselves in everything that reminds them of their late loved one, holding onto it before the memory fades. We all cope with grief differently.

Oren (Miller) is an Israeli businessman whose travels frequently take him to Berlin. His travels to Berlin frequently take him to a café run by Thomas (Kalkhof). It might be for the Black Forest Cake that Oren loves or the cinnamon cookies he takes home to his wife, but as it turns out the connection between the German and the Israeli goes far deeper.

When Oren doesn’t show up at the appointed time and Thomas’ texts and calls to his lover go unanswered, Thomas makes his way to Oren’s Berlin office and there discovers that Oren has been killed in an automobile accident. Gutted, Thomas decides to go to Jerusalem where he finds the café that is being started up by Oren’s wife Anat (Adler). Impulsively, Thomas asks for a job and Anat gives him one as a dishwasher.

However his skills as a baker become much more apparent to the horror of Anat’s brother Moti (Shtrauss) who is deeply distrustful of a gentile and a male one at that in the kitchen. He is concerned that the café’s kosher certification will be threatened. Meanwhile, Anat finds her bond with Thomas deepening, still having no idea of her employee’s relationship with her late husband. Her son Ital (Eliyahu) also begins to open up to Thomas. If the truth should come out, the two will be utterly destroyed.

This is a movie that doesn’t do what you expect it to – and that’s a good thing. I honestly never could figure out where Gralzer was going (he also co-wrote the script) and the choices he made were all good ones. There is a very melancholic air here, understandable considering the subject matter. There are times that Thomas’ actions seem almost creepy but as the movie progresses some sense can be made of them, largely thanks to a flashback late in the film. Still, Kalkhof has a brooding, gentle presence that draws the audience in. Adler is a bit more shrill, but she softens a bit as her character’s relationship with Thomas grows more romantic.

The movie takes it’s time getting where it’s going to which is fine with European audiences but not so much for American filmgoers who are notoriously impatient with slow-paced films. I found the unhurried pace to be actually somewhat soothing; it allows the viewer to process what’s happening. It also allows the filmmaker to linger over some shots of pastries and cakes that are just mouth-watering short of being food porn. My advice is to see this film in a theater that is within walking distance to a nice bakery. You’ll be hungry by the time this is done.

This is an impressive debut for Gralzer and there are few wrong steps taken here. The late-film flashback that explains some of what happened between Thomas and Oren probably should have occurred sooner in the film and the ending was a bit muddled but beyond that this is the kind of rainy day movie that will whet your appetite in more ways than one.

REASONS TO GO: You never know where the film is taking you. The cakes and cookies look incredibly appetizing.
REASONS TO STAY: The movie is a little slow-moving.
FAMILY VALUES: There is some sexual content and brief nudity.
TRIVIAL PURSUIT: This is the first full-length feature to be directed by Gralzer.
CRITICAL MASS: As of 6/6/18: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Carol
FINAL RATING: 7.5/10
NEXT:
Six L.A. Love Stories

Advertisements

Bridgend


Deceptive beauty.

Deceptive beauty.

(2015) Drama (Kimstim) Hannah Murray, Josh O’Connor, Adrian Rawlins, Patricia Potter, Nia Roberts, Steven Washington, Scott Arthur, Aled Llyr Thomas, Elinor Cawley, Jamie Burch, Mark Charles Williams, Adam Byard, Natasha Denby, Leona Vaughan, Liam Dascombe, Josh Green, Rachel Isaac, Phil Howe, Martin Troakes, Jane Davies, Rob Page, Judith Lewis. Directed by Jeppe Rønde

Florida Film Festival 2016

When a teenager dies, it’s a tragedy. With their whole life ahead of them cut short, it’s devastating to their family and their friends. When a teen takes their own life, it can feel even more tragic. Those left behind can feel like they’ve failed somehow. But what happens when teens kill themselves in droves?

That’s what really happened in Bridgend County in Wales. Starting in 2009 and through 2013, more than 75 teens took their own lives – most by hanging – without leaving a suicide note. To this day, what prompted these mass suicides remains a mystery. There was an excellent documentary in 2013 about the case but this is a fictionalized look at the affair.

Sara (Murray – fans might recognize her from Game of Thrones) and her policeman dad Dave (Washington) who is widowed have moved from Bristol to Bridgend to start a new life. As a policeman, Dave is investigating a rash of teen suicides. At first, Sara doesn’t really feel like she fits in with the working class kids in town but her beauty and compassion catch the eye of Laurel (Cawley) who invites her to the local reservoir to hang out with a group of kids, led by co-alphas Jamie (O’Connor) and Thomas (Arthur).

As Sara gets more involved with the group, her father begins to get terrified. Sara is already at that age where she’s distancing herself from her dad, and drifts closer to the disaffected teens and further from her father. And as her friends begin to die off one by one, her romance with Jamie takes on a more intense tone.

Speaking of tone, that’s one thing this movie has plenty of. Cinematographer Magnus Nordenhof Jønck films things through a blue filter, underlighting interior shots to give things a more menacing and darker look. The blue serves to give the movie an overall depressing feel. That’s sight; as for sound, Mondkopf, an artist specializing in electronic trance, gives the score a dreary electro feel, instilling a sense of foreboding throughout.

There are two ways a movie like this can be made palatable; one is to give insight as to why a group of teenagers would all fall into lockstep and kill themselves. To be honest, Rønde doesn’t really address this. There are all sorts of theories as to why the real kids did this and to be fair, I can imagine that the filmmaker didn’t want to tread on the graves of the dead by putting motivations that weren’t necessarily there. You don’t get a sense that there was any peer pressure going on, only that these kids were essentially unhappy.

Secondly, the characters could be interesting people that you care about what happens to them, but again, that proves not to be the case here. These are kids who most adults wouldn’t want to spend even five minutes with. They come off as spoiled, whiny and full of angst and ennui. There is a melancholia sure, but with the rituals that these kids use to honor their dead it begins to come off as creepy posturing. The kids don’t come off as anything other than people who simply fell into line like sheep and gave up far too soon.

Rønde is a little self-indulgent with his direction, doing so many cutsie things that the audience is drawn out of the movie and paying more attention to the moviemaker. I call this “Look, Ma, I’m Directing syndrome” and Rønde has a nasty case of it. And the ending. Oy vey, the ending. I won’t go into details here, but it’s a colossal cop-out.

The events in Bridgend are apparently still taking place to this day, and quite frankly I think there is an important movie that could be made here. Certainly this is in many ways a cautionary tale for parents that their teens are at risk, but the filmmakers don’t say anything much beyond that. I found this to be a frustrating movie that at the end of the day, was enormously unsatisfying when it didn’t have to be.

REASONS TO GO: Some beautiful cinematography and along with the electronic score creates a foreboding mood.
REASONS TO STAY: Too much self-indulgence and spoiled behavior. Never really gets into the psyche of the “gang.” Too many scenes in which you’re conscious that the director is “directing.”
FAMILY VALUES: Adult themes, some violence, sexual content, nudity and profanity, all involving teens.
TRIVIAL PURSUIT: Filmed entirely in Bridgend County, Wales where the events that inspired the film actually took place.
CRITICAL MASS: As of 6/10/16: Rotten Tomatoes: 88% positive reviews. Metacritic: 53/100.
COMPARISON SHOPPING: Paper Towns
FINAL RATING: 4/10
NEXT: The Family Fang

Love & Friendship


Kate Beckinsale machinates.

Kate Beckinsale machinates.

(2016) Period Romance (Roadside Attractions/Amazon) Kate Beckinsale, Morfydd Clark, Tom Bennett, Jenn Murray, Lochlann O’Mearáin, Sophie Radermacher, Chloë Sevigny, Stephen Fry, Jordan Waller, Ross Mac Mahon, Frank Prendergast, Xavier Samuel, Emma Greenwell, Justin Edwards, Kelly Campbell, Jemma Redgrave. Directed by Whit Stillman

Woman Power

The role of women has evolved over the centuries, but it still has a long way to go. One woman who has helped it evolve is the author Jane Austen, who wrote about strong female heroines in a period when women were not just second class citizens, but third or even fourth class. It is something of a shame that Austen heroines are to this day still more of an exception than a rule.

Lady Susan (Beckinsale) is a widow with scarcely a penny to her name. In the Regency era, that is a dire situation indeed. Having married into the upper class, she is used to a certain lifestyle that she can no longer afford. Having a scandalous reputation as a temptress (one that has been well-earned to be sure) hasn’t helped her cause. With few options, she goes to her sister-in-law Catherine Vernon (Greenwell) and her good-natured husband Charles (Edwards) to stay with.

Things are tense between the two women, mainly because Susan had opposed the marriage and had done her best to quash it – unsuccessfully. Now the appearance of Susan’s daughter Frederica (Clark) has complicated matters. Susan has been trying to get Frederica married to the extremely wealthy, moderately handsome, sweet-natured but utterly dim Sir James Martin (Bennett) whom she doesn’t love and has been resisting. Susan herself has been courting the charms of Catherine’s younger brother Reginald (Samuel), much to the amusement of Susan’s American friend Mrs. Johnson (Sevigny).

However all of Lady Susan’s plots and schemes may come crashing down about her head. There are people who just plain don’t like her and disapprove of her. It will take all of her wits and intelligence to stay one step ahead of everyone else and succeed in making sure both she and her daughter are able to live in comfort and privilege.

Director Whit Stillman is one of those guys who is well-respected within the film community. He has some really terrific films to his credit, including Last Days of Disco and Metropolitan, both must-sees for any film buff. He seems tailor-made for the works of Jane Austen and true to expectations he nails it with his first foray into the grand dame’s work.

And that turns out to be the case. Stillman gets the essence of the language, making it flow without making it too incomprehensible to modern ears, which is often the case with Regency-era adaptations. He also knows how to bring the best in Beckinsale, who starred for him in Last Days of Disco. She is absolutely superb here, self-confident, manipulative, venal and absolutely seductive. This is the kind of performance that serves notice that you’re not just a B-movie actress, as she has already shown in several other indie films.

There are a couple of other great performances here as well, including Sevigny’s acerbic turn as Mrs. Johnson. Sevigny is an actress who is criminally underused by both Hollywood and the independent film scene. Her appearances are always much anticipated and appreciated by this critic, and she gives one of her best performances here in years. Bennett is also tip-top as the incredibly dense Sir James. He is delightfully funny and provides a fine counterpoint to the very intelligent Susan.

The only quibble I have is that so many of the other roles are played in an almost stilted fashion. That does make Beckinsale’s work stand out but I think it detracts from the rest of the film. I would have liked to have seen a little more personality in some of the other actors.

This is also a lush-looking film, with beautiful locations and sumptuous costumes and wigs. The period is recalled evocatively but in many ways you don’t feel you’re looking at the actual era so much as an idealized version of it. As is often the case in Austen’s work we rarely see beyond the walls of the upper classes – the savage poverty that was also a hallmark of the era. It exists only as a big bad boogieman to terrify those of the upper class who are teetering on the edge of it.

Jane Austen isn’t for everybody. Most audiences find her dull and slow, but there is a lyricism about her work – even the filmed versions of it – that I have found oddly moving and appealing throughout my life, from reading her actual words to the adaptations of those words. I think that she continues to teach us about the reality of who women are – or can be. She has created dozens of role models who can STILL be role models nearly 200 years after the fact. If there is anything more impressive than that, I can’t think of it.

REASONS TO GO: Beckinsale gives a marvelous performance and Bennett is inspired comic relief. Gorgeous costumes and settings. A fine adaptation of a lesser-known Austen work.
REASONS TO STAY: May be too mannered for some. A few of the supporting performances are too colorless to stand up.
FAMILY VALUES: Some of the thematic elements are a bit on the adult side.
TRIVIAL PURSUIT: Sienna Miller was originally cast as Lady Susan, but had to drop out and Beckinsale was cast in her place.
CRITICAL MASS: As of 6/6/16: Rotten Tomatoes: 99% positive reviews. Metacritic: 87/100.
COMPARISON SHOPPING: Sense and Sensibility
FINAL RATING: 7.5/10
NEXT: Dark

Legendary (2010)


John Cena puts a sleeper hold on the movie.

John Cena puts a sleeper hold on the movie.

(2010) Sports Drama (Goldwyn/WWE) Patricia Clarkson, John Cena, Devon Graye, Danny Glover, Madeleine Martin, John Posey, Tyler Posey, Teo Olivares, Kareem Grimes, Christopher Alan Weaver, Robert Bryan, Angelena Swords, Yvonne Misiak, Lara Grace, Patrick Cox, Dennen D. Tyler, Vince Antoine, Andrew Sensenig, Ritchie Montgomery, J.D. Evermore, Courtney J. Clark. Directed by Mel Damski

Sometimes you can’t escape the shadow of your older siblings and parents. Sometimes, you don’t want to. Sometimes, you even need to embrace it.

Cal Chetley (Graye) has an imposing legacy; both his dad and his older brother Mike (Cena) were high school wrestling state champions which is a big deal in Oklahoma. However, his dad passed away ten years ago which his mom Sharon (Clarkson) partially blames on wrestling. Mike has just been released from prison, having made a series of really bad choices.

But Cal, who is somewhat scrawny and bookish, has been bullied mercilessly and thinks joining the wrestling team will give him the skills and self-confidence to deal with those who are tormenting him. His mom is horrified at the idea; even his brother, who is meeting with Cal in secret, isn’t real keen on the idea but reluctantly agrees to give him some private training.

To an extent, the idea works. Cal is able to fend off the bullies and even manages to attract a somewhat goofy girlfriend (Martin) and even impress the coach (J. Posey) to a certain extent. But when Mike’s past catches up to him, will Cal be able to win the state championship and in so doing become legendary?

This came out at a time when World Wrestling Entertainment, the pre-eminent professional wrestling brand, was attempting to market their superstars in movies, following the success of Dwayne Johnson. Cena, a square-jawed all-American sort, was thought to have the charisma and acting chops to pull it off but while he does have a certain amount of magnetism, he didn’t quite have the acting chops to make it past B-movie star status. Films like this one didn’t help his cause.

This is a movie whose heart was in the right place, but that was about all. Clarkson, a previous Oscar nominee, is one of those actresses who never seems to give a bad performance but never really gets credit for being one of the finest actresses working today, which she is. While this is ostensibly about Cal, this is Clarkson’s film; she dominates it. Cena, who was also ostensibly being pushed as a serious actor, is oddly relegated to a supporting role. Maybe the strategy was to bring him along slowly, but it feels like he’s kind of the odd man out here. Glover appears in a kind of “Old Man and the Sea” cameo whose connection to the Chetley family is explained later but feels like a part that was written in hastily at the last minute because a producer said “Hey, we can get Danny Glover; write in a part for him.”

The issue here is that the movie follows the cliches of an underdog sports drama to a “T” and really offers nothing new to the genre. While it’s supposed to be loosely based on a true story, the film feels remarkably manufactures. Other than Clarkson, there’s not a genuine emotion generated here. Even the soundtrack is an autopilot, utilizing a hard rock score during wrestling scenes, and maudlin piano and strings during the more emotional scenes. While Clarkson is an under-appreciated treasure who saves the movie from being unwatchable, this is a movie that justifiably can be said is only legendary in the bargain DVD bin.

WHY RENT THIS: Patricia Clarkson carries the film.
WHY RENT SOMETHING ELSE: Predictable and cliché plot.
FAMILY VALUES: There’s plenty of wrestling violence, brief nudity and some sexually suggestive material.
TRIVIAL PURSUIT: The film was released on home video a mere 18 days after it began its limited theatrical release run; at the time that was the shortest span between the two for any film.
NOTABLE HOME VIDEO EXTRAS: A blooper reel, a behind the scenes look at Cena recording one of the songs that appear in the film, a fashion photo gallery, a look at the wrestling training that went on for the young actors and a profile of the father and son actors John and Tyler Posey.
BOX OFFICE PERFORMANCE: $200,393 on a $5M production budget.
SITES TO SEE: Netflix , iTunes, Vudu, Google Play, M-Go
COMPARISON SHOPPING: Eddie the Eagle
FINAL RATING: 5/10
NEXT: Crouching Tiger, Hidden Dragon 2: Sword of Destiny

Goosebumps


For Jack Black, the only terrifying thing about this movie are the reviews.

For Jack Black, the only terrifying thing about this movie are the reviews.

(2015) Family Comedy (ColumbiaJack Black, Dylan Minnette, Odeya Rush, Ryan Lee, Amy Ryan, Jillian Bell, Ken Marino, Halston Sage, Steven Kreuger, Keith Arthur Bolden, Amanda Lund, Timothy Simons, Karan Soni, R.L. Stine, Caleb Emery, Gabriela Fraile, Nate Andrade, Sheldon Brown, Melissa Brewer, Vivian Kyle, Clare Halstead. Directed by Rob Letterman

In the 90s, kids flocked to author R.L. Stine’s Goosebumps series. The books were essentially Twilight Zone episodes focusing on monsters that terrified many a kid back in the day. Stine continues to be a prolific author but has moved on to different series, but Goosebumps is the one that started it all.

When young Zach Cooper (Minnette) moves to a small Delaware town, he’s not exactly thrilled. He’s still dealing with the death of his dad a year ago and his mom (Ryan) has found a job as an assistant principal at the high school there. She thinks a new start in a new town might bring Zach out of the doldrums and while Zach puts up a good front, it’s clear he’s hurting.

Then he meets the girl next door and for any teenage boy, the girl next door is excellent tonic. Hannah (Rush) is beautiful and seems interested in him, but her tyrannical father (Black) seems more interested in keeping Zach as far away as possible. Georgia might do.

But Zach and his self-appointed friend Champ (Lee) discover that Hannah’s dad is none other than R.L. Stine and that the manuscripts in his basement, all of which are locked, contain the spirits of the monsters he invented and that unlocking those manuscripts transforms the creatures from imaginary to very real. And those real monsters are out to wreak havoc all over town, led by Slappy (also voiced by Black), a homicidal ventriloquist’s dummy that is seeking revenge against Stine for incarcerating him inside the manuscript for so many years.

The concept is a swell one, especially given the popularity of Stine and how many kids – who are now adults with kids of their own – know all of his books backwards and forwards, and for them and kids who are looking at their teen years with impatience, this is going to be a must-see and although Halloween has come and gone, this is excellent kid fare for that season of the year.

Black is as manic as ever as Stine, although his accent is a little bit bizarre. Black, being the human cartoon that he is, is perfect for this kind of audience and he doesn’t disappoint. He doesn’t get the majority of laughs here – Lee gets those – and Minnette is essentially the protagonist but Black is really the presence here. None of the other actors can really compete with his personality which is bigger than life. Bigger than ten lives, to be honest. Rush is also memorable as the ingenue.

The CGI creatures – and there are a lot of them – range from giant praying mantises, abominable snowmen, murderous garden gnomes, hungry zombies, implacable alien invaders and a gigantic Venus flytrap, among others. Pretty much every monster from the prolific series makes at least a cameo appearance, if you can call the Invisible Boy an appearance. In some ways it becomes sensory overload; a few monsters go a long way but hundreds soon becomes kind of background noise.

Cinematographer Javier Aguirresarobe does a nice job of setting the mood, and a setting of an abandoned amusement park is both lovely and bittersweet (Zach and Hannah have an encounter there early in the movie). I could have done with a few more moments like that although frankly, that’s not what the target audience is looking for so I can understand why those moments were few and far between.

The humor is pretty much vintage Nickelodeon although there are some clever bits, most involving Lee as the cowardly wingman. The pacing here is a little bit choppy although it generally moves pretty quickly and to Letterman’s credit he gets right into things without an overabundance of exposition. That’s both good and bad; good for those devotees of the book series who want to get right into it, bad for those less familiar with the books who need at least a little bit of explanation.

For the most part this is harmless entertainment and little more than that. This isn’t going to be (and never was intended to be) anything more than a distraction for a couple of hours. And that isn’t a bad thing as far as I’m concerned. For whatever it’s worth, this movie will probably be on a lot of family viewing lists for many Halloweens to come. Not a half bad fate for a movie, don’t you think?

REASONS TO GO: Some scary monsters. Nifty concept.
REASONS TO STAY: Loses something if you haven’t read the books. A little over-the-top in places.
FAMILY VALUES: Some creature scares (a few of them intense) and some rude humor.
TRIVIAL PURSUIT: The real R.L. Stine makes a cameo as a teacher named Mr. Black, who passes Jack Black, as R.L. Stine, in the school hallway.
CRITICAL MASS: As of 11/22/15: Rotten Tomatoes: 74% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: Fright Night
FINAL RATING: 5.5/10
NEXT: Documented begins!

Insidious Chapter III


Insidious Chapter III

Stefanie Scott hears something that goes bump in the night

(2015) Horror (Gramercy) Dermot Mulroney, Stefanie Scott, Lin Shaye, Angus Sampson, Leigh Whannell, Tate Berney, Michael Reid Mackay, Steve Coulter, Hayley Kiyoko, Corbett Tuck, Tom Fitzpatrick, Tom Gallop, Jeris Poindexter, Ele Keats, Phyllis Applegate, Phil Abrams, Erin Anderson, Amaris Davidson, Ashton Moio, Ruben Garfias, Fawn Irish. Directed by Leigh Whannell

When I heard they were going to make a third chapter in this series I have to admit i was skeptical at first. After all, the most interesting character had died in the first chapter and the second was far less credible than the first. There seemed to be nowhere for the series to go.

So when all else fails, try a prequel. In this case, we catch up with psychic Elise Rainier (Shaye) some years before she meets the Lambert family which would be a turning point in her life. She is terrified of the apparition of a bride in black (Fitzpatrick) who has promised to kill her one day. Because of it, she has given up doing readings.

A young teen named Quinn Brenner (Scott) hesitantly takes the bus to meet Elise, who at first wants nothing to do with her, but Quinn is so desperate to make contact with her mother (Keats) who passed away suddenly that Elise takes pity on her and tries her best to help Quinn out. We all know what is paved with the best of intentions.

Soon Quinn begins to see an old man who waves at her. She can’t quite make out his features but he creeps her out, to the point that she fails to get out of the way of a speeding truck and is gravely injured. She survives the accident but both of her legs are broken so she’s essentially bedridden once she gets home. Her dad Sean (Mulroney), already dealing with the loss of his wife as well as a son Alex (Berney) who is acting out not to mention trouble at work, does his best but he’s definitely overwhelmed. He doesn’t have much of a support system, other than a batty old woman (Applegate) and her husband (Poindexter).

Soon unsettling things begin to happen around Quinn, revolving around an old man wearing an old fashioned breathing apparatus (MacKay). Elise knows that there is an entity that wants to kill her out there but she can’t just abandon this young girl to a terrible fate. She decides to get involved, even as a couple of internet ghost busters named Specs (Whannell) and Tucker (Sampson) also get involved.

With Whannell taking the director’s chair, the movie moves at a different pace than the first two. It’s a bit more leisurely and some might find it a bit slow. However, I must admit that I have a fondness for horror movies that build up their scares and come by them honestly rather than the quick-paced throw everything but the kitchen sink at the screen style that a lot of popular horror movies have adopted.

There is a ton of background; we find out how Elise’s husband died and how The Further (the other dimension where the dead go) got its name, so fans of the series will enjoy that. The Lambert family makes a brief appearance (not onscreen) early on which semi-sets up the action of the first two chapters. So in short fans of the series will have a lot to keep them happy.

Mulroney as the overwhelmed dad and Shaye are both screen veterans and both know what to do up there. Mulroney is the sympathetic figure who turns into a tiger when he has to fight for his daughter’s life. Sean is initially an unbeliever in the supernatural but after an encounter with the demon he is gung ho “call in the parapsychologists!”

Shaye has made Elise a memorable character who is an unlikely heroine, but kicks supernatural bootie nonetheless. After three films doing the character, she’s really at home in Elise’s skin, which does only good things for the movie. Shaye is one of those character actresses whose face is more familiar than her name, but this is a role that shows she can actually carry a movie on her own.

The reason you go to a horror movie is to be scared however and there are a few really good ones here, at least one of them non-supernatural in nature. However, the movie relies too much on jump scares, which is more like being startled than truly scared. The problem with this is that these scares are done with quickly and you don’t get that atmosphere of terror that a good horror movie creates. While The Man Who Can’t Breathe is pretty scary (and the make-up effects are plenty creepy), he isn’t nearly as frightening as The Bride in Black or any number of horror movie monsters of recent or not-so-recent films.

For those horror fans who aren’t too discriminating or those who loved the first two chapters in the series, you’re likely to go see this anyway regardless of what I say (and in all likelihood have already seen it). Those who are on the fence and looking for something to send shivers up their spine in the summertime, this is pretty much adequate for the task. Those looking for a horror movie that is going to scare the Beejezus out of them should probably go rent The Babadook and see that again.

REASONS TO GO: Mulroney is solid and Shaye is terrific. Some pretty decent scares.
REASONS TO STAY: Too many jump scares and not enough legitimate ones. Seems to lack the momentum of the first two chapters.
FAMILY VALUES: There are plenty of images that are disturbing and lots of jump scares. There’s also some foul language.
TRIVIAL PURSUIT: Whannell, who co-wrote the first two movies in the series and has been the writing partner for James Wan, who directed the first two movies, makes his directing debut here; Wan was unable to take the director’s chair due to his involvement with Furious 7; he does make a cameo appearance as a theater director early in the film.
CRITICAL MASS: As of 6/18/15: Rotten Tomatoes: 58% positive reviews.. Metacritic: 52/100.
COMPARISON SHOPPING: The Exorcism of Emily Rose
FINAL RATING: 6/10
NEXT: Jurassic World

P.S. I Love You


Hilary Swank contemplates Sunday morning alone with the Times.

Hilary Swank contemplates Sunday morning alone with the Times.

(2007) Romance (Warner Brothers) Hilary Swank, Gerard Butler, Harry Connick Jr., James Marsden, Lisa Kudrow, Gina Gershon, Kathy Bates, Nellie McKay, Jeffrey Dean Morgan, Dean Winters, Anne Kent, Brian McGrath, Sherie Rene Scott, Susan Blackwell, Michael Countryman, Roger Rathburn, Mike Doyle, Caris Vujcec, Alexandra McGuinness. Directed by Richard LaGravenese

Cinema of the Heart 2015

When the one we love passes away before their time, the loss is devastating. Letting go is nearly impossible, particularly when the person who is gone is the person you were supposed to grow old with. I can’t imagine coping with that kind of pain.

But that’s exactly what Holly (Swank) has to cope with. Her husband Gerry (Butler), a charming Irish rogue if ever there was one, has succumbed to a brain tumor, leaving Holly completely devastated. She has trouble leaving her apartment, where her memories of Gerry are vivid. When she does leave, she carries his urn (containing his ashes) with her like the security blanket of Linus van Pelt. She calls her own phone number endlessly so she can hear her husband’s voice on the answering machine.

Then she starts getting letters, notes and missives from her late husband, the first one accompanying a cake on her 30th birthday which falls not long after the funeral. Before he died, he suspected that Holly would have a hard time adjusting, so in order to ease her back into society he has come up with a plan to help her get over the hump. Each letter comes with instructions of things to do – some of them she is kind of reluctant to undertake but bolstered by her mom (Bates) and two best friends (Gershon, Kudrow) she puts herself out there, intending to honor her late husband’s last instructions.

Along the way she meets a bartender with a huge crush on her (Marsden) and an Irish singer who was once Gerry’s best friend (Morgan) and slowly Holly begins to come to life. But will that life ever be as sweet again?

A lot of critics found the movie misogynistic and creepy but I disagree, particularly on the former. One critic went so far to as to say that the movie denigrates women because one of the things that rescues Holly is her discovery that she has a knack for designing shoes. Really? So throwing yourself into creative work isn’t therapeutic?  Some critics really need to have that stick that is firmly implanted in their anus surgically removed.

I will say that it is a bit creepy to have one’s life directed by their spouse after they’ve died (and to the film’s credit the Kathy Bates character says as much) but there is also a tenderness to it, a revelation of the concern of a husband for his wife even after he’s gone. Puts the “til death do us part” thing to shame in a way because this is beyond death. Sometimes, love is looking out for the one you love even when you’re not there to do it.

This is a very different role than what we’ve come to associate with Swank; she’s normally more in her wheelhouse when she’s portraying strong women. And that’s not to say that Holly isn’t strong; it’s just that she’s been completely brought to her knees by a sudden, unexpected and overwhelming loss. It’s enough to bring anyone to their knees, come to that and I found myself relating to her when I thought about how I’d react if Da Queen were to be suddenly taken from me. I’d be a miserable wreck, a quivering mass of goo on the floor and likely I would hide in my bedroom for a very long time afterwards.

That said, you have to give Butler and Morgan credit for playing charming Irishmen. For Butler it pretty much comes naturally but Morgan had to reach a little bit for that bit of blarney. Morgan’s career has cooled a bit since he made this and I don’t understand why; I always thought he had some leading man potential but that hasn’t panned out as yet for him, although he continues to steal the show of just about every movie he participates in.

This is a bit bittersweet for Valentine’s Day as it concerns the loss of a loved one and rebuilding one’s life afterwards. I can’t say as I think this is perfect for couples just starting out but for those who have put some mileage in their relationship it is one that allows them to consider how they’d deal with the loss of the other, and while that sounds a bit morbid in a way, it also serves to remind you that life is a great big chance and that the rock of your life can be snatched out from under you at any time, more the reason to appreciate every last moment you can with them, particularly watching a romantic movie like P.S. I Love You on the couch on Valentine’s Day.

WHY RENT THIS: Sweetly romantic. The feelings of loss for Swank’s character hits home hard. Morgan and Butler are both scene-stealers here.
WHY RENT SOMETHING ELSE: The whole concept is a little bit creepy.
FAMILY VALUES: There is some very brief nudity as well as a few sexual references scattered about.
TRIVIAL PURSUIT: Jeffrey Dean Morgan had to learn to play guitar for the movie; his teacher was Nancy Wilson of the band Heart.
NOTABLE HOME VIDEO EXTRAS: There is a faux instructional video (done in faux black and white with faux scratchy film) on the game of Snaps which is briefly mentioned in the movie. There’s also a music video by James Blunt and an interview with author Cecilia Ahern whose novel the movie is based on.
BOX OFFICE PERFORMANCE: $156.8M on a $30M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (buy/rent), Target Ticket (buy/rent)
COMPARISON SHOPPING: Definitely, Maybe
FINAL RATING: 8/10
NEXT: Cinema of the Heart concludes!