Winchester


Sarah Winchester doesn’t get out much.

(2018) Horror (CBS) Helen Mirren, Jason Clarke, Sarah Snook, Emm Wiseman, Finn Scicluna-O’Prey, Tyler Coppin, Angus Sampson, Alice Chaston, Eamon Farren, Michael Carmen, Bruce Spence, Curtis Bock, Andy de Lore, Adam Bowes, Laura Brent, Amos Ciza, Red Horse Rivera, Tom Heath, Phoenix Suhrou-Dimarco, Laura Sutton. Directed by Michael Spierig and Peter Spierig

 

In the face of multiple and intolerable tragedies the human psyche can react in a variety of ways. Sometimes, it gets stronger, allowing the person to become better, more charitable and closer to those they love. Sometimes, it builds a wall, shutting everyone out. Other times, it simply goes around the bend, preferring to explain those tragedies with some sort of preposterous explanation.

By all accounts Sarah Winchester (Mirren) took the latter course. The heiress to the massive fortune of the Winchester Repeating Arms Company, following the untimely deaths of her husband and only son became convinced that her family was cursed due to all the deaths caused by the guns her family company had manufactured. She was convinced that the only thing appeasing the ghosts was 24 hour a day seven day a week construction on the mansion she inhabited in San Jose, California – then an orchard-filled backwater town south of San Francisco.

Alarmed at the prospect that the person running the company was a certified loon, the officers of the company set out to, well, certify her. They enlist the aid of San Francisco psychiatrist Eric Price (Clarke) who is slowly drugging himself to oblivion with laudanum, a potent combination of whiskey and opium, after the tragic death of his wife.

Dr. Price is given the rare opportunity to observe Winchester in the confines of her massive home and as time goes by, he discovers that the woman is far from the mentally frail old woman she is portrayed to be; she is, quite frankly, an imposing independent woman who is very clearly in charge of her own household. Yes, she is getting architectural instructions for her kooky mansion via séance but even given that she seems no less sane than you or I…which then leaves the unthinkable conclusion: that she is right about the curse.

I lived for more than a decade in the San Jose area and have been to the Winchester Mystery House; yes, it’s a real mansion and the story of Mrs. Winchester believing the family to be cursed is a true one. Pretty much there is where the similarity between fact and fiction ends. I will say that I have many fond memories of my visits to the mansion and that may color my review a bit. I can tell you that the interiors, built on a set in Australia, are reasonably close to the actual rooms in the mansion that are shown on the tour (the external shots were of the actual house).

Mirren is one of the finest actresses working today and to her credit she makes her portrayal of Sarah Winchester a memorable one, even if it isn’t anything like what the real woman’s personality was said to be – she was rarely seen publicly (only one photograph exists of her) and she was said to be shy and somewhat easily shaken up. The Sarah Winchester here is more of a warrior than a wimp. Clarke also delivers a strong performance here and holds his own against Mirren, no easy task indeed.

There are an awful lot of jump scares – too many for my taste – but when the Spierig brothers go for genuine atmosphere, they succeed. They also use a minimal amount of CGI, opting for more practical effects and dong so makes the movie feel a bit homier, if you get my drift. This is how they used to make them and given the setting, it makes a lot of sense that the Spierigs opted for that route.

This is a haunted house movie that delivers the goods for the most part. While there are some historical inaccuracies (there are references to victims of the Winchester rifle during the Civil War but the company wasn’t formed until 1866, the year after the Civil War ended), the final test of any good horror film is whether you come out the other side grinning ear to ear and so I did. This is complete nonsense but it’s wonderful nonsense.

REASONS TO GO: When it is at its best, the movie succeeds. Mirren is a force of nature here.
REASONS TO STAY: History is played with in a fast and loose manner.
FAMILY VALUES: There is supernatural (and natural) violence, disturbing images, some drug use and sexual allusions.
TRIVIAL PURSUIT: The real Sarah Winchester was a mere 4’11” tall and walked with a distinctive gait due to her severe and debilitating arthritis. By comparison, Helen Mirren is 5’4” tall.
CRITICAL MASS: As of 3/28/18: Rotten Tomatoes: 14% positive reviews. Metacritic: 28/100.
COMPARISON SHOPPING: Insidious: The Last Key
FINAL RATING: 7/10
NEXT:
War Machine

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New Releases for the Week of February 2, 2018


WINCHESTER

(CBS) Helen Mirren, Sarah Snook, Jason Clarke, Angus Sampson, Eamon Farren, Laura Brent, Tyler Coppin, Emma Wiseman. Directed by Michael Spierig and Peter Spierig

An eccentric heiress to a firearms fortune believes her husband and children were victims of the enraged ghosts of all those who died at the hands of a Winchester gun. In order to protect herself from the same ghosts, she begins building a mansion in San Jose, California with unusual architecture – doors that open into nothing, stairs that lead nowhere, secret doors and hidden passageways. A psychiatrist sent to investigate her soon determines that she might not be crazy.

See the trailer and a featurette here.
For more on the movie this is the website.

Release Formats: Standard, 4DX, DBOX, Dolby Atmos
Genre: Horror
Now Playing: Wide Release

Rating: PG-13 (for violence, disturbing images, drug content, some sexual material and thematic elements)

Bilal: A New Breed of Hero

(Vertical) Starring the voices of Adewale Akinnuoye-Agbaje, Ian McShane, Thomas Ian Nichols, Michael Gross. Based on an actual historic figure, a young boy who dreams of being a great warrior is kidnapped along with his sister and sold into slavery. Refusing to accept this as the life he was intended to lead, he raises his voice and inspires his people to throw off their shackles and demand freedom.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Animated Feature
Now Playing: AMC Disney Springs, AMC Universal Cineplex, AMC West Oaks, Regal Oviedo Mall, Regal Pointe Orlando, Satellite Cinemas Titusville

Rating: PG-13 (for violence/warfare and some thematic elements)

ALSO OPENING IN ORLANDO/DAYTONA:

A Ciambra
Aadu 2
Cardcaptor Segura: The Sealed Card
Chalo
Touch Chesi Chudu

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

1945
A Silent Voice
Chalo
Django
Happy End
Lies We Tell
Lover for a Day
Oru Nalla Naal Paathu Solren
Touch Chesi Chudu

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Cardcaptor Segura: The Sealed Card
Chalo
Oru Nalla Naal Paathu Solren
Scorched Earth
Street Lights
Touch Chesi Chudu

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Cardcaptor Segura: The Sealed Card
Humble Politician Nograj

SCHEDULED FOR REVIEW:

Django
Scorched Earth
Winchester

The Last Samurai


The Last Samurai

Tom Cruise teaches modern warfare tactics to the Scientologists.

(2003) Action (Warner Brothers) Tom Cruise, Ken Watanabe, William Atherton, Billy Connolly, Tony Goldwyn, Timothy Spall, Masato Harada, Togo Igawa, Shin Koyamada, Hiroyuki Sanada, Koyuki, Shun Sugata, Sosuki Ikematsu, Aoi Minato, Shichinosuke Nakamura. Scott Wilson. Directed by Edward Zwick

 

Over the lives of those who devote themselves to the art of war and a life of dealing death, a question of honor must always hover. For what cause does one fight, kill, die? What can be worth the moral choices of taking another human life?

For Nathan Algren (Cruise), the morality of being a warrior has become murky. A hero of the American Civil War, he has grown disillusioned and bitter, having seen carnage inflicted on women and children by cowardly officers bent more on making names for themselves than fulfilling their mission during the Indian Wars. Algren has become an alcoholic, a shell and a parody of himself, shilling the Winchester rifle and using whiskey to medicate his emotional pain.

For Katsumoto (Watanabe), the morality is clear. A samurai whose life is given in service to his emperor, the world is becoming a colder, crueler place. As Japan moves reluctantly to modernize and traffic with the rest of the world, the changes that are brought into that country are sometimes painful, and Katsumoto can clearly see the end of his way of life approaching. However, his unwavering devotion to his country and the emperor makes him and his kind targets of those who seek to create a new Japan, one that will profit them above all.

Algren is invited to Japan by his former commander Bagley (Goldwyn) and a Japanese railroad magnate Omura (Harada) to modernize the Imperial Japanese Army and teach it to use the weapons of Western war. Emperor Meiji (Nakamura) is enamored of the West and is a little weak, but his mentor, Katsumoto, still has his ear, making him dangerous to Omura and those like him. Katsumoto is trying to get the emperor to rethink his plans, but is ultimately forced from court and into rebellion when Omura’s assassins fail.

Algren at first is little more than a hired hand, but after being captured by Katsumoto, he is brought to a remote mountain village which is Katsumoto’s home, and is exposed to the samurai life and code, and begins to heal, not just from the wounds inflicted in the battle, but also in his spirit, where his pain has been festering for so long. Hired to destroy the samurai, Algren at last joins them, despite facing terrible odds.

The shadow of Akira Kurosawa, one of the greatest directors of all time, is evident here. Director Edmund Zwick (Shakespeare in Love, Glory, Legends of the Fall) was heavily influenced by the man in the director’s chair for such classics as Ran, Rashomon and Yojimbo. In fact, a screening of Seven Samurai when Zwick was 14 provided the young man with a lifelong interest in Japan and in movies as well. In the battle scenes, particularly, Zwick pays the master a great deal of homage in the way he sets his scenes up, although not nearly as poetically and poignantly as did Kurosawa.

This interest in Japan led Zwick to read Ivan Morris’ “The Nobility of Failure,” the account of Saigo Takamori, a real-life samurai in the Meiji court who at first embraced but eventually renounced the modernization of Japan. The roots of The Last Samurai can be found here.

Zwick succeeds in creating a rich landscape of intrigue and honor, as the loyal, honorable samurai are faced with the treacherous, scheming industrialists. There is a love interest as Algren falls for the widow (Koyuki) of a samurai he had slain, and it is there that the two cultures meet most poignantly, and most awkwardly.

Cruise does a difficult job nicely here. In a role that changes from a washed-up, alcoholic, bitter man into a courageous, honorable warrior, Cruise carries both of these facets of the Algren character nicely, and allows us to see the progression from one to the other. Seeing this again reminds me that although he is best known as the charismatic movie star, Tom Cruise can really act when he gets the right part.

Although Cruise is the center of the movie, he is overshadowed by the spectacular performance of Watanabe. Katsumoto is a wise man, a beloved leader and a magnificent tactician, but also melancholy, knowing the life he has loved is slipping away and that he is unlikely to survive its passing. Watanabe is subtle, which is not something Japanese actors are traditionally known for. He creates a character rich in contradictions and complexities, and lights up the screen whenever he’s on it. He would be nominated for an Oscar for his performance and even though he didn’t win, the movie established him in Hollywood where he would go on to roles in major films including Batman Begins.

Character actors Billy Connelly and Timothy Spall also put in solid performances. The battle scenes are truly memorable – this is where the Kurosawa influence most obviously comes into play. Zwick is also very good at establishing a good sense of period. Although the visual Kurosawa references can be a little heavy-handed at times, Zwick wisely chooses to put his own stamp on The Last Samurai, and that’s what makes for a good movie. Sure, there are elements of Ran but there are elements of Glory in the battle sequences as well.

The film has epic, sweeping landscapes, wonderfully staged battle scenes and allows us to view a culture very much misunderstood even to this day, and gives us a chance to see how Japan started on the road into becoming the mega-commercial technological giant it is in the 21st century.

Still, what ultimately makes this an excellent movie is that it is about the journey of the people in it. It is much harder to comprehend the journeys of nations; we can’t relate to them as easily. It is far easier to relate to the growth of individuals, something we are (hopefully) all doing throughout our lives.

WHY RENT THIS: Exquisitely staged battle scenes. Watanabe gives a searing, career making performance. Beautiful Kurosawa-esque cinematography.

WHY RENT SOMETHING ELSE: Probably about 20 minutes too long.

FAMILY MATTERS: The battle sequences are fairly realistic and might be disturbing for some. There is plenty of bloodshed and some implied sensuality.

TRIVIAL PURSUITS: Although the film implies the Americans trained the Imerial Army, historically it was the Prussians who actually did.

NOTABLE HOME VIDEO FEATURES: The DVD contains a feature comparin the film to the actual historical events at the time. There’s also footage from the film’s Japanese premiere.  The Blu-Ray adds a text piece onbushido, the code of the samurai.

BOX OFFICE PERFORMANCE: $456.8M on a production budget of $140M; the movie was a big hit.

COMPARISON SHOPPING: Shogun

FINAL RATING: 8/10

NEXT: Piranha 3DD