THE ENDLESS (2017)

Movie Review by LL Soares

The first time I saw THE ENDLESS was on July 4th of this year, on Amazon OnDemand, and I wasn’t very impressed. I’d been eager to see it, since it was directed by Aaron Moorhead and Justin Benson, who also made RESOLUTION (2012) and SPRING (2014). I’m especially a big fan of SPRING, and was eager to see what they’d come up with next. But my reaction was mixed, and I wasn’t sure if I was going to review it here.

Then I went to a horror writers convention, and the movie people were talking about most seemed to be THE ENDLESS. So, I figured I should give it a second chance. Not something I normally do, but hey, these are the guys who made SPRING, so it was the least I could do. Besides, there had to be some reason why people liked it so much.

I have to admit, I liked it better the second time around.

First off, some critics have been saying that you don’t need to see their first feature film as co-directors, RESOLUTION, first, but I think it helps. There are characters and themes between the two movies that overlap, and I think if you watch them in chronological order, RESOLUTION does a good job of setting things up so that THE ENDLESS makes maximum sense. For my review of RESOLUTION, just click here.

THE ENDLESS introduces us to brothers Justin Smith (co-director Justin Benson) and Aaron Smith (co-director Aaron Moorhead). They clean people’s house for a living and are just about scraping by. They also don’t have much of a social life. There’s something a little off about these guys, and it’s because they were in a “UFO death cult” as kids, and escaped, and are now trying to go about living normal lives.

Except, it’s not really working out for them. Justin, the older brother, is trying to look out for his sibling and give them a decent life, but Aaron is severely unhappy. He remembers the time in the cult as being happy and isn’t sure if he fully believes the stories Justin tells him, like the fact that cult members are eventually castrated, or that they were planning to kill themselves when the time of the apocalypse was upon us. This is emphasized by the fact that Aaron receives an old videotape in the mail, from the “cult” (they prefer to call themselves a commune), where one of the members, Anna (Callie Hernandez) is talking about their leaving soon to go somewhere. Justin immediately believes it’s code for a mass suicide. Or so he says.

But it’s hard to know how much he believes that, because Aaron’s reaction to the video is that he wants to go back, if only for a day, to visit their old home and the people they knew, before they “go.” Justin resists at first, but eventually gives in, considering how depressed his brother has been. If he really feels going back is dangerous, then why would he give in so easily?

When the two brothers escaped the commune as kids, it was a news-worthy story, and even now, they’ve been going to see a therapist regularly for sessions they call “deprogramming.”

So, on the weekend, they drive back to the commune. First, they stop off at a memorial site where their mom died. A place where people still leave drawings and flowers. She died in a car crash when they were kids, and it was the commune that found them and took them in.

Next stop, the commune, and things haven’t changed much. The first person they see is Smiling Dave (David Lawson Jr.) at the gates, a guy in a suit who smiles all the time (he’s got some kind of brain damage). Then they come across the spokesman for the commune, Hal (Tate Ellington) who welcomes them and sets them up with a place to sleep for the night (a shack with two bunk beds), and food (Aaron makes a point to say how good the food is, since back in the “real world” they were always broke and ate Ramen noodles a lot). There’s also Tim (Lew Temple) a quiet, bearded guy who brews craft beer, which is the commune’s main source of income; Lizzy (Kira Powell), a resident of a local mental hospital who came to stay with the commune (and who says the commune is much healthier for her); and Anna, the girl in the video, who knew the brothers as kids, and who makes most of the clothes for the commune members.

When asked what made the guys come back to the commune, they say it was because of the video they sent. But Anna and Hal insist they never sent a video.  (This mirrors the beginning of RESOLUTION, where Mike receives a mysterious videotape in the beginning of the movie of his friend Chris, that Chris says he never sent).

With the comraderie and games, Aaron finds himself really enjoying being back, and wants to stay another day. It’s so much better than their depressing life back home. Justin is more hesitant, but gives in to one more day. And then things get weirder.

First off, there are two moons in the sky at night. The commune people explain it as some kind of natural phenomenon, having to do with reflections and magnetic fields, but that doesn’t explain when a third moon begins to show up, first as a crescent, and then fuller as time goes on.

Justin can also feel something watching them, even if he can’t fully explain it.

And there are the time loops. At one point, Justin goes for a walk and gets lost, and he comes upon a guy named Shitty Carl (James Jordan) who lives alone in the woods, and who talks about how his life keeps repeating. When he attempts to commit suicide, he shows Justin how real his claims are. Justin also comes across two guys in a cabin, Chris (Vinny Curran) and Mike (Peter Cilella) – yes, the two stars of RESOLUTION – still trapped in a time loop of their own. (Younger versions of Justin and Aaron also appeared briefly in RESOLUTION, as Mormon-like kids in buttoned-down white shirts who Mike met in the woods and who asked him to come worship with them – which we find out was back when they were originally in the cult. So how long have Chris and Mike been in that time loop, anyway?

Will Justin get back to the commune in time to save Aaron, or will they end up in a similar predicament? And just what is going to happen when that third moon becomes full? And just what is the thing that is watching them and communicating through weird photographs and videotapes (just like in RESOLUTION)?

THE ENDLESS is a good example of “quiet horror,” there’s no graphic violence or gore, but there is an overwhelming sense of dread and danger. It’s a subtle film that failed to completely “grab” me, and yet, it has grown on me, and I do appreciate it more now. I’m still a big fan of Moorhead and Benson, and can’t wait to see what else they have in store for us (maybe they’ll finally make the Aleister Crowley biopic which they originally intended to make after SPRING).

THE ENDLESS got a very brief theatrical release before going to streaming video. Where I am, it played for less than a week in a local art theater. So, chances of you seeing it on the big screen are slim. While it was unveiled in film festivals in 2017, I consider it more of a 2018 release, since that’s when most people have seen it.

I recommend watching it as a double feature with Moorhead and Benson’s RESOLUTION, and watching RESOLUTION first, since it will set things up nicely. RESOLUTION is currently available on the streaming service SHUDDER. THE ENDLESS is available for streaming, and has also come out on DVD/Blu-ray.

THE ENDLESS is a strange, subtle little film and I think people should check it out. The first time I saw it, I wanted to like it more than I did, but the fact that I enjoyed it more the second time gives me hope. Over time, I wouldn’t be surprised if my opinion of it grows. It’s that kind of movie. I give THE ENDLESS, three knives.

Stab_2Stab_2Stab_2

© Copyright 2018 by LL Soares

 

Advertisements

ANNIHILATION (2018)

Review by LL Soares (with a guest appearance by Michael Arruda)

(THE SCENE: An abandoned building in the middle of an alien forest. Plant life is abundant and grows everywhere, but is in multiple vivid colors that just aren’t common in nature, as we know it. LL SOARES and MICHAEL ARRUDA approach the house, which is completely overrun with vines and flowers)

LL SOARES: We made it to the first checkpoint.

MICHAEL ARRUDA: Are we still on Earth? It looks like another planet.

LS: I know! Everything is so strange since we entered “the shimmer.” It’s disorienting.

(They enter the building and immediately something grabs MA and drags him up to the ceiling. LS shines a flashlight up at a giant SPIDER, covered in bright flowers, which proceeds to spin a web around MA, wrapping him up tightly for a later meal)

LS: Did you have to grab him so soon? We were reviewing a movie.

SPIDER: I’m awful hungry.

LS: Okay, okay. Don’t start whining.

SPIDER: Why don’t you review the movie now, for me? You’ve got a captive audience, and I’m sure Michael can still hear you.

LS: Okay. This week’s movie is called ANNIHILATION. I was pretty excited about this one because it’s the new movie by Alex Garland, who previously gave us the very cool EX MACHINA (2014), which was his directorial debut. But Garland was no newcomer to movies. His first exposure was THE BEACH (2000), which he didn’t write the screenplay for, but which was based on his novel of the same name. But that led to him writing screenplays for the Danny Boyle movies 28 DAYS LATER (2002) and SUNSHINE (2007), as well as the movies NEVER LET ME GO (2010) and DREDD (2012).

EX MACHINA, which he wrote as well as directed, starred Oscar Isaac and Domhnall Gleeson, with Alicia Vikander as a self-aware Artificial Intelligence, and it was such a strong, self-assured debut, that I was eager to see his next movie as a director, and ANNIHILATION is it.

One thing about paying to see a movie just like everyone else (instead of going to preview showings), and posting our big movie review of the week on Monday is that I get to hear a lot of the critical buzz before my review goes up. I avoid all other reviews until I’ve written my own, but sometimes you can’t help but hear what kind of reaction a movie is getting, and from what I could tell, ANNIHILATION was getting a very mixed reaction.

So, I’ll start out by saying I didn’t have mixed feelings about this one at all. I knew exactly how I felt leaving the theater.

SPIDER: So, what did you feel about it?

LS: I’ll keep you in suspense a bit longer.

ANNIHILATION is the story of a strange event that changes a part of the world. The event is a metor which comes down and strikes a lighthouse. Immediately, the lighthouse and its immediate environs are changed. But it doesn’t stop there. The area affected is growing, and from the outside it looks like some weird oozing barrier, which scientists are calling “the shimmer.” They’ve sent several teams of soldiers and scientists into the shimmer, and none have come back. That is, until a soldier named Kane (Oscar Isaac) mysteriously shows up in the home of his wife Lena (Natalie Portman), who is a biology professor at John-Hopkins University. He has been gone almost a year, and since it was a top-secret mission, he wasn’t allowed to tell her anything about it.

Lena is overjoyed to see her husband again, but he’s definitely different. When he also suddenly becomes very ill, things get compicated. Lena and her husband are abducted and brought to a lab on the outskirts of “the shimmer,” and Lena finds herself part of the next team going inside. This team is all women and includes psychologist Dr. Ventress (Jennifer Jason Leigh), the first person Lena meets at the facility, as well as physicist Josie Radek (Tessa Thompson) and soldiers Cass Sheppard (Tuva Novotny) and Anya Thorensen (Gina Rodriguez).  It’s not really clear why the team is comprised solely of women (because previous teams were all men and they’re grasping for straws?), but right away these are characters who are believable and sympathetic.

Once they go inside the shimmer…well, I’m not really eager to talk too much about that.

SPIDER: Come on! Gimme a clue!

LS: I avoided learning too much about the plot before seeing ANNIHILATION, and it was one time when I was glad I hadn’t read the book beforehand. I really wanted to go into this one blind, not knowing what to expect. I wanted their journey into the shimmer to seem as alien to me as it was to the women exploring it.

I will say that the idea of a meteor or something extraterrestrial coming down and changing things it comes in contact with isn’t new. We’ve seen similar plotlines in DIE, MONSTER, DIE! (1965), which was in turn based on the novella THE COLOUR OUT OF SPACE by H.P. Lovecraft. In J.G. Ballard’s wonderful novel, THE CRYSTAL WORLD, something is changing all organic life into lifeless crystal, with no end in sight (it would make an amazing movie). And, for another take on it, there’s John Wyndham’s classic THE DAY OF THE TRIFFIDS (adapted for film in 1963). But ANNIHILATION has a completely fresh spin on the idea, and the movie (and I’m assuming the novel) offers some very fascinating results of such an occurrence.

SPIDER: So, did you like it.

LS: I did. One of the main problems some people have had with the the movie is that they claim it’s confusing. But I didn’t find that at all. I thought most of it made clear sense. And here’s where I want to bring in the movie THE CLOVERFIELD PARADOX (2018) for a comparison.

SPIDER: Oh no! Do you have to mention that one?

LS: I do, but to make a point. THE CLOVERFIELD PARADOX is a severely flawed movie, but the basic concept is that, by coming into contact with another dimension, our heroes face some people and things that are decidedly alien. While the movie failed to use this concept in a compelling way (it was more annoying than compelling) the basic idea of alienness was something I could appreciate. How do you portray such a thing in a believable way?

ANNIHILATION shows us another situation where alienness is not fully explained, and yet, I fully accepted it and embraced it, because if we came upon a truly alien entity or environment, there’s a good chance we would not really understand it. Unlike THE CLOVERFIELD PARADOX, ANNIHILATION takes this idea and runs with it, and gives us a movie that fully exploits the concept of pure alienness.

I think it’s a major achievement. Where THE CLOVERFIELD PARADOX tries to give us something new and different, and just gives us something confusing, ANNIHILATION gives us a solid, powerful exploration of something that is truly outside of the human experience.

There’s some wonderful stuff here. First off, the acting is impeccable.

Jennifer Jason Leigh had a big career in the 1980s and 90s, and then seemed to disappear for awhile. The truth is, she was working steadily the whole time, maybe just not in as big budget movies as she once did. The result is that there seemes to be a resurgence in her career right now, based on praise she has gotten for roles in movies like ANOMALISA (2015), THE HATEFUL EIGHT (2015) and as one of the  villains in the new Showtime revival of TWIN PEAKS (2017). I couldn’t be happier that she’s doing so well right now, because she’s a brilliant actress. Typical for her, Dr. Ventress is not a completely likeable character, but Leigh shines at giving us characters who can be unlikeable, but are no less human for it.

Gina Rodriguez is probably best known for playing the title character in the series JANE THE VIRGIN (2014 – Present), and she plays completely against type as the hard-as-nails soldier Anya Thorenson here. Swedish actress Tuva Novotny, previously in the movie EAT PRAY LOVE (2010) is also very good as Cass Sheppard. Tessa Thompson, whose career is also on an upward trajectory right now, in movies like CREED (2015) and THOR: RAGNAROK (2017), as well as the current HBO series WESTWORLD, plays a more sensitive, thoughtful character as physicist Josie Radek. All are terrific here.

Oscar Isaac has the smaller role of Lena’s husband Kane. But, as always, he’s very effective.

Natalie Portman is terrific here as the lead character, Lena. I first became aware of her way back when she was a kid in LEON: THE PROFESSIONAL (1994), and it’s been cool watching her grow into a terrific actress, in movies like CLOSER (2014), V FOR VENDETTA (2005), BLACK SWAN (2010), and JACKIE (2016), she’s just, simply, one of the best actresses around today, and she’s the strong, determined heart of ANNIHILATION. Not once do you question why she feels the need to do what she does. Not once do you feel that she’s lost her way, even when she’s in an environment completely foreign to her. She soldiers on throughout.

The effects, mostly CGI, are well done. This is the kind of movie where CGI offers some distinct advantages, since some of things they depict are so foreign to us. Sure, there might be a few moments where something looked a tiny bit fake (this always happens in CGI, I’ve never seen any movie using it that is completely convincing throughout), but for the most part, the computer images are above average.

I also want to praise the movie’s score by Ben Salisbury and Geoff Barrow. Instead of trying to manipulate the audience, their soundtrack actually enhances the experience.

The direction by Alex Garland is also impeccable, at times reminding me of giants like Stanley Kubrick (especially toward the end of the movie), and Garland’s script is solid (based on the celebrated novel by Jeff VanderMeer).

I didn’t ever feel completely lost or confused while watching ANNIHILATION, because with Garland at the controls (and Portman as our guide), I never once felt that I wasn’t in the hands of a complete professionals who knew exactly what they were doing. Is everything that happens completely coherent and understandable? No. Because we’re not supposed to understand everything. None of the characters, not even Portman, fully understands what they’re experiencing. So why should we?

To be truly alien, events have to be outside our realm of experience, outside our comfort zone, and Garland and Company achieve this admirably.

I found myself enthralled throughout, and still thinking about what I’d seen long after the movie ended.

February has been a very good month for movies, and I really enjoyed BLACK PANTHER as well. It was one of the best superhero movies made so far. But ANNIHILATION is something else entirely. It’s not just a well-made, smart science fiction movie. It’s the first movie masterpiece of 2018.

I give it four and a half knives.

SPIDER: Wow, you really liked this one a lot!

LS: Yes, I did. I actually liked it even more than I thought I would.

SPIDER: Well, maybe I’ll go see it sometime. Right now, I’d say it’s time for dinner.

(MA opens his eyes, waking up from his coma-like state, and struggles in his web cocoon)

SPIDER: Do you want to stick around and watch me eat?

LS: I’ll pass. I’d better get back to civilization. I’ve got to get the word out about this movie.

SPIDER: Ta ta!

(LS EXITS)

MA’s VOICE: Come back here, you bastard!

-END-

© Copyright 2018 by LL Soares

 

LL Soares gives ANNIHILATION ~ 4 1/2 knives

Stab_2Stab_2Stab_2Stab_2HALF

 

 

THE CLOVERFIELD PARADOX (2018)

Review by LL Soares

There’s a lot going on with THE CLOVERFIELD PARADOX (2018), and not all of it on the screen. The movie, originally called GOD PARTICLE during filming to throw people off, was due to appear in theaters on February 2nd, but then got pushed to April 20th. But this wasn’t the first time it had been delayed. Maybe it wasn’t ready? Then, during the Super Bowl, a commercial for the movie appeared, with the surprising revelation that it wasn’t going to theaters after all. It was going straight to Netflix, and would be available for viewing right after the football game was over.

Wow. That was fast! And it smacked of a kind of guerilla approach to marketing. All secrecy and surprises.

The responses to the movie have come almost as fast, consisting of a wave of negative reviews from critics, the consensus being that the filmmakers realized the movie was bad and would be a dud in theaters, so they decided to make it an event on Netflix instead.

So, is THE CLOVERFIELD PARADOX as bad as everyone’s saying? I’ll admit this much, if I had paid to see it on the big screen, I would have been a lot more disappointed.

We begin in the year 2028, and the Earth is in bad shape. The first scene is of a couple, Ava Hamilton (Gugu Mbatha-Raw, also in BEYOND THE LIGHTS, 2014, FREE STATE OF JONES, 2016, and the live-action BEAUTY AND THE BEAST, 2017) and her husband Michael (Roger Davies, also in the British TV series GIRLS IN LOVE, 2003 – 2005 and HOUNDED, 2010) in a car, stopped in traffic, waiting to get some gas at a gas station. It’s the gas lines of the 1970s all over again. But there’s a blackout, making the whole wait for nothing. This is a world where energy shortages are everywhere, around the world, to such a degree that some countries are starting to attack each other for fuel, starting wars. And the wars are spreading.

Ava isn’t just someone waiting in a gas line, however, she’s also an astronaut, and is debating whether to agree to be part of a mission to a space station above the Earth, where a team will test out the Shepard Particle Accelerator, which possibly could create a kind of unlimited fuel that could be used to run the Earth, thus putting an end to shortages and wars. The thing is, no one know how long it will take to get this done, and she doesn’t want to leave her family. But Michael convinces her to go.

Another big question mark is what else will happen if they get the accelerator to work. Which is why they’re doing it up in space, away from the Earth. This is all “into the unknown” kind of stuff.

Aboard the space station, David Oyelowo (who played Martin Luther King Jr. in SELMA, 2014, and was also in INTERSTELLAR, 2014) plays Keil, the leader of the mission. The team of experts includes a German physicist named Schmidt (David Bruhl, RUSH, 2013, and CAPTAIN AMERICA: CIVIL WAR, 2016 ), Tam (Zhang Ziyi, HOUSE OF FLYING DAGGERS, 2004, and MEMOIRS OF A GEISHA, 2005) from China, Russian Volkov (Aksel Hennie, HERCULES and THE MARTIAN, both 2015), and Ava, who is American. There’s also Mundy (Chris O’Dowd of BRIDESMAIDS, and the TV series version of GET SHORTY, 2017) an engineer who keeps the ship running and makes any needed repairs, and Monk Acosta (John Ortiz, SILVER LININGS PLAYBOOK, 2012, and KONG: SKULL ISLAND, 2017), who is the onboard doctor.

The mission lasts a lot longer than expected. They have been trying to get the particle accelerator to work for two years, without success. They’re running low on fuel themselves, and may have to give up after a few more tries, if they still can’t make it work. So, of course for the sake of the story, the next time they try, the accelerator finally works, but then some bad things happen.

First, the accelerator overloads, which shorts out some of their computers and causes other problems that need to be fixed. Second, they look out the window and notice that they are no longer orbiting the Earth. It’s gone.

It doesn’t take them long to realize that they have entered another dimension, similar to our own, but also very different. Further proof of this arrives in the form of Mina Jensen (Elizabeth Debicki, also in THE GREAT GATSBY, 2013, THE MAN FROM U.N.C.L.E., 2015, and the GUARDIANS OF THE GALAXY movies), who they suddenly find inside a wall of the space station, screaming, with various power cords and other wires and tubing imbedded in her flesh. It’s like she materialized out of nowhere in the midst of all this hardware and it ripped through her body. Somehow, they get her out of the wall and into the sick bay, where Monk does his best to treat her wounds.

When Mina is coherent enough to talk, she says that she is part of the crew, but that Tam isn’t supposed to be there—that Tam has replaced her for some reason. She’s baffled to find that none of the other crew members know her. And they all come to the realization that Mina is from another dimension where she is part of the team, and that their dimensions have collided, and sort of merged. The crew and space station are in a dimension they don’t belong in, and Mina is in their station instead of the one in her dimension.

From here, things just get weirder and weirder. One crew member is “changed” to such a degree that he goes insane, threatening other crew members until he starts puking and spasming like one of those hosts to the alien facehuggers in ALIEN (1979). Another crew member loses an arm that shows up later with a life of its own. Another finds out that the family that had died in their reality is now alive, and they have a second chance to return to them.

It’s at this point that the movie gets more confusing, with various crew members doing desperate things for personal reasons, some of which makes sense, and some of which doesn’t. But while this growing weirdness is badly done, I understood the feeling they were trying to get across, the pure alienness of two dimensions merging.

In trying to illustrate the complete chaos the crew is experiencing, the storyline loses its coherence as well, and while that may be intentional, it doesn’t do the movie a lot of good. I can see why a lot of viewers were turned off to it. It’s too bad because the idea has potential. By going in the direction of pure chaos, it kind of captures some of the unworldly confusion and fear that the crew must be feeling. Too bad it wasn’t more adept at getting this idea across. Also, despite what happens, there aren’t any big scares here. It doesn’t seem to go far enough. This was a missed opportunity, where things could have gone in a very scary direction. But it just doesn’t do that.

It’s implied by some dialogue (especially a television program they are watching – beamed from Earth – early on) that the particle accelerator is the reason all of the weirdness of the first two CLOVERFIELD movies happened. The monsters and aliens. But that doesn’t make total sense, either, since the first CLOVERFIELD appeared to take place in modern day 2008 (not 2028), and 10 CLOVERFIELD LANE (2016) appeared to be happening in the aftermath of a weird alien invasion. Despite the assurance that the three movies are connected, the connections aren’t as logically sound as they should be, which I guess, in a nutshell, is the entire thing that’s wrong with THE CLOVERFIELD PARADOX.

Oh, and the first two movies are far superior to PARADOX. The first CLOVERFIELD used the “found footage” style to give us a very original take on the giant monster movie, and 10 CLOVERFIELD LANE benefitted from a claustrophobic setting and terrific acting from John Goodman, Mary Elizabeth Winstead, and John Gallagher Jr.

The cast of THE CLOVERFIELD PARADOX is good, but there’s nothing oustanding about the story it tells.

While it’s produced by J.J. Abrams, who brought us all of the CLOVERFIELD films, it’s directed by Julius Onah (THE GIRL IS IN TROUBLE, 2015), and was written by Oren Uziel (22 JUMP STREET, 2014, and SHIMMER LAKE, 2017) and Doug Jung (a writer for the underappreciated Cinemax series BANSHEE in 2014, and the movie STAR TREK: BEYOND, 2016).

I think THE CLOVERFIELD PARADOX tries to pull off something interesting, but it doesn’t succeed in making it work. I give it one knife.

Stab_2

THE CLOVERFIELD PARADOX is now streaming exclusively on Netflix.

© Copyright 2018 by LL Soares

THE DEVIL’S OWN (1966, aka THE WITCHES)

Review by LL Soares

I’m always thrilled to find a Hammer film that I hadn’t seen before. There aren’t many, but when I came across one entitled THE DEVIL’S OWN (1966), I didn’t realize it was the same thing as THE WITCHES. It stars former Hollywood leading lady Joan Fontaine (also in REBECCA, 1940, SUSPICION, 1941, and JANE EYRE, 1943) as Gwen Mayfield. When we first see her, she’s working in Africa for a missionary school, and is gathering her things in preparation of fleeing. Jungle drums fills the air as she has her servants pack up her books in boxes, that is until they see a strange fetish object that looks like a knife with a feather head. The servants immediately flee, and the front door opens to reveal someone in a gigantic mask (the face mask covers their entire body).

We then jump ahead of England. Ms. Mayfield has recovered from a nervous breakdown and is interviewing for a job as a teacher in a small town. The interview, with priest Alan Bax (Alec McCowen, also in Hitchcock’s FRENZY, 1972, and THE AGE OF INNOCENCE, 1993) goes well, even though she admits to her previous illness. She moves to the village and meets Alan’s sister, journalist Stephanie Bax (Kay Walsh, also in OLIVER TWIST, 1948, SCROOGE, 1970, and THE RULING CLASS, 1972) and then the local villagers. Things seem to be going well, when Gwen notices that the villagers seem awful determined to break up the relationship of two teenagers. The boy is the son of the local handyman, Bob Curd (Duncan Lamont), so Gwen at first assumes that it’s an issue of snobbery, but the more she investigates, the more she is convinced that the girl, Linda Rigg (Ingrid Brett, also in THE LAST TYCOON, 1976, and DEADLY PASSION, 1985) is in danger. But before she gets too close, she sees figures similar to those she saw in Africa, and has another breakdown!

At first, she’s unable to remember what has happened when she wakes up in a “nursing home,” but she gradually remembers and realizes that she is being held there against her will. She escapes and goes back to the village, only to learn the sinister truth behind the villagers and the young girl they have fought to keep pure.

THE DEVIL’S OWN is an interesting little film, mainly because its storyline is so subtle. In a weird way, the buildup almost seems a bit similar to the classic THE WICKER MAN (1973). I really enjoyed the Hammer films that dealt with occult matters (such as this one and THE DEVIL RIDES OUT, 1968), and leading lady Fontaine is quite good here as Gwen.

The screenplay is by the great Nigel Kneale (THE ENTERTAINER, 1960, FIVE MILLION YEARS TO EARTH, 1967), based on a novel by Peter Curtis. The film is directed by Cyril Frankel, who also directed episodes of THE AVENGERS (in 1968) and JASON KING (1971 – 1972).

There are some unusual story elements, including the fact that Alan Bax is not a priest at all, but only dresses up as one in times of stress to calm himself (!), and the secretive plot once we find out what the villagers are up to. THE DEVIL’S OWN is a good one.

© Copyright 2018 by LL Soares

SORRY TO BOTHER YOU (2018)

Review by LL Soares

There’s a lot to like about Boots Riley’s feature film debut, SORRY TO BOTHER YOU (2018), currently in theaters. First off, it’s the first film to cast Lakeith Stanfield as a leading man. Stanfield has been making a name for himself as a very interesting actor for the role of Darius, a kind of stoner sage, in the excellent FX series ATLANTA, as well as movie roles in SELMA (2014), STRAIGHT OUTTA COMPTON (2015), and as Andrew Logan King, the guy who shouts “Get Out” when he has his picture taken in Jordon Peele’s GET OUT (2017). Stanfield is the kind of actor who just keeps you involved, wondering what he’ll do next, and it’s this unpredictability that makes him such a great lead character. He’s not your typical, heroic leading man type, which makes him all the more fascinating.

Here, Stanfield plays Cassius “Cash” Green, who just desperately needs a job. So much so that he brings a trophy and a fake “Employee of the Week” plaque to a job interview for a telemarketing job at a place called RegalView. His future boss sees right through the fake information on his resume, but hires him anyway because he’s a go getter.

At first, Cash isn’t very good at the job, and since he’s working on commission, things aren’t going well. Until one day a fellow employee named Langston (Danny Glover of the LETHAL WEAPON movies) gives him some advice: “Use your white voice.” Cash does just that (voice provided by comedian David Cross) and suddenly, he’s incredibly successful at his job, quickly getting promoted upstairs to where the “Power Callers” work.

The way Riley films the movie is also interesting. When Cash calls a potential customer, his desk drops down through the floor and crash lands in the home of the person he’s calling, providing a strong visual metaphor for how telemarketing calls intrude on people’s daily lives. There are also lots of visual gags, throughout, including graffiti defacing signs for a company called WorryFree, where people sign up for a lifetime of servitude in exchange for free housing and food: in other words, legalized slavery.

Other characters include Cash’s girlfriend, Detroit (Tessa Thompson, also in CREED, 2015, THOR: RAGNAROK, 2017, and ANNIHILATION, 2018), a who spins a sign part-time and who is also an artist. Secretly, she’s also part of a group called Left Eye that vandalizes signs for WorryFree and opposes the company. His uncle Sergio (Terry Crews, also in THE EXPENDABLES, 2010, and the show BROOKLYN NINE-NINE) lets Cash live in his garage and gives him a beat-up old car to drive. Jermaine Fowler (also on the TV show SUPERIOR DONUTS, and HBO’s CRASHING) is Cash’s friend Salvador, who also works at RegalView (Cash also gets Detroit a job there eventually). Squeeze (Steve Yeun, Glenn from THE WALKING DEAD, and the star of last year’s officer horror flick, MAYHEM) is a guy trying to set up a union among the RegalView workers, to demand better pay.

As Cash moves up to the top floor and starts making big money, he sees a chasm grow between him and Detroit, and his friends, but keeps at it, happy to have found something he’s finally good at. His work catches the attention of billionaire Steve Lift, the CEO of WorryFree, played by Armie Hammer (THE LONE RANGER, 2013, THE MAN FROM U.N.C.L.E., 2015, and most famously in CALL ME BY YOUR NAME, 2017), who invites Cash and his new boss (Omari Hardwich, also on the shows BEING MARY JANE, 2013 -2014, and POWER)—whose character’s name is always beeped out when it’s spoken—to a drug- and sex-fueled party, and Lift makes a proposition involving human/horse mutants. And then things get really weird.

I saw this one in a packed theater, which was unusual since this movie is outside the mainstream and not for everyone. It’s a sometimes very dark satire of the corporate world, that has some very sharp barbs, and the often works quite well. As a first film, it has some flaws, but for the most part delivers the goods, and will hopefully make a star of Mr. Stanfield.

Boots Riley is also a rapper in the group The Coup, which provided the soundtrack for the film. He wrote the screenplay years ago and has been trying to get the movie made since. I’m glad it finally happened.

I give SORRY TO BOTHER YOU three and a half knives.

Stab_2Stab_2Stab_2HALF

© Copyright 2018 by LL Soares

QUICK REVIEWS OF RECENT MOVIES

SHORT TAKES by LL Soares

THE FIRST PURGE (2018) – the most political franchise in recent horror films delivers a prequel this month, and there’s an upcoming television show version as well. The movie tells the story of the arrival of the New Founding Fathers, the ultraconservative party that steps in when the U.S. has suffered massive economic collapse. One of their big ideas is to have one night a year where all crime, including murder, is legal, called the Purge. The first Purge one takes place on Staten Island, where people are paid money to stick around during the Purge, and even more money if they partake in the violence. When it begins, and things don’t get violent quickly enough, mercenaries are pumped in to turn it into a bloodbath. As usual in these films, the low-income citizens are the ones who suffer the most, and are the ones who have to fight back when the mercenaries come in, turning it all into an overnight war zone.

It stars Lex Scott Davis (of the series TRAINING DAY, and the recent remake of SUPERFLY, 2018) as an anti-Purge activist named Nya; Joivan Wade (from the British series EASTENDERS and DR. WHO) as her younger brother Isaiah, a good kid who has fallen off the straight and narrow and uses Purge night as a chance for revenge; Y’lan Noel (of the shows THE HUSTLE, 2013, and HBO’s INSECURE) as Nya’s former boyfriend and local drug kingpin Dmitri; and Marisa Tomei (MY COUSIN VINNY, 1992, and THE WRESTLER, 2008) as psychologist Dr. Updale, who dreams up the Purge and puts the first one togethere together. There’s also a facially scarred psychopath named Skeletor (Rotimi Paul, also in DUTCH KILLS, 2015, and MAPPLETHROPE, 2018) running around. It’s directed by Gerard McMurray, who previously made the college hazing drama BURNING SANDS (2017).

I like the PURGE movies, and this one was okay, if predictable. I give it two and a half knives.

Stab_2Stab_2HALF

 

****

ANT-MAN AND THE WASP (2018) – Paul Rudd is back as Scott Lang, who can shrink to the size of an ant or grow to the size of a giant thanks to a cool costume created by scientist Henry Pym (who was the first Ant-Man, and played here by Michael Douglas). In this sequel, several plots intertwine as Lang tries to stay out of trouble his last two days under house arrest involving the events of CAPTAIN AMERICA: CIVIL WAR (2016). He hasn’t seen Pym and his daughter Hope Van Dyne (Evangeline Lilly of LOST) in months, but they pop up and he suddenly gets involved in an attempt to reach Pym’s lost wife, Janet (Michelle Pfeiffer) who shrunk so small she disappeared into the sub-atomic world. Meanwhile, Lang’s sidekicks from the first movie (Michael Pena, Tip “T.I.” Harris, and David Dastmalchian) try to go straight with a security company. There’s a slimy weapons/technology dealer named Sonny Burch (Walton Goggins of the shows THE SHIELD, JUSTIFIED, and VICE PRINCIPALS), who has been supplying Pym with equipment and wants in on whatever he’s working on now; and Hannah John-Kamen as the “Ghost,” a villain who has a lot of trouble controlling her atomic structure, constantly alternating between solid and, well, being ghost-like. Judy Greer plays Scott’s ex, Maggie, now married to a guy named Paxton (Bobby Cannavale), and Maggie and Scott’s daughter, Cassie (Abby Ryder Fortson) has a lot of screentime, as Scott tries to prove he’s a good dad, despite all the shenanigans. There’s also Randall Park of TV’s FRESH OFF THE BOAT as an FBI agent who keeps trying to catch Scott doing something illegal so he can send him back to jail. Also along for the ride is Dr. Bill Foster (Laurence Fishburne), an old colleague of Pym’s who was once part of an experiment called Goliath.

It’s all directed by Peyton Reed, who directed the first ANT-MAN movie from 2015.

There are too many plots going on this one (the one about the Ghost seems especially expendable), but it moves fast, has great big/small special effects, and cast is good. It’s far from the best Marvel movie, but it’s entertaining enough. I give ANT-MAN AND THE WASP two knives.

Stab_2Stab_2

Also, there’s not much in this movie to tie it into the recent events of AVENGERS: INFINITY WAR (2018), but if you stick around for the closing credits (which is practically obligatory for all Marvel movies), you’ll find a special scene that ties that up nicely after all, and brings Mr. Lang and Company up to speed.

© Copyright 2018 by LL Soares

WILLOW CREEK (2013)

A Movie Review by LL Soares

I’d been wanting to see this movie for awhile now, mostly because I’m a big fan of director Bobcat Goldthwait. Yes, that Bobcat Goldthwait. The comedian who became famous for playing the character Zed in the POLICE ACADEMY films of the 1980s, along with roles in movies like ONE CRAZY SUMMER (1986), SCROOGED (1988), and providing the voice of Mr. Floppy on the sitcom UNHAPPILY EVER AFTER (1995 – 1997). Before that, he was a seasoned stand-up comic. And eventually he went from acting to directing, notably with his first feature film, SHAKES THE CLOWN (1991).

SHAKES was uneven, but had some great moments. But his films as a director since then have taken a darker and (at times) more profound turn. They include SLEEPING DOGS LIE (2006, where a guy finds out some troubling news about his finacee), WORLD’S GREATEST DAD (2009, with Robin Williams as the father of a kid who dies in an embarrassing way,  and who writes a profound suicide note to cover it up, resulting in huge community and media attention), and GOD BLESS AMERICA (2011, with Joel Murray as a terminally-ill vigilante and Tara Lynne Bar as his 16-year-old sidekick), and are all worth seeking out.

WILLOW CREEK (2013) is something else entirely, as Goldthwait creates a fairly conventional found-footage monster movie. It’s all about Bigfoot and the original 1967 “Patterson Gimlin” film footage, as eager Bigfoot fanatic Jim (Bryce Johnson, also in some of Goldthwait’s previous films, as well as the TV series PRETTY LITTLE LIARS, 2010 – 2016) and his actress girlfriend Kelly (Alexie Gilmore, also in the films DEFINITELY, MAYBE, 2008, and LABOR DAY, 2013) make a documentary as they follow the trail of the original filmmakers, Roger Patterson and Bob Gimlin, leading them to Willow Creek in Northern California. Along the way, they interview locals, some of whom believe the sasquatch myth is real, and others who think it’s all just a hoax to bring tourist dollars to the town.

Everything seems to be going well until the two of them actually go deep into the woods to find the original location of this most famous Bigfoot siting, and then the whole thing turns into a BLAIR WITCH-like horror story.

Considering that it was shot in just five days, WILLOW CREEK does a great job ratcheting up the suspense and anxiety, as Jim and Kelly cower in their tent when they hear bizarre noises and movements late at night (supposedly Bobcat himself provided all the Bigfoot noises). All found-footage horror films are going to get compared to THE BLAIR WITCH PROJECT (1999), and, like BLAIR WITCH, our heroes find themselves in a nightmarish situation, get lost when trying to get out of the woods (finding they’re walking circles), all leading up to a scary ending.

While WILLOW CREEK doesn’t really offer anything daringly new to the found-footage genre, it’s an excellent example of the genre, with likeable leads and legitimate tension. The slow build adds up to an effective finale, that will have you glued to your seat. It’s simple and straightforward, and surprisingly effective.

I really liked this one.

© Copyright 2018 by LL Soares