Admin
Monday, 23 November 2020 16:48

Mommy fearest - ‘Run’

Most of us have a pretty good understanding of the power of a mother’s love. Heaven knows we’ve seen it portrayed enough times on page, stage and screen. The majority of the time, we’re given a sense of not just the power, but the purity of that power. A mother’s love is meaningful and unconditional.

But when that love turns toxic, when it becomes all-consuming? That’s when we bear witness to the darkness, for there can be no light without shadow.

“Run,” the new movie from Hulu, offers us a look at that toxic darkness. Directed and co-written by Aneesh Chaganty, the talented filmmaker behind 2018’s excellent “Searching,” this is a chilling and emotionally charged dive into the circumstances of one mother’s love and how fear and delusion can twist that relationship into something dark and hurtful.

We’ve seen variations on the “mother from hell” formula before, but few have achieved this level of genuine scares. Sure, there are a couple of moments that threaten to teeter over the edge into camp – always a concern with these kinds of movies – but Chaganty’s steady hand and a pair of dynamite performances keep things on the rails. That barely-restrained sense of impending lunacy contributes greatly to what is ultimately a top-notch viewing experience.

Published in Movies
Monday, 26 October 2020 12:49

‘Rebecca’ offers stylish gothic thrills

It takes a lot of chutzpah to remake Alfred Hitchcock.

There are a handful of acknowledged masters in the cinematic realm that pretty much everyone can agree on, filmmakers who are universally acclaimed as the very best at what they do … and Hitchcock is on that list. No one has demonstrated such mastery of the psychological thriller. Even now, nearly 50 years after his last film, he’s the maestro.

His 1940 “Rebecca” – based on Daphne Du Maurier’s 1938 novel of the same name – was his first American project, a film that landed 11 Academy Award nominations and won two, including Hitchcock’s only Best Picture win.

So to tackle a movie that remakes not just any Hitchcock, but one of his best, well … like I said. Chutzpah.

Yet here we are, with Netflix producing a remake of the classic, directed by Ben Wheatley from a screenplay adaptation by Jane Goldman, Joe Shrapnel and Anna Waterhouse. And it’s a pretty solid effort, with a talented cast and a suitably sumptuous aesthetic. The biggest strike against it – and it is a big one – is that it was preceded by a legitimate masterpiece.

The story of a young woman who marries into a situation far more complex and shadowy than she ever could have imagined, “Rebecca” is a gothic thriller set against the lush English countryside in the heady days preceding World War II. It is a tale of the darkness within – and the fact that even those closest to us may be keeping secrets.

Published in Movies

Producer Jason Blum has long been a champion of rising filmmakers. Through his Blumhouse production company, he has built a reputation for low-cost high-reward genre filmmaking that allows budding writers and directors to gain access to a larger audience.

His latest project is “Welcome to the Blumhouse,” an anthology film series developed in partnership with Amazon. All told, this series will consist of eight feature-length films, with four being released this October and the other four released sometime in 2021.

The first two in the series – “Black Box” and “The Lie” – dropped on October 6. One week later, on October 13, we got two more: “Evil Eye,” directed by Elan and Rajeev Dassani from a screenplay by Madhuri Shekar (based on her own Audible original), and “Nocturne,” written and directed by Zu Quirke. Much like the previous two offerings, these films aren’t necessarily the sort of straightforward horror offerings that audiences might expect from Blumhouse, there’s still plenty here worth seeing.

Again, these movies may not be quite ready to work as standalone offerings, but as part of the grander picture under the anthology umbrella, they’re certainly sufficient. Each has its flaws, to be sure, but they also put the considerable talents of their respective makers on full display, which is a big part of the point. Yes, if you’re here for “Paranormal Activity” and the like, you might be left wanting, but there’s a lot more to Jason Blum’s shop. And like the first two films, these latest works are worth checking out.

Published in Movies

Producer Jason Blum has long been a champion of rising filmmakers. Through his Blumhouse production company, he has built a reputation for low-cost high-reward genre filmmaking that allows budding writers and directors to gain access to a larger audience.

His latest project is “Welcome to the Blumhouse,” an anthology film series developed in partnership with Amazon. All told, this series will consist of eight feature-length films, with four being released this October and the other four released sometime in 2021.

The first two in the series dropped on October 6. Leading off, we have “Black Box,” directed by Emmanuel Osei-Jouffer from a screenplay Osei-Jouffer co-wrote with Stephen Herman, and “The Lie,” directed by Veena Sud, who also wrote the script, an adaptation of the German film “Wir Monster.” While the films aren’t necessarily the sort of straightforward horror offerings that audiences might expect from Blumhouse, there’s still plenty here worth seeing.

The truth is that these films might not be quite ready to work as standalone offerings, but as part of the grander picture under the anthology umbrella, they’re more than sufficient. Each film has its flaws, to be sure, but they also put the considerable talents of their respective makers on full display, which is a big part of the point. Again, if you’re here for “Paranormal Activity” and the like, you might be left wanting, but there’s a lot more to Jason Blum’s shop. Why not give it a try?

Published in Movies

The relationships that exist between people – and the motivations that drive them – are often the best fodder for storytelling. The reasons we do the things we do and the people for whom we do them can be the purest distillation of our character.

Novelist Donald Ray Pollock has a knack for evoking the dark side of that equation; his books are packed with the brutality and evil that people do even while feeling utterly justified in doing them.

That sense of physical and emotional violence is omnipresent in “The Devil All the Time,” an adaptation of Pollock’s 2011 novel of the same name. Directed by Antonio Campos from a screenplay he co-wrote with his brother Paulo, the film is set in midcentury West Virginia and Ohio and follows a sprawling collection of different characters through narratives whose connections – both overt and subtle – constantly ebb and flow toward one another.

It’s a story of sin, of the evil that even the pious are capable of if they can convince themselves of the righteousness of their acts. It’s a striking representation of the time and place, to be sure, while also featuring an incredible collection of talent in the cast. But that unrelenting representation of the dark side of human nature, the ongoing parade of terrible people doing terrible things for terrible reasons – it’s a lot. The bleakly entangled constancy of sex and violence and power and religion is frankly exhausting, though the excellent performances and quality filmmaking make it worth the undertaking nevertheless.

Published in Movies

Genre filmmaking has long been used as a tool for social commentary. The trappings of sci-fi or horror or what have you give cover for filmmakers to deliver messaging that might be met with more resistance other arenas of expression. The extrapolation and/or exaggeration of typical mores can say a lot about the world.

“Antebellum” – currently available via VOD – certainly TRIES to say something, though whether it is ultimately successful is debatable. The movie, written and directed by first-time feature filmmaking duo of Gerard Bush and Christopher Renz, attempts to bring together the past and present of racism and white supremacist ideas in service of a horror story. Unfortunately, using real-life horrors as the basis for fictional ones requires a delicacy and sophistication that “Antebellum” can’t quite manage.

It’s a well-made film, with good performances. It just doesn’t deliver on the underlying ideas; instead, it reads as using historical atrocities as simple horror fodder, largely content to stay on the surface of the overt rather than diving fully into the ideological depths. This means that “Antebellum” feels more exploitative than it ought; it seems unlikely that that was the intent, but it rings wrong regardless.

Published in Movies

It’s tough to argue against the superiority of streaming services and the like versus the old days of physical video rentals. The vast selection and ease of use are certainly huge plusses. That said, there’s something that we’ve lost with the disappearance of the Blockbusters of the world.

Specifically, that evening stroll through the aisles to browse through the lurid and garish covers that marked the many low-rent horror offerings. There was something delightful about examining the over-the-top box art, knowing full well that the contents would be barely reflected (if at all) by those images, and picking one up anyway.

Those kinds of lo-fi thrills are a bit tougher to come by these days, which is why it is such a joy to discover a movie like “Rent-A-Pal,” currently available through VOD outlets. It’s a throwback, a period piece set in 1990 that is wonderfully evocative of that specific time and place. Written and directed by Jon Stevenson, it’s a retro thriller that digs into the power of loneliness and the lengths to which we will go in order to alleviate that feeling of isolation.

It’s a film that wears its influences – narrative, aesthetic and otherwise – proudly, with a look and feel that perfectly captures that classic video store seediness while also providing a much more compelling and competently-made product.

Published in Movies

You never quite know what you’re going to get with a Charlie Kaufman project. Well … that’s not ENTIRELY true. You know that you’re going to get something unconventional and bizarre and challenging, but you don’t know what specific flavor of unconventional/bizarre/challenging you’re going to get.

Kaufman’s latest is “I’m Thinking of Ending Things,” a film he both directed and adapted from the Iain Reid novel of the same name. It is typically atypical, a difficult-to-define work of psychological not-quite-horror that is unsettling to watch even while requiring the viewer’s close attention.

The film is marked by the fluidity and flexibility we’ve come to expect from Kaufman; even while watching, one can never be quite sure what they are watching. Reality and fantasy blur together, reveling in the active and deliberate narrative inconsistency while also painting a compelling portrait of a relationship that is not at all what it seems to be. It is smart and well-crafted and unrelentingly weird – classic Kaufman.

Published in Movies

It might seem that writing a thriller is relatively easy. You could be forgiven for thinking so – there certainly are a fair number of them populating bookshelves out there. And there’s a tendency to underplay their merit, to consider them as somehow less than because of their subject matter.

Rest assured – writing a book, any book, is a monumental task. And writing a thriller that works, that puts the pieces together in a way that viscerally clicks? That takes real skill.

Skill like that possessed by Jen Waite.

Waite’s new book “Survival Instincts” (Dutton, $26) offers precisely the sort of well-crafted tension that we seek from a thriller. This story of three generations of women – daughter, mother, grandmother – isolated and endangered for reasons that none of them understand is engrossing and tightly paced. It captures the fear that springs from a danger that feels both predestined and utterly random while also engaging with the courage that comes from the desire to protect our own, no matter the cost.

A good thriller is a high-wire walk, one that requires an author to maintain complete control at all times. Finding the ideal balance between character and conflict requires both delicacy and bravado – and Waite pulls it off. We move from present to past and back, shifting perspectives from timeframe to timeframe and person to person, all in service to a chilling, haunting tale.

Published in Style

Every once in a while, an unanticipated confluence of circumstances results in a piece of art inadvertently becoming representative of a moment in time. That isn’t to say that the book/movie/song isn’t resonant on its own terms, but that outside factors can impact how a work is received.

“She Dies Tomorrow,” written and directed by Amy Seimetz, is just such a work. It’s a visceral and hallucinatory ride through a woman’s inexplicable epiphany regarding her own mortality and how that epiphany transforms everyone that she encounters. It is vivid and raw, a roiling collection of colorful confusion, the kind of movie that would be memorable in any environment.

But in THIS environment – in a world where a raging pandemic has left us isolated and exhausted – this film hits like a sledgehammer. This movie is an exploration of metaphysical contagion, of how fear and paranoia and sadness and fatalism can infect us. It wasn’t made with the current moment in mind, yet it could not be a more apt representation of that moment.

Published in Movies
<< Start < Prev 1 2 3 4 5 6 7 Next > End >>
Page 1 of 7

Advertisements

The Maine Edge. All rights reserved. Privacy policy. Terms & Conditions.

Website CMS and Development by Links Online Marketing, LLC, Bangor Maine