Synopsis: A spinoff of The Conjuring that follows the origins of the demonic doll featured in the 2013 film.
Release Date: October 3, 2014
Thoughts: It was around this time last summer when The Conjuring opened in theaters, scaring the pants off of audiences (this reviewer included) and increasing the sales of nightlights everywhere. Not to be confused with the late summer horror film Jessabelle, Annabelle is a spinoff focusing on the creepy doll featured in the prologue of The Conjuring that factored into the final act of the scare-fest. Little is known about the plot of the picture, but I’m not sure how much of it was taken from the actual case files surrounding the real life horrors brought on by the titular doll. Rather long to be a true teaser and possibly giving away some of its spooks in advance, I’m still on board to see what evils this doll gets up to when she was younger.
Synopsis: An account of Moses’ hand in leading the Israelite slaves out of Egypt.
Release Date: December 12, 2014
Thoughts: After March’s Noah and the modest success of films like God’s Not Dead and Heaven Is For Real I’m thinking we’ll look back on 2014 as the year that studios got Biblical. Coming in right under the wire this December will be Ridley Scott’s (Prometheus) take on the story of Moses as told in the book of Exodus. With Christian Bale (Out of the Furnace) as the Red Sea parter himself and Joel Edgerton (The Odd Life of Timothy Green) as Pharaoh Ramses (his brother from another mother) joining Scott’s favorite alien hunter Sigourney Weaver (Working Girl), Ben Kingsley (Iron Man 3), and Aaron Paul (Need for Speed) for some Egyptian action this looks more in line with the epics from the 50s and 60s. Scott is certainly a competent filmmaker so hopes are high Exodus: Gods and Kings won’t make as quick a box office exit as Noah did earlier this year.
Synopsis: The Purge is a night where all crime is legal and all hospitals, fire stations, poison control centers and police stations in the United States are closed down for 12 hours. A year after the events of the first film, five people meet in the streets and try to survive the night.
Stars: Frank Grillo, Michael K. Williams, Carmen Ejogo, Zoë Soul, Zach Gilford, Kiele Sanchez, Keith Stanfield
Review: A year ago most pundits would have predicted that The Internship, Owen Wilson and Vince Vaugh’s Google comedy would have easily topped the weekend box office thanks to the reunion of its Wedding Crashers stars and a prime early June opening weekend. Then people started getting a look at the movie, deemed it middling, and the buzz turned instead to the darker material of the low-budget thriller The Purge. Made for peanuts ($3 million dollars) and arriving without much fanfare aside from several well timed social media pushes and spooky promotional material, The Purge surged, making $34 million smackeroos…12 times its budget.
Topping out at $64 million in box office receipts, even if the film ultimately wasn’t that great it was inevitable that a sequel was greenlit before the sun set on that first weekend. So here we are now a year later being treated to what could be the start of a profitable franchise for Universal Pictures…even if the overall quality of the material hasn’t improved much.
There’s something creatively ghoulish about the concept surrounding The Purge; less than a decade from now America will be largely crime free due to 12 hours one night a year when all crime is legal. That nasty neighbor who lets his dog pee on your hydrangea? Hit him over the head with a bat. The barista that keeps screwing up your cappuccino order? Slit her throat. All bets are off, and it’s helped to keep the other 364 days safe.
The first film took place at a house in the middle of a posh gated community and focused on a family’s fight to keep ghastly Purge participants out on the curb. The sequel, as most horror sequels are apt to do, expands its cast, concept, kills, and setting to only mediocre results. Instead of simply remaking the cat and mouse game of the original, The Purge: Anarchy introduces new targets navigating their way out of the inner city…aka Purge central.
Returning writer/director James DeMonaco again scores points for turning his film ever so slightly into the morality tale it really is deep down but can’t quite seal the deal when it comes to providing dramatic support for his concept. He’s scripted rather dumb, unlikable characters that speak mostly in questions (“Who are they?” “Don’t you know?” “How am I supposed to know?” “Weren’t you supposed to know?) that are forced to bond together if they are to survive the night.
While DeMonaco had Ethan Hawke to head the original film, the sequel features the equally appealing Frank Grillo (The Grey, Captain America: The Winter Soldier) as a man that sets out into the Purge night for revenge but winds up saving a mother (Carmen Ejogo, Sparkle) and daughter (Zoë Soul, Prisoners) from an elite squad picking off residents from the lower income part of the city. Soon they’re joined by milquetoast couple Zach Gilford (The Last Stand) & Kiele Sanchez fending off mask wearing killers scooping up unfortunate souls for a sinister purpose revealed later on.
The fivesome go on a quest straight out of Adventures in Babysitting as they look for a car to get them out of the city. Working on bland street sets seemingly constructed for multiple uses by numerous films, there’s not a lot of tension to be had…though there is a dandy of a jump scare early on in the film. Almost thirty minutes longer than the previous film, the extra time isn’t put to good use as we are witness to scene after scene of bickering within the group and the dodging of multiple bullets throughout the night.
Grillo is a valuable character actor that has yet to really capitalize on his break out star potential, even after turning in some great performances over past few years. He perhaps gives the soggy material more than it deserves in terms of character development but both he (and his hair) are the clear standouts here. Ejogo and Soul may be the least convincing mother daughter duo in recent memory, not helped by the fact that both actresses mentally check out before the first reel is over. It’s hard to say what real life couple Gilford and Sanchez are up to here because they’re assigned the worst kind of drivel dialogue: the self-narration. Speaking everything they’re doing because DeMonaco couldn’t or wouldn’t find a more stylish way to do it, they stumble through the film as the token white people that are clueless and ultimately helpless.
Though the film starts off strong, ironically it’s when The Purge actually begins that the cracks begin to show and grow with each passing second. While there’s some intriguing material surrounding the government and their ulterior motives surrounding The Purge, it’s quickly relegated to a marginal subplot in favor of awkwardly moving the five hunted souls from point A to point B.
I’m still hoping this franchise finds a way to make the most out of its concept in future installments. The premise lends itself well to the kind of isolated story telling that could go on forever…but only if the films find the characters and setting to support it.
Review: I think most audiences would be forgiven if they heard the title of Cameron Diaz and Jason Segel’s new comedy and write it off as another inane foul-mouthed raunch fest, the kind of flick both actors have been involved with in the past; she in There’s Something About Mary and The Sweetest Thing, he in Forgetting Sarah Marshall. And, to some extent, they wouldn’t be wrong to assume that. Sex Tape IS an inane foul-mouthed raunch fest but it’s also surprisingly sprightly, moving fast through 94 minutes that showcase the best, um, assets of its leads.
Not wasting any time, Sex Tape opens on mommy blogger Diaz (going for another hit in 2014 after April’s The Other Woman) fondly recalling her early years meeting, sleeping with, and marrying her college boyfriend (Segel, The Five-Year Engagement). These early scenes are heavy on the sexcapades as Diaz and Segel (looking like plastic automatons after being digitally smoothed out to look decades younger/thinner) try out every position in the book as they discover each other and fall in love.
Surprise surprise, like the similar in style (but totally wretched) This is 40 the movie lets us know that getting older ain’t that fun, kids put a cramp in romance, and sex becomes something you schedule between PTA meetings and soccer practice. What sets Sex Tape apart from Judd Apatow’s lame-o exploration of a mid-life relationship crisis is that the central couple decides to do something about it rather than complain to their friends how unhappy they are.
One night after a few drinks and a failed attempt at a roller-skating role-playing fantasy (showcasing that Diaz doesn’t need any digital help in the body-ody-ody department) they decide to film themselves going through every position in The Joy of Sex. The next morning they’re hung-over and ready to get back to their kids and careers, largely forgetting their naughty filmmaking session. Through some questionable and quickly explained away tech developments, their iPad filmed home movie gets sent to all the linked iPads in their network (Segel’s character likes to give away iPads as gifts…must be nice to be so cash solvent and Apple sponsored). When a mysterious text reveals the gaffe, Segel and Diaz set out find the texter and to recover all the gifted iPads which houses their taped tryst just a click away.
I’m not sure a full 90 minutes was needed to tell this tale and obviously the filmmakers didn’t either because so much extra material is loaded in to pad the proceedings that the movie quickly loses its way once Diaz and Segel embark on their reconnaissance mission. Along the way they pick up their best friends (the annoying duo of Rob Corddry, Warm Bodies & Ellie Kemper, 21 Jump Street), stop by for a lengthy con to get an iPad back from Diaz’s potential boss (a dreadfully miscast Rob Lowe, way too in on the joke), and break into the headquarters of an adult site with an owner brought to cameo-ed life by a one-time A-lister.
The entire film feels like it was made in someone’s backyard with many shots taking place in front of a green screen or standard set piece lifted from the Desperate Housewives backlot. There’s also a fair amount of very long scenes for a comedy, I counted at least three scenes where the camera just cuts between Segel and Diaz bickering for minutes on end. Even though the film mostly breezes by, these are the scenes you’ll be checking your watches in and wondering why director Jake Kasdan didn’t do something more creative.
What saves the film are Diaz and Segel’s willingness to play along with it all. Both actors aren’t afraid to bare some skin and poke fun at themselves and what’s more, I actually believed they were this couple with these children living this life. The sophomoric material is beneath everyone involved but it’s the commitment to it that makes the performances work so well. I’m not sure which of the endings I liked the best (the film climaxes several times) but it ends on a pleasing note of sweetness that’s fairly rare for this genre of lewd comedies.
I’ve seen much worse comedies this year (Blended, A Million Ways to Die in the West, and the Typhoid Mary of summer, Tammy) and don’t have a problem suggesting Sex Tape for a matinee viewing based on performances that rise above the material.