Movie Review ~ Voyagers

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The Facts:

Synopsis: With the future of the human race at stake, a group of young men and women embark on an expedition to colonize a distant planet. But when they uncover disturbing secrets about the mission, they defy their training and begin to explore their most primitive natures.

Stars: Colin Farrell, Lily-Rose Depp, Tye Sheridan, Fionn Whitehead, Archie Madekwe, Chanté Adams, Quintessa Swindel, Madison Hu, Isaac Hempstead-Wright, Viveik Kalra

Director: Neil Burger

Rated: PG-13

Running Length: 108 minutes

TMMM Score: (6/10)

Review: It’s an odd thing to look over the IMDb credits for director Neil Burger and see just how many of his films have found eerie similarities in other work.  Though it technically came out first, 2006’s The Illusionist is often dwarfed in memory by Christopher Nolan’s The Prestige which also featured dueling magicians and a woman that causes trouble between them.  The surprise 2011 hit Limitless may have secured some box office clout for Bradley Cooper but it had all the calling cards of a Luc Besson film just without the Frenchman’s guts to go truly wild.  Burger was behind the start of the Divergent series which was on shaky legs even in 2014 when it suffered big time comparisons to The Hunger Games, and this was before it released two more Burger-less sequels that were so bad they didn’t bother to even make the last movie.  Remaking the French blockbuster The Intouchables as The Upside in 2017 seemed like a ghastly prospect but while Burger’s take was harmless it made so much money that who directed it didn’t seem to matter much.

That brings us to Voyagers, which won’t remind you so much of any movie you’ve seen recently but perhaps a book you may have trotted out during quarantine.  Plenty of reviews of Burger’s new sci-fi yarn will correctly label it as Lord of the Flies set in space but to just put it in that ready-made box is doing a disservice to William Golding’s 1954 morality barometer disguised as a dystopian novel as well as this Lionsgate production which is entertainment at its coldest and most obvious.  Yes, it follows an uprising that divides two factions of young adults left to fend for themselves in a solitude from which there is no hope of escape, but Burger doesn’t forget what his job is in this concoction.  His audience isn’t at home under the covers reading a browning paperback by flashlight.  They’re in a theater (if you’re into that kind of thing being fully vaccinated and/or masked up) where this film opens on Friday or, as Voyagers will be in several weeks, in their homes waiting for the fun to begin.

With the Earth’s resources being depleted at a rapid rate, scientists continue to explore the boundaries of space for signs that there could be another planet humans could survive on.  Forty years from now, that planet is found but it will take another 86 years to get there.  A crew will need to be assembled to travel to this new world and report back what they find, but due to the time it will take to get there the crew that starts out the mission won’t be the ones that actually make the discovery…their grandchildren will.  Unable to find a crew of thirty to make that commitment, the team behind the mission resort to conceiving them via IVF with, ahem, contributions from the best and brightest minds of the day.

Watching over these children as they grow (literally) is Richard (Colin Farrell, Dumbo) a scientist that winds up being the sole chaperone when the young crew finally enter space and begin their journey.  Ten years later, the group are now teens that go about their daily ship business with a detached efficiency that’s only upset after Christopher (Tye Sheridan, Mud) and Zac (Fionn Whitehead, Dunkirk) stop taking ‘the blue’, a daily dose of liquid they discover has a mood controlling and sensory dulling drug added in.  Free to finally feel for the first time, the rest of the squad follows suit including Sela (Lily-Rose Depp, Tusk) the pretty chief medical officer that’s both a confidant to Richard and his bridge to the other teens.  Sela also begins to catch the eye of the newly hormonal Christopher and Zac, both fueled by alpha male frustration that’s built up for quite some time. 

After an accident leaves them stranded, on their own, and unable to communicate with Earth, at first the niceties of protocol are followed until Zac and others (including Midsommar’s Archie Madekwe) realize that no one is going to hold them accountable for stepping out of line.  They’ve been bred to produce and that’s all so why not take as much as they want, when they want it, while they can?  This pits former friends against one another and forces all to take sides.  The wider the division gets, the larger the danger of everyone losing in the end becomes.   

It’s easy to be a bit confused by Voyagers at first glance.  The trailers make it look like a clunky C-list castoff you’d settle on when all else fails and the poster gives off the impression it’s more of an erotic trip into teen space angst.  So I was surprised that the first half of the film gets off to a rather crackling start, luring the audience in with an engaging premise and laying the groundwork for an intriguing mystery that might factor into the plot (I won’t spoil it).  Burger takes his time with things…at first.  Rather suddenly, however, the rushing begins and the time between realization and full on knowledge of the facts shortens considerably for everyone in the film.  Everyone just seems to “know” what things mean the moment they see them, or if they don’t, they understand it quickly and these leaps are more for the plot to continue to make haste than anything else.

It’s also a bit uncomfortable to watch the teens embrace their hormones with such vigor – one character goes from touching a girl’s shoulder to pretty much honking her breast in an instant.  I know none of them have experienced these sensations before, but have they never read a book or learned about etiquette?  It’s like the scientists taught the boys everything but how not to fondle girls and taught the women all about plant hydroponics yet skipped over the “no means no” conversation.  The male dominance of it all was a bit suffocating and if Burger had just given one female a bit of the nasty business to do instead of relegating it all to the guys it might have come off better.  As it is, the females become galactic wallpaper, aside from the standout Chanté Adams (Bad Hair) as a strict-rule follower that won’t be silenced by the bullies that have risen to power.  While we’re talking about the cast, Sheridan comes across like he always does…perfectly fine but terribly shallow.  If you ask me, Depp reminds me more of her model turned actress mother Vanessa Paradis than her much in the news Oscar-nominated father, and that’s not a bad thing in the least.  The standout in the cast is Whitehead who achieves a goal of creating an oily villain that you can easily root against – none of this ‘redeeming quality’ nonsense.

Despite some sag in the middle which shows some areas where the 108-minute film could be trimmed a bit, Burger gets to a fairly lively final act quite nicely.  While the effects aren’t going to win any awards, for a film of this size and with a cast of this caliber (no shade here, all are decent and acquit themselves nicely in roles that carry troublesome moments throughout) they mostly look good but I’d imagine they’d appear crisper in a theatrical setting.  For fans of sci-fi or space like myself, Voyagers is a worthy watch but know that it’s purely surface level material that is good for a distraction and little more. 

Movie Review ~ Midsommar


The Facts
:

Synopsis: A couple travels to Sweden to visit a rural hometown’s fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

Stars: Florence Pugh, Jack Reynor, Will Poulter, Vilhem Blomgren, William Jackson Harper, Ellora Torchia, Archie Madekwe

Director: Ari Aster

Rated: R

Running Length: 140 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: For all the unfettered glee I feel every time a new horror movie comes out, such as the recently released Annabelle Comes Home, and as much as I love a gooey creature feature like the upcoming Crawl, I must admit to experiencing an overwhelming bout of anxiety when staring down a screening like Midsommar. It’s not just because I knew it clocked in at nearly two and a half hours, either, but it’s something about films of this particular genre of horror that I find deeply unsettling. Watching what should be idyllic slowly turn into a nightmare with no escape is what I imagine it must feel like to be in a pot of water slowly brought to a roiling boil.

Though it feels like it’s been out longer, it’s only been a year since writer/director Ari Aster dealt his first major blow to my nerves with Hereditary. The 2018 jaw-dropper came out of the festival circuit with a great deal of buzz and mostly delivered on its promise of classy scares wrapped up in a family drama. Lead by an astoundingly terrific performance by Toni Collette, the movie only stumbled in its final moments. The first time I saw the film that final misstep was enough for me to dismiss it almost completely but revisiting it later and watching it with a more holistic view of the characters I found more to appreciate in Aster’s vision. I still really hated that ending, though.

My hope is that you haven’t been inundated with trailers for Midsommar yet and my advice is to avoid any additional previews or clips for the film before seeing it. That way, you can let the tension build at Aster’s pace and not be waiting for particular images or sequences you already know are coming. This is a deliberate movie that takes it’s time toying with the audience and I’m guessing that’s going to alienate the shifty moviegoer that expects a scare every ten minutes. Like Hereditary, Midsommar isn’t in any rush to reveal its secrets or play by a standard set of rules.   Also similar to Aster’s previous work, his sophomore film makes some strangely calculated missteps that have the completely wrong effect on the audience at the worst possible time.

Before the title card pops up, Aster has already given the audience a taste of the kind of emotional toll the movie will take. Still reeling from a recent trauma, Dani (Florence Pugh, The Commuter) is invited by her boyfriend Christian (Jack Reynor, On the Basis of Sex) to tag along on a summer trip to Sweden with his three friends. All are attending a midsummer festival in the remote village where Pelle (Vilhem Blomgren) grew up. Anthropology student Josh (William Jackson Harper, All Good Things) feels this is the perfect subject for his ongoing thesis while Mark (Will Poulter, We’re the Millers) is there for the girls and life experience. Already on the fringe for being seen as Christian’s emotionally troubled girlfriend, Dani’s presence adds a layer of fraught tension into what was to be a freewheeling trip of a lifetime.

Arriving in the commune as the nine day celebration is about to begin, the group is welcomed with open arms by the friendly folk and are eventually introduced to the culture and rules of the land. Right off the bat, the weirdness of the place is palpable but Aster wisely tempers that by having Dani and her friends not turn into crass, ugly Americans. Instead, they are presented as identifying the customs as strange but recognizing a cultural specificity they just might not understand immediately. This helps the audience, too, in accepting why the visitors don’t pack it up and hit the road the moment the first ominous event occurs.

I’ll stop with giving away more of the plot at this point because once the festival truly begins all bets are off and nothing can really prepare you for what happens. Yes, some of the events are probably what you think they are but there are more turns that you won’t be able to see coming. I wasn’t able to watch several parts of the film, the visuals were just too upsetting and not simply because of any violence or gore but because of some emotional sadness that is attached to what occurs. Like Hereditary, there’s little pleasure to be derived at what befalls the characters (good or bad) and by the time the film ended I was appropriately rattled.  Make no doubt about it, as extreme as Hereditary was in parts, Midsommar aims for a higher squirm factor and achieves it with fairly little effort.

Without a strong lead, the film wouldn’t have been as effective as it was and Aster lucked out again with a perfect star. Pugh is still gaining momentum in Hollywood and no matter how well this does at the box office I expect the movie to help increase her cache for future projects. While it doesn’t afford her quite the satisfactory journey as Collette was given in Hereditary, there’s plenty of meat on the bone for Pugh to chew on. Reynor’s character is trickier and without giving too much away you have to get to a certain place with him for the climax to work and I didn’t quite make it. Still…major kudos to him for participating in a scene that will likely be the most talked about and shared on the internet. The rest of the cast is strong as well, with particularly good attention paid to the casting of the villagers. Down to the smallest walk-on role Aster has chosen people that I completely believed were a part of this tribe.  Extra special notice to Gunnel Fred as Siv, the materfamilias of the commune that welcomes the outsiders in and then expects their full participation as the festival reaches its most pivotal ceremony.

Do I feel the movie could have been shorter? Sure, I mean two hours and twenty minutes is a long time to spend with these themes and this type of extreme experience. It’s an unsettling film and while it takes an unfortunate turn near the end that elicited mood-shattering laughs from the audience, it manages to get back into its lane by the time the credits roll. With Hereditary, I was willing to give it another go because the family dynamics were something I was interested in exploring a bit more. While I enjoyed Midsommar and understood its themes, I’m not certain it’s one I could see again…there’s just too much sadness involved.  Still, if you can stomach it and have a hunger for elevated horror this is one to seek out and sink down into.

The Silver Bullet ~ Midsommar



Synopsis
: What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

Release Date: July 3, 2019

Thoughts: Horror movies are always a bit divisive between elitist critics and populist cinephiles but 2018’s Hereditary managed to unite them almost universally.  It took me a second watch to truly appreciate what writer/director Ari Aster was going for and even then I still had issues with the finale.  That aside, I’m looking forward to Aster’s next summer screen scare, Midsommar and from the looks of this second trailer audiences are in for another squirmy ride through some very freaky goings-on.  I like that the film is set completely in the daylight, giving Aster and his actors little room to hide – I just hope this time the ending can live up to everything that has come before.