Movie Review ~ Relic

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The Facts
:

Synopsis: A woman links her mother’s increasingly volatile behavior to an evil presence at their family’s decaying country home.

Stars: Emily Mortimer, Robyn Nevin, Bella Heathcote

Director: Natalie Erika James

Rated: R

Running Length: 89 minutes

TMMM Score: (8/10)

Review:  If you look back over the history of the horror genre you see it developing with the time.  Early entries from the black and white era largely suggested danger without showing it, much like audiences were unsure what was really happening overseas in WWII.  As the counterculture was brought from the shadows to the mainstream in the late 60s and 70s, so too did the genre give way to boundary pushing fright cinema that stylishly developed a look all its own.  The 80s slasher craze and endless sequels/copycats went well with the mall obsessed teen moviegoers that loved to dress like their favorite celebrity.  When the hammer of reality came down in the 90s and 2000s, horror pivoted again with self-aware work that was as snarky as its target audience.

Over the past decade, we’ve seen another seismic shift in nightmare cinema, and it’s been a return to a desire for intelligent scares and less on quick terror.  Movie going isn’t cheap so audiences want to spend their money attending entertainment that is going to give them the best return on their investment…and they don’t want to be treated to another cookie cutter slasher film heavy on blood, guts, boobs, and butts.  Films like The Conjuring and Hereditary have left a lasting impression because they’ve scared the beejebus out of audiences but have more up their sleeves than just mere frights.

You can add the new Australian film Relic to that list of successful genre offerings too and even place it fairly high on the list.  With its small cast and confined setting, it works wonders with the limitations it places on itself and never lets the viewer get too far ahead of the characters experiencing some perplexing behavior of a loved one.  Working from her own script, Natalie Erika James directs the mostly three-person film with a sure hand and only rarely lets the standard tropes of horror films get in the way of the story she’s trying to tell.

Concerned for the well-being of her mother Edna who hasn’t been seen by her neighbors in several days, Kay (Emily Mortimer, Mary Poppins Returns) and her daughter Sam (Bella Heathcote, The Neon Demon) drive up from Melbourne to Edna’s home in the woods.  Arriving to find Edna gone but evidence that she’s likely suffering from dementia, the two begin to search through the house for clues as to her whereabouts while joining with the locals to find their matriarch.  When Edna (Robyn Nevin) does eventually return in the middle of the night, something is off and while we get the impression she was never the warmest of maternal figures she has an especially sharp bite to her when provoked in the slightest.

Sticking around to ensure Edna is settled back in while also planning to move her into a facility that can care for her future needs, Kay begins to notice strange indicators around the house that something worse may have infiltrated the premises.  Edna’s increasingly detached behavior and wild mood swings wreak havoc on the relationship between her daughter and granddaughter, prompting both to dig further not just into Edna’s condition but into the house and surrounding woods which seems to hold more secrets the family will need to face together.  With Edna’s condition worsening rapidly and the unexplained incidents becoming more violent, the three women all face a challenging evening in a house that might have its own agenda.

It’s not hard to pick up the metaphor Relic is laying down but even if you do catch on what’s happening you’ll likely be thrown for a loop in the film’s final act which trades the quieter, slow burn moments of the previous 70 minutes for a genuinely worrisome finale.  It’s not just that James delivers some serious scary sequences and arresting visual imagery as the three women face some frightening happenings, but that all of it feels…personal.  Couple that with an unexpectedly moving (for a horror film) ending and you have a memorable and highly recommendable feature.

I can see why Relic wouldn’t quite land for everyone and it’s worth noting that much of the success of the film relies on our emotional connection to the characters and story.  If you’re the kind of person that doesn’t latch on like that, the movie may not hold the same lasting impact I felt.  It’s a tricky ending and it could have easily gone wrong, but I think it’s extraordinary.  For me, I thought about the movie and it’s bracing ending for days afterward and was impressed all over again at the delicacy with which James chose to end her film and the chutzpah it must have taken to do it herway.

31 Days to Scare ~ Mary (2019)

The Facts:

Synopsis: A family looking to start a charter-boat business buys a ship that holds terrifying secrets once out on isolated waters.

Stars: Gary Oldman, Emily Mortimer, Jennifer Esposito, Stefanie Scott, Owen Teague, Michael Landes

Director: Michael Goi

Rated: R

Running Length: 84 minutes

TMMM Score: (4/10)

Review: There’s a myth in Hollywood that winning a Best Actress Oscar puts a kind of curse on your career for a period of time after you take home the statue.  Most of those who hold some sort of stock in this cite Halle Berry as the prime example of the jinx with the actress starring in a seemingly endless series of flops and non-starters.  After all, her two headlining movies out of the gate after winning her award were Gothika and the notoriously reviled update on Catwoman.  I mention this because we may want to expand this dark cloud watch to the Best Actor Oscar as well because of recent Best Actor winner Gary Oldman setting sail on the high seas with this well-intentioned but ultimately listless horror film.

Unfulfilled with his days working on a tourist fishing boat for a company he doesn’t own, David (Oldman, Darkest Hour) seeks out a cruiser he can invest in to start an excursion business he can manage the way he chooses.  His wife Lisa (Emily Mortimer, Mary Poppins Returns) wants him to be practical with the little savings they do have, so she’s wary when he’s drawn to a ship in bad shape.  As the audience, we know David and Lisa should steer clear of the ship, having been treated to an earlier introduction to the vessel where we get an bloody idea of how her last crew wound up.  David remains resolute and soon, along with their daughters Lindsey (Stefanie Scott, Insidious: Chapter 3) and Mary (Chloe Perrin, Jurassic World) the family has restored the ship and are taking it for a maiden voyage.

Of course, this is when strange things start to happen on board and this is one reason you’ll be glad the movie clocks in at a scant 84 minutes, including credits.  See, the ship might just be under a witch’s curse, having been a Puritan vessel that carted women accused of witchcraft to their watery graves.  Now, a spirit seeks to inhabit the soul of a family member…maybe young Mary.  The family and two crew members aren’t too far out to sea when they experience visions of death and burned corpses, are possessed by an evil host, and just generally go a bit nuts, all culminating in a life or death battle during a particularly nasty storm. The close quarters provide little wiggle room for changes of scenery and the vast ocean horizons give the sense of solitude and just how alone they truly are.

There’s a framework set up in the script from Anthony Jaswinski (who wrote the far more enjoyable Kristy and The Shallows) that takes the air of surprise out of things from moment one.  Opening with one of the characters being interviewed by an officer (Jennifer Espositio, Don’t Say a Word) about the events that happened on the ship, you know the ending already and start to work backward from there.  That unfortunately robs any suspense from the rest of the film and even a last minute, um, Hail Mary, can’t save the awkward plot device.  I never understand why a movie will take this approach without turning it into something more interesting and upending our expectations.  I kept expecting Jaswinski to treat this musty old contrivance with a little more flair – instead I was left feeling this was an early script he dusted off and sold without tinkering with it before turning it in.

Looking at Mary from a 1,000 feet level, one has to wonder how it attracted Oldman in the first place.  Though featured prominently on the poster and billed first (obviously), there’s precious little for Oldman to do for much of the movie, relegating co-star Mortimer to do a fair amount of the heavy lifting which she does admirably.  I kept feeling that wherever the action was taking place, Oldman was on a different deck of the ship, oblivious (or off filming another movie?) to what was going on.  It’s certainly a well-made film that has a clear atmosphere established; television director Michael Goi also served as cinematographer, which I’m guessing added to the film feeling efficiently produced.  The only scares are of the jump variety and Goi at least keeps the movie interesting to look at – I just wish the port of call was a bit more alluring.

Movie Review ~ Mary Poppins Returns


The Facts
:

Synopsis: Decades after her original visit, the magical nanny returns to help the Banks siblings and Michael’s children through a difficult time in their lives.

Stars: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Colin Firth, Meryl Streep, Dick Van Dyke, Pixie Davies, Nathanael Saleh, Joel Dawson

Director: Rob Marshall

Rated: PG

Running Length: 130 minutes

TMMM Score: (9/10)

Review: The journey to make Mary Poppins in 1964 was so fraught with tension and hard feelings that it’s no wonder it took 54 years for a sequel to make its way into theaters. If you don’t believe me, check out the entertaining Saving Mr. Banks for a little history lesson…however revisionist it may seem to be.  What child didn’t grow up seeing the titular magical nanny educate the Banks children and bring order to their family while teaching the biggest lesson of all to their workaholic father? I vividly remember seeing it not only in my house but at school on special occasions when they’d get out an old reel-to-reel projector and gigantic screen.

Over the years the popularity of P.L. Travers creation never really went away, even inspiring a long-running West End and Broadway musical that’s now making the rounds in a community theater near you. You can’t keep the old girl down and in 2018 she’s returned in an all new sequel that’s a surprisingly spry near-equal to its half-century old predecessor. The Walt Disney Company took a huge gamble in dusting off this treasured property and turning it over to director Rob Marshall and it has paid off handsomely; Mary Poppins Returns is a true movie event, a hard-working winning combination of fantasy, music, and heart-tugging emotion.

It’s been thirty years since Jane and Michael Banks spent a wondrous few weeks with Mary Poppins but life at #17 Cherry Tree Lane has moved on. Having recently lost his wife, Michael (Ben Whishaw, Skyfall) now lives in his family home with his three children and gets the occasional visit from Jane (Emily Mortimer, Hugo) who has followed in her mother’s footsteps and continued the fight for equality for all. When the bank threatens to foreclose on his house and gives them less than a week to come up with the money all hopes seems lost…until a familiar figure appears from the sky.

Making her grand entrance clutching a kite, Mary Poppins (the divine Emily Blunt, A Quiet Place) has lost none of her dry wit and charming aloofness. She soon sets up shop with the new generation of Banks children while keeping her eye on Jane and Michael as they scramble to find a lost set of bank bonds that could get them out of debt. While their father worries about their future, Mary Poppins helps his children adjust to the present through adventures in undersea realms, at the upside-down dwelling of Mary’s cousin Topsy (a wack-a-doodle Meryl Streep, Hope Springs), and in the painting on a porcelain pot.

Having directed the film versions of Chicago, Nine, and Into the Woods, Marshall knows his way around a movie musical but this is far and away his most accomplished and polished work to date. With the old-school appeal of a Hollywood song and dance spectacular, Mary Poppins Returns is the kind of throwback everything-including-the-kitchen-sink experience they just don’t bother to make anymore. Disney and Marshall had the good sense to give audiences exactly what they want in a sequel to a cherished classic…and then some. While not a remake of Mary Poppins per se, it does seem to hit the same beats as that earlier film even down to a splendid animated sequence and a visit to one of her zany relatives.

Even if Marc Shaiman’s songs don’t stay in the brain quite as well as the tunes created by the Sherman Brothers, they feel like they exist within the same universe and are performed with exuberance by Blunt and company. There’s no ‘Feed the Birds’ level accomplishment here but ‘The Place Where Lost Things Go’ stirs the right amount of feelings and ‘A Cover Is Not The Book’ is a clever bit of wordplay that the Sherman Brothers would get a kick out of. Streep’s oddball ‘Turning Turtle’ is something only she could pull off and Whishaw’s plaintive ‘A Conversation’ gives the actor a nice jumping off point early on in the film. Marshall and his co-choreographer John DeLuca also nicely avoid the trappings of filming huge musical numbers for the screen by letting the audience see the entire company dancing rather than always cutting into close-ups. ‘Trip a Little Light Fantastic’ arrives late in the game but is a true show-stopper.

If the film makes one miscalculation, it’s in the misappropriation of time given to Lin-Manuel Miranda (The Odd Life of Timothy Green) as Jack, a lamplighter friend of Mary’s that’s a stand-in for Bert the chimney sweep from the first film. Whereas Dick Van Dyke’s Bert was someone that occasionally popped up in the action, it feels like Jack is shoehorned into the plot at every turn and it begins to take away from the time we want to spend with Mary and the Banks family. At times, Jack becomes the driving force of play and that made the movie feel like it was veering too far in the wrong direction.

Still, it’s hard to argue that Blunt commands the movie in no uncertain terms whenever she’s even close to the screen. I personally think Blunt is the perfect choice for any part she turns up in but here there’s a real chemistry between actress and role that is rarely seen. No one is going to erase the performance of Julie Andrews from our memory and Blunt doesn’t even try to recreate that particular take on the role. Smartly choosing to give Mary an updated look that sets her apart from her 1964 appearance, Blunt’s Mary is just as staunch as Andrews but doesn’t soften quite as easily. She’s also riotously funny with her droll line readings and incredulity at the state of affairs she encounters upon her return. Andrews won an Oscar for her work and I expect Blunt will get a nomination as well.

Filling out the cast is Colin Firth (Mamma Mia! Here We Go Again) playing a rare villain role as a bank manager eager to claim the Banks house, Julie Walters (Paddington) as put-upon maid Ellen, David Warner (Waxwork) as Admiral Boom, and Angela Lansbury (Beauty and the Beast) as a wise Balloon Lady with a magical touch of her own. Then there’s Van Dyke (Alexander and the Terrible, Horrible, No Good, Very Bad Day) dancing up a storm and keep your eyes out for the original Jane Banks, Karen Dotrice, making a cameo outside of Cherry Tree Lane.

Bound to rake in some serious money this holiday season, Mary Poppins Returns is that rare sequel that feels like it wasn’t done for the money but for the greater good. I know it’s all about the bottom line but this is one film that feels like it could heal what ails you…even if just for two and a half hours.