Synopsis: A couple living in Victorian London endure an unusual series of psychological and supernatural effects following the birth of their child.
Release Date: November 17, 2017
Thoughts: I’m all for a period set horror show but when a movie is described as David Lynch channeling Henry James, I’m especially down for some Gothic terror. Based on Arthur Phillips 2007 novel of the same name, Angelica was completed several years ago but is just now making its way to a larger audience. Victorian ghost stories are usually a lot of fun and this trailer hints at what scary things director Mitchell Lichtenstein (Teeth) has up star Jena Malone’s high bodice. While she’s a far cry from her precocious childhood days, Malone has been making some bold choices in the last few years (see The Neon Demon…or better yet…just take my word for it) so I’m curious to see what she’ll bring to this supernatural tale. Janet McTeer (Albert Nobbs), Ed Stoppard, and the late great Charles Keating round out the cast.
TMMM Score: First 75 minutes: (7/10); Final 45 minutes (1/10); Overall (4/10)
Review: When I first caught the trailer for The Neon Demon, I thought it had a nice giallo look that reminded me of horror maestro Dario Argento. Giallo, for the horror-averse, is a 20th-century Italian film genre and giallo films are thrillers often with slasher, supernatural horror, or crime fiction elements. Awash with bright, bold colors and an overall vison that favored style over any shred of substance, these films can be seen as overly cornball now but were considered viscerally raw during their time of release. I went into The Neon Demon expecting a nice side dish to Argento’s classic 1977 film Suspiria, but wound up with sour stomach.
While the thought of indulging in any food that slithers, slimes, or swims gets my stomach roiling I think I have a steely tolerance for gore and general grotesqueness but The Neon Demon finally broke me. This is a film with a substantial ick factor aiming to shock more than awe, it practically begs you to disengage more and more as the minutes t(ick) by. And that’s too bad because I can’t remember another movie in recent memory that starts off so well before devolving into a gross display of nastiness.
Right off the bat the film introduces an uneasiness as the studio credits/logos appear with no sound (one genius audience member kept asking for “Sound, please?”) and the credits play over a color shifting texture set to a synth score. We’re at a photo shoot and young Jesse (Elle Fanning, Trumbo) is playing dead for the camera, bathed in blood and keeping her eyes fixed and breathing to a minimum. New to town, she’s befriended by make-up artist Ruby (Jena Malone, Inherent Vice) who appears to be taking a parental interest in Jesse’s well-being but may have sinister intentions hidden away.
Ruby introduces Jesse to her model friends, Gigi (Bella Heathcote, Pride and Prejudice and Zombies) and Sarah (Abbey Lee, Mad Max: Fury Road) who size up the fresh face as a serious threat to their already diminishing shelf life. Picked up by a prestigious modeling agency (led by Christina Hendricks, Zoolander 2 in a dandy of an all-too-brief cameo), favored by both a bad-boy photographer (Desmond Harrington, The Dark Knight Rises) and a famous designer (Alessandro Nivola, A Most Violent Year), and pursued by a seemingly benign acquaintance (Karl Glusman) before she knows it Jesse is the toast of the town in an other-wise gluten free industry.
These developments occupy the first half of the film and it creates genuine intrigue in the viewer as well as the characters. Who is this girl and where did she come from? Hints of a broken home and a dangerous past are only that, hints, mere morsels of information that lead down a rabbit hole. Once it leads you to the bottom, though, the ground hits hard and reality sets in. There’s blood letting (and drinking), necrophilia, cannibalism, and adolescent rape for the viewers that stick this one out (numerous people at my screening didn’t make it to the end credits).
It’s no secret that director Nicolas Winding Refn thrives on excess. Making a warm entrance with 2008’s Bronson (which introduced Tom Hardy to us) before releasing his big splash Drive in 2011, he fell mighty far with his follow-up Only God Forgives two years later and now The Neon Demon is his most difficult film to stomach yet. This one has an uncooked feel, bloody and tenderized without offering any heat. Some movies could make up for a lurid ending by knocking the beginning out of the park but even the fascinating opening stretch can’t save this one.
Winding Refn’s style (and name, his monogram appears over the beginning and end titles, showing up in the same frame as his actual film credit) is all over this one. He’s admitted to being color-blind which is why his palette is so vibrant and the film admittedly has a chic perfection to nearly every frame, but the script (co-written by Refn, Mary Laws, and Polly Stenham) is a schizophrenic mess. One moment it’s a wicked parable condemning the industry with its subversive commentary and the next it’s glorying the excess of young flesh and starved bodies. The graphic nudity feels exploitative and unnecessary, with Winding Refn lingering too long and too intently on his subjects.
Some sort of survival award must be given to the actors Winding Refn cast here. Fanning manages to come out the best, nicely using her blank stares and whisper of a voice to suggest innocence even when we start to suspect she’s been playing us all along. Lee and Heathcote are a nice pair of harpies, gnashing their teeth the higher Jesse rises and Lee in particular really sells an insanely disgusting moment near the conclusion. I’ve always loved Malone and feel sort of sorry for what she’s asked to do here, including an act so revolting I can’t bear to think about it let alone write about it. Then there’s Keanu Reeves (John Wick) as a manager of a seedy motel that shows up in one of Jesse’s twisted psycho-sexual nightmares only to act out an even more horrifying atrocity in reality.
Going back to Suspiria, I always loved its tagline: “The Only Thing More Terrifying Than The Last 12 Minutes Of This Film Are The First 92” and could apply a similar one to The Neon Demon: “The Only Thing More Disgusting Than The Last 5 Minutes Of This Film Are The Previous 112”.
Synopsis: When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
Release Date: June 24, 2016
Thoughts: Here’s one thing you can never say about director Nicolas Winding Refn’s films…dull they ain’t. The Danish director made a name for himself stateside with 2011’s pulse-pounding Drive before following up with the chic but much-maligned Only God Forgives in 2013. He’s back with a new tale of excess, this time centering his lens on the fame hungry models that populate the Los Angeles hillsides. There’s more flair in this two-minute trailer than most movies can muster in 90 minutes and while I’ll always favor substance over style there are moments to be seen here that made the hairs on the back of my neck stand up. Starring Elle Fanning (Trumbo), Jena Malone (Inherent Vice), Bella Heathcote (Dark Shadows), Christina Hendricks (Zoolander 2), Abbey Lee (Mad Max: Fury Road) and Keanu Reeves (John Wick) and reminding me just a tad of Dario Argento’s horror masterpiece Suspiria, I’m looking forward to feeding The Neon Demon.
Synopsis: As the war of Panem escalates to the destruction of other districts by the Capitol, Katniss Everdeen, the reluctant leader of the rebellion, must bring together an army against President Snow, while all she holds dear hangs in the balance.
Stars: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone, Natalie Dormer, Stanley Tucci, Donald Sutherland, Michelle Forbes
Review: Unlike many readers of Suzanne Collins trilogy of novels, I wasn’t as disappointed in the final entry as most. For me, all three books had their high and low points but Mockingjay was the one that felt like it had the most consequences within its pages. It wasn’t an easy read with the fates of several characters being painfully revealed so it was with great trepidation that I approached The Hunger Games: Mockingjay – Part 2 because I knew what lay ahead.
I still feel deep down inside that Mockingjay should have been released as one long movie. Audiences are willing to sit through a three hour (cinema) tour if the characters are appealing and the story engaging and I spent the first hour of Part 2 thinking that it came across as the middle part of a longer film, opening with the part where the action dips and audiences are given a breather before the final act begins. It was a mistake on my part to not re-watch Part 1 before because the film isn’t concerned with bringing anyone up to speed. Needless to say, I can’t write a review of Part 2 without including some spoilers from the previous films so…you’ve been warned.
Katniss (Jennifer Lawrence, Silver Linings Playbook, as usual investing herself 130%) is still reeling after being violently reunited with a brainwashed Peeta (Josh Hutcherson, Journey 2: The Mysterious Island), her former ally and would-be love interest. That pushes her back into the arms of brawny Gale (Liam Hemsworth, The Expendables 2) and she still can’t seem to make-up her mind as to who she believes she should be with. There’s no time for dewy eyed romance though with the final drive underway by the rebel army to seize the Capitol and destroy President Snow (Donald Sutherland, Ordinary People) before he can deploy more troops to wipe them off the map.
With the rebels being led by President Coin (Julianne Moore, Still Alice, looking fierce with a short haircut, cat-like contacts, and a wardrobe that feels Jetsons-esque) under the advisement of Plutarch (the late Phillip Seymour Hoffman, The Master, in his last film role), Katinss finds a way back to the front line after being remanded to merely being the figurehead mascot of a force of people fighting for their freedom. Katniss has her sights set on Snow and will do anything to be the one to end his reign, if she (along with a small band of allies and officers) can avoid the booby trapped city blocks that lie ahead.
I never noticed it until my partner pointed it out to me but with its prominent golden eagles and red color schemes, the leaders in the Capitol have a distinct Nazi vibe going on. Themes of oppression and barbarism plague our real-life news feed and Collins’ novels tapped into some of that. While her world has definite fantastical elements, the underlying message of independence hard won is prescient.
The film is light on softness, deciding instead to keep its edges razor sharp and unforgiving. It’s not, I repeat not, a movie parents should remotely consider bringing their young children to. I’d ask parents to heed the PG-13 rating and know that it probably should have carried an R due to the amount of violence and frightening sequences of death. The carnage here is a far cry from the good old days of the first movie where young prospects picked each other off to become the victor of The Hunger Games. Here, the losses are devastating and uncompromising…making for emotional and exhaustive viewing.
After taking over for original director Gary Ross, Francis Lawrence (no relation to our star) has helmed the remaining films and done so without making concessions. From the production elements to the costume design and make-up, there’s a fully realized world on display, one that resembles ours but feels distant. Is it futuristic? Other-worldly? Yes and yes…but it also feels like it could be happening mere years from now. That’s a scary thought and one not to dwell too much on.
Since the first film was released, Jennifer Lawrence has become a true movie star with an Oscar under her belt yet she doesn’t show any signs of boredom with her involvement here. Other actresses may have started phoning these in once the first checks had cleared but Lawrence takes her job seriously…maybe a bit too seriously at times. No matter, the film has become the success it has largely due to her and the emotional depth she’s brought to a complicated character. Hutcherson too has evolved nicely over the course of the films, not just as his character but as an actor.
The main players involved are all given their due (even if Hoffman’s final speech is relegated to being read by Woody Harrelson, Now You See Me) and the good-byes have a sting to them. Watch the final shot of the exquisitely styled Elizabeth Banks (Man on a Ledge) as Effie Trinket and you’ll see how so much can be sadness can be conveyed with a single expression. I wish there were more for Jena Malone to do as Johanna Mason, a tough as nails former victor that both reviles and envies Katniss. Malone made a grand entrance in The Hunger Games: Catching Fire and has been a value add to the series ever since. The final moments of the film may come off as maudlin and treacly to the more jaded among us but it feels like a fitting tying off of a well taken care of commodity.
There’s talk of the studio working on a new sequel or a prequel and I would beg of them to drop it. There’s plenty more YA literature waiting for their moment in the cinematic sunshine and the four films that have comprised The Hunger Games franchise have earned their chance to be distinguished. Don’t muck it up.
Review: Looking back at the experience (and what an “experience” it was) of my recent screening of Inherent Vice I’m reminded of that one time I was in an airplane for 10+ hours traveling from Greece to Minnesota. At certain points of the turbulent flight I thought I wasn’t going to make it and mentally said my good-byes to everyone I loved while a single tear fell down my face. Then the plane landed, I was able to exit the airliner, and I went about my life.
Inherent Vice isn’t 10 hours long (but it sure feels like it) but unlike my trip to Greece, you won’t leave a showing of director Paul Thomas Anderson’s adaption of Thomas Pynchon’s 2009 novel with a miniature replica of the Acropolis for your troubles.
Pynchon’s loopy novels have long been thought to be unadaptable for cinematic endeavors and Anderson’s screenplay proves why over and over again. It’s an obtuse, awkward, non-engaging film with so many layers it could be described as an onion dipped in PCP…which doesn’t necessarily signify a bad film, mind you. No, the worst offense of Inherent Vice is that it’s shockingly, maddeningly boring.
Set in the Manson crazed days of 1970’s Los Angeles, the film follows schlumpy PI ‘Doc’ Sportello (Joaquin Phoenix, Her, Parenthood) through a case that hits close to home but opens up a Pandora’s Box of trouble. Asked by former flame Shasta (Robot & Frank’s Katherine Waterston, the victim of a humiliating sex scene late in the proceedings) to take a look into the shady intentions of the wife of her current lover (Eric Roberts, Lovelace), Sportello dives headfirst into a plot involving murder, kidnapping, extortion, drugs, and sex.
Now, sounds like fun, right? Perhaps…but my friends, it’ all in the execution and though Anderson knows how to produce a film with multiple storylines (Boogie Nights, Magnolia) things are rocky from the get-go. Though I was initially intrigued by a pre-credit noir-ish sequence that finds Shasta visiting a sleepy Sportello and asking for his help the film lost me before fifteen minutes were up. Even with the occasional foray into explicit hilarity such as Sportello’s visit to a massage parlor that boasts a menu of services that I can’t reprint here the majority of the film is a rough slough.
Reteaming with The Master star Phoenix, Anderson should have stuck with the original choice for the role….Robert Downey, Jr. Though Downey was deemed “too old” for the part, Phoenix looks gruesomely ancient thanks to unkempt sideburns, permanently greasy hair, and unshaven scruff. While Phoenix has a field day with the role, lounging through several drug induced sequences and slurring his words like was the Meryl Streep of lazy r’s, he’s only pleasing himself (and Anderson) as the haphazardly effective private eye.
The film’s labyrinthine plot may be interesting in hindsight but it’s so dense and unconcerned with our interest that I wondered if this shouldn’t have been a home movie for Anderson and Phoenix to watch huddled together with a bowl of popcorn on Oscar night. Pynchon’s novel is chock full of wacky names and comic turns but onscreen it feels too goofy for its own good. Josh Brolin (Oldboy), Reese Witherspoon (Mud), Owen Wilson (The Internship), and Benicio Del Toro (Savages) all show up as part of the caper at hand with only Brolin and Witherspoon in on whatever joke Anderson was attempting to convey. Also of note is Joanna Newsom’s earthy performance as an acquaintance of Sportello, though I started to question if she was a figment of his imagination or not.
Let’s put a pin in showering Anderson with love simply because he started out so strongly. I feel like it’s almost a sin for a cinephile to deride Anderson’s work but viewing a film like Magnolia side-by-side with Inherent Vice reveals a filmmaker that has given in to self-indulgence and forgotten that films are made for audiences (even discerning ones, though nearly a dozen at my screening didn’t stay for the whole picture). It doesn’t have to be a simple, easy to digest, pallid work…but it does have to have a pulse.
Synopsis: In Los Angeles in 1970, drug-fueled detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.
Release Date: January 9, 2015
Thoughts: I didn’t like The Master. There, I said it and I’m not sorry I did. I thought it was bloated and too cuckoo for words. Not that it wasn’t a handsomely made film featuring great performances (however un-Oscar nomination worthy a few of them were…) and there’s little doubt that director Paul Thomas Anderson knows exactly what he’s doing behind the camera. Learning a lot from his mentor Robert Altman, Anderson may have his greatest tribute yet to the late master filmmaker with Inherent Vice, a 70s set detective story where Anderson can really go to town with his tripped out inclinations. Reuniting with Joaquin Phoenix (Her), looking to turn in another in a long line of loopy roles, Anderson’s newest project looks fun, fresh, and less meditative (read: snooze inducing) than his last picture.
Synopsis: Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.
Stars: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Lenny Kravitz, Elizabeth Banks, Stanley Tucci, Donald Sutherland, Woody Harrelson, Jena Malone, Philip Seymour Hoffman, Amanda Plummer, Lynn Cohen, Sam Claflin, Jeffrey Wright
Review: I honestly expected there to be a slip-up in bringing the second part of Suzanne Collins’ The Hunger Games trilogy to the big screen. After the whopper success of The Hunger Games in early 2012 (compounded by the fact that the film was quite good), tongues were wagging in anticipation of when the next film would arrive and a worldwide true love affair with down-to-earth star Jennifer Lawrence began.
Starting off 2012 with a huge box office hit and ending with another praise-worthy film (Silver Linings Playbook) along with a Best Actress Oscar for her efforts, Lawrence couldn’t have asked for a better year. Then 2013 rolls around and the starlet saw the release of another film which has critics crying Oscar (American Hustle) as well as The Hunger Games: Catching Fire, a sequel that’s in many ways superior to its predecessor.
Though I keep my reviews fairly spoiler-free, there’s no real way to discuss Catching Fire without giving away some aspects of the original so if you’ve yet to see it…you’ve been warned.
OK…are we ready to move forward? Good.
It’s a year after Katniss (Lawrence) and Peeta (Josh Hutcherson, Journey 2: The Mysterious Island) defied the odds (and the authorities) and became the first joint victors of the gladiator-esque Hunger Games. Though they may have new housing and comforts that have kept their families nourished, both are still haunted by what they saw in the arena. The Hunger Games are presented as entertainment but really serve as a reminder of oppression by the wealthy and how inconsequential the poor are. Katniss and Peeta came from the lowliest district and survived together…giving hope to those that had none.
This causes great fear in the upper crust, mostly from villainous President Snow (a smirky Donald Sutherland, Backdraft) who plots with new Head Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman, The Master, using his greasy ginger puffiness to his advantage) to teach the two young winners a lesson…by making sure that the next Hunger Games is an all-star battle with players culled from past victors. Back into the area they all go and this time there can truly be only one winner.
Screenwriter Simon Beaufoy (Salmon Fishing in the Yemen and an Oscar winner for Slumdog Millionaire) brings out the best in Suzanne Collins novel, always reminding the audience of the stakes at play and the very real price for any kind of mistake. Characters feel more fleshed out with very little favorite faces getting short shrift of screen time. That leads to the film running nearly two and a half hours but the time seemed to fly by for me thanks to director Francis Lawrence (I Am Legend) keeping things at a good clip and the continued strong performances of the cast.
It would have been easy for Lawrence to simply show up and recreate the strong work from the original but instead she goes deeper than before, uncovering new layers of Katinss that even Collins wasn’t able to scratch. It’s a full-bodied performance that proves Lawrence is a formidable force that’s just getting started.
Maybe it’s because Lawrence flaunted her Oscar around the set (highly doubtful) but everyone else in the film seems to have stepped up their game as well. Hutcherson has less of a moon-pie face in this one, letting the actor not seem so ruled by his character’s obvious infatuation with Katniss. Woody Harrelson (Out of the Furnace), Stanley Tucci (The Company You Keep), and brief turns from Amanda Plummer (Joe Versus the Volcano) and Jeffrey Wright (Casino Royale) are rich with the kind of character shading that gives the film its subtle dexterity.
Special mention must be made yet again to Elizabeth Banks (Pitch Perfect, What to Expect When You’re Expecting) in the beefed up role of chaperone/advisor Effie Trinkett. The actress could quickly have been lost within her colorful make-up, zany wigs, and Gaga-edgy costume design but she’s smart enough to show the beating heart of the person underneath it all. And former child star Jenna Malone may have one of the best entrances of the last few years as the plausibly sinister former victor Johanna Mason. Malone is so good that she often steals Lawrence’s thunder later in the film.
With a year to wait until Part 1 of the final chapter of the series, The Hunger Games: Catching Fire is that rare sequel that builds upon the solid foundation of the impressive original. There’s more to love here and a greater sense of risk kept alive by Beaufoy’s detailed script, Lawrence’s skilled handling of the material, and a bevy of creative performances led by undeniable star Lawrence.
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Synopsis: Katniss and Peeta are dethroned from their respective victory riches and are put back into the arena for the most climatic and menacing of the Hunger Games, known as the Quarter Quell.
Release Date: November 22, 2013
Thoughts: Arriving less than two years after the blazingly entertaining original, The Hunger Games: Catching Fire has a lot to live up to when it’s released in November 2013. Not only has the profile of its leading lady risen astronomically (thanks to her Oscar winning performance in Silver Linings Playbook) but the second book is considered by fans of the series to be the best. What I like about this trailer is that it leaves out a few critical details that may sell more tickets but isn’t really the heart of what the movie is about. With a new director at the helm (Francis Lawrence, who delivered another dark future world in I Am Legend) and most of the players reassembled (I live for Elizabeth Banks and her take on Effie) this is easily of the more highly anticipated films of the latter part of 2013.