The Silver Bullet ~ Underwater



Synopsis
: A crew of underwater researchers must scramble to safety after an earthquake devastates their subterranean laboratory.

Release Date:  January 10, 2020

Thoughts: Watching the preview for Underwater, I kept wanting to shout out “This trailer knows me, it really, really knows ME!”  Horror movie? Check. Underwater horror movie? Check check. Underwater horror movie with creatures from the deep picking off the crew of a felled sea lab? Check check check!  As excited as I was to see this, I can’t help but feeling a little nervous at the same time.  I just finished reading an exhaustive profile of star Kristen Stewart (Personal Shopper) and though it talked about several of her upcoming projects, there was not a peep about this one – strange, right?  Also, its January release date is either a smart move of counter-programming to clear out the post-holiday stuffiness or a keen way for Disney to quietly burn off a 20th Century Fox film that came with the studio when they purchased it.  I did a quick check online and until today there had been next to no news this movie even existed…much less that it had already received a PG-13 rating and a locked in release date.  Yet, nerves aside, I’m pulling for this one…if only to help me relive some 1989 nostalgia and resurrect some interest in titles like  DeepStar Six and Leviathan.

Movie Review ~ The Best of Enemies


The Facts
:

Synopsis: Civil Rights activist, Ann Atwater, faces off against C.P. Ellis, Exalted Cyclops of the Ku Klux Klan in 1971 Durham, North Carolina over the issue of school integration.

Stars: Taraji P. Henson, Sam Rockwell, Anne Heche, Wes Bentley, John Gallagher Jr., Bruce McGill

Director: Robin Bissell

Rated: PG-13

Running Length: 133 minutes

TMMM Score: (6/10)

Review: The filmmakers for Green Book haven’t even had their Best Picture Oscar on the shelf long enough to gather dust before another problematic movie on race relations has made it to theaters. Now I have a feeling that The Best of Enemies tells its tale with a bit more honesty and is unquestionably less outright manipulative but still…something feels off here. Though, like Green Book, it boasts two likable stars (one a recent Oscar winner) and is based on actual events, The Best of Enemies overstays its welcome by hammering home its message audiences will have received loud and clear early on.

It’s 1971 and Durham, North Carolina is still racially divided. Though laws on desegregation have chipped away at the antiquated restrictions at many institutions within the state, the schools remain separated by race. Continuing to fight for her civil rights and the rights of others was the outspoken Ann Atwater (Taraji P. Henson, What Men Want), a grassroots activist that wasn’t afraid to raise her voice to call attention to injustice within her community. On the other side of the coin was Ku Klux Klan leader C. P. Ellis (Sam Rockwell, Vice) who also felt like he was seeing the rights of another population of Durham being restricted. The two public figures were both respected within their individual circles and known to each other…and they didn’t care for the other one bit.

When a fire destroys part of a school that served the black children of Durham, it sparks a debate that leads to the city council voting whether or not to allow children of both races to attend the same school. At the same time, a court-ordered school desegregation decree has finally come into play but instead of being the deciding vote and making history, the district judge involved passes the decision down to the people of Durham. Through a structured two-week community meeting known as a charrette, Atwater and Ellis become co-chairs and lead a group of representatives from the city in deciding how they want to move forward on several key issues, the biggest being fully integrating their schools.

Writer/director Robin Bissell (a producer of The Hunger Games) has adapted Osha Gray Davidson’s book and while it’s clearly a labor of love, it is quite a labor to get through. At two hours and thirteen minutes, the movie takes a while to get moving and then just sort of treads water for a good sixty minutes rehashing what we already know or setting up more scenes of racial tension designed to elicit the appropriate rage from the audience. By the time the film reaches it’s predicted climax, audiences might be a bit numb after all the elevated dramatics Bissell introduces.

The saving grace of the movie lies in the casting and it starts at the top with Henson and Rockwell. Both are actors that invest themselves fully into their roles and that’s certainly the case here. Though Henson is sporting an almost comically large fake set of breasts, she brings a dignity and strength of soul to Ann who wrestles with wanting to practice what she preaches about acceptance even when the person on the other side won’t look her in the face. You may think Rockwell has played a version of this character already in his Oscar-winning role in Three Billboards Outside Ebbing, Missouri but the differences between the two men are vast. At the beginning of the film Ellis actually believes in the racist thoughts he spews forth but Rockwell takes us through each crack in his belief system as he spends time not only with the black members of Durham but other white people that don’t share his values.

There’s nice supporting work from Anne Heche (Volcano) as Ellis’ wife who doesn’t suffer fools…especially her husband, Wes Bentley (Interstellar) as the prototype KKK member of that era in that area, and Bruce McGill (Lincoln) as a crooked councilman. I also liked John Gallagher Jr. (10 Cloverfield Lane) as a local shopowner sympathetic to the integration that has to choose between what’s right for him and what’s right for his community. He shares a brief scene with Rockwell that hints at the kind of impactful moments the movie is sorely short on. Yet the film never takes off quite so much as when Henson and Rockwell are bickering or, eventually, seeing eye to eye.

Conceived as a historical piece documenting an important turning point in the Civil Rights movement but orchestrated as an audience rousing drama where everyone goes home happy, The Best of Enemies wants it both ways. It tries awfully hard, though, and that work doesn’t go unnoticed. Yet it winds up feeling like another strange misstep in Hollywood’s attempt to get a movie about the Civil Rights…right.

Movie Review ~ 10 Cloverfield Lane

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The Facts
:

Synopsis: After getting in a car accident, a woman is held in a shelter by two men, who claim the outside world is affected by a widespread chemical attack.

Stars: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.

Director: Dan Trachtenberg

Rated: PG-13

Running Length: 105 minutes

TMMM Score: (8/10)

Review: Boosted by a bold teaser trailer that left audiences riddled with questions, 2008’s Cloverfield was a fairly genius example of how the right marketing could create all the buzz that was needed to guarantee a healthy debut at the box office.  I mean, they didn’t even give the title of the film away…which drove audiences to fire up their Dell laptops and do some old fashioned sleuthin’ to find out more about the found footage flick. Was it a disaster movie? Was it a monster movie? No one really knew until the film was released…and was a bit of a dud in my book.  Undone by its hype, the hand-held filmmaking churned my stomach and lackluster plot developments frustrated way more than it frightened.

Fast forward to January of 2016 when Paramount revealed the trailer for 10 Cloverfield Lane…a mystery film that somehow managed to fly so far under the radar that even the most tapped in film fans were thrown for a loop.  In this day and age of spoiler heavy early reviews, I’d classify that as a not-so-minor miracle…so my first reaction was respect more than anything else.  Then I remembered how I felt going into Cloverfield and instantly started to lower my expectations so the buzz bar wouldn’t be raised too high.

So…before we go on…it’s next to impossible to talk about 10 Cloverfield Lane without going into certain details that may be considered minor spoilers. I’m going to do my best to keep it vague, but for those sensitive souls out there (you know who you are) tread carefully.

Ok?

Ready?

The first question you’ll want an answer to is wondering if this is indeed a sequel to Cloverfield.  Yes…and no.  I’d call it a sequel adjacent, related to events from the previous film but very much with its own story to tell.  This is both a good thing and a bad thing because the script was rewritten to fit into the same universe and it feels like it…especially in the third act when it becomes almost an entirely different film.  I’m getting ahead of myself though…

Michelle (Mary Elizabeth Winstead, The Spectacular Now) is running away…from what we’re not sure.  It could be her heard but not seen boyfriend (listen closely and see if you can pick out his Oscar nominated voice) or it could be life in general…we don’t know and it ultimately doesn’t matter.  After being involved in a violent automobile accident, she wakes to find herself chained to a wall in an underground bunker presided over by Howard, a twitchy survivalist (John Goodman, Argo, Flight) that makes sure she knows he’s her savior.  There’s a wicked whiff of Misery at play in these early scenes as Michelle comes to terms with her good Samaritan (or captor?) and the rules he has for life under the ground.

Why are they holed up there you may ask?  Well if you believe Howard there’s been an attack that’s left the world above ground in a desolate state of fallout that will take years to bounce back from. Do you trust Howard, though?  That’s the question Michelle and another shelter mate Emmett (John Gallagher, Jr) are troubled by the more time they spend in confinement and the more discrepancies they find in Howard’s version of events.  And with that, I think we’re at a good place to stop and let you find out for yourself the truth behind it all.

Made for a fifth of the budget of Cloverfield, the $5-million-dollar movie is a handsomely produced bit of entertainment that has its fair share of genuine shocks and out of left field developments. My jaw dropped more than once at what transpires, creating a giddy sense of old school movie-going fun that few films seem interested in tapping into.  If there are a few hokey moments, there’s enough good will generated to forgive some sloppy storytelling and iffy effects (though none as dreadful as the ones you’ll find in London Has Fallen) that don’t mar much of the overall experience.

With only eight actors listed in the credits, the film simply wouldn’t have worked as well without its cast, namely Goodman, creepy-as-all-get-out without doing much more than giving Winstead a once-over with his eyes.  Winstead, nicely plucky as a heroine that isn’t perfectly formed into a cookie-cutter robot is interesting to watch and a viable actress to root for even if we can tell she has some hidden backstory that may make us like her less if the situation was different.

First time director Dan Trachtenberg keeps the film racing along (the first time I checked my watch was 95 minutes in) in a most agreeable way, aided by Bear McCreary’s (Europa Report) pounding score.  The first 15 or so minutes of the film are dialogue-free, leaving McCreary’s music to tell the story and ratchet up the suspense for the remainder of the running time.  The score is almost a character in and of itself.

My best advice for you would be to go into 10 Cloverfield Lane with as little information as possible…you’ve come to the end of this review so you’re already clued in a bit but trust that I’ve saved the twists and turns of the movie for you to enjoy on your own.  A far superior effort than Cloverfield (though, to be fair, they are two totally different pictures), 10 Cloverfield Lane is worth a stroll.