Movie Review ~ Color Out of Space


The Facts
:

Synopsis: After a meteorite lands in the front yard of their farm, Nathan Gardner and his family find themselves battling a mutant extraterrestrial organism that infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

Stars: Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight, Q’orianka Kilcher, Tommy Chong

Director: Richard Stanley

Rated: Unrated

Running Length: 111 minutes

TMMM Score: (7/10)

Review: It may seem like a distant memory now, but there was a time when Nicolas Cage was a bona fide movie star that had clout at the box office and with the notoriously picky voters in several guilds/associations that handed out major awards. Winning an Oscar for Leaving Las Vegas in 1995, Cage was always a bit of an odd duck in his approach to his craft and his habit for driving his co-stars nuts (the female ones in particular) has been well documented as more than just idle Hollywood lore. Recently, Cage has seemed to revel in leaning in to the public perception of him and it feels like he pops up in some random movie every other month. I’m not sure when the man has time to sleep or get his well cared for hair system spiffed up but he’s an old school acting workhorse.

Though most of the films Cage stars in are indecipherable from the other, every now and then he finds himself in one that gets people talking. Back in 2018 that film was Mandy, a grim head trip of a horror movie that became a bit of an underground hit – inspiring late night showings and putting Cage back in the good graces of fans that hadn’t seen a movie of his in theaters for years. That movie was very nearly an art project, a true experience into hell that had an impressive style and some bold moves but ultimately didn’t thrill me as much as it did others that were welcoming Cage back into the fold. Now, just a little over a year later comes Color Out of Space, another strange foray into the unknown with Cage in the drivers seat but this time he’s in a vehicle that’s going someplace interesting.

Adapted from H. P. Lovecraft’s 1927 short story “The Colour Out of Space”, this isn’t the first time Lovecraft’s supernatural sci-fi has gotten the big screen treatment. Audiences first saw a version of it via the 1965 Boris Karloff schlocker Die, Monster, Die! and the one I remember fondly, The Curse from 1987 but for some reason within the last ten years it has become a hot property with two other versions floating around. For this retelling, the screenplay comes courtesy of Scarlett Amaris and director Richard Stanley and they’ve done a rather remarkable job updating Lovecraft’s story while maintaining much of his original set-up.  Though modernized, it’s quite reverential to Lovecraft and the nightmare he dreamt up.

The Gardner family has come to the tiny town of Arkham, Massachusetts for a change of pace. Raising llamas while trying to get his gardening business off the ground, Nathan (Cage, Valley Girl) is making the best out of a recent rough patch of setbacks. His wife Theresa (Joely Richardson, Endless Love) may have followed her husband from the city to the country but she hasn’t quite unplugged from her corporate life in doing so. Their children Lavinia (Madeleine Arthur, Big Eyes), Benny (Brendan Meyer), and Jack (Julian Hilliard, The Haunting of Hill House) are all adjusting in their own way with Lavinia opting to fully embrace her Wiccan ways and rituals now that she’s fully ensconced in nature’s beauty.

When Ward (Elliot Knight) a visiting water-surveyor enters the picture, he finds more than just a contaminated stream after a meteor crash lands on the Gardner’s property and begins to have a strange effect first on the flora and then on the family. At first, the changes are barely noticeable. New plants sprout up, unexplained phenomena increase in their occurrences. Then, those that drink from the water in the well begin to exhibit increasingly bizarre behavior until the extraterrestrial force that was contained within the meteor is fully unleashed, bringing with it an otherworldly terror. As the force gains power and begins to spread, the survivors have to evade a deceptive intelligence that aims to trick them into following it into darkness.

I was surprised at how effective Color Out of Space was for the majority of its run time. Largely, it’s a tense bit of entertainment with a heavy dose of the paranoid thriller and credit should be given to Aramis and Stanley for keeping things at a nice simmer for as long as they do. That’s quite a feat considering they have Cage in a role that is ostensibly the lead but who remains a bit in the background until the latter half of the film. You can see Stanley did his best to restrain Cage’s performance and I think editing had something to do with the finished product because Cage comes off quite well here. Sure, near the end he starts to whirl out of control but the film kinda calls for it and no one can swerve off a cliff quite like Nic Cage can. (I do wonder, however, if he was trying to emulate a certain impeached official when his character was having violent mood swings…I mean, it had to have been intentional, right?)

Along with Cage there’s a strong supporting cast with Arthur a real star in the making. There’s a worldly curiosity to her performance that makes for an intriguing character and a snappy rapport between all of the family members made me believe they all liked each other enough to withstand a good teasing. While his contributions are limited, Tommy Chong (Zootopia) is quite funny as a local off-the-grid stoner. It isn’t a stretch for Chong but he sells it with some flair. I continue to find Richardson a very underrated actress who has lived a bit in the shadow of her late sister (Natasha) and famous mother (Vanessa) throughout the years. She’s pretty great, especially when you consider just how far Stanley asks her to go in one scene.  Other actresses might have flinched but Richardson dives right in.

It’s interesting to note this is Stanley’s first feature film since he was famously fired from 1996’s remake of The Island of Dr. Moreau. The legendary tale of Stanley’s ouster from that movie has been recounted a number of times (including the fantastic documentary Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau, which is available on Amazon Prime) and judging by Stanley’s ferocious comeback he’s more than ready to get back to moviemaking without a lot of studio interference. Working with a budget around $12 million, Stanley and his visual effects crew have created an impressive looking world that is both a wonder to behold and frightening, often at the same time. There’s a particularly grotesque effect near the end of the film that should recharge the battery of any horror fan running low on gore fumes.

Though the film begins to lose some energy the further down the rabbit hole it goes and the characters start to make increasingly bad decisions, it’s absolutely one you should see if given the chance. I can see this one following a Mandy trajectory (though I found this far less intimidating and grimy) and finding an audience that responds to its mind-bending visuals, dynamic color palate, and shocking sequences of terror and violence. Even if it doesn’t all make sense all of the time, it’s more entertaining than I ever thought going in.

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.