Movie Review ~ The Silencing

Available In Theaters, On Demand and On Digital August 14, 2020


The Facts
:

Synopsis: A reformed hunter living in isolation on a wildlife sanctuary becomes involved in a deadly game of cat and mouse when he and the local Sheriff set out to track a vicious killer who may have kidnapped his daughter years ago.

Stars: Nikolaj Coster-Waldau, Annabelle Wallis, Hero Fiennes Tiffin, Josh Cruddas, Zahn McClarnon, Melanie Scrofano, Shaun Smyth

Director: Robin Pront

Rated: R

Running Length: 93 minutes

TMMM Score: (5/10)

Review: When talking about The Silencing I think it’s important to focus first and foremost on the good news of the situation.  While the new serial killer flick didn’t manage to make its debut at the South by Southwest film festival in Austin Texas this past March as intended, it is getting a nice release on demand and might stand a chance to do well for viewers in need of a quick thrill.  It also can’t be stressed enough that these middle of the road films harken back to a simpler time of B-movie filmmaking (we’re talking the late 70s through the mid-90s) when you could get one of these genre films every few weeks at your local cineplex.  In that respect, I say bring on more films of its kind and start making them soon – they fill a kind of Wednesday evening void that I need in my life.

Then there’s the other side of the coin where you have to step back and admit that a lot of The Silencing isn’t very good and aside from a strong lead performance from Nikolaj Coster-Waldau and a secondary character that might just be more interesting than the supposed star, it’s mostly forgettable.  Though it starts with some promise it will deliver on its premise of a fine mystery solved by ordinary people that act like human beings, it oddly shifts gears several times so that eventually you don’t know what direction the action is headed…and not in a good way.  So maybe I’d like to amend my earlier statement and say that I’d appreciate more movies like The Silencing…just not like The Silencing.

Haunted by the disappearance of his daughter five years ago, Rayburn Swanson (Coster-Waldau, Headhunters) has turned his large area of land into a wildlife sanctuary in her honor.  Though he continues to search for her by putting up fliers and combing local towns asking on her whereabouts, most of his small Minnesota town has accepted the hard reality of the situation.  Turning to his sanctuary and thoughts of preservation, he keeps an eye on video cameras set up within to ward off game hunters that come onto his property.  That’s how he spots a young girl being pursued by a figure in camouflage hunting her down with a Comanche weapon known for its deadly precision.

Intervening with the attack puts him in the middle of a murder investigation already in progress headed by Sheriff Alice Gustafson (Annabelle Wallis, Annabelle).  Bodies of girls have been found and in an election year, Gustafson is intent on catching the killer and restoring a reputation that has turned sour thanks to her troublemaking brother Brooks (Hero Fiennes Tiffin, Harry Potter and the Half-Blood Prince) who is always running afoul of the law and getting off with a slap on the wrist.  That doesn’t sit well with Blackhawk (Zahn McClarnon, Doctor Sleep) who represents the police for the Native American tribe of the area and has had to hand over Brooks one too many times.  Competing storylines are always tricky until they intersect because you know they’re going to overlap at somepoint…it’s just a matter of when.

How Rayburn and Alice eventually cross paths is where the film skips from developing nicely as a run of the mill standard suspense thriller to something much less pleasing and it’s a misstep screenwriter Micah Ranum never recovers from.  I wouldn’t dream of spoiling it for you but it’s such a achingly dumb error that you have to wonder if everyone involved thought what they were doing was an inspired bit of rug-pulling.  Not stopping there, Ranum upends some floorboards underneath the rug he pulls out from under audiences a little later on with another twist that makes no real sense which leads to a dénouement that mystery fans will have solved long before.  Try an experiment for me.  Watch the first twenty minutes of the movie.  Stop.  Think about everyone you’ve met.  Write down who you think “did it” and then continue on.  I’ll bet you get it right when the unmasking occurs shortly before the credits run.

Not for nothing but Coster-Waldau and even Wallis try to do what they can with these roles, with only Coster-Waldau having much luck convincing us he’s this broken shell of a man.  Wallis never sold me on her tough sheriff persona (or her American accent) and that robbed the character of some authority that was desperately needed.  Though he’s grown popular from the surprise hit After, Fiennes Tiffin is just a bundle of nerves and cuticle biting that grew tiresome.  The one to pay attention to is McClarnon as a wise deputy (and, coincidentally, Rayburn’s ex-wife’s new husband) who figures out something strange is going on and actually does something about it.  I’d be interested in seeing McClarnon get a starring vehicle in a similar vein as The Silencing and credit should be given to director Robin Pront for, if nothing else, this bit of solid casting.

That’s not to say The Silencing signifies nothing.  I applaud the effort to instill some Native American lore and information on primitive weaponry as well, it’s not often these details are included.  There are some well shot sequences and while any Minnesotan like me knows the scenery on display is in no way found in our state, the Canadian locales captured by cinematographer Manuel Dacosse are impressive.  Those in the mood for an easy thriller that doesn’t demand a lot of your attention and are OK with some sag in the middle (it’s about 12 minutes too long in my book) will likely find what they need out of The Silencing.  Me?  I needed a little more noise for it to strike the right chord.

Movie Review ~ The Shadow of Violence


The Facts
:

Synopsis: In rural Ireland, ex-boxer Douglas `Arm’ Armstrong has become the feared enforcer for the drug-dealing Devers family, while also trying to be a good father to his autistic five-year-old son, Jack.

Stars: Cosmo Jarvis, Barry Keoghan, Niamh Algar, Ned Dennehy, Kiljan Moroney, Anthony Welsh, David Wilmot

Director: Nick Rowland

Rated: R

Running Length: 101 minutes

TMMM Score: (8/10)

Review:  Even though we’re in the midst of a national health crisis, household chores still need to be done just like movies need to be watched and reviewed.  So the other night, I knew I had The Shadow of Violence coming up in my queue to screen and thought I’d kill two birds with one stone and do a little cleaning while I watched the film.  Now, when a movie is involved I’m not the kind of multi-tasker than can truly do two or three things at the same time…I’m more of a one and a half tasker-type so anything I pair with a movie has to be something that’s truly mindless.

Reading the description of The Shadow of Violence (previously titled and released in some international territories as the more interesting Calm with Horses, which is taken from the short story the movie is based on) I thought I’d be safe going about my movie and a half task.  After all, you’ve seen one quiet thug working for a dangerous family who turns out to be not so bad crime drama before, you’ve seen them all.  Right?  Well, in the case of this hard-nosed and surprisingly intriguing film from Ireland it shows there’s still room for effective storytelling within a genre that’s seemingly been played out.  It wasn’t too long into things that I found myself absorbed into the action, leaving all thoughts of my other work behind and intently watching director Nick Rowland’s unpredictable corker.

You’d be forgiven if you watched the first ten minutes of The Shadow of Violence and thought you’d found your way into yet another cliché-ridden film about small-time gangsters in an even smaller town.  Beefy brawler Arm (Cosmo Jarvis, Annihilation) is the muscle the notorious Devers family uses when they want to send a message.  Haunted by a past he can’t change and living in a present he can’t fix, Arm goes through the motions as a means to an end in order to provide for his  developmentally challenged son and estranged girlfriend (Niamh Algar).  Struggling to be a good father that shows up for his son but lacking the maturity to deal with a child that needs his full attention, Arm takes his guilt out on whatever sad soul the Devers send him to rough up.

In service more as a henchman to Dympna Devers (Barry Keoghan, The Killing of a Sacred Deer)  than to any one of his more fearsome elder relatives, we first meet Arm doing menial bloody knuckle work on those that have run afoul of the Devers good will.  Things turn dark though as Arm is drawn into a web of betrayals when he becomes part of a family dispute that sours quickly.  Forced into a life or death situation that winds up putting him in a moral dilemma, Arm makes a choice that has a ripple effect throughout the Devers family, the town, and his own home.  Now, having to navigate through a system of deceit while ensuring the safety of his family, Arm brings those he fears closer while trying (perhaps in vain) to shield everyone around him from a wrath waiting to be unleashed once he is discovered.

It’s nice to find movies like The Shadow of Violence which, despite their dime-a-dozen title, and less than inspiring tagline turn out to amount to far more than what you see on the surface.  Working from screenwriter Joseph Murtagh’s adaptation of Colin Barrett’s short story, Rowland lets the film’s first act develop at a leisurely pace…almost too leisurely at times because with so many characters introduced you start to lose track of who is related to whom.  He snaps things back nice and taut, though, for the final half and delivers an unexpectedly rich examination of a bruised soul that sought redemption in the worst place possible who winds up finding some semblance of hope where it had been all along.

I had no trouble buying Keoghan as the unhinged enfant terrible of an already nasty family.  The actor’s tendency to oversell his intentions winds up working for him here and Dympna makes for an interesting quasi-villain you kinda can’t stop wanting to see more of.  Speaking of seeing more of, Algar’s performance as Arm’s fed-up significant other is gutsy and boldly memorable, a not easy task when sharing the screen with the likes of the scene-chewing Keoghan and the quiet magnitude of Jarvis.  It’s Jarvis that makes the movie work when all is said and done – you have to buy this thuggish bloke would have a brain and heart to go with his muscles and in scene after scene Jarvis keeps us rapt.

There’s a bleakness to the film that will be off-putting for some and I can understand not wanting to go to that place right now.  However, if you’re up for something that feels familiar but is handled with a fresh and feisty spirit, you’re going to want to find your way to The Shadow of Violence to meet the Devers familyIt’s a gritty visit to the Irish countryside that packs a nice punch.

Movie Review ~ We Summon the Darkness


The Facts
:

Synopsis: Three best friends cross paths with sadistic killers after they travel to a secluded country home to party.

Stars: Alexandra Daddario, Keean Johnson, Johnny Knoxville, Logan Miller, Maddie Hasson, Amy Forsyth, Austin Swift

Director: Marc Meyers

Rated: R

Running Length: 91 minutes

TMMM Score: (6/10)

Review:  I find that more and more I’m an easy target for any movie that starts out saying it is set in the 1980s.  Maybe because it’s the decade I was born and started to gain some consciousness (movie consciousness came in the 1990s, though) but there’s something so fun and carefree about the 80s that lends itself well to a retro bit of cinema.  For comedies, it’s a slam dunk to set your film in the Carter or Reagan era of our timeline but for the horror genre it’s especially wild because you’ve then freed yourself from the technical advances of future decades that make being stranded at a remote location that much more easy to navigate out of.

I hadn’t known We Summon the Darkness was set in 1988 before I started it on early Sunday morning so it already began on a high note.  In all honesty, I went into this one as blind as possible and knew nothing save for the synopsis that you can read for yourself above.  That’s really the best way to go into this because it has a twist that I wouldn’t dream of spoiling and it’s revealed pretty early into the feature.  Genre aficionados will probably spot it before the characters onscreen do but it’s a tribute to writer Alan Trezza and director Marc Meyers that they are able to keep things under wraps as long as they are able to.

Girlfriends Alexis (Alexandra Daddario, Texas Chainsaw 3D), Val (Maddie Hasson, Novitiate), and Beverly (Amy Forsyth, Beautiful Boy) have hit the road for a trip to a local concert.  Stopping at a gas station for some refreshments they’re alerted to a rash of cult killings of teenagers that have been plaguing the area so the audience knows they have been fairly warned for whatever happens next.  At the death metal concert they buddy up with Mark (Keean Johnson, Alita: Battle Angel), Kovacs (Logan Miller, Love, Simon), and Ivan (Austin Swift, Live by Night) and they all agree to go back to Alexis’ parents’ home after to continue the party.  At the sprawling manse that is appropriately cut-off from anyone that could interfere, the six will go through a night of hell…but it’s not totally what you think.

The previews for We Summon the Darkness have given away some of the major twists and that’s unfortunate because going into the film without that knowledge made the lead up an enjoyable bit of suspense and misdirection.  Being robbed of that would, I think, dampen the entertainment value so it’s up to you if you want to have that experience cooled a bit – I think you should just go headfirst into the bloody nightmare Trezza and Meyers have cooked up because it’s not only a lot of fun but it’s fairly funny as well.

As is the case with many of these types of horror films that are laced with comedy, the laughs start to grow old about as fast as the blood dries on the victims and it wouldn’t be fair to let the filmmakers off the hook and say the movie is smooth sailing.  While there’s little spared in terms of blood, gore, and guts, the humor starts to get repetitive and grating around the 70 minute mark and that’s just about the time Johnny Knoxville (Teenage Mutant Ninja Turtles) turns up as Daddario’s Bible-thumping televangelist preacher papa.  Knoxville’s presence is not needed here as the younger actors are holding things down just fine (Hasson and Forsyth are both standouts) but he’s given a longer leash that required and he drags the taste level down a bit.  Thankfully, it recovers nicely for a decent finale which pulls no punches.

Add We Summon the Darkness to the growing list of watchable horror films that are harmless distractions during this quarantine.  I’m not sure we’d be as forgiving if there was an abundance of other films in theaters to watch…but then again we likely wouldn’t be devoting much attention to smaller movies like this in the first place.  So, in that regard, I’m glad indie horror films like We Summon the Darkness are getting viewed at all.  Meyers and his team are clearly talented and know their way around the genre, with some editing of the script it could have been even better.

Movie Review ~ Vivarium


The Facts
:

Synopsis: Hoping to find the perfect place to live, a couple travel to a suburban neighborhood in which all the houses look identical. But when they try to leave the labyrinth-like development, each road mysteriously takes them back to where they started.

Stars: Jesse Eisenberg, Imogen Poots, Jonathan Aris, Eanna Hardwicke, Senan Jennings

Director: Lorcan Finnegan

Rated: R

Running Length: 97 minutes

TMMM Score: (4/10)

Review:  There’s a great show on Netflix that I’m sure you’ve heard of: Black Mirror.  It’s a nice little analysis of the dark side of advances in technology and while the creators have found interesting ways to drop slight ways that episodes are tied together, they are by and large stand alone tales that are often disturbing and eerily prescient.  Watching the overlong and overstated Vivarium, I kept thinking back to the efficient way that Black Mirror (or even old shows like The Twilight Zone or The Outer Limits) were able to condense their thoughts and ideas into a concise statement rather than ramble on with little to say above and beyond their logline.  I get a sense that writer/director Lorcan Finnegan and his co-writer Garret Shanley had a good nugget for an episode of a TV show here but unwisely were advised to expand on it and make it feature-length.  The result is a film that begins intriguing but quickly turns tedious.

Young couple Gemma (Imogen Poots, Green Room) and Tom (Jesse Eisenberg, The End of the Tour) are looking to buy their first house together and have heard about a new development nearby that might be good to get an early jump on.  A robotic but benign salesperson (Jonathan Aris, All the Money in the World) lists the benefits of the manufactured community but feels it’s better just to show them around the neighborhood instead so they follow him, not paying any real attention to where they are headed.  When the salesperson disappears halfway through the tour and they can’t seem to find their way back to the main road, they are forced to spend the night in the model home…the first of many, it turns out.  Unable to leave the neighborhood and eventually trapped within their own hell house, the couple tries to escape by any and all means necessary.

At 97 minutes, Finnegan and Shanley only have so much room (and characters) to throw at audiences and sadly the usually reliable Poots can’t shoulder the entire movie on her own.  Eisenberg is his typical low-key milquetoast, prone to fits of anger when provoked but mostly an uninteresting presence.  So it falls to Poots to keep us tuned in and there’s just not enough going on in the neighborhood to make us want to stick around.  If it were only 45-50 minutes, I could see this being a tighter and more engaging watch that wouldn’t allow us time to check out watches.  Add in the appearance of a character prone to a deafening primal screech when they don’t get their way and you have the recipe for a movie that gets its eviction notice long before the credits roll.

Movie Review ~ The Night Clerk


The Facts
:

Synopsis: While on duty, a young, socially challenged hotel clerk witnesses a murder in one of the rooms but his suspicious actions land him as the lead detective’s number one suspect

Stars: Tye Sheridan, Ana de Armas, Helen Hunt, John Leguizamo, Johnathon Schaech, Jacque Gray

Director: Michael Cristofer

Rated: R

Running Length: 90 minutes

TMMM Score: (6/10)

Review:  As a lifelong fan of all things mystery and thriller, I’ve come to know my way around a whodunit.  At first, being able to decipher the plot twists and guess the solution early on in a film was frustrating because I felt I was somehow being let down by the movie not playing its cards closer to the chest.  I wanted to have to work to figure it out – that’s the fun of it all, right?  Well, as I kept watching over time I found that it became more interesting to see what else the film was offering up even if it couldn’t keep its secrets safe until that final reel.  Often, I’d wind up appreciating performances more when I saw how they lined up with where the outcome was heading and that showed signs not of a weak script but a well-thought out one.

I mention this at the beginning of my review for The Night Clerk because the murder mystery plot that writer/director Michael Cristofer uses is well-worn and easy to solve almost from the top.  I wouldn’t dare spoil it but Cristofer has not built this tale on a series of complex plot machinations and, y’know, I think that helps the movie at the end of the day because it allows for more interesting moments to emerge.  Though working with a tiny budget that doesn’t call for much in the way of sets or location shooting, Cristofer has assembled an appealing cast that approaches the material as a drama first, a mystery second.

Working the late shift for a modest hotel chain, Bart Bromley (Tye Sheridan, Mud) is trying his best to overcome his socially awkward ways.  Clearly on the spectrum but high functioning and living in the basement of his mother’s house, Bart has taken to hiding video cameras in the hotel rooms but not for the reasons you may think.  Instead of being a peeping Tom, Bart observes the way the guests interact and models his speech patterns and conversation starters off of the topics he overhears.  While he still eats the meals his mother prepares alone in the basement as she dines solo upstairs longing for her son to sit with her, you can tell he’s trying to forge some kind of connection that makes sense to him.

Thriving off his routine, Bart’s precision and order is upended after a guest is murdered while he watches remotely, unable to help, on his video monitors.  He’s haunted by the event but unable to say anything to his mother (Helen Hunt, The Sessions) or the cop assigned to the case (John Leguizamo, American Ultra) who can tell Bart knows more than he’s letting on and is further perplexed by Bart’s over-interest in the homicide.  Complicating things further is another guest at the hotel, a mysterious beauty (Ana de Armas, Knives Out) that seems to understand and accept Bart more than others.  Is she the kind soul he’s been waiting for, or is there another plot underway that’s tied back to the earlier murder?

Surprisingly, the murder plotline and everyone associated with it (including Johnathon Schaech’s hammy overacting as a grieving widower) becomes the least interesting part of Cristofer’s film once de Armas arrives.  As Andrea, at first you wonder if she’s just a figment of Bart’s imagination until you realize that isn’t the kind of movie Cristofer is trying to make.  The enigmatic figure struts into Bart’s life late at night and captivates him for all the right reasons.  Sure she’s beautiful but she also appears to be a genuine person and the scenes Sheridan and de Armas share are quite good and interesting to watch.  It’s always a gamble when someone without autism takes on a character on the spectrum but Sheridan doesn’t make Bart a jumble of tics and clichés.  He slightly overdoes it at times but for the most part, it’s an admirable take on the challenge.

Running a trim 90 minutes, the interludes with Sheridan and de Armas can’t carry the entire running length and when Cristofer attempts to pull a series of last minute twists it starts to fall apart a bit because he’s tugging at too many strings all at once.  I would have been more interested in this one if it was just a drama about two people that found each other in an unlikely situation and managed to develop something interesting out of it.  Introducing some seedier elements cheapens that special relationship Sheridan and de Armas create but it doesn’t take away from it fully.  Worth checking this one out if you can catch it on your streaming service.