Magic (1978)

Magic (1978)                                                   3.5/5

Directed by Richard Attenborough

Anthony Hopkins, Ann-Margret

In this 70’s horror, magician Corky Withers (Anthony Hopkins) creates a popular stage act by including a foul-mouthed ventriloquist dummy called Fats. However, when his manager Ben Greene (Burgess Meredith) scores him a potential TV pilot, Corky is scared into hiding, going back to his hometown where he finds his high school crush Peggy (Ann-Margret). As his passions for her reignite, tension also mounts due to Corky’s strange relationship with Fats.

The plot is eerie, walking the fine line between psychological and paranormal. As is common for older films (especially, it seems, for the horror genre) the pace is much slower than a modern audience might expect. Some scenes seem unnecessary, while others simply take too long to build tension. Given the time in which it was made, however, these issues are forgivable, especially given the successfully creepy feeling that the entire story achieves.

Thematically, there is an interesting dynamic set up which compares the troubled relationship of Peggy and her husband Duke with the strange relation between Corky and his dummy Fats. The comparison that the film makes is interesting, with a fair amount of depth. Other themes are touched on briefly (Corky’s upbringing is shown in a few vague flashbacks, and Greene makes an interesting statement about the nature of the camera’s objective sight towards the beginning), but seem to be left aside in favour of the time spent in Peggy’s company.

Visually, there are a few intriguing techniques. Most cinematographic flourishes are used to emphasize the relationship of Corky and Fats. One particular scene is a spectacular use of tense stillness, as Corky and Greene sit across from one another in silence. As the camera circles around Corky, it rests behind Fats, replacing Corky’s face with that of Fats. Attenborough makes a few attempts at eye-catching visuals such as this, but for the most part the cinematography is just simply unobtrusive, successfully telling the story without much interruption. One exception is a particularly awkward-looking sex scene, complete with absurdly cliché romance music. The camera focuses on single shots for an extended period as the actors embrace, but in a way that does not come across as particularly erotic nor romantic.

The performances are incredibly uneven, but are at the very least functional. The majority of scenes involve explosive highs which drown out any real subtlety in the acting. At any given time, a character seems to be either getting angry, yelling, or crying. There are a few shining moments, but for the most part the film is highly overacted and altogether melodramatic. These performances work however, in that such explosive personalities build a sense of eerie tension that helps to further the horror aspect of the film. Some of the better moments include the aforementioned silent moment between Corky and Greene (in which Burgess Meredith delivers one of the best performances in the film, incorporating adequate tension with spectacular subtlety), as well as a scene towards the end when Corky argues with Fats in which Anthony Hopkins delivers a spectacular version of a man gone completely insane.

Overall, Magic is an eerie film which walks the line between psychological and paranormal horror. It has a number of issues, including a lengthiness typical of older horror films as well as uneven and altogether melodramatic performances, but it is sure to produce the desired uneasy feeling in its audience, especially for those who share this reviewer’s particular distaste for ventriloquist dummies.

This review was requested by Daniel Turres.

Have a film you would like to see reviewed?

Contact me at tvatthemovies@gmail.com

Heartless (2009)

Heartless (2009)                                                3/5

Directed by Philip Ridley

Jim Sturgess, Clémence Poésy

In this British horror film, photographer Jamie Morgan (Jim Sturgess) shies away from others due to several large birthmarks which cover half of his face and his arm. While out taking photos one evening, he witnesses a group of strange creatures in hoodies attacking someone. As he discovers more about these creatures, he must deal with the consequences of the choices he makes, delving into a horrifically surreal world.

The plot feels very complete, but in a somewhat heavy-handed fashion. Many events seem like unnecessary additions in an attempt to add complexity. Ridley (who also wrote the film) manages to bring all plot elements to a satisfactory conclusion, however, tying everything together despite seeming convoluted at the outset. Every point is accounted for, but it seems that those points are unnecessarily numerous. It is also quite predictable, using a fairly standard story arc, but it does manage to successfully tell the story.

Thematically, there is a great deal of symbolism and richness. Themes of love, death, and beauty are all handled nicely. The script and its execution make for an intelligent subtextual dialogue.

Visually, the effects are nicely suited to the horror genre. The makeup for Jamie’s birthmarks has the perfect amount of subtlety, making them noticeable but not overly grotesque. The cinematography is executed nicely, adding to the rich themes as well as setting the mood of each scene. Lighting also plays a major role in the atmospheric impact of the film. The visuals are hampered, however, by intrusively cliché music at various points, which is particularly frustrating given that other scenes make effective use of silence. In this respect, the sound is uneven.

The performances are spectacular, aside from some pieces of unnecessary dialogue. Small, offhand lines meant to inform the audience of what is happening show up at several points, implying that the audience is incapable of following along otherwise. For example, when one character picks up a set of keys which have a distinctive keychain seen earlier in the film, the character reminds the viewer whose keys they are. Unnecessary dialogue aside, the acting is of a very high quality. Sturgess presents a fully realized character, adopting the idiosyncrasies of a nervous man who tries to hide one side of his face. Clémence Poésy does a wonderful job as Tia, Jamie’s love interest in the film. A special mention goes to Noel Clarke who plays Jamie’s neighbor A.J., injecting the perfect amount of charming, friendly humor into his character.

Overall, this is a decent horror film worth checking out during the Halloween season, particularly for fans of Jim Sturgess. Some unnecessary elements hold it back from being truly great, but with a complete story and thematic depth, it is still a good film.

This review was requested by Liz Patrick.

Have a film you would like to see reviewed?

Contact me at tvatthemovies@gmail.com

Haute Cuisine (2012) Reviewed for The Beat Magazine

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1863-haute-cuisine-a-genuine-story-full-of-sincere-characters

Nine Queens (2000)

Nine Queens (Nueve Reinas, 2000)               3.5/5

Directed by Fabián Bielinsky

Ricardo Darín, Gastón Pauls

In this Argentine Crime film, rookie con artist Juan (Pauls) is found working a job by veteran con artist Marcos (Darín). Seeing an opportunity, he decides to take Juan under his wing. Later that day, Marcos is approached by a former partner with the con of a lifetime - but can Marcos and his new partner pull it off?

The plot is intelligent and moves at a comfortably fast pace. The writing is clever enough to be believable, but rather predictable at certain points. The premise is interesting, and is pulled off nicely, which makes for an entertaining story.

Thematically, the film is fairly simple, sticking to classic con-man themes of trickery, trust, and greed. Bielinsky does not necessarily break new ground, but manages to get his point across in an effective and entertaining way.

Visually, the cinematography plays a major role in setting the scene, both in mood and in pacing. The first scene of the film uses an interesting single-camera sweep through a convenience store, and a later shot is quite striking as the camera spins in circles around two characters. These techniques may not be innovative, but they are well executed and effectively used. The cinematography and editing of the film demonstrate a deep knowledge of pre-existing techniques and how to make proper use thereof. The exception may be that the film sometimes lacks the visual intensity to match what is happening on-screen. Close-ups are rare, not even being used when Marcos threatens to kill someone. This could be an intentional technique to suggest that the threat is idle, but it is not the only point at which what happens and what we see do not match intensities.

The performances are well done, if a little simple. The film calls for a sense of underhanded greed and emotional detachment from Darín, and he delivers quite well. Where he truly comes alive is when the score is at risk, showing convincing panic and constant calculation. Pauls also does an excellent job as the kind hearted Juan, a man who needs to make some cash but is only good at something he is morally conflicted about. A special mention goes to Tomás Fonzi who plays Federico, Marcos’ naive younger brother. Fonzi does an excellent job as the wide-eyed innocent who is perhaps too quick to believe in the goodness of his brother.

Overall, this film is entertaining, and intelligently written. Not much in the film is new or innovative, but what the film does, it does well. If you are a fan of films about con-men pulling “the big score”, this is a worthy choice.

This review was requested by Christian Turres.

Have a film you would like to see reviewed?

Contact me at tvatthemovies@gmail.com

Incendies (2010)

Incendies (2010)                                                4/5

Directed by Denis Villeneuve

Lubna Azabal, Mélissa Désormeaux-Poulin

In this French-Canadian drama, twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) are each given a task after the death of their mother Nawal (Lubna Azabal): Jeanne must find their father whom they never knew, and Simon must find their brother whom they never even knew existed, to deliver a letter to each of them. The search sees them retracing their mother’s life growing up in a war-torn Middle Eastern country.

The plot is elegant, emotional, and superbly crafted. The character-driven narrative switches between the twins’ search and the mother’s life fluidly. The film is as simple as it is shocking, emotional yet contemplative.

Thematically, the film is well-focused with excellent use of symbolism. The theme of religion is particularly fascinating: it plays a major role in the plot, and yet Nawal herself says early on in the film, “We stand for peace. This is not about religion.” The theme pervades the film, taking the stance that peace should be more important than religion, especially in the face of war and death.

Visually, the film starts with difficulty, involving many shots which linger far past what is necessary, causing the frame to become stagnant. It becomes evident later on, however, that these techniques can be used for dramatic effect. For example, at various points during the film, a conversation will occur, but rather than using a long shot or a typical shot-reverse-shot, only one character will be shown. Early in the film, this seems unnecessary, but when used at a later point, the stylistic choice has proper context and adds dramatic emphasis to the plot as well as the dialogue.

The performances are brilliant, especially from the three main characters. Azabal plays her role with wonderful subtlety, adding dimensions of fear and determination to the strong-willed Nawal. Désormeaux-Poulin and Gaudette play off of one another spectacularly, creating a genuine sense of siblings supporting one another during such a difficult journey. In their individual scenes, the actors also find depth in their characters. Jeanne is strong-willed like her mother, but without the same harrowing life experiences she has a sense of naive exploration which, combined with the determination she also shares with her mother, allows her to push forward with her journey even when facing difficulty. Simon plays as a man who is resistant to the idea of following his mother’s past, not because he does not care, but because he is worried about what troubles he may uncover in her past.

Overall, the film is a moving piece about the trials of war and the search for one’s roots. Despite a lengthy buildup, the payoff is surprising and thought provoking. It is certainly not casual entertainment, but for anyone who enjoys foreign-language films with a strong message and an emotional plot, this film is exceptional.

This review was requested by Mary Vickers.

Have a film you would like to see reviewed?

Contact me at tvatthemovies@gmail.com

Don Jon (2013) Reviewed for The Beat Magazine

My first review for The Beat Magazine is now available; see what I thought of Joseph Gordon-Levitt's directorial debut, Don Jon (2013)!

http://www.thebeatmagazine.ca/index.php/cinema-reviews/1853-don-jon-a-romantic-comedy-for-today-s-sex-obsessed-culture

Gravity (2013)

Gravity (2013)                                                   4/5

Directed by Alfonso Cuarón

Sandra Bullock, George Clooney

In this present day sci-fi, Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) are astronauts out on a repair mission when events cause them to lose contact with Mission Control (voiced by Ed Harris). The team is left adrift in space, trying to find their way home.

The plot is suspenseful, with enough plausibility to keep the audience engaged. The film does, however, rely heavily on external factors to move forward in an exciting way, meaning that it is not terribly character-driven. Problems that arise do so as and when it is convenient to the narrative. Where a film is better off showing characters reacting to a given situation, the film chooses to invent new situations for the characters to react to.

Thematically, the film is rich, if a little obvious. Symbolism, metaphor, and allegory are visible throughout, tying into themes of persistence, isolation, and loss. One particular shot has Stone curled into the fetal position, a cable protruding to symbolize the umbilical cord; such visuals are noticeable at various points, lingering long enough for the audience to understand the significance and contemplate its connections.

Visually, the film is absolutely exquisite. The cinematography involves smooth, fluid movement, and in some ways causes “Space” to take on a character of its own. The special effects work is state of the art, creating dazzling images of Earth. The pacing is brilliantly executed with the speed of camera sweeps and strategically placed cuts. Reflections are also used extensively throughout the film, whether to give a sense of movement as a character spins in circles while floating, or to create a contemplative tableau in a moment of relative ease. 3D is used expertly in the film, subtly enhancing the visuals rather than creating gimmicky moments of cheap thrill. A special mention goes to the interplay between sound and silence, as the subtle yet epic score cuts suddenly to mirror events within the film. The film is perhaps the most realistic depiction of space-sound in a sci-fi, withholding booming explosions where other films may have used them unrealistically.

The performances are exactly what could be expected of the actors, offering comfortable roles for the stars, but not challenging them in any significant way. George Clooney plays a charismatic leader who is able to keep a calm head in the face of chaos, and Sandra Bullock plays the nervous rookie with a tragic past who is determined to fight for survival, even if she loses hope a few times throughout. Both stars play their roles expertly, but perhaps only because this is familiar terrain. It could be said that this is the work of good casting, but it seems more likely that the material is not emotionally challenging enough for such major names. That said, the physicality of their roles is impressive: how much of what the characters are seen doing is CGI and how much is real, this reviewer can’t say for sure, but regardless of the extent to which it is their own doing, it is still very hard, commendable work. The first act of the film, before any serious problems arise, is a light and entertaining introduction to the characters, offering great interplay between not only Bullock and Clooney, but Harris as well. The characters create a fun dialogue that mixes serious work and playful banter. Another crew member named Shariff (voiced by Paul Sharma) is wonderful comic relief, but really only serves as a plot device in the long run of the film.

Overall, the film offers a chilling plot, rich yet somewhat obvious themes, and comfortable performances from seasoned actors. The greatest draw of this film is its phenomenal visuals, from the CGI work to the cinematography, and the sound that accompanies these beautiful images. For this reason, the film is certainly worth seeing, especially while it is still in theatres; for the full effect, it is recommended that you spend the extra money to see it in 3D, as the film takes full advantage of the technology without being overly obnoxious.

The Elephant Man (1980)

The Elephant Man (1980)                            4.5/5

Directed by David Lynch

Anthony Hopkins, John Hurt

In this classic drama which is based on a true story, Dr. Frederick Treves (Anthony Hopkins) discovers the terrible living conditions of carnival freak John Merrick (John Hurt), better known as “The Elephant Man”. In trying to save Merrick from a life of exploitation, however, concerns arise that he has only been taken from one cruel spotlight and cast into another.

The plot of the film is exceptionally rich, yet spectacularly simple. The pace may be somewhat slower than what the current average audience is used to, but perhaps not unintentionally so; the entire film seems to be a celebratory homage to classic black and white films of the 40’s and 50’s. The story, which takes place in Victorian England, is a tragic tale which lends itself perfectly to the conventions of a classical melodrama, but with a modernized (at least to the early 80’s) perspective.

Thematically, the film is rich and complex. The aforementioned slowed pace allows for contemplation and reflection, as the film ponders the nature of humanity, the extent of inhumanity, and the morality of doing a good thing for the wrong reasons. The themes of the film are perfectly encapsulated in Hurt’s most famous line, “I am not an elephant! I am not an animal! I am a human being!”

Visually, the film has all the excellence and signature uniqueness that is to be expected from a David Lynch work. The sense of space and mise-en-scene, as well as the framing and camera movement, are all perfectly executed, creating purpose and emotion wherever it is necessary. Some may find Lynch’s use of montage alienating, especially fading montage which overlays various images for meaningful contrast. Scenes such as these, which occur first at the beginning and then a few times throughout, have a spectacular artistic flair which complements the traditional melodrama. If you are looking for a simple film that doest not warrant much thought, this may not be the film for you, but the film will certainly make you think and, moreover, feel.

The performances are perfectly balanced and exceptionally cast, aided by spectacular writing. Every character has the exact amount of depth as is needed for the quantity of the role. Hopkins shines as Dr. Treves, a sympathetic but conflicted man who worries not only that he brought Merrick to the medical society for personal notoriety, but that Merrick's new placement is simply another spotlight for the upper-class to treat him as a curiosity. John Hurt is absolutely brilliant as well, embodying the tortured soul of Merrick, a man who was born into cruelty and nervously seeks acceptance from others, as well as a desire to simply be treated as a human. The supporting characters, such as Hospital Governor Carr Gomm (John Gielgud) and the Mothershead (Wendy Hiller), are a perfect balance of caring for the fate of Merrick while also posing the question as to whether the hospital is the proper place for him. The wicked characters in the film fulfill their roles perfectly, such as Bytes (Freddie Jones), Merrick’s former “owner” and the man who ran the freak show at which “The Elephant Man” was the greatest attraction, as well as the Night Porter (Michael Elphick) who took money from people in order to bring them to Merrick at the hospital and mistreat him as though he were still a carnival attraction. These characters illicit some of the strongest emotions in the film, playing into a cathartic sense of rage and injustice, and creating a wonderful foil for the lead characters in their tragic sincerity.

Overall, this film is a masterpiece. It may not be the perfect film for everyone, as it is certainly not “light” entertainment; it is, however, a passionate, contemplative, rich film that will illicit the strongest of cathartic emotion from most anyone who gives it the proper respect and thought it deserves.

This review was requested by Daniel Turres.

Want to request a review? See the "Contact Me!" sidebar.

The Frozen Ground (2013)

The Frozen Ground (2013)                           2.5/5

Directed by Scott Walker

Nicolas Cage, John Cusack

In this “based on a true story” crime thriller, Alaska State Trooper Jack Halcombe (Nicolas Cage) is on the hunt to stop Robert Hansen (John Cusack), a suspected serial killer. Halcombe works together with Cindy Paulson (Vanessa Hudgens), a girl who managed to escape Hansen, trying to build a strong enough case to bring the man to justice.

The plot is a standard crime procedural, offering little in the way of unique twists or innovation. It seems Walker believed that by basing the film on a true story it would ground the film in reality, thereby making it unique and original, but instead the film is entirely plot-driven, playing as the retelling of a series of events rather than as a group of characters interacting.  That said, the film does a good job of keeping a thrilling pace, moving along intensely even if there is nothing happening that has not already been seen.

Thematically, the film primarily deals with family and death, particularly when Jack and Cindy sit together and discuss their troubled pasts. Unfortunately, the film is far too focused on the format of a standard crime procedural to really delve deep into either subject. As focused as the film is on its plot, it leaves little time to develop a deeper meaning, and any message to be found has already been delivered time and again by other films similar to this one.

Visually, the film opens with a picturesque aerial shot of the Alaskan wilderness, but proceeds to fall into issues of poor blocking and camera movement; As Halcombe speaks to various other officers, often while walking down some hallway or another, the camera movement can be intrusive, as objects obscure the view of the characters seemingly by accident. Other times, turning a corner results in inexplicable quick cuts between several different angles when it would have been much smoother to place the next shot around the corner and cut between the two parts of the hallway. The film recovers somewhere in the second act, however, abandoning the excessive hallways, and manages to offer interesting use of a Point Of View shot as well as a beautifully serene break in the action as Cindy finds a moose wandering through an alley in town.

The performances in the film are impressive, in spite of the fact that the dialogue is very cliché. Cage and Cusack play well as hero and villain, playing their roles exceedingly well, if only because these are roles that have been done by these same actors before. Hudgens lends perhaps the greatest emotional depth to any character in the film, playing the troubled young woman who has endured many hardships in her life on the street. The casting for this film was exceptional, from Cage and Cusack to Hudgens, to minor characters such as Dean Norris, who plays a Police Sergeant rather similar to his character Hank Schrader on the hit television series Breaking Bad. Other notables include Kevin Dunn (Sam Witwicky’s father in the Transformers films by Michael Bay) and rapper 50 Cent, who believably plays a pimp.

Overall, the film suffers a variety of issues, owing mainly to its plot-driven and unoriginal narrative. However, the film is still watchable, and may be the right choice for anyone addicted to crime-procedurals who has exhausted the library of more highly recommended titles.

100 Bloody Acres (2012)

100 Bloody Acres (2012)                                   3/5

Directed by Cameron and Colin Cairnes

Damon Herriman, Angus Sampson

In this Australian horror-comedy, brothers Reg (Damon Herriman) and Lindsay (Angus Sampson) run a successful fertilizer business using a “special” blend of organic materials. While out on a delivery, Reg decides to pick up three stranded tourists, Sophie (Anna McGahan), James (Oliver Ackland), and Wesley (Jamie Kristian), but trouble arises when the trio discover the brothers’ secret ingredient.

The plot is a fairly standard set-up for the genre, but well executed. The writing is clever enough to successfully make such gruesome subject matter come off with a light humorous feel. The film is not terribly suspenseful, as it follows most of the archetypical pattern of a horror-comedy, but the film keeps the viewer entertained with a certain charm.

Thematically, the film is somewhat lacking, although the objective of the film does not seem to be any sort of artistic message; this film is pure entertainment that does not require much deep thought. One could make a case for the theme of loyalty and fidelity, or rather disloyalty and infidelity, as none of the characters really seem to care about one another. The message is contradicted at a few points in the film, however, furthering the impression that the film is not about making a particular statement.

Visually, the film accomplishes what it needs to with one or two artistic flairs. The cinematography effectively conveys the sense of space, be it a cramped and claustrophobic room or a wide open countryside. The film uses various camera and editing techniques for an interesting interpretation of the effects of LSD, and although this too is well executed, it is nothing that has not been done before. The blood and gore effects are particularly well suited to the style of film, using enough realism to come off as gruesome, but not so intrusive as to lose the comedic effect of the overall film. The costuming is also well selected, conveying a general sense of each character immediately as we see them.

The performances in the film are exactly what the film requires. The characters fit their archetypes perfectly, but without much depth. The actors are well cast for their roles, and they deliver exactly what you would expect from such a light film. In this case, the lack of depth is exactly what the film needs to keep itself charmingly entertaining. Herriman does a particularly good job as the naive yet oddly charming Reg, offering perhaps the greatest depth of any character in the film: Reg plays as a man who has a good heart deep down, but is overshadowed by his brother and conflicted by what the pair has done and must do to keep their farm afloat.

Overall, the film is pure entertainment. Witty, charming, and fun, with a gruesome dark-comedy twist. Do not watch this film expecting an artistic, thought provoking piece, but if you are looking for something to make you smile that appeals to a morbid sense of humor, this is definitely a good choice.

The Kings of Summer (2013)

The Kings of Summer (2013)                3.5/5

Directed by Jordan Vogt-Roberts

Nick Robinson, Gabriel Basso

In this teenage “Dramedy”, friends Joe (Nick Robinson) and Patrick (Gabriel Basso of Super 8) decide they are fed up with their home lives and decide to build a house of their own in the woods. Joined by their new and rather quirky friend Biaggio (Moises Arias, who has played in several Disney Channel series such as Hannah Montana), they do just that, enjoying a month of life on their own terms before trouble starts to arise.

The plot of the film is at once simplistic and outlandish, but believable and well written. Despite one or two elements of convenience (such as a flashback that presents an item required to move the plot forward), the writing is clever, involving small details that arise later in a significant way. Most importantly, the plot is character-driven: most, if not all, parts of the film come about as a result of who the characters are, even in the previously mentioned case of convenient flashbacks.

Thematically, the film is focused on a handful of elements such as manhood, relationships, and nature, managing to demonstrate those themes eloquently. Although there may be room for further exploration of the themes, there is a sense of adequate completeness to the message, while leaving room for discussion. Vogt-Roberts and writer Chris Galletta make the smart choice of picking a relatively small number of significant themes, and saying just enough to make them interesting.

Visually, the film excels, both in cinematography and editing. Cinematographer Ross Riege makes intriguing use of slow-motion, as well as interspersed shots wherein the sun plays a significant role, giving the film appropriate moments of contemplation and reflection. The film makes effective use of montage as well, be it the comparison of Joe and his father Frank (Nick Offerman of Parks and Recreation fame), or a series of close-up nature shots. 

The performances in the film are somewhat varied. At times, there seems to be a disconnect between the serious tone of the film and the humorously absurd dialogue. It seems as though Vogt-Roberts is attempting to avoid making the film too farcical (like a Mel Brooks or Monty Python film), but is so intent on avoiding it that the more ridiculous lines are delivered with a confusing tone. Still, the dialogue shines through, sometimes witty or zany, and other times endearing. The cast involves some fairly well-known comedy powerhouses, including Nick Offerman, Megan Mullally, Alison Brie, and Gillian Vigman, who all deliver brilliant performances with an endearing element typical of a “Dramedy”. Particularly spectacular among these roles is Offerman, who has a varied range of hysterical and emotional moments. Of the newer talents in the film, the one to watch is certainly Arias, who delivers an impressive rendering of the strange, loyal, and endearing support character often seen in this style of film. The endearing performance is akin to that of Zach Galifianakis in several of his well-meaning oddball roles, notably as Alan in The Hangover series of films.

Overall, the film is fun, visually intriguing, and intelligent, delivering emotional moments alongside hilarity to make an entertaining story. The film is certainly worth watching, especially to those who enjoy funny and endearing “Dramedies”.