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.