Fright Club Friday: Dog Soldiers

Dog Soldiers (2002)

Let’s get the long weekend rolling with a fun, bloody, exciting trip to the Scottish highlands. Wry humor, impenetrable accents, a true sense of isolation and blood by the gallon help separate Neil Marshall’s (The DescentDog Soldiers from legions of other wolfmen tales.

Marshall creates a familiarly tense feeling, brilliantly straddling monster movie and war movie. A platoon is dropped into an enormous forest for a military exercise. There’s a surprise attack. The remaining soldiers hunker down in an isolated cabin to mend, figure out WTF, and strategize for survival.

This is like any good genre pic where a battalion is trapped behind enemy lines – just as vivid, bloody and intense. Who’s gone soft? Who will risk what to save a buddy? How to outsmart the enemy?

But the enemies this time are giant, hairy, hungry monsters. Woo hoo!

The fantastically realized idea of traitors takes on a little extra something-something, I’ll tell you that right now.

Though the rubber suits – shown fairly minimally and with some flair – do lessen the film’s horrific impact, solid writing, dark humor and a good deal of ripping and tearing energize this blast of a lycanthropic Alamo.

 

A Tight Squeeze

As Above, So Below

by Hope Madden

A friend of mine went to Paris for her honeymoon, convincing her husband to tour the catacombs beneath the city while there. It’s a creepy, claustrophobic destination for most anyone. He’s uninterested in the macabre, and he’s 6’4”. It was a tight fit.

I thought of him frequently during As Above, So Below because, if there’s one thing the film does effectively, it is tap your claustrophobic dread.

Scarlett, an Indiana Jones type, believes a stone that A) turns any metal into gold, and B) grants eternal life, is hidden beneath Paris. She lures a documentarian, an old boyfriend, and a team of Parisian catacomb explorers to help her finish the quest that killed her father. All told, it’s a weirdly young, attractive, hyper-intelligent group of explorers.

Obviously, co-writer/director John Erick Dowdle (Quarantine) owes the Jones franchise a pretty big debt. He’s equally indebted to Neil Marshall’s 2005 horror classic The Descent, and he robs here and there from his own Quarantine, the Julia Roberts/Keiffer Sutherland debacle Flatliners, and the Nicolas Cage ridiculousness National Treasure. A weird mix, that, but there are moments when it works.

The one thing Dowdle does well is develop a rising terror of confinement – a knack he proved with Quarantine. He loses his footing when it comes to intermittent scares, and the film just doesn’t build to enough of a climax.

The set up takes too long and there’s not enough terror to distract you from the fairly ludicrous quest underway. The spooky images are few and far between, with Dowdle relying too heavily on the whiz and whir of handheld cameras and distorted sounds to carry the load his imagination couldn’t.

It doesn’t make the film entirely unsatisfying. The claustrophobic among us, in particular, will be put through the ringer. But Dowdle and crew can’t quite piece together enough quality moments to deliver a memorable chiller.

Verdict-2-5-Stars

 

https://www.youtube.com/watch?v=O-KIzzF3S0o

The Price of Prestige

 

Ivory Tower

by George Wolf

 

Enough about your school’s football team.

Do you have a climbing wall? Swimming pool for the luxury dorm?

If not, then your school is just not keeping up with the competitive college atmosphere illustrated in Ivory Tower, an effective documentary on the skyrocketing cost of higher education.

Utilizing interviews, archival footage and statistical graphics, writer/director Andrew Rossi does a masterful job illustrating how alarming the situation has become, and why.

He hits you early with some sobering numbers. Since 1978, college tuition has increased more than any other good or service in the United States, leading to a total amount of student loan debt that has now topped one trillion dollars. Yes, with a “t”.

Rossi then makes a strong and seemingly fair-minded case that the entire system is nearing a point of collapse, driven by the schools’ relentless “pursuit of prestige” and the Reagan-era reclassification of students as consumers.

To illustrate both points, we get a close look at New York City’s Cooper Union, founded in the 1850s on the promise that education should always be free. When a new President proposes reneging on that promise and the students revolt, there is an unexpected rise in the dramatic heft of the film.

As he did so effectively in Page One:  Inside the New York Times, Rossi lets us feel part of a movement, and the result is an engrossing documentary-within-a-documentary.

Final sequences on the student loan industry and online education are informative, but seem a bit anti-climactic, merely adding to the list of problems without any proposed solutions.

The underlying premise of Ivory Tower is the debate over whether or not a college education is still worth the cost. Though the film cops out a bit on the final answer, it serves as a vital prerequisite to fully understanding the question.

 

Verdict-3-5-Stars

 

 

 

Late August Man

The November Man

by Hope Madden

Somehow, it’s easy to lower your expectations in August, and a film that would seem stale and dated in, say, May or even November, can feel almost like a relief. The November Man is one of those movies.

Its lack of digital wizardry – relying, as it does, on old fashioned practical effects – feels like a welcome respite from the summer’s FX bombast. And though this agent-thinks-he’s-out-but-gets-pulled-back-in tale brings very little new to the table, at least it isn’t If I Stay. Or Sin City 2. Or Teenage Mutant Ninja Turtles. Oh, August.

At first blush, the film appears to be a James Bond rip off, right down to the lead and his lady (Pierce Brosnan and Quantum of Solace Bond Girl Olga Kurylenko). But this film casts off any interest in smooth, sly espionage, gadgetry, one-liners and one night stands in favor of something a little more brutish.

Brosnan’s ex CIA op retires not long after an incident with a trainee he deems unfit for service. But when a colleague needs a favor and pulls him back in for one last gig…well, when does that ever go as planned? Next thing you know, he’s trying to figure out what went wrong with his op while he plays cat and mouse with that old trainee, now a trained CIA sniper with bigger ambitions.

Brosnan’s grizzled charm buoys the effort, even when he’s pursing his lips like a school marm at his former trainee (a mostly serviceable Luke Bracey). The film falters most in its dual purposes: mentor/mentee cat and mouse versus international conspiracy leading to a puppet Russian president with a pension for under aged war refugees.

The truth is, neither side is especially compelling on its own, and when the two blur together, things feel just silly.

Still, The November Man isn’t bad. It’s no Skyfall – the new high water mark for spy movies – but it’s no Jack Ryan: Shadow Recruit, either. Remember that one? From January of this year? Yeah, January is another one of those bad movie months. At least in August the bad movies don’t come with snow.

 

Verdict-2-5-Stars

 

A Fresh Take on History For Your Queue

Who’s in the mood for a couple of fascinating historical dramas, the kind that make you rethink your history lessons? Because Belle, releases to DVD today, and it’s the fact-based tale of a bi-racial girl raised by her aristocratic grandparents in 18th Century England. Well told and perfectly cast, with the always flawless Tom Wilkinson playing the family patriarch and a wondrous break out turn by Gugu Mbath-Raw in the lead, the film draws parallels you never knew existed between past and present.

If you’re looking for a little wilder, true ish (or at least rumored to be true) story that may cause you to rethink everything you know about British history and literature, have a gander at Anonymous. The usually unwatchably bombastic Roland Emmerich dials it back a bit – but not too much – to sketch a treacherous, traitorous, sordid story of the real William Shakespeare. Excellent performances and a savvy screenplay by John Orloff keep this one fresh and entertaining.

https://www.youtube.com/watch?v=-jbILbHJrAI

Revisiting One Rotten Town

Sin City 2: A Dame to Kill For

by Hope Madden

Remember The Matrix? So cool! Full of heady ideas with a visual execution like nothing we’d ever seen before, it kind of took audiences’ breath away. But just two years later when the sequel came out, the visuals were already stale, which made the weaknesses in the script, performances and direction more evident, which led to a pretty big letdown.

So at least you’re prepared for Sin City 2: A Dame to Kill For.

Though Robert Rodriguez has not lost his flair for comic book imagery – SC2 is to noir cartoon glory what LeBron James is to homecomings – it’s no longer enough to overlook the flaws in the story. It’s been nine years since the experience was new, and it’s been redone by many since then. What else does this Dame have to offer?

More of the same: damaged, mostly naked women, some of them in bondage wear; tough guys with a soft spot for dames and a weakness for their own inner demons; lost souls of good people who make bad choices; evildoers, and one back alley surgeon who gives the film a much needed moment of levity.

The timelines among this film’s vignettes and those of its predecessor are never clear, which works in this surreal environment. Sure, Marv (Mickey Rourke) died last time, but maybe this is a prequel. I mean, the twins are still alive. Except Marv’s wearing that black trench coat and the Nancy storyline is up to date, so…who cares? Just go with it. The film has enough problems without you taking a magnifying glass to its narrative structure.

No one would claim the original Sin City was a feminist manifesto, but its sequel’s shift in primary villain from a quartet of power- and flesh-hungry men to one very naked woman (the never shy Eva Green) tips the misogyny scale away from guilty pleasure to vicarious contempt.

Which is not to say that Green does a bad job. Hers is easily the strongest performance onscreen, an admirable accomplishment since her role can be summed up in three tasks: get naked, seduce, repeat.

There are two or three storylines that go nowhere, while the Nancy (Jessica Alba)/Hartigan (Bruce Willis) side plot begs for a little clarity. Very little happening onscreen is as compelling as it was last time around, and the co-directors frequently lose their pacing, giving their tales a bloated, tedious feel.

It turns out, Frank Miller’s grim, salacious world wasn’t really worth the return trip.

 

Verdict-2-5-Stars

 

The Passion of The Streak

When the Game Stands Tall

by Hope Madden

The last time director Thomas Carter made a feature film, it was the inspiring true story of high school coach Ken Carter who, though leading an undefeated team, believed there was something more important to the future of his players than winning.

The filmmaker’s next effort really shows his range – because that movie was about basketball.

When the Game Stands Tall is the true story of Bob Ladouceur, probably the greatest high school football coach in history. He led his La De Salle Spartans to an unprecedented, quite likely unbreakable 151 game winning streak.

Carter is not known for his light hand at the helm. Indeed, this film has as manipulative and leading a score as anything since Remember the Titans, and the similarities don’t begin or end there. But he deserves credit for situating his story where he does, not focusing on the obvious victories, but mining the team’s more challenging, less glamorous time for the values that transcend the sport.

Jim Caviezel plays Ladouceur as a stoic, noble, righteous soul – because that is all Jim Caviezel is capable of. Luckily enough, it generally suits the role and he has other actors to appear humanlike around him.

The performances skirt cliché but are handled admirably. Laura Dern is the loving, ignored and concerned wife. Matthew Daddario is the coach’s son who just wants his dad’s approval, while Alexander Ludwig is the teammate whose volatile father only loves his son for the vicarious glory and accolades. It all sounds eerily familiar.

Carter also provides plenty of on-field play, and does a fine job of lensing it, though cinematic gridiron action may never look better than it did in Friday Night Lights. But that’s an altogether superior film. By comparison, When the Game Stands Tall looks downright naïve in its portrayal of athlete lives off the field, where they drink soda from bottles and make promise pledges with their chaste girlfriends in a town where fans are exclusively positive.

It’s an exceedingly passable product of a threadbare formula. It might even be enjoyable if Caviezel could muster the charisma necessary to carry the film. Unfortunately, Caviezel is no Sam Jackson or Billy Bob Thornton – and he sure as hell is no Denzel Washington- so his film feels more junior varsity than it might.

Verdict-2-5-Stars

Modern Martyrdom

Calvary

by Hope Madden

Has the Catholic Church so comprehensively betrayed the nation of Ireland that it would take the second coming of the Messiah to set things straight?

Maybe.

The ever more impressive writer/director John Michael McDonagh may not be trying to rectify the Church’s situation, nor is he bringing about revelation. Rather, he offers a microcosm of the fallout with insight, humor and compassion in Calvary.

Brendan Gleeson, as brilliant as always, plays Father James, a good priest. As the film opens, we sit inside the cramped confessional as Fr. James waits for the penitent on the other side to begin.

“I first tasted semen when I was seven years old.”

It’s not a confession so much as an announcement. The parishioner, whose face we never see, spent a childhood of horrifying abuse at the hands of a priest. But what good is it to kill a bad priest? If you want to really send a message, you kill a good priest.

He gives Fr. James a week to get his affairs in order and makes a date to take his life. “Sunday week, let’s say?”

It’s almost too ripe a premise, really, and yet McDonagh’s never stoops to melodrama, or even thriller. As Fr. James goes about his week tending to his parish and reflecting on what’s to be done about this threat, we get the unique perspective of a good, decent man with a collar.

The dry, insightful, exasperated humor that saturates McDonagh’s writing is a thrill to take in, and Gleeson has never been better. Never showy, without a hint of sentimentality, he brings this decent but hardly sinless man authentically to life.

As Fr. James’s week drags on, McDonagh and his ensemble slowly amplify the wickedness of the townsfolk, creating, finally, a real parallel between the plight onscreen and the allusion of the title. But nothing about Calvary is even moderately preachy.

The priesthood is not what it used to be – not for them or for us. And it may be too late to save the Catholic Church. But a filmmaker who can hold up a mirror to our troubled times and find weary humor and redemptive humanity in it is inspiration in itself.

Verdict-4-0-Stars

It’s a Wonderful So-Called Life

 

If I Stay

by George Wolf

 

Is it just for the cash, or do the people behind these teen romance fantasies actually believe they are being profound?

The latest, If I Stay, starts with a teenager saying “you know how when you meet someone, and they just, already are the person they’re meant to be?”

Excuse me but no, I don’t, because that’s nothing close to reality, it’s a line of melodramatic crap written by an adult for a teenage audience they know will lap it up and feel like this movie really “gets them.”

The same formula was seen just weeks ago in The Fault in Our Stars, and If I Stay, also adapted from a popular young adult novel, is only too happy to follow it.

The latest teen girl who doesn’t fit in is Mia (Chloe Grace Moretz). She’s got hip, rockin’ parents, but Mia prefers classical cello, and feels awkward about her talent.

If only there were someone who could make Mia realize how special she’s been all along?

This time his name is Adam (Jamie Blackley), and he’s the supercool Senior who already fronts a popular local rock band. After one casual glance at Mia practicing, Adam is smitten and confidently proclaims “You can’t hide in the rehearsal room forever…I see you.”

He sees her! Oh happy day! Now her specialness can be revealed!

The added emotional manipulation…,er, I mean plot twist.. comes in the form of a car accident that puts Mia in a coma. As she leaves her physical body and watches family and friends react to the tragedy, Mia is able to reflect on her young life and decide if she wants to stay in this world.

Director R.J. Cutler and writer Shauna Cross can’t bring one ounce of authenticity to their film. Everything feels fake – from Adam’s band to Mia’s family to the hospital staff – and sadly, that includes Moretz. Though she has often shown real talent, here she plays down to the material with a completely uninspired performance.

The young adult audience is more than just tomorrow’s Nicholas Sparks fans, but you wouldn’t know it from what plays at the multiplex. Too often, those movies teach boys to trivialize adolescence and teach girls to wallow in its drama. Meanwhile, more honest films such as It felt Like Love and Palo Alto struggle to get noticed.

Yeah, yeah, that’s Hollywood feeding the cash cow. I know it, but I don’t have to like it….or the maddening mess of a movie that is If I Stay.

 

Verdict-1-5-Stars

 

 

 

Fright Club Live: Calvaire (The Ordeal)

The Ordeal (Calvaire) (2004)

This week’s Fright Club – 9pm at the Drexel Theatre in Bexley – unspools the 35mm print of Calvaire. It’s the first time the film has screened in Columbus, and we could not be more excited!

A paranoid fantasy about the link between progress and emasculation, The Ordeal sees a timid singer stuck in the wilds of Belgium after his van breaks down.

Writer/director Fabrice Du Welz’s script scares up the darkest imaginable humor. If David Lynch had directed Deliverance in French, the concoction might have resembled The Ordeal. As sweet, shy singer Marc (a pitch perfect Laurent Lucas) awaits aid, he begins to recognize the hell he’s stumbled into. Unfortunately for Marc, salvation’s even worse.

The whole film boasts an uneasy, “What next?” quality. It also provides a European image of a terror that’s plagued American filmmakers for generations: the more we embrace progress, the further we get from that primal hunter/gatherer who knew how to survive.

Du Welz animates more ably than most our collective revulsion over the idea that we’ve evolved into something incapable of unaided survival; the weaker species, so to speak. Certainly John Boorman’s Deliverance (the Uncle Daddy of all backwoods survival pics) understood the fear of emasculation that fuels this particular dread, but Du Welz picks that scab more effectively than any filmmaker since.

His film is a profoundly uncomfortable, deeply disturbing, unsettlingly humorous freakshow that must be seen to be believed.

http://www.youtube.com/watch?v=WgB9JTdrXhg