Mean Machine

Morgan

by Hope Madden

The weekend of wasted talent rolls on with Morgan, a derivative AI adventure that boasts an impressive cast and a lot of borrowed material.

Luke Scott’s feature directorial debut finds trouble with the L7 – an unnamed corporation’s newest attempt at artificial intelligence. There’s been an injury, and we don’t want a repeat of Helsinki, (it’s always Helsinki!) so Corporate sends the risk analyst (Kate Mara) to assess the situation.

The cast offers loads of reason for optimism. Joining Mara are Brian Cox, Jennifer Jason Leigh, Toby Jones and the great Paul Giamatti. That is a stacked ensemble. And even if every single one of them is underused, each brings something genuine and human – you know, the kind of thing that comes from deep and true talent – to the proceedings.

Highest hopes, though, are hung on the potentially dangerous cyborg herself, played by Anya Taylor-Joy. Hot off a brilliant lead in The Witch, Taylor-Joy again takes on a role in which her innocence is in question.

Like Witch helmsman Robert Eggers, Scott employs full screen close ups of Taylor-Joy’s face – her enormous, wide-set eyes and round, innocent features – to exacerbate a struggle to determine whether the character is good or evil.

And Scott clearly knows a good idea when he sees it because he borrows, grabs and plunders with glee.

His film is a mish-mash of Ex Machina, The Silence of the Lambs, Blade Runner and Terminator buoyed with decent performances and one vaguely fresh notion.

Every major character – every hero, villain, person of authority and character pivotal to the plot – is female. Every good decision, poor decision, and bit of badassery is made by a woman. And – get this – even when two of those women are soaking wet, their shirts are neither clingy nor sheer.

Right?!

I’m not going to lie to you – any horror/action hybrid with a predominantly female cast that chooses not to stoop to titillation and exploitation gets an extra star.

There are subtle moments that toy with sexuality, and Scott wisely lets Taylor-Joy express these themes primarily through a nuanced physicality. That, decent pacing and performances better than the material demands elevate the film above the predictable off-season action vehicle that it is.

Verdict-3-0-Stars

Fright Club: Evil Steps in Horror

The evil stepmother has been a source of fear and dread for eons. The Grimm brothers knew it – they disliked stepmothers as much as they disliked wolves. Horror has picked that same scab again and again over the years, but it’s not just that mom-substitute that you need to worry over. As we discover this week, stepdads – especially the heavily bearded, axe-wielding variety – are just as problematic.

5. The Stepfather (1987)

Years before Terry O’Quinn gained a following on Lost (or West Wing or Alias or Millennium), he crafted a memorable villain out of a weakly written toss-off of a horror flick, creating, in turn, a movie worth a second look.

With an idyllic suburb-turned-nightmare hellscape, the film opens like John Carpenter’s Halloween, the camera wading through the falling leaves and quiet street before stopping on the window of one particularly unpretentious little home. Inside, O’Quinn quickly and effectively establishes character. This is an actual character, not a cookie cutter psycho, and on the strength of his performance, this bloody confection of 80s family values works.

O’Quinn’s Jerry Blake marries into fatherless homes, ever seeking the perfect family. As soon as he sees the reality of familial bliss, he decides his family is a disappointment and slaughter ensues. As the film unspools, Jerry’s new brood, including Charlie’s Angel’s Shelley Hack, as well as Jill Schoelen, as her 16-year-old daughter, show signs of fatigue already.

Stepfather explores ideas of the exclusivity of the American dream and the inexplicable popularity of shaker knit sweaters. Mostly, though, it mines that same tension that worked so well for the Brothers Grimm: the fear inherent in taking on a step parent, in that they not only represent the finality of the loss of a beloved, but the possibility that the new household head to which you must submit will actually bring you danger.

https://www.youtube.com/watch?v=HZGHTP2dH10

4. Amityville Horror (1979)

Back in the Seventies, Long Island residents Kathy and George Lutz caused quite a stir with their tale of a diabolical house that nearly killed their whole family. The cultural hysteria they stirred led to a bestselling book, at least ten feature films and a documentary. The most famous of the cinematic efforts was the 1979 flick, a picture that followed the Lutzes as they took one step inside 112 Ocean Avenue and screamed, “Oh my God, this wallpaper is hideous!”

But, the house was really cheap, what with the former tenants having all been slain by their oldest son/brother Ronald DeFeo, so the Lutzes turned a blind eye to the hideous décor and moved right in.

James Brolin and his hair star as George Lutz, newly married to Kathy (Margot Kidder), new father to her three kids, serious wood cutter. George goes a little nuts, and who can blame him? There is obviously not a single decent barber in all of Long Island, and he’s sunk his life savings into a lovely home that sits atop the gateway to hell. (Honestly, though I always thought Tiffin, Ohio was the gateway to hell, the actual gateway lies beneath Columbus, OH. It’s true. Look it up.)

The film seems like low-level exploitation for director Stuart Rosenberg (Cool Hand Luke), whose approach is more melodramatic than horrific. He rode the cultural hysteria to big box office, but his effort feels a little silly now. Maybe it’s the red-eyed pig out the window?

3. The Snowtown Murders (2011)

John Bunting tortured and killed eleven people during his spree in South Australia in the Nineties. We only watch it happen once on film, but that’s more than enough.

Director Justin Kurzel seems less interested in the lurid details of Bunting’s brutal violence than he is in the complicated and alarming nature of complicity. Ironically, this less-is-more approach may be why the movie leaves you so shaken.

An unflinching examination of a predator swimming among prey, Snowtown succeeds where many true crime films fail because of its understatement, its casual observational style, and its unsettling authenticity. More than anything, though, the film excels due to one astounding performance.

Daniel Henshall cuts an unimpressive figure on screen – a round-faced, smiling schlub. But he brings Bunting an amiability and confrontational fearlessness that provides insight into what draws people to a sadistic madman. There’s not a false note in his chilling turn, nor in the atmosphere Kurzel creates of a population aching for a man – any adult male to care for them, protect them and tell them what to do.

http://www.youtube.com/watch?v=qcoCTA2IZ7c

2. Tale of Two Sisters (2003)

A lurid Korean fairy tale of sorts – replete with dreamy cottage and evil stepmother – Jee-woon Kim’s Tale of Two Sisters is saturated with bold colors and family troubles.

A tight lipped father returns home with his daughter after her prolonged hospital stay. Her sister has missed her; her stepmother has not. Or so it all would seem, although jealousy, dream sequences, ghosts, a nonlinear timeframe, and confused identity keep you from ever fully articulating what is going on. The film takes on an unreliable point of view, subverting expectations and keeping the audience off balance. But that’s just one of the reasons it works.

The director’s use of space, the composition of his frame, the set decoration, and the disturbing and constant anxiety he creates about what’s just beyond the edge of the frame wrings tensions and heightens chills. The composite effect disturbs more then it horrifies, but it stays with you either way.

Tale masters the slow reveal, and the dinner party scene is a pivotal one for that reason. One of the great things about this picture is not the surprise about to be revealed – one you may have guessed by this point, but is nonetheless handled beautifully – but the fact that Tale has something else up its sleeve. And under its table.

1. Night of the Hunter (1955)

Robert F. Mitchum. This may be the coolest guy there ever was, with an air of nonchalance about him that made him magnetic onscreen. His world-wizened baritone and moseying way gave him the appearance of a man who knew everything, could do anything, but couldn’t care less. And perhaps his greatest role in definitely his best film is as serial killer/preacher Harry Powell in the classic Night of the Hunter.

The iconic film noir sees Mitchum as a con man who cashed in on lonely widows’ fortunes before knocking them off. He’s set his sights on Willa Harper (Shelley Winters), whose bank robber husband had been a cell mate before his execution.

What unravels is a gorgeously filmed, tremendously tense story of Depression-era terror as Powell seduces the widow and her entire town, but not her stubborn son. Many of the performances have that stilted, pre-Method tinge to them, but both Winters and Mitchum bring something more authentic and unseemly to their roles. The conflict in styles actually enhances an off-kilter feel director Charles Laughton emphasizes with over-the-top shadows and staging. It gives the whole film a nightmarish quality that, along with Mitchum’s unforgettable performance, makes Night of the Hunter among the best films of its era.

https://www.youtube.com/watch?v=H0LCUM-hnQc

Drowning in Sap

The Sea of Trees

by Hope Madden

In 2002, filmmaker Gus Van Sant released one of his more polarizing and thoughtful films. In Gerry, two guys named Gerry (Casey Affleck and Matt Damon) hike ill-prepared into the desert to find themselves fighting for survival.

A quick glance at The Sea of Trees suggests that perhaps Van Sant returned to these themes. Matthew McConaughey loses himself in a Japanese forest, befriends another wayward traveler (Ken Watanbe), their treacherous journey offering life lessons aplenty.

Because horror writer Chris Sparling penned The Sea of Trees, I was kind of hoping the film would be a cross between Gerry and The Blair Witch Project.

It is not.

No, it’s an overtly sentimental, culturally patronizing waste of one Oscar winner and two Oscar nominees.

We wander Aokigahara, Japan’s “suicide forest,” with McConaughey’s Arthur Brennan. Brennan’s a scientist, and you know that that means. That’s right – atheist.

Van Sant falls back on the crutch of the flashback to help us understand what this handsome scientist is doing in the suicide forest. It’s in these segments that we meet Naomi Watts’s Joan Brennan and begin to unravel the mystery behind Arthur’s trip into the woods.

Watts suffers most from Sparling’s hackneyed dialog. Her few scenes need to be pivotal and weighty – we know this because of her utterly unrealistic speeches as well as Mason Bates’s condescending score.

Van Sant is no stranger to schmaltz. As great a filmmaker as he has been, sentimentality tripped him up in Promised Land, Finding Forrester and others. His career is peppered with other writers’ projects, many of them with a point to make, and those statement films tend to be Van Sant’s weakest.

Perhaps it’s because, rather than finding his own language for the story via camerawork or score, he relies on an existing style. The Sea of Trees certainly suffers from a heavy handed score. Van Sant also misses opportunities to create a sense of foreboding, claustrophobia, isolation or even redemption with the forest itself, Kasper Tuxen’s photography instead offering irrelevant yet lovely images of windblown treetops.

Trees can definitely be sappy.

Verdict-2-5-Stars

Baby Onboard

The Light Between Oceans

by George Wolf

Can stellar performances, skilled direction, pristine cinematography and an evocative score elevate a story built on weepy schmaltz?

Well….yes.

The Light Between Oceans is definitely a melodramatic weeper, but one saved from outright embarrassment by the sheer force of the talent assembled to bring it to the screen. Writer/director Derek Cianfrance (Blue Valentine, The Place Beyond the Pines) adapts M.L. Stedman’s best-selling novel with a determined earnestness and a rock solid cast.

Michael Fassbender is Tom, a WWI veteran haunted by memories of combat who takes a job as lighthouse keeper off the coast of Australia in 1918. Before heading back out to his post, a picnic with Isabel (Alicia Vikander) leads to multiple letters full of romantic longing between the two, and then to marriage. Years at the island lighthouse go by without an addition to the family, when suddenly an old rowboat washes ashore…with a crying baby inside.

The child obviously needs them, and no one will ever be the wiser, right?

Waves of guilt begin crashing at the baby’s christening, when Tom learns about Hannah (Rachel Weisz), a wealthy town resident who still grieves for the husband and child who were lost at sea.

The plot turns that follow seem born from a unholy union of Sparks and Dickens, as contrived circumstance begets impossible choice, painful sacrifice, and a search for absolution through that far, far better thing to do.

Cianfrance wraps it all in the majestic, windswept landscapes necessary to recall classic period romances, with sharp instincts for knowing when to let Alexandre Desplat’s music swell with power, and when to let silence fuel the sense of isolation.

Fassbender and Weisz are customarily nuanced and splendid, while Vikander is simply wonderful, making Isabel’s arc from youthful naivete to world-weary grief feel as authentic as material this emotionally manipulative possibly could.

The Light Between Oceans amounts to a two-hour struggle between talent and substance. One side brought the varsity squad.

Verdict-2-5-Stars

 

 

Docs Prosper This Week at Gateway

Every year, the lineup of documentaries programmed by Gateway Film Center President Chris Hamel for Columbus Documentary Week (Sept. 1 to 8 this year) manages to include most – or all – of the Oscar-nominated documentaries months before they’re picked by the Academy.

How does he do it?

“It’s something I genuinely love, and sincerely want my neighbors to experience,” Hamel said. “I think a great documentary can change the course of your life. When you feel that passionately about something, I think it shows up in the work you do.”

The results of Hamel’s picks in the last 10 documentary weeks have demonstrated an uncanny eye for the films that will later be named the best docs in the world. Last year, Hamel choose every documentary eventually nominated for an Oscar, and played eventual winner Amy, about singer-songwriter Amy Winehouse, for a several-week run.

“It’s a major arts moment for Columbus,” said Jami Goldstein, VP Marketing, Communications and Events for the Greater Columbus Arts Council. “There is no other place in the world besides Columbus Documentary Week, not even Cannes, where you can see these films together in the same week. It’s really a tremendous gift to the city.”

This year’s program includes 22 documentaries from around the world.

Opening the event Sept. 1st is Tower, a unique exploration, using a combination of live action and animation, of the U.S.’s first mass shooting, the 1966 University of Texas clock tower sniper. Tower will be followed by a panel discussion on gun violence in America, including a Columbus Police officer and community members.

The closing night film on Thursday, Sept. 8 – on the 50th anniversary of Star Trek’s television premiere – is For the Love of Spock, a documentary by Leonard Nimoy’s son Adam about his father and the Spock character Leonard transformed into a worldwide icon.

Also scheduled is Just Desserts, a behind-the-scenes documentary on the making of horror anthology Creepshow, followed by a screening of Creepshow.

Screenings will include discussions, director introductions, question and answer sessions and pairings with themed food and drink specials.

“There’s nothing like it in the country,” said Hamel. “I am proud we’re bringing Columbus this experience, and I can’t wait to see people take in these films.”

Complete Columbus Documentary Week listing: Opening Night, 9/1:
6-6:45 p.m. Mixer in the Lounge
7 p.m. Showtime

9/5, 11 a.m.
9/7, 5 p.m. TOWER Combining archival footage with rotoscopic animation in a dynamic, never-before-seen way, Tower reveals the action-packed untold stories of the witnesses, heroes and survivors of America’s first mass school shooting, August 1, 1966’s University of Texas clock tower massacre.

9/2, 9 a.m.
9/4, 5 p.m.
9/6, 11 a.m. NDIAN POINT (2015) More than 50 million people live near Indian Point Nuclear Power Plant, which looms just 35 miles from Times Square. Exploring the brewing fight for clean energy and the catastrophic possibilities of government complacency, director Ivy Meeropol presents a balanced argument about the issues surrounding nuclear energy and offers a startling reality check for our uncertain nuclear future.

9/2, 11 a.m. 
9/3, 9 a.m.
9/5, 7 p.m. THE OTHER SIDE (2015) In an invisible territory at the margins of society, abandoned veterans, lost adolescents and drug addicts trying to escape addiction through love. Renowned documentarian Roberto Minervini opens a window into this hidden pocket of humanity in today’s America.

9/2, 1 p.m
. 9/4, 9 p.m.
9/7, 9 a.m. A SPACE PROGRAM (2015) Internationally acclaimed artist Tom Sachs takes us on an intricately handmade journey to the Mars, providing audiences with an intimate, first-person look into his studio and methods. The film is both a piece of art in its own right and a recording of Sachs’ historic piece, Space Program 2.0: MARS, which opened at New York’s Park Avenue Armory in 2012.

9/2, 3 p.m. 
9/7 7 p.m. RICHARD LINKLATER: DREAM IS DESTINY A rare and unusual look at a fiercely independent style of filmmaking that arose from Austin, Texas in the ’80s and how Richard Linklater’s films — Slacker, Dazed and Confused, Waking Life and Boyhood — sparked a low-budget, in-your-own-backyard movement in this country and around the world.

9/2, 5 p.m.
9/4, 9 a.m.
9/6, 5 p.m. DON’T BLINK – ROBERT FRANK (2015) The sometimes harrowing story, told with unblinking honesty by the reclusive artist himself, of how Robert Frank revolutionized photography and independent film, documenting the Beats, Welsh coal miners, Peruvian Indians, The Stones, London bankers, and the Americans.

9/2, 7 p.m.
9/5, 1 p.m.
9/8, 11 a.m. ANTS ON A SHRIMP Charismatic Copenhagen-based chef René Redzepi, whose NOMA has been hailed as one of the world’s best restaurants, embarks on the thrilling, unprecedented challenge of relocating the restaurant and its entire staff from Denmark to Tokyo.

9/2, 9 p.m.
9/5, 5 p.m.
9/8, 9 a.m. BREAKING A MONSTER (2015) Follow along in the break-out year of Unlocking the Truth, a band composed of 13-year-old members Alec Atkins, Malcolm Brickhouse, and Jarad Dawkins, from playing weekends in Times Square to their first encounters with stardom and the music industry.

9/3, 11 a.m.
9/6, 9 p.m. DYING TO KNOW: RAM DASS & TIMOTHY LEARY (2014) A revealing, intimate portrait of Harvard psychology professors Timothy Leary and Richard Alpert, who in the ’60s began probing the edges of consciousness through their experiments with psychedelics. With interviews spanning 50 years, the film explores questions about life, drugs and the biggest mystery of all: death.

9/3, 1 p.m.
9/7, 3 p.m. AN ART THAT NATURE MAKES: THE WORK OF ROSAMOND PURCELL (2015) Finding beauty in sometimes disturbing visual studies of the natural world – from a mastodon tooth to a hydrocephalic skull – photographer Rosamond Purcell has developed a body of work that has garnered international acclaim, fruitful collaborations with writers such as Stephen Jay Gould and admirers like Errol Morris.

9/3, 3 p.m.
9/5 3 p.m.
9/7, 1 p.m. UNDER THE SUN “[A] revealing act of subversion that is arresting however you take it.” (Variety) Russian filmmaker Mansky smuggled footage from North Korea to create this documentary, which reveals for the first time at this depth the reality of day-to-day life in Pyongyang, North Korea.

9/3, 5 p.m.
9/6, 1 p.m. THE SEVENTH FIRE From executive producers Terrence Malick and Natalie Portman. When American Indian gang leader Rob Brown is sentenced to prison for a fifth time, he must confront his role in bringing violent drug culture into his beloved community — even as his young protégé dreams of becoming the most powerful and feared Native gangster on the reservation.

9/3, 7 p.m.
9/6, 3 p.m.
9/8, 1 p.m. KAMPAI! FOR THE LOVE OF SAKE (2015) A British sake brewer, an American journalist, and a young president of a century-old sake brewery in Japan join together to explore the fascinating origin and mysterious world of sake, or Japanese rice wine.

9 p.m., Double Feature JUST DESSERTS: THE MAKING OF CREEPSHOW (2007)
followed by
CREEPSHOW (1982) The ultimate behind-the-scenes look, warts and all, at the production of a horror anthology icon: Stephen King and George Romero’s 1982 classic, Creepshow. Followed immediately by the feature itself, Creepshow — five terrifying tales based on E.C. horror comics.

9/4, 11 a.m.
9/7, 9 p.m. WALL WRITERS Narrated by John Waters, Wall Writers provides unprecedented access to TAKI183, CORNBREAD, and other legendary graffiti artists, as well as footage and photos from the late 1960s and early 1970s where their art from was born.

9/4, 1 p.m.
9/6, 9 a.m.
9/8, 5 p.m. GERMANS AND JEWS Through personal stories, Germans and Jews explores the Germany’s profound transformation from silence about the Holocaust to facing it head on — and, unexpectedly, a nuanced story of reconciliation emerges.

9/4, 3 p.m.
9/5, 9 a.m.
9/7, 11 a.m. HOOLIGAN SPARROW A harrowing, inside acount of Chinese state surveillance. Harassment. Imprisonment. Human rights activist Ye Haiyan, AKA Sparrow, knew the risks when she went to Hainan Province to seek justice for six elementary school girls who were sexually abused by their principal. But the scale and intensity of the government’s reaction — chasing her ruthlessly from town to town — surprised even the most seasoned activists across China.

9/4, 7 p.m.
9/8, 3 p.m. SOUND OF REDEMPTION: THE FRANK MORGAN STORY (2014) At the late night jam sessions in LA, Jazz musicians used to dedicate their shows to the greatest alto sax player in the world, Frank Morgan, but if you wanted to hear him, you had to go to San Quentin. SOUND OF REDEMPTION is the late jazz saxophonist’s tale of redemption, from drug addict, conman, and convict to beloved elder statesman of jazz.

9 p.m. MADE IN VENICE MADE IN VENICE the movie takes you on a rippin’, shreddin ride with the sport and art of skateboarding, from its birthplace on the streets of Venice and Santa Monica – aka “Dogtown” – to the local skateboarders who’ve carried on its “tradition” from the early ‘70s through today, in the form of the now-iconic Venice Skatepark.

7 p.m. SEED: THE UNTOLD STORY Executive produced by Phil Fairclough (Grizzly Man, Cave of Forgotten Dreams). In the last century, 94% of our seed varieties have disappeared. In a harrowing and heartening story, reluctant heroes Vandana Shiva, Dr. Jane Goodall, Andrew Kimbell, and Winona LaDuke rekindle a lost connection to our most treasured resource and revive a culture connected to seeds.

Closing Night, 7:30 p.m. FOR THE LOVE OF SPOCK Presented on the 50th anniversary of Star Trek’s broadcast premiere. Adam Nimoy explores and honors the enduring legacy of his father Leonard Nimoy’s portrayal of Spock. Beginning with the original television series, Leonard Nimoy has appeared in Star Trek series and films over the course of six decades, including the 2009 reboot by J.J. Abrams.

Closing Night, 9 p.m. ONE MORE TIME WITH FEELING Screening for one night only, and #OnlyAtGFC: be the first to hear music from the new Nick Cave and the Bad Seeds album Skeleton Tree the night before its release in ONE MORE TIME WITH FEELING, a documentary of its production interwoven with live performance.

For more, visit gatewayfilmcenter.org