Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters

Red Pill or Blue?

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A Glitch in the Matrix

by Hope Madden

Nobody makes documentaries quite like Rodney Ascher.

You can see the 2010 short that first got him the attention of the Sundance Film Festival, S from Hell, in its entirety on YouTube right now. I think you should. It gives you just a taste of the mixture of absurd, earnest, terrifying and funny that inform his nonfiction recipes.

His 2012 documentary feature debut, Room 237, gave us a glimpse of his own fascination with personal obsessions. Ascher’s interest in the opinions and voices of his subjects clearly allows them to feel the safety necessary to share deeply held and seemingly ludicrous ideas. It also gives the film a sense of exploration rather than judgment. You are truly invited to wonder what if?

His most potent and terrifying invitation, The Nightmare, is so sincere in its sleuthing it may convince you that the film itself has infected you with a debilitating condition. So it’s no surprise that any new effort from Ascher draws awed anticipation from weirdos and cinephiles alike (not that there’s a big difference between the two).

Plus a ton of utterly fascinating footage of Philip K. Dick speaking.

A Glitch in the Matrix, premiering earlier this week at Sundance and opening digitally (appropriately enough) this weekend, explores Simulation Theory. You know, that zany notion that we’re not real, we’re all living in a simulating played by beings of a higher intelligence.

Nutty, right?   

Once again, Ascher’s meticulously built doc feels simultaneously playful and dark—two adjectives that suit the topic brilliantly. We’re reminded of Descartes attempts to prove that he exists, and before that, of Plato’s musings that we may be simply witnessing some form of life facsimile and not participating in reality at all.

So, it’s not a new idea. Perhaps the most intriguing notion the film brings up is that, when aquaducts were the height of technology, the world believed our bodies were at the mercy of our own humors. Once the telegraph became top tech, suddenly our bodies were run by electrical currents. And later, we “understood” that our brains were like computers.

It’s no surprise, then that in a virtual world, we lean toward the notion that reality is its own form of virtual reality. But Ascher digs much deeper, drawing images of a culture and personality type compelled by these ideas, and the hard potential consequences of a Matrix in the hands of someone less noble than Neo.

A Glitch in the Matrix becomes Ascher’s most complicated and poignant film.

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Moon in Her Eye

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The Reckoning

by Hope Madden

It’s been nearly 20 years since Neil Marshall first caught our attention with his remarkable military/lycanthropic standoff, Dog Soldiers. Just three years later, the writer/director offered his genre masterpiece, The Descent, and suddenly anticipation was high for a filmmaker who knew how to scare us.

A couple of disappointments later and the Englishman began to rebuild his reputation doing one-off TV episodes and horror shorts until possibly sinking his career forever in 2019 with the Big Box Office Bomb that was Hellboy.

The Reckoning won’t help things.

Marshall’s latest, co-written with Edward Evers-Swindell (Dark Signal) and star Charlotte Kirk, takes us back to the Dark Ages. The black plague is wiping out the English countryside, but witch hunters are a close second in terms of death toll.

Striking images are everywhere in this film—a home burning, a horse rearing, misty moors and the like. But the first sight that will really make you scratch your head is that of Grace (Kirk), humble-but-loving wife in full, never-to-be-flawed makeup. It’s so jarring given the plague-ridden scenes surrounding her that you cannot help but notice it.

And for the next hour 50 (at least 30 minutes longer than necessary), Kirk poses. She stands firm. She yearns. She dotes. She hesitates. She resolves. Yes, I believe that runs the full gamut of Kirk’s poses.

It doesn’t help matters that The Reckoning brings so little new to the historical witch torture genre. Grace’s ordeals, once her lascivious landlord brings her up on charges of witchcraft for spurning him, lead to increasingly gratuitous and sexualized torture.

And still, that nude lip liner never smudges.

Around Kirk’s showy performance is a wide variety of talent. Sean Pertwee and Steven Waddington offer fine, villainous turns, for instance.

The writing is not a real strength, as most of the plotting and dialog serve only to create new opportunities to pose. It’s hard to call The Reckoning a wasted opportunity because, aside from some solid framing and cinematography, there’s nothing here to even exploit. It’s a superficial ripoff of a worn out genre, built entirely around a laughable performance.  

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I Dream of Horses

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The Wanting Mare

by Hope Madden

Light on plot, heavy on atmosphere, Nicholas Ashe Bateman’s feature debut drops us in a distant post-apocalypse. Here, those trapped on a sparsely populated island of dust and heat dream of boarding the once-yearly barge that transports the island’s wild horses to a wintry mainland.

Poetic and dreamy, Bateman’s tale plays out before us without allowing us to truly penetrate it. Moira (Jordan Monaghan) has one wish only: passage across. She’s plagued by nightmares of a fiery past—maybe the event that brought about the now-times, nightmares passed down to her from her own mother.

She saves a man. He promises her a ticket. But how good is a man’s word in a society like this?

Bateman’s vision is often transportive. There are leaps in timeline and in logic that you’ll forgive by virtue of the lyrical nature of his story. This is a fable, not a drama. The Wanting Mare has a fantasy for you, if you have the patience for it.

You will need patience, though. The 90-minute runtime feels much longer, partly because Bateman’s storytelling intentionally keeps you at arm’s length from his characters. Without any skin in the game, the game becomes tiresome.

It’s never less than beautiful, but it’s definitely less than compelling. There are brief scenes in the second act that almost offer excitement, plot twists, some genuine call for redemption. These are the only scenes in the film that Bateman rushes.

Performances are necessarily stilted and can’t be criticized for that. We are not meant to feel close to these characters, although Bateman himself does personalize his character. His own acting style is far more accessible and intimate than that of his co-stars.

The benefit: act 2 feels more emotionally compelling than the rest of the film. The drawback: the film’s point of view becomes muddy. We travel through time along with Moira and her offspring, but because we identify with Bateman’s nameless man, these women become even more distant and peripheral. They are idealized reasons for the film to be rather than a driving force or voice in the film itself.

And that’s what the film is missing. It’s a gorgeous effort, poetic and somber and dreamlike. But it lacks a central voice, and without that, any real connection with the audience.

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Fjords of Forgettable

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Sacrifice

by Brandon Thomas

If we’ve learned anything from horror cinema over the decades, it’s that Europe is a scary place and to avoid it at all costs. Werewolves on the moors, rage zombies, predatory hostels – just go to Myrtle Beach again and try your luck with the drunk rednecks. And now, with Sacrifice, co-writers/co-directors Andy Collier and Toor Mian give us a taste of the unsavory side of Norway.

Isaac (Ludovic Hughes) and Emma (Sophie Stevens) return to Isaac’s birthplace on a remote Norwegian island to claim his inheritance. Unknown family truths bubble to the surface as Isaac confronts a dark legacy and Emma fears not only for her husband’s sanity but for the life of her unborn child. 

Sacrifice is a frustrating film from the start. The basic “fish out of water” premise is one we’ve seen time and time again, and Sacrifice offers nothing new to this subgenre. The opening credits promise a story built around the works of H.P. Lovecraft, but the closest we get to Lovecraft is unsubtle nods to Cthulhu.

Subtlety in horror certainly has its place. There are countless horror movies that take a more methodical approach to dole out the scares. These movies eventually pay off, though. Sacrifice is a film that tries to build tension and atmosphere, but whiffs at every opportunity. Semi-odd behavior from backwoods Norwegian folk isn’t exactly edge-of-your-seat material. And I would be ashamed of myself if I didn’t mention how the film uses the tried and true “character wakes up from a nightmare that seemed real” device a grand total of four times. 

At this point, I was hoping the movie was a dream.

So much of the films’s tension is built around the unraveling of Isaac and Emma’s relationship. The problem with this is that the characters toggle between unlikable and uninteresting from the get-go. Isaac’s descent into madness never once borders on tragedy. Instead, this turn feels like the filmmaker’s checking off a box on their genre bingo card. 

Even the illustrious Barbara Crampton (Re-Animator, From Beyond) doesn’t come out unscathed. It’s a role that asks her to do little more than be a suspicious local and deliver an uneven Norwegian accent. 

The film does get a lot out of the location shooting in Norway. The lush green fjords with their raging waterfalls inject a strong sense of place. These scenic establishing shots help set an “otherness” to the island, even if the remainder of the film does a poor job of maintaining the eerie mood. 

Sacrifice tries to set itself alongside Europe-centric horror movies like The Wicker Man and Midsommar, but instead comes off as a watered-down, and quite lazy, copy of better movies. 

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Earning Your Wings

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Palmer

by George Wolf

Palmer has Justin Timberlake, an adorable little kid and a heartwarming message. Heck, it’s not much more than some sexytime and a few beers away from being an afterschool special.

Yes, you can guess where it’s going. No, you will not be sorry for the trip.

J.T. is Eddie, who prefers you just call him by his last name. He was once a hot shot Louisiana high school quarterback with a scholarship to LSU. But after injuries ended Palmer’s career early, his quick temper got him sent away for 12 long on attempted murder.

But he’s served his time, so now Palmer has come back to his small, “church and football” hometown to move in with Grandma Vivian (June Squibb). Once there, it doesn’t take Palmer long to notice Shelly, the trailer train-wreck next door (Juno Temple).

Shelly leaves town a lot, and when she does, her son Sam (Ryder Allen in a perfectly lovable debut) stays with Viv. Sam doesn’t like football. Sam likes princesses, having tea parties, and dressing up in costumes that come with wings and tiaras.

Director Fisher Stevens fleshes out Cheryl Guerriero’s script with a fine instinct for knowing we don’t need to be led by the nose. There will be bonding, bullies beaten down and lessons learned, plus Sam’s pretty teacher (Alisha Wainwright) is single, so, you know.

Timberlake is gritty and finely understated, letting Palmer’s feelings for Sam unveil themselves with a gradual, and ultimately authentic depth. Palmer has scars from his childhood, too, but as expected as his kinship with Sam is, it seldom feels mawkish.

And Allen, well this kid just skips away with the movie tucked inside his glittery backpack. When Palmer tells Sam there are no boys on his favorite TV show and Sam confidently responds that he will be the first, all the hate that the world throws at kids like Sam seems – if only for a moment – miles away.

There is contrivance and familiarity at work in Palmer, no doubt. But there’s also enough heart, and pure hopeful innocence, to earn this film some wings.

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A Little Familiar

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The Little Things

by Hope Madden

When you see a film whose plot synopsis exactly mirrors hundreds of other movies, it is the little things you have to look for to set it apart.

Writer/director John Lee Hancock’s The Little Things introduces plenty of those small details: a massive cross high in the Hollywood hills, a gun casing, a barrette, a radio station, a dog. Like the 1990s setting, though, they mostly amount to little more than understated flourish.

Hancock (who wrote and directed The Blind Side, but I will try not to hold that against him) introduces two cops. One, Deke (Denzel Washington, always a pleasure), is a Kern County sheriff’s deputy with bad blood back in LA. The other, Baxter (Rami Malek), is a climbing homicide detective hot shot in the big town.

When Deke is sent to the city to retrieve some evidence for a county case, Baxter inexplicably pulls him into a serial killer investigation, and there you have it: haunted veteran cop, ambitious newcomer, cold blooded killer (who may or may not be Jared Leto).

Again, that barebones description could be about 300 movies and TV series, including Netflix’s current true crime mini The Night Stalker (who is mentioned once during this film). How to elevate it?

Well, four Oscars among your three leads is a start. Perhaps that’s why this police procedural turns character study so quickly.

Washington’s worn out crime fighter offers a low key emotional center, which is a needed respite from the odd Baxter. Malek’s characterization of the by-the-books half of this duo is curiously manic, and Hancock spends frustratingly little time digging into Baxter’s motivation. Still, Malek and Washington offer quick chemistry that gives their scenes some depth.

Leto delivers a characteristically tic-heavy performance—perhaps also a tad overdone. Both he and Malek help generate a little energy with their accumulated weirdness, but it’s not enough to overcome the film’s general lack of momentum or purpose.

It doesn’t help that the color, period and low boil bring to mind two wildly superior Fincher efforts—Seven and, even more clearly, Zodiac. And however competently made (and it is) or impressively cast (obviously), The Little Things just can’t distinguish itself from the pack.

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Digging in the Dirt

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The Dig

by Hope Madden

Indiana Jones made archeology look thrilling and dangerous. Director Simon Stone’s The Dig makes it look positively British.

Back in 1938, as England sat on the precipice of WWII, an informally trained excavator named Basil Brown unearthed an ancient Saxon ship in a mound around back of the widowed Edith Pretty’s land. Journalist/novelist John Preston’s aunt Margaret Piggott was part of the larger archeological crew at Sutton Hoo that would mine the site for its cultural riches. Many years later, Preston would mine that story for a novel.

Refined and marked by the proper restraint of the English, Moira Buffini’s adaptation of the source material remains keenly interested in the difference between what we unearth and what we leave buried. Stone’s film shadows two romances and the emotions they choose to excavate as well as those they do not.

Brown and Pretty are played by Ralph Fiennes and Carey Mulligan, respectively. Fiennes finds a sweetly vulnerable center to Brown’s guarded stoicism. Meanwhile Mulligan reminds us again of her limitless range, playing essentially the opposite character of her bitingly brilliant Cassandra in Promising Young Woman.

Watching the gentle dance these two impressive talents engage in as their characters come to understand one another is hypnotic. There’s rarely an excuse to miss the opportunity to see either Mulligan or Fiennes act, and their delicate chemistry here is gorgeous.

Stone flavors his film and this relationship with notes of longing and melancholy that balance the overall theme of discovery. And then a sudden development—the arrival of Basil’s amiable and thoroughly loyal wife May (Monica Dolan, irresistible)—does more to sever their tale than complicate it.

This odd second act shift – just when we’ve really begun to invest in the primary relationship – turns Mulligan and Fiennes into supporting players in their own movie. Johnny Flynn and Lily James take it from here, he the attentive young RAF man in waiting and she the spunky archeologist/unsatisfied newlywed.

Both actors are solid, as is the entire and sizable ensemble of support, but the film feels out of sorts the moment the youngsters arrive.

It’s a lopsidedness The Dig never quite recovers from. Of course, had Mulligan and Fiennes not shone quite so brightly, it may not have been a problem at all.

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Shooting Stars

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Supernova

by George Wolf

Sometimes, just watching two master actors at work is worth the price of admission. And though Colin Firth and Stanley Tucci are not all that Supernova has in the win column, they are what keeps the film engaging throughout a fairly familiar narrative.

Firth is Sam and Tucci is Tusker, two longtime partners who have hit the road with their beloved dog, traveling across England in an old RV.

The two men have been in a committed, loving relationship for over twenty years. Now, after Tusker’s diagnosis of early onset dementia, they’re taking the time to catch up with cherished family and friends while they revisit some favorite spots from their past.

For his second feature, writer/director Harry Macqueen is on familiar ground as well, returning to some of the themes that drove Hinterland, his 2014 debut.

Like that film, Supernova becomes a road trip through wonderfully picturesque landscapes, as two souls appreciate the chance to share the beauty – and the heartbreak – that life brings.

But here, with older characters connected by more than just friendship, Macqueen adds a layer that is made beautifully resonant by the warm chemistry and fully formed characterizations of Tucci and Firth.

Every glance and subtle movement between them reflects the preciousness of the time that Sam and Tusker have left. And though its predictability has you wishing Supernova had something a bit more luminous to say, the two shooting stars in the lead are not to be missed.

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Check Out Anytime You Like

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The Night

by George Wolf

Come on, it’s been forty years, can’t we get a new haunted hotel flick without you screaming bloody redrum?

That’s fair, but what if the new take unveils a slow shower curtain reveal and turns to a golden oldie for creepy soundtrack effect?

Oh. Well then the film’s going to have to work even harder to avoid the dustbin of shameless Shining wannabees.

The Night does just that, and ultimately manages to find its own voice with a goosebump-inducing tale of a frantic family’s sleepless night away from home.

Babak (Shahab Hosseini) and Neda (Niousha Noor) are an Iranian couple living in the U.S. They have a new daughter, who is pretty well-behaved during their game night with some friends.

Neda’s not happy that Babak knocked back a few shots during the evening, so when the GPS starts acting crazy on the drive home and the baby is fussing, Neda suggests they find the nearest hotel and start fresh in the morning.

But from the moment the clerk at the Hotel Normandie (George Maguire – perfectly weird) greets Babak with tales of all the death he’s seen in his life, things ain’t right.

They get worse.

Director/co writer Kourosh Ahari proves adept at spooky atmospherics, with long, not-quite-Kubrick hallways around many turns and unsettling, not-exactly Serling paintings hanging about. Things go bump, voices carry and wandering souls appear, with Hosseini (The Salesman, A Separation) and Noor proving terrific vehicles for selling the scare.

Babek was hoping the booze would dull his toothache, but now he’s just exhausted from being kept awake by what he’s seeing…or just thinks he’s seeing. While Neda, increasingly desperate just to keep her child safe, begins to suspect the key to escaping may lie in revealing some long-held family secrets.

As a simple device with plenty of easy fright potential, the haunted house has served horror well for decades. But elevating it to a metaphor for something deeper is only as successful as the weakest pillar involved.

The Night shows strength all around, and by daybreak a pretty well-known blueprint builds to a satisfying reminder on the cost of deception.

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A/S/L

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#Like

by Brandon Thomas

One only needs a fleeting familiarity with social media, message boards and comment sections to know that the internet is a breeding ground for toxicity and abuse. Everyone becomes a target at one point or another. Young women, especially, can become the focal points for violent, disturbed predators who want only one thing: satisfaction through cruelty. 

Rosie (Sarah Rich) and her mother aren’t doing so well. It’s been one year since Rosie’s younger sister, Amelia (Samantha Nicole Dunn), died by suicide. The pain of the loss is made worse as Amelia was goaded into taking her own life by an online abuser. This abuser used his perverse coercion to worm its way into Amelia’s day-to-day life. Rosie’s depression and guilt morph into rage as she believes she’s uncovered the identity of the man responsible for Amelia’s death.

Like many of cinema’s greatest thrillers, #Like leans hard into discomfort. Director Sarah Pirozek pulls no punches when examining how young women are treated not only online, but in their every waking moment. The sexual adoration that men – young and old – direct toward women such as Rosie is shown for what it truly is – villainous and scary. Outside of being a damning portrait of male behavior, this also complicates Rosie’s search for the truth behind her sister’s death. How can she find the man responsible when so many are capable of this reprehensible behavior?

#Like isn’t all hard truths. There’s a throughline of ambiguity in the film that creates an ever-present sense of unease. The audience is sure Rosie has her man…until she doesn’t. Like the aforementioned online cruelty, Pirozek doesn’t shy away from the ugly side of Rosie’s anger. All good revenge movies grapple with the cost of vengeance, and this one is no exception.

Rosie is a great showcase for Sarah Rich. This is a character who is a ball of guilt, depression, rage and sadness – sometimes all within the same scene. Rosie should be your typical teenager, but the grief boiling inside of her won’t allow that. Rich plays Rosie’s loss of innocence as the film’s ultimate tragedy. 

On the other side, Marc Menchaca (Ozark, Alone) impresses as The Man (the only title given to this character), the focus of Rosie’s ire. Menchaca has the hardest role in that he can’t simply play The Man as a mustache-twirling villain without steamrolling the movie’s overall theme. Menchaca’s portrayal of The Man runs the gamut from suspicious to sympathetic. 

#Like could’ve easily gone for pure pulp and still have been a successful film. But by investing in theme, both storywise and through character beats, #Like manages to stand out by challenging the audience.