Category Archives: New In Theaters

Reviews of what’s out now

New In Theaters, Slider

Eyes Without a Face

Leave a comment

Hardcore Henry

by George Wolf

We wake up with Hardcore Henry underwater in a Russian laboratory. A hot woman in a lab coat gets us up to speed as she attaches our new arm and leg. She tells us she’s our doctor, and our wife, and though our memory will come back in time, right now we have to run from the endless parade of people who want us dead.

And so we are off on a journey of mayhem and discovery, as writer/director Ilya Naishuller crafts a technically savvy “first person” action fest where every shot is framed through Henry’s eyes.

The lab is raided by a gang of baddies, with Henry and wife Estelle (Haley Bennett) making their escape as she pleads with him to understand what he’s capable of and to fight back accordingly. He does, with continually timely assistance from the mysterious Jimmy (Sharlto Copley), whose answers only lead to more questions about Henry’s identity, bio-engineering and the evil plans of warlord Akan (Danila Kozlovsky).

The action is often relentless, sometimes brutally violent, and eventually tiresome. The film essentially becomes a first person shooter game set to autopilot, much more successful as a technical achievement than resonant narrative.

Naishuller deserves ample credit for his vision, and for getting it on film with impressive precision.  There’s hardly a dent in the integrity of his first person device, with set pieces that run from dazzling (a shootout set to Queen’s “Don’t Stop Me Now” chief among them), to downright weird (Copley’s song and dance routine), and the entire production well-earning its advisory for viewers prone to motion sickness.

For all the technical merits, seeing through Henry’s eyes doesn’t connect us to the character or pull us any deeper into the action. Ironically, the effect is just the opposite, and Hardcore Henry becomes as fun and captivating as watching someone else play a video game.

Verdict-2-5-Stars

 

New In Theaters

Like a Boss

Leave a comment

The Boss

by Rachel Willis

The Boss is a comedic story of one woman’s fall from the top and her struggle to regain her position in the world.

Melissa McCarthy is Michelle Darnell, a high powered executive who writes a brand of self-help books. Her fall comes at the hands of former lover and business rival, Ronald (Peter Dinklage).

Kristen Bell is Michelle’s long suffering assistant, Claire, who is forced to find a new employer when Michelle is incarcerated for insider trading. The early setup foretells the redemption of Michelle, though the ways in which it happens are unpredictable and provide the bulk of the movie’s many jokes.

As a vehicle for Melissa McCarthy, The Boss has a number of laughs. Sharp wit, foul language, and bodily humor combine to offer an appealing repertoire of McCarthy’s talents. However, the movie itself falls flat. The supporting cast is underutilized. Kristen Bell, herself a witty and capable actress, is lackluster against McCarthy. The chemistry is non-existent, and the two characters never seem to foster a believable relationship.

The screenplay doesn’t know what to do with anyone other than McCarthy. Though a decent portion of the film revolves around Bell’s character, her scenes independent of McCarthy are mildly tedious.

Peter Dinklage, another actor with an incredible range of talent, has a woefully small amount of screen time, and though he plays Michelle’s former lover who both hates and still wants her, he has no sexual chemistry or tension with McCarthy. The interaction between the characters frequently feels forced.

The only actor who plays well of off McCarthy’s humor is Cedric Yarbrough, the “yes man” Tito, who appears briefly in the beginning of the film, but sadly, doesn’t return after Michelle’s release from prison.

On the whole, the film is disjointed. What could be a cohesive story of Michelle’s fall and attempted rise back to the top is unfortunately punctuated with scenes that don’t really fit the narrative: a comic book style slow motion fight scene between girls from two warring Girl Scout-like troops, a scene where Michelle has a bad reaction to puffer fish, and others.

Despite the movie’s flaws, it’s not without appeal. Ella Anderson who plays Claire’s daughter, Rachel, is a delightful foil to Michelle’s brash and sarcastic nature. Her emotions based on Michelle’s actions come across as genuine. Her joys and pains are felt by the audience. McCarthy’s humor and flair carries the film in places where in another’s hands it might suffer.

It’s a shame so many of the other characters are without appeal, as The Boss could have been a much stronger comedy.

Verdict-2-5-Stars

NOTE: NSFW trailer (but funny!)

New In Theaters, Slider

Everlovin’ Light

Leave a comment

Midnight Special

by Hope Madden

Get to know Jeff Nichols. The Arkansas native is batting 1000, writing and directing among the most beautiful and compelling American films being made. His latest, Midnight Special, is no different. But then again, it is very, very different.

You should know as little as possible going into this film because Nichols is the master of slow reveal, pulling you into a situation and exploiting your preconceived notions until you are wonderfully bewildered by the path the story takes.

Suffice it to say, Nichols mainstay Michael Shannon, as well as Joel Edgerton, are armed men in a seedy motel. They have a child in tow (Jaeden Lieberher – wonderful). Local news casts a dark image of the trio, but there’s also a Waco-esque religious community looking for the boy, not to mention the FBI. So, what the hell is going on?

Nichols knows, and he invites your curiosity as he upends expectations. The film toys with the clash between logic and the supernatural, not unlike the themes of Nichols’s masterpiece Take Shelter (also starring a magnificent Shannon). While moments of Midnight Special will feel more reminiscent of memorable films in the SciFi vein, what this filmmaker does with his subject is beautifully novel.

The film, like all of Nichols’s work, is deeply rooted in traditions and atmosphere specific to the American South, and the filmmaker boasts a deep and easy skill as a storyteller. He’s also truly gifted with casting.

Lieberher, who showed amazing natural talent in 2014’s St. Vincent, again offers a beautifully restrained central figure. Edgerton and Kirsten Dunst are likewise wonderful, both turning in nuanced performances that reflect Nichols’s uncanny way of dealing with the extraordinary in the most naturalistic way.

But Michael Shannon, a remarkable talent no matter what film he graces, anchors the film with a heartbreaking, award-worthy performance.

Midnight Special is just another gem of a film that allows Nichols and his extraordinary cast to find exceptional moments in both the outlandish and the terribly mundane, and that’s probably the skill that sets this filmmaker above nearly anyone else working today. He sees beyond expectations and asks you to do it, too.

You should.

Verdict-4-5-Stars

New In Theaters

Scenes from the Overlook

Leave a comment

Darling

by Hope Madden

Long on style, short on plot, Mickey Keating’s Darling benefits from meticulous sound design, craftful framing, a strong lead performance, and your patience.

Darling – the closest thing to a name we ever get for the film’s lead – will be caretaker for the oldest brownstone in town. The enigmatic mistress of the house, played with icy skill by Sean Young, shouldn’t even be telling the new caretaker about the troubles with the last girl…

Yes, this sounds familiar, but Keating is not attempting to hide from comparisons to Stanley Kubrick’s 1980 classic The Shining. From Darling’s insistent score to its long, narrow hallways and more, this film embraces and celebrates its Overlook inspiration.

The tale itself is nothing if not artfully ambiguous. Darling’s descent into madness begins within moments of the fade in, and Keating’s screen titled chaptering (Chapter 1: Her; Chapter 2: Invocation; etc.) draws conspicuous attention to one way to read his film – as that of a house haunting its guest. Or was the guest mad all the while? Are there demons afoot, or did Darling bring the crazy with her?

This waffling between what may be happening onscreen works as well as it does because of the pliability of Keating’s lead, Lauren Ashley Carter (The Woman). Carter carries the film in its entirety with a performance that oscillates between wide-eyed terror and brittle rage. It’s an impressive turn from a performer who is becoming a true genre talent.

Carter and Keating mine the solo female going mad angle to conjure memories of Polanski’s Repulsion, and Carter’s unreliable point of view character rings a few of the same notes as Debra Kerr’s letter perfect performance in 1961’s The Innocents.

If atmosphere and style aren’t enough to carry a film for you, however, Darling will wear thin. Keating feels no compulsion to satisfy your curiosity, nearly overwhelming his film in ambiguities.

Stylish, visually resplendent in black and white, though not especially satisfying, Darling is more of an introduction to two strong new voices in the genre – Keating and Carter – than a memorable horror effort, but it’s definitely worth a look.

Verdict-3-0-Stars

New In Theaters

To Hell and Back

Leave a comment

Baskin

by Hope Madden

“Hell is not a place you see. You carry Hell with you at all times.”

Cheery stuff, that! If you’ve ever wondered what hell might look like, first time feature director Can Evrenol has some ideas to share. They are vivid. You’ll swear they even have an odor.

Evrenol’s Baskin is a loose, dreamily structured descent into that netherworld in the company of a 5-man Turkish police unit. (Baskin is Turkish for “police raid.”) The serpentine sequencing of events evokes a dream logic that gives the film an inescapable atmosphere of dread, creepily underscored by its urgent synth score.

We are trapped along with this group of somewhat detestable, somewhat sympathetic men as they respond to a call for backup in an “off the map” nearby area. What they find is deeply disturbing.

Unless you really like frogs. If so, then – hooray! Frogs!

The rest of it, though? Horrifying.

Evrenol’s imagery is morbidly amazing. Much of it only glimpsed, most of it left unarticulated, but all of it becomes that much more disturbing for its lack of clarity.

The cast is uniformly solid with the exception of Mehmet Cerrahoglu, who may leave you speechless. The director has taken to calling him the new Michael Berryman – a name genre fans will recall as the haunting, hulking, hairless menace in Wes Craven’s The Hills Have Eyes and their nightmares.

Cerrahoglu’s remarkable presence authenticates the hellscape of these characters’ descent. Evrenol’s imaginative set design and wise lighting choices envelope Cerrahoglu, his writhing followers, and his victims in a bloody horror like little else in cinema.

There are moments when Baskin feels like a classier, more stylishly made Nightbreed, but there’s no camp factor here. Just a surreal exploration of the corruptibility of the human soul, and its final destination.

Baskin may infuriate viewers looking for a tidy package, and it may underwhelm gorehounds intrigued by reports of audience walk outs. Be that as it may, the film represents a vital new voice in the genre (Evrenol), not to mention a potentially iconic new face in horror and bad dreams (Cerrahoglu).

New In Theaters

Video Massacre Volume 1 Comes to Gateway

Leave a comment

If the title Video Massacre Volume 1 conjures the image of some Eighties VHS compilation of B-horror, then perfect. You’re ready for the viewing.

An assortment of 20 shorts filmed by Brooklyn filmmakers, the series boasts a nice mix of polish and camp, all surrounded by the joyously self-referential framing story of demon-ghost Belfy and the hostages he’s forcing to watch the shorts.

Humor – frequently of the toilet variety – gives the film its tone, and the individual shorts are sequenced to offer the experience a good pace. While a handful of the films feel too amateurish, most of them boast excellent production values. It’s clear these were made on tight budgets, but the filmmakers across the board know how to match cinematic technique to the tone of the short.

One animated piece and the fake trailer for “The Shitting” rank among the most entertaining, and two “experiments gone awry” efforts are the most fun. You can also expect a lot to go wrong in the woods.

More than anything, the film feels like a mash note to the genre, right down to the twist ending. (Pay close attention to the credits inside the film. Priceless!)

Join us as we host a Midwest premier of Video Massacre Volume 1 at Gateway Film Center this Saturday, 4/2, at 9:30pm and stick around after for a Q&A with some of the directors:

Grier Dill, director: Trashed, Fungus Adventure
Brett Glass & Grier Dill, director: Brood X
Brett Glass, director: frame story
Joseph Colmenero, director: The Coffin
Winnie Cheung, director: Exit Interview
Suzi Sadler, director: The Retreat
Cale Hughes, director: Jackolantern

New In Theaters

Family Plot

Leave a comment

Krisha

by George Wolf

Krisha is not only a powerful character study awash in piercing intimacy, it is a stunning feature debut for Trey Edward Shults, a young writer/director with seemingly dizzying potential.

And then there’s the startling turn from Krisha Fairchild, Shults’s real-life Aunt, who after decades of scattershot film and voice work, delivers a jaw-dropping lead performance full of such raw authenticity you begin to feel you are treading where you don’t belong.

That’s no accident. Shultz draws heavily on his own painful family history to bring the story of Krisha (Fairchild), who is attending a big Thanksgiving dinner after 10 long years of estrangement from her loved ones. Slowly, we’re introduced to other family members (some also played by Shults’s relatives) and learn that Krisha is a recovering addict who has done some very bad things.

She’s come to make amends, and most importantly, to try and salvage any chance of a relationship with her son (played by Shults himself).

Expanding his own short film from 2014, Shults is remarkably assured in constructing his narrative. Nothing is spoon fed, rather we grasp what we know about Krisha and her family through guarded conversations and quiet, private moments. From the awkwardness of forced holiday small talk to the inevitable request for the “techy” relative to fix a computer, the scene is unmistakably real. Then, as old wounds become new, the film strikes with a humanity so deeply felt we expect to see our own faces in those family albums left out on the table.

The direction is equally graceful.  Calling to mind recent work from Cuaron and Inarritu, Shults gently leads his camera away from character activity to linger on the surroundings, just long enough to call to mind the part they play in Krisha’s fragile psyche.

It is all an artful complement to Fairchild’s intense, blistering portrait of a woman quite literally under the influence. From the truly unnerving opening shot through the next 82 minutes, taking our eyes off of her is nearly unthinkable.

Krisha is a timely reminder what undiscovered talents can achieve despite their limitations of budget, cast or location.

Here’s hoping we discover these two again soon.

Verdict-4-0-Stars

 

New In Theaters

Long Gone Daddy

Leave a comment

I Saw the Light

by Hope Madden

At one point in I Saw the Light, Marc Abraham’s biopic of legendary country performer Hank Williams, the singer tells us, “Everybody has a little darkness in them. I show it to them and they don’t have to take it home.”

It’s a fascinating scene. Too bad it doesn’t describe the film we’re seeing.

The reliably talented Tom Hiddleston lost some pounds as well as his Brit accent to take on the role of the lanky Alabaman. While his performance is not perfect, it is quite good. Between the surprisingly effective singing and the occasionally haunted expression, Hiddleston brings Williams to charming if conflicted life.

Hiddleston is joined by the equally talented Elizabeth Olsen, and the two attempt to animate the volcanic relationship between Williams and wife Audrey. Their chemistry keeps the rocky pairing believable and fascinating, and Olsen’s spitfire performance shows fearlessness.

No, the problem with I Saw the Light is definitely not the cast. But make no mistake, there are serious problems here.

In perhaps the best scene in the film, Williams unveils his most recent effort, the iconic Your Cheatin’ Heart. Heartbroken, ill, and spent, the singer whispers the final line and Abraham cuts to his wife Billie (Maddie Hasson). This might have been a powerful choice if we had spent any time with or been given any information about this particular wife and her allegedly cheatin’ heart.

Abraham (Flash of Genius), who adapted the nonfiction book by Colin Escott, meanders through the musical legend’s personal life while entirely neglecting his music. The film never feels like it is moving forward, offers no real context or reflection on Williams’s personal struggles, and is exasperatingly slight when showcasing his artistry.

Williams tells us in the film that when a country singer sings a sad song, you know that he knows sadness.

Man, I bet that’s true. Too bad I don’t hear his sad songs, nor do I see him battle sadness. I do see him drink, show up too drunk to perform, and marry several times. That may be the fodder for a country song or two, but a satisfying biopic on one of the most influential songwriters in modern music? Nope.

Verdict-2-5-Stars

 

New In Theaters

Nice Day For a…Greek Wedding

Leave a comment

My Big Fat Greek Wedding 2

by George Wolf

Might be time again to grab some stock in Windex, because now it turns out that elixir of wonders could be just the thing for a bum hip.

The Windex thing was just a part of the charm that drove My Big Fat Greek Wedding to insane box office in 2002. But beneath the idiosyncrasies, it connected through a sweetly natural sense of family, and easy humor delivered by people that looked and felt real, not just a Hollywood-approved facsimile.

MBFGW2 brings back those familiar characters, but this time the authenticity is lacking.

The gang is still in Chicago and as we catch up, Toula (Nia Vardalos,) is back helping at the family restaurant while her “Anglo” husband Ian (John Corbett) has become a high school principal. Their 17 year-old daughter Paris (Elena Kampouris) is shopping for colleges, and though Toula wants her baby close to home at Northwestern, Paris is thinking it’s time to get some distance from her smothering Greek family.

Meanwhile, Toula’s father Gus (Michael Constantine) is obsessed with tracing his ancestry back to Alexander the Great, and his search leads to a startling revelation: Gus and his wife Maria (Lainie Kazan), together for 50 years, were never legally married!

What’s the Greek word for “contrived”?

True, another big Greek wedding is kind of a requirement here, but the sitcom-ready setup underscores all that ails part 2. Vardalos’s original script seemed to come straight from her heart, but this time her writing manages very little that isn’t obvious and calculated. Director Kirk Jones (Nanny McPhee, Everybody’s Fine) adds plenty of over-exaggerated reaction shots, and not much else.

Genuinely funny lines are hard to come by, while the attempts to address real family issues such as empty nests, sexual preference and stale marriages are given only the broadest strokes, reduced to a line or two of conflict followed by hurried resolution. The level of frenetic family antics is desperately upped, and Ian’s ever -present laid back attitude grows suspect.

I mean, c’mon, this guy would’ve snapped by now.

The food looks delicious, though.

Verdict-2-0-Stars

 

New In Theaters, Slider

The Darkest Knight

Leave a comment

Batman v Superman: Dawn of Justice

by George Wolf

Just how dark do you like your superheroes?

With Batman v Superman: Dawn of Justice, director Zack Snyder battles his own penchant for excess while combining the Marvel formula of assembly with the damaged psyche of Christopher Nolan’s Batman trilogy. And while Snyder is dealing with a few less avengers, his film makes Nolan look downright drunk on human kindness.

Utilizing an ambitious script from Chris Terri (Argo) and David S. Goyer (all three of Nolan’s Batman films), Snyder is not shy with metaphor or message.  As spectacular events unfold in Metropolis and Gotham, we’re given an unflinching rumination on how 9/11 has changed us.

Terrorism, paranoia, torture, and toothless media are woven into more standard superhero tenets. This is a battle between God and man, and the film also has plenty of moments worthy of a classic Greek tragedy.

So there’s a lot going on here? Sometimes too much. Ideas are plentiful and often repeated, as are dream sequences and Snyder’s patented wide angle slow-motion set pieces. And really, do we need another ‘young Bruce Wayne watches his parents get shot’ sequence?

Speaking of Master Wayne…after all the uproar, Ben Affleck makes a fine caped crusader, as the hero’s square-jawed intensity fits perfectly into Affleck’s low-emotion comfort zone. The great Jeremy Irons brings some welcome badassed-ness to the role of Alfred, effortlessly stealing scenes and laying claim to the film’s most surprisingly interesting character.

In the other corner, Henry Cavill continues to impress as Clark Kent/Superman, finding a subtle nuance in the role that makes his ache for humanity ring true. Amy Adams gives us a Lois Lane that is smarter and sexier than ever, and her chemistry with Cavill brings a new depth to the iconic super couple.

To the delight of arch villain Lex Luthor (Jesse Eisenberg, over the top), the Dark Knight and Man of Steel finally come to blows, and it is glorious. In fact, their battle makes the film’s final act feel a bit superfluous, save for the cheer-inducing entrance of the new Wonder Woman (Gal Gadot).

The ironic twist to her slightly-more-appropriate-for-crime-fighting outfit is the instant reminder of just how masculine the entire superhero universe remains. Still, there is enough mystery here to hold out hope that Wonder Woman’s upcoming stand alone film will be one of overdue substance.

After the rubble finally settles, Dawn of Justice is just that, as we get glimpses of the other “meta-humans” that will take their places in the upcoming Justice League franchise. Batman v Superman wanders, but it’s enough of an epic to make following it worthwhile.

 

Verdict-3-0-Stars