Category Archives: Uncategorized

Life Less Ordinary

Waif

by Hope Madden

Just two years ago, writer Samantha Kolesnik crafted the hypnotic road trip horror True Crime and introduced us to a frightening, insightful and bold central figure.

Much has changed in Kolesnik’s approach to her latest novella, Waif. And yet, a master of complex characters, Kolesnik delivers another fascinating point of view vehicle in Angie, whose thoughts and rationalizations defy clean moral categorization. Waif travels an unusual path along with Angie, an abused wife whose husband concocts a bizarre plan to recapture her sexual interest. The undertaking draws her into a wild world full of new dangers, and it awakens something.

The novella probes this damaged psyche without apology or judgment, Kolesnik’s writing here frank and often frankly sexual. Where her previous novella delivered dreamlike stream of conscious horror, Waif’s punch is direct.

The plot itself is never less than fascinating, allowing Kolesnik to explore sexual politics, loss, and an almost endless set of ideas concerning abuse. Through Angie, a less-than-reliable reliable narrator, Kolesnik asks provocative questions, and the answers she offers are often disturbing.

She complicates the ideas of innocence, agency and complicity, and once again her choice of narrator allows for a morally fluid point of view, which gives the author opportunity to look at every topic from a wide and wild range of perspectives. The story role-reverses again and again, giving nearly every character the chance to try on the robes of victim and perpetrator, often willingly.

Waif wastes not a sentence on sermonizing. Instead, it explores dangerous possibilities in the name of reclaiming something you thought you’d lost.

Living Deliciously

First Cow

by Hope Madden

Kelly Reichardt films tell a story, but not in the traditional Hollywood sense. She draws you into an alien environment, unveils universal humanity and shows you something about yourself, about us. There’s usually a story buried in there somewhere. In this case, it’s about two outsiders in 19th Century Oregon who find friendship.

And a cow.

Cookie (John Magaro) is a gentle soul, not properly built for the fur trade. (You saw The Revenant, right?) He’s a baker at heart, not that he gets to do much baking on a trapping expedition with hungry, volatile, hunt-weary men.

He holds no value for these men, and has nothing in common with them. But somehow he sees a kinship with the naked Chinese man he stumbles upon as he forages for mushrooms in the woods.

It’s sweet and sad the way Cookie and King-Lu (Orion Lee) fall into a relationship. King-Lu has ambitions. He opens Cookie’s eyes to opportunities he’d never had the courage to consider. Through these characters Reichardt demonstrates how fragile, lovely and heartbreaking hope can be.

Working again with regular collaborator Jonathan Raymond, whose novel the two adapted, Reichardt keeps you pulling for her heroes. The narrative lulls you with understated conversations and observations while the meticulously captured natural beauty onscreen beguiles. Within that, we see the potential of a young country through the eyes of Americans determining the dream.

Reichardt explores loneliness in all her films, the sense that we are each simply and inevitably alone, though we struggle against it regardless. This exploration isn’t hurried. It breathes. She emphasizes the longing for connection in every quiet moment with her characteristic use of lighting, the way she frames nature and the naturalistic performances she draws from Lee and Magaro.

William Tyler’s lonesome score offers something both mournful and tender, which is fitting. Although these men’s very existence in this place testifies to hardy ambition, Reichardt lingers on moments of gentle camaraderie.

When Kelly Reichardt tells a story, she breaks your heart. She does it slowly and quietly, but it’s broken nonetheless.

Saturday Screamer: The Cabin in the Woods

The Cabin in the Woods (2012)

You know the drill: 5 college kids head into the woods for a wild weekend of doobage, cocktails and hookups but find, instead, dismemberment, terror and pain. You can probably already picture the kids, too: a couple of hottie Alphas, the nice girl, the guy she may or may not be into, and the comic relief tag along. In fact, if you tried, you could almost predict who gets picked off when.

But that’s just the point, of course. Making his directorial debut, Drew Goddard, along with his co-scribe Joss Whedon, is going to use that preexisting knowledge to entertain holy hell out of you.

Though Goddard was an unproven entity behind the camera, the duo have written and produced some of the most intriguing projects in film and on TV in recent memory, including Cloverfield, Lost, and Buffy the Vampire Slayer. Whedon wrote Toy Story. There is nothing that garners higher praise from me than that particular credit.

Their quirky, dark humor is on full display in this effort.

Aside from the setup, the best thing to know about this film is nothing at all. The less you know, the more you’ll enjoy the savage, wickedly funny lunacy.

I will tell you this, though: Best onscreen elevator ride ever!

Goddard and Whedon’s nimble screenplay offers a spot-on deconstruction of horror tropes as well as a joyous celebration of the genre. Aided by exquisite casting – particularly the gloriously deadpan Richard Jenkins and Bradley Whitford – the filmmakers create something truly special.

Cabin is not a spoof. It’s not a satire. It’s sort of a celebratory homage, but not entirely. What you get with this film is a very different kind of horror comedy.

Fans of the genre will be elated. Those who generally avoid horror cannot help but be entertained. I left the theater absolutely giddy. As smart as Scream, as much fun as Evil Dead, this film is as thoroughly enjoyable a horror flick as anything you’ll find.





Insidious

Where’s My Roy Cohn?

by Hope Madden

There’s a tendency in horror cinema, after a villain has established his evil nature in a film or two, to turn the story around and find out what made him a monster. In that vein, Matt Tyrnauer’s documentary Where’s My Roy Cohn? is the madman’s origin story.

Horror fan that I am, I’ve still never been intrigued by what made Jason Jason, why Michael Myers was driven to murder, what caused Leatherface to don the mask. But it turns out, this horror story is more about the sequel, Son of Cohn.

“Where’s my Roy Cohn?” is a tantrum yelped by Donald Trump, unhappy about his attorney general at the time. And the title speaks volumes, about the kind of attack dog Cohn had been as a lawyer, and about the toxic legacy he’s left behind, right down to the oval office.

A fastidious student of the unlikely individual and his or her cultural impact, Tyrnauer made fascinating docs for years about little known citizens with big stories (Scotty and the Secret History of Hollywood and Citizen Jane among them). And though his latest certainly bears some of the markings of Tyrnauer’s previous films, the only person who saw Roy Cohn as a little guy with big ideas was Roy Cohn.

 It’s tough to overstate the ruthless, amoral impact Cohn has had on American politics and culture. Though Tyrnauer shows traces of compassion when underlining Cohn’s self-hating behaviors (whether as a Jew or a homosexual), the filmmaker’s assessment of his cancerous affect is evident.

Cohn was the prosecuting attorney who pushed the Rosenbergs toward the electric chair before he became McCarthy’s advisor, mouth piece and thug. Then on to New York, where his mafia entanglements (he represented John Gotti, Tony Salerno and Carmine Galante) only aided in his close professional and personal relationship with Donald Trump.

A bizarre connector between the worlds of Studio 54, the mafia and the Archdiocese of New York, Cohn’s party photos articulate some kind of bacchanal populated by members of each of these affluent, influential and decadent groups. It would be impressive it weren’t so ominous and seedy.

He also owned the news, dictating stories to the New York Post from his kitchen table and bringing Rupert Murdoch to the oval office with his own dear friend, Ronald Reagan.

Roy Cohn is dead, but as Where’s My Roy Cohn? makes dismayingly clear is that his ghost still haunts us.

Annie Are You Okay?

The Intruder

by George Wolf

If you caught Dennis Quaid creeping around your house on numerous occasions, would you be scared, or just figure he was bringing over some mac and cheese?

Quaid might be one of the ultimate likable dudes, and his playing waaay against type is one of promising threads that The Intruder squanders in its warmed over dish of jump scares and borrowed ideas.

Beautiful couple Scott (Michael Ealy) and Annie (Meagan Good) are living the good life in San Francisco, but Annie feels it’s time they move to the country and start a family. She finds her dream house at the Napa Valley home of Charlie Peck (Quaid), and as quickly as you can say “overly rushed setup,” they’re moving in.

Charlie says he’s selling to head South, so why is he still coming over to mow the lawn, assist with the Christmas decorations, and find reasons to be alone with Annie?

Whaddya bet he’s not really retiring to Florida, or that some guy at Scott’s office would like nothing better than dig into Charlie’s past to find what he’s hiding?

Director Deon Taylor (Traffik) and writer David Loughery (Lakeview Terrace) are both treading familiar ground, too much on autopilot to successfully mine the contrasts they introduce.

It’s old ways versus new, city versus country, and a red hat wearing white guy terrorizing a black couple.

That’s plenty to chew on, but everyone goes hungry while characters make one idiotic decision after another on the subtlety-free ride to a finale lifted verbatim from a 90s thriller.

At some point, Taylor and Loughery needed to chose a path: logical, layered tension or unhinged, over-the-top fun.

It’s clearly evident which one Quaid wanted, but both he and the film end up undecided on the remodeling plans. Like that old, musty spare room with the bad wallpaper, The Intruder is a little creepy, too often unintentionally funny and in need of some work.

The Screening Room: Shocks and Awes

We run down so many movies this week, most of them great and well worth your time. Check out our thoughts on First Man, Bad Times at the El Royale, Goosebumps 2, Old Man & the Gun, All About Nina, The Sisters Brothers and everything new in home entertainment.

Listen to the full podcast HERE.





I Don’t Want to Go Out – Week of September 25

Remember the unbelievable bounty in home entertainment last week? Well, it can’t be Christmas every day, kids. Things are a little slower this week, but making its way to DVD/BluRay is a decent horror flick and swimming to your screen for the first time is a shark attack flick that’s not nearly as bad as you think it is. Also, a 17-hour long movie about kids toys dating back to medieval times or some such bullshit.

Click the film title for the full review.

47 Meters Down

The Devil’s Candy

Transformers: The Last Knight