Mighty Neighborly

Suburbicon

by George Wolf

Ah, the good old days.

In these turbulent times, who doesn’t long for a return to that simple life, when everything was just so peachy and America was…what’s that word? Great!

Suburbicon is hardly the first film to cast satirical aspersions onto idealized visions of 1950s Americana, but few have created such a biting bridge to the present while doing it. Just when you might think it’s being too obvious in its messaging, the powerhouse pedigrees of almost everyone involved remind you there must be something more at work here.

There is, something that’s often deliciously dark, twisted and satisfying.

The village of Suburbicon is peddled as the pinnacle of modern living for the upwardly mobile families of the 1950s. It’s a community proud of its diversity…until a black family moves in. Mr. and Mrs. Mayers (Leith M. Burke and Karimah Westbrook) are careful to mind their own business, even as the angry crowd outside begins to grow.

Right next door to the new unwelcome neighbors, Gardner Lodge (Matt Damon), his wife Rose (Julianne Moore), sister-in-law Margaret (also Julianne Moore) and son Nicky (Noah Jupe) are dealing with the consequences of a violent home invasion. An insurance claim follows, which brings a visit from an eager fraud investigator (a scene-stealing Oscar Isaac).

It’s a film loosely loosely built from the story of the first black family to live in a 1957 Pennsylvania suburb, as director George Clooney and frequent writing partner Grant Heslov resurrect a decades old script from the masterful Coen Brothers to mine both the ridiculous and the profane.

Connecting the Lodge and Mayers households only through the uneasy friendship of Nicky and young Andy Mayers (Tony Espinosa), we see the Suburbicon residents threatened not by the dangerous lunacy of their white neighbors, but by the mere existence of anything that disturbs their own privilege.

The eye for crisp detail that helped Clooney nab both writing and directing Oscar noms for Good Night, and Good Luck is on full display here, along with stellar performances from a standout ensemble.

But Clooney’s heart is on his sleeve as usual, and surrounding a tale of racial violence with such kitsch and exaggerated satire brings a danger of condescension that the film keeps at arm’s length through a commitment to its long game.

Beyond the tired metaphors of fences and observant children lies the point that this is the history so many want to “take America back” to, and it was far from great.

A Grateful Nation

Thank You for Your Service

by Hope Madden

American Sniper screenwriter Jason Hall moves behind the camera for his thematically similar big screen adaptation, Thank You for Your Service.

Where the Clint Eastwood-helmed Sniper dealt in large part with its hero’s bumpy re-acclimation to civilian life, Thank You deals almost exclusively with veterans’ troubles on the homefront.

Miles Teller is Adam Schumann, returning permanently to his wife and two small children after his third tour in Iraq. He’s joined by buddies and platoon-mates Solo (Beulah Koale) and Will (Joe Cole).

Too earnest for its own good, Thank You for Your Service shadows these three servicemen as the responsibility for and repercussions from their actions overseas haunt their post-war lives.

This is a film about PTSD, but more than that, it’s about a country both ill-equipped to serve those who served, and often disinterested in trying.

Hall’s storytelling can’t rise above cliché, but he manages to tell his painfully heartfelt tale without cloying manipulation or judgment. Though Thank You buzzes with impotent rage—that of the filmmaker as well as that of the protagonists—it never feels preachy or even pessimistic. Hall articulates these veterans’ helplessness and frustration in a way that is genuinely rare in our current glut of flag-waving dramas, big screen and small.

Teller, always strong when playing a likable goof who’s just hanging on, is in his comfort zone as the soldier with the best chance to make it. He and Haley Bennett, playing Schumann’s wife Saskia, share believable, well-worn chemistry and there are moments between them when Hall’s gift for naturalistic writing shines.

At other times, the dialog forces too much explanation at the audience, as if Hall doesn’t trust us to understand the extent of the problems plaguing our veterans. A newcomer to directing, Hall’s unsteady craftsmanship can’t overcome that weakness in the same way that Eastwood was able to.

This is a tough film to criticize, though. Hall and crew do get an awful lot right, and the film surprises with periodic bits of gallows humor, selfishness and other glimpses at human frailty that make the film feel far more authentic than Sniper or most any other veteran-themed film.

The flaws can’t go unseen, though, and Hall either needed a better writer or a director who could take some of the obviousness of this screenplay and find a fresher way to approach it.

Dina Getting Married

Dina

by Rachel Willis

Charming is the first word that comes to mind while watching the Antonio Santini and Dan Sickles documentary, Dina.

From the first moment, the audience is given an unfiltered look into Dina’s world. At a dentist appointment, she reveals her discomfort to the hygienist who offers to hold her hand while the dentist drills. It seems an odd moment to begin this intimate look at a woman’s life, but as the film unfolds, it’s a piece that fits into the larger puzzle that is Dina.

After a few more scenes in which we’re privy to Dina’s day-to-day routines, her fiancé, Scott, is introduced. In most ways, Scott and Dina are just like any other couple preparing for and anticipating their wedding day: there’s excitement, some trepidation, and a few hurdles to work through if they’re going to succeed in the long run.

But Scott has Asperger Syndrome and Dina has “a smörgåsbord” of mental disabilities (per her mother). Still, Santini and Sickles show us that Dina and Scott are a couple like any other.

At times, as the film navigates the sexual side of the couple’s relationship, it tends toward voyeurism. As they page through a copy of “The Joy of Sex” and Dina relays her sexual frustrations, the film skirts the line.

But the directors approach the subject with sympathy and compassion. The openness Dina and Scott have reveals the comfort between subject and documentarians. Never does the film feel exploitative or mocking.

It’s easy to like Scott and Dina and the more time spent with them only deepens the affection.

It’s a testament to the filmmakers, who make the audience feel like they’re spending time with old friends. It’s also a testament to Dina herself. Her past is one of hardship. She’s a widow and a survivor of a terrible ordeal at the hands of a boyfriend. But she is full of optimism and warmth.

Scott and Dina are exceedingly polite to each other, but the warmth behind their words reveals their love. In fact, the world would probably be a lot better if we all treated our friends, family and spouses the way Dina and Scott treat each other. While they have their problems, as every couple does, their polite natures, their openness, offers hope that their marriage will stand the test of time.

As a love story, Dina is exactly what the audience wants it to be.

Save Your Tears

Tragedy Girls

by Hope Madden

Heathers meets Scream in the savvy horror comedy that mines social media culture to truly entertaining effect, Tragedy Girls.

Sadie (Brianna Hildebrand) and McKayla (Alexandra Shipp) are looking for more followers to improve their brand, and they have been doing a lot of research to make their content more compelling. The Tragedy Girls plumb their small Ohio town’s surprising death toll with more insight than the local police seem to have. Where do they get their knowledge?

Provocative.

Tyler MacIntyre directs a screenplay he co-wrote with Chris Lee Hill and Justin Olson. The trio wade into the horror of a social media generation with more success than anything we’ve seen to date. A great deal of their success has to do with casting.

Hildebrand and Shipp (both X-Men; Hildebrand was the moody Negasonic in Deadpool while Shipp plays young Storm in the franchise proper) nail their characters’ natural narcissism. Is it just the expectedly shallow, self-centeredness of the teenage years, or are they sociopaths?

Mrs. Kent (Nicky Whelan) would like to know. The spot-on teacher character offers the film’s most pointed piece of social (media) commentary when she points out the traits encouraged in a snapchat world, where shallowness and parasitic, even psychotic behavior is a plus.

The film is careful not to go overboard with its commentary, though, and the final product is the better for it. MacIntyre’s affectionate, perhaps even obsessive, horror movie nods receive at least as much of his time and attention.

The result is both mean and funny. Josh Hutcherson’s small, image-lampooning part is an absolute scream proving that MacIntyre and company have pop cultural insights to spare, and proper comedic timing to boot.

McIntrye loses his snidely meta tone briefly with a lengthy sidetrack focusing on Craig Robinson, which becomes more zany and broad than anything before it. The director can’t entirely find his footing again, as the resolution of the film gets mired a bit too much in the genre tropes.

Still, the details are priceless (she lends him a copy of Martyrs! Dig that ringtone!), the performances impress and the whole thing is a hoot.

I Don’t Want to Go Out – Week of October 23

Some great stuff rolling out for couch potatoes this week, including one of the most riveting summer blockbusters, a sequel to make you weep for our future, and proof that Kristen Stewart can act. What?!

Click the movie titles for the full reviews.

War for the Planet of the Apes

An Inconvenient Sequel: Truth to Power

Annabelle: Creation

Personal Shopper

Bushwick

The Emoji Movie

A Ghost at My Sister’s House

The story of Miss Hanes begins when my sister Julie Anne and her young family moved from a small apartment above a Toledo wicker shop to a charming old house in the suburb of Point Place.

It was a very pretty first home for Julie Anne, her husband Brett, their toddler Brenna, and their sweet but excitable Dalmatian, Gonzo. It offered a homey neighborhood and plenty of room for the family to grow. But there was always something off about the place.

Immediately upon moving in, my sweet baby niece Brenna began to take on odd qualities.

Odd, even for my family.

Brenna’d always had an almost eerie calm about her, even as a toddler, quietly observing with the hint of judgment. But somehow, in the new house, she seemed almost otherworldly.

Need an example? One of Brenna’s more unsettling games during this particular period was called Magic Fingers. It was a game of her own creation, where she’d cast a spell by wiggling her fingers above her head, chanting. After calling on the power of the magic fingers, Brenna would utter a command.

“Magic Fingers, make Hope be dead,” for instance.

At that time, I didn’t know whether to fear that some demon intended to steal my beloved niece or take comfort in the more realistic notion that Brenna would be the child who could summon and command the spirit world.

It wasn’t just Brenna’s unusual playtime antics, though. Things moved around the house. Not before your eyes, but objects just didn’t remain in the spot you remembered putting them or seeing them last.

This was particularly problematic for Brett.

Not long after they’d taken residence, Brett’s wedding ring came up missing. After an exhaustive search and a little drama, they replaced it.

He lost that one, too.

It was an ugly time until Julie Anne – doing laundry down the basement – found both rings on the floor under a pile of clothes. She handed one to her husband, who promptly lost it again. Julie Anne returned to the basement to check and found the ring right where she had spied it the last time – in the center of the basement floor under a pile of dirty laundry.

Had it been only the ring, well that would have been weird enough, but it wasn’t.

Items moved around Brenna’s room as well, winding up on surfaces too high for her to reach. The front and back door would be standing open, even if you were certain you’d closed and locked them. And worst of all, the dog refused to go into the nursery.

That is never a good sign.

Fascinated, Julie Anne talked to neighbors, who spun a yarn about a tragedy in the Hanes family, who’d lived in Julie Anne’s house a few years before.

A story emerged. The teenage daughter babysat all around the neighborhood one summer. She was well-liked by the area kids and their parents. She had a nice enough family, herself, although maybe a little strict, overprotective.

That might be why she decided to sneak out her bedroom window, across the porch roof and down the tree one night to meet a boy at the little wooded patch beyond the cul de sac.

Neighbors couldn’t remember whether her father claimed to suspect an intruder, or if he thought he was catching that boyfriend sneaking into his daughter’s room.

Or if Mr. Hanes was just a psycho.

Whatever he was thinking, Mr. Hanes shot his daughter. She never left the house again.

Now the troubled, lovesick teen wandered Julie Anne’s halls, stealing wedding rings and hiding them where Brett would never find them – under a pile of work needing to be done.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Little evidences of Miss Hanes’s presence filled Julie Anne’s house, from the bedazzled basement floor to the little knickknacks that moved around Brenna’s room – all harmless enough reminders that we were not alone in Point Place.

And then one night I would have more of a one-on-one run in.

My twin sister Joy and I were sleeping over, sharing Julie Anne’s bed upstairs. Julie Anne was sleeping with Brenna, and Brett was working the night shift.

It was late and Joy and I were both long asleep when I was roused by a stomping sound.

It didn’t wake Joy up. I lay there a while in the dark. The house was quiet.

Then I heard it again – it sounded like footsteps from above, which was odd because I hadn’t even realized that Julie Anne had an attic. Certainly, no one was walking around in the attic at this hour, but by now I was absolutely awake and a clear footfall could be heard coming from beyond the ceiling above me.

What could it be? I considered.

Squirrels?

Nope, squirrels scurry.

Deer.

Now that’s just idiotic.

How would a deer get into Julie Anne’s attic? 

Stomp. Stomp. Stomp. Stomp. Stomp.

Ooooooh. I did not care for this. I shook Joy.

Nothing.

“Joy! Joy!”

Nothing. A sound sleeper, that one.

Stomp. Stomp. Stomp.

I decided to ignore it. Maybe block it out. I landed on the age-old, truly courageous plan to roll over and pull the covers over my head.

I rolled to my side, facing Joy, covers in hand.

I tugged.

The covers would not move.

I really yanked them toward my head, but they wouldn’t reach. They were held firmly in place.

I tugged and tugged, but it was as if someone was sitting on the bed with me, sitting on top of the blankets.

I imagined her there, right behind me. Her bloody nightgown, her mournful face…

I looked at the peacefully sleeping Joy, the sister I was about to abandon to a ghost.

Then, without a thought to her safety or so much as a peek over my shoulder at whatever was back there sitting on the bed with us, I hopped up, stood on the bed, stepped over Joy and toward the bedroom door, and fled to the TV room downstairs.

And, like big, dumb Gonzo, I never went back upstairs.

Fright Club: Best Anthology Horror

We finally did it. We finally took a look at short compilations and horror anthologies—all sixty million of them—and found that there are many great ones. So many, in fact, that filmmaker Jeff Frumess teamed up with us so we could cover twice as many. Here are our five favorites.

5. Creepshow (1982)

Campy, gruesome and trashy like the comic books that inspired it, Creepshow benefits from two of the most impressive pedigrees in the genre world. Written for the screen by Stephen King and directed by George Romero, the grimly comedic film demands attention.

Though some of the shorts are less effective than others, the hits are strong enough to carry the effort.

Though the cake in “Father’s Day” remains maybe the movie’s most lasting image, the shorts “The Crate” and “Something to Tide You Over” offer the strongest bursts of horror.

Bridged with inspired comic book art bumpers, the film maintains a juvenile aesthetic that helps its mean spirit and humor land. It doesn’t hurt that getting to see Hal Holbrook, Leslie Nielsen, Ted Danson and Ed Harris wade into such garish and campy territory is forever fun.

4. The Signal (2007)

A transmission – a hypnotic frequency – broadcasting over TV, cell and landline telephones has driven the good folks of the city of Terminus crazy. David Bruckner, Dan Bush and Jacob Gentry created a film in three segments, or transmissions.

Transmission 1 introduces our lover heroes as well as the chaos. Can Mya (Anessa Ramsey) and Ben (Justin Welborn) remain sane, reunite and outrun the insanity?

Transmission 2 takes a deeply, darkly funny turn as we pick up on the illogical logic of a houseful of folks believing themselves not to have “the crazy.” The final transmission brings us full circle.

The movie capitalizes on the audience’s inability to know for certain who’s OK and who’s dangerous. Here’s what we do know, thanks to The Signal: duct tape is a powerful tool, bug spray is lethal, and crazy people can sure take a beating.

3. Fear(s) of the Dark (2007)

This animated French film brings nightmares almost too beautifully to life. The film showcases a glorious variety of black and white artistic style, each animating a different short that tells a tale of phobias, bad dreams and shadowy terror.

Though the styles change, there is a shadowy fluidity to most of these pieces that feels slippery and alarming. One piece about a man who finds refuge in an abandoned house emphasizes a slow-building dread while another tale about a grim-faced man and his menacing hounds generates more vibrant bouts of terror.

The program morphs from the supernatural to the cerebral, each piece filling the screen with disturbingly gorgeous sound and image.

The film as a whole has the feel of childhood nightmares. The collection digs into anxieties in a way far more subtle and sophisticated than what you’ll find in the balance of films on this list, but the lingering effect is haunting, even disturbing.

2. Three…Extremes (2004)

Three of the most promising genre directors Asia had to offer came together in 2004 to cast a grisly spell. Two—Chan-wook Park and Takashi Miike—would blossom into two of the most respected filmmakers in the world. Miike just released his 100th film. While Park may be a bit slower with his output, he’s not made a single misstep in his filmmaking career. Everything he’s ever made is required viewing.

Fruit Chan’s career may not draw as much attention, but this piece in this anthology may be the strongest. “Dumplings” offers a savvy if distasteful piece of social commentary boasting two magnificent performances and sound design destined to disturb.

Miike’s “Box” is a serpentine riddle of sideshow freaks, ghosts, destiny and twins. Beautiful, grotesque and hypnotic, it showcases the filmmaker’s knack for visual storytelling and spell casting.

Park’s “Cut” offers a cynical and bloody look at the film industry. Though it’s the least in keeping with the filmmaker’s overall canon, as a part of the series it offers bold visuals and uneasy humor.

1. Trick or Treat (2007)

Columbus native Michael Dougherty outdid himself as writer/director of this anthology of interconnected Halloween shorts. Every brief tale compels attention with sinister storytelling, the occasional wicked bit of humor and great performances, but it’s the look of the film that sets it far above the others of its ilk.

Dougherty takes the “scary” comic approach to the film—the kind you find in Creepshow and other Tales from the Crypt types—but nothing looks as macabrely gorgeous as this movie. The lighting, the color, the costumes and the way live action bleeds into the perfectly placed and articulated moments of graphic artwork—all of it creates a giddy holiday mood that benefits the film immeasurably.

Dylan Baker (returning to the uptight and evil bastard he perfected for his fearless performance in Happiness) leads a whip-smart cast that includes impressive turns from Brian Cox, Anna Pacquin, Leslie Bibb and Brett Kelly (Thurman Merman, everybody!).

And it’s all connected with that adorable menace, Sam. Perfect.

The Screening Room: Fire and Ice

Jump inside The Screening Room podcast with us to talk through everything you can find in cinemas this weekend and everything newly available in home entertainment. We cover Only the Brave, The Snowman, Same Kind of Different as Me, Mark Felt: The Man Who Took Down the White House, Jungle and Human Flow. Listen HERE.

Blinder Side

Same Kind of Different as Me

by George Wolf

It’s been over a year since the trailer for Same Kind of Different as Me arrived, and was promptly met with the widespread mockery it deserved.

Planned release dates came and went. Was it retooling, or rethinking? Maybe they weren’t really going to put out a film with so much apparent racial condescension and white guilt?

They were, they are, they did.

It’s based on the best selling memoir – steady yourself if you haven’t heard this title – Same Kind of Different As Me: A Modern-Day Slave, an International Art Dealer, and the Unlikely Woman Who Bound Them Together.

Subtle.

Ron and Debbie Hall (Greg Kinnear and Renee Zellweger) were rich white Texans in an unhappy marriage. They met homeless man Denver Moore (Djimon Hounsou) and struck up a friendship which led to millions of dollars raised for the needy.

It’s a nice story. Helping thy neighbor is a lovely message. Why does it have to be delivered this way?

Denver seems like an interesting character, and he’s listed as a co-author on the book. Did anyone think to tell the story from his point of view?

No, we must get more precious white saviors, and celebrate them for taking a black friend to their white country club while they wash their hands of violent racism with empty voiceovers (of course there are voiceovers!) such as “there are things I just don’t understand.”

Bless your heart.

Not one thing in director/co-writer Michael Carney’s feature debut feels authentic. Even smaller details, like Debbie sleeping in full makeup or a young, poverty-stricken Denver sporting gleaming straight teeth, feed the notion that this is all just a self-congratulatory show.

Well, congratulations, this might even be worse than The Blind Slide.

 

Humanity in the Time of Displacement

Human Flow

by Alex Edeburn

The “overview effect” is a phenomenon known only to astronauts who experience a shift in consciousness when looking back at the Earth while in orbit. Edgar Mitchell, a member of the Apollo 14 mission, once described the effect as “instant global consciousness, a people orientation, an intense dissatisfaction with the state of the world, and a compulsion to do something about it.”

Director Ai Weiwei’s attempts to recreate this profound effect with his stunning and timely documentary, Human Flow.

The film is a sprawling examination of the millions of refugees around the world and allows us to bear witness to the lives of that increasing number of displaced people. It is a film that serves to humanize those who are suffering and who are too often maligned in this unfortunate age of travel bans and Brexits.

Weiwei’s artistic eye for calming cinematography paired with the brutal theme of the film forces us to assess all that we’re witnessing over the course of two and a half hours.

We’re lured in by the harrowing beauty of the Greek coastline in winter, only to then come to terms with the situation at hand once the camera exposes the countless life preservers that litter the rocky beach. There is much to consider with this film, including the continuous ticker of information providing alarming statistics regarding this global crisis.

Human Flow does not contain itself to one specific region or group of displaced people, but rather addresses all the ongoing plights such as the Rohingya fleeing ethnic cleansing in Myanmar, those escaping famine in East Africa, and the supposed “bad hombres” crossing America’s southern border.

Ai Weiwei’s documentary is not trying to prove any point or win any argument regarding this highly politicized and misunderstood crisis. Rather, he presents a film that works in earnest to be objective through the statistics it provides and the subjects it highlights.

Human Flow is a powerful film that puts faces to the 65 million people we are quick to dismiss as nothing more than refugees, rather than see them for what they actually are: humans.

 

 

Hope Madden and George Wolf … get it?