Is That a Monkey Paw?

Wish Upon

by Hope Madden

Wish Upon is, basically, a Twilight Zone episode – or a Simpson’s episode. Just toss in a bit of The Craft, add a dash of Final Destination, just a touch of Hellraiser, all topped off with the slightest hint of A Nightmare on Elm St.

Wait, how can you get away with such derivative pap? Get it a PG-13 rating – no one under 20 has ever seen any of those things.

What they’ll see here is a cautionary tale about succumbing to your high school angst.

Clare (Joey King) is unpopular in that Hollywood sense – meaning she’s artistic, adorable and quirky, but the Barbie doll lookalikes and their gay friend inexplicably hate her. Her two besties (admirably played by Shannon Purser and Sydney Park) love her, though. Plus, she has an admirer in that cute skateboarder, Ryan (Ki Hong Lee – man is he saddled with some bad dialog).

But her dad (Ryan Phillippe) is a total embarrassment – even if he did find her this cool Chinese wishing pot. (This, PS, is the whitest movie about Chinese demons ever made.)

Luckily, director John R. Leonetti (Annabelle) has King to rely on. She’s likeable, generally believable, and she offers a compelling deterioration, post-wishing. (Because wishing + puzzle boxes + horror movies = bad idea.)

Leonetti, working from Barbara Marshall’s script, seems to be suggesting that you should just accept who you are, and that pining for something as superficial as popularity and wealth will literally kill you and everyone you love.

It’s not bad advice. Might be a little over-the-top.

Wish Upon is a bland if competently made screamer for the not-ready-for-R set. It’s a John Hughes movie with more carnage. It’s a Taylor Swift song with a body count.

It’s fine. Unless you like good movies.

Verdict-2-0-Stars

I Will Choose Free Will

Afterimage

by Hope Madden

Painting in his room, the artist Wladyslaw Strzeminski (Boguslaw Linda) suddenly loses his light as an enormous red banner of Stalin is dropped in front of his building. He opens the window, reaches out with his crutch and tears a hole big enough to let in natural light.

It’s a scene heavy with symbolism as well as dread, and one of many that filmmaker Andrzej Wajda uses to evoke a sense of time, place and struggle. It is not how Afterimage opens, though.

In a painterly scene brimming with life and beauty, Strzeminski meets in a meadow with a group of students from his Academy of Fine Arts in Lodz. The WWI veteran missing one arm and leg tucks his crutches and rolls on his side down the hill, followed merrily by his students. A sunny, living painting – the bright spot is meant to give you a comparison as totalitarian post-war Poland crushes every glint of light in the artist’s life.

Wajda’s lean, focused film limits its scope to the days leading up to Strzeninski’s conflict with Poland’s Ministry of Culture and the deterioration of the artist after. His abstract work and outspoken views on “Socialist Realism” – propaganda disguised as art – are deemed counter to public interest.

What to do with an artist?

Linda’s understated performance grieves for hope – a pervasive feeling throughout the film.

Sharply written, lean and efficient, Afterimage engages with an unadorned vision. What emerges is the picture of systematic bullying aimed at breaking a man’s will.

Strzeminski’s story is not so atypical, and as angry a film as Wajda creates, there is no glory in the artist’s martyrdom. There is simply choice. Afterimge doesn’t deify the man. What it does is more honest.

It not only asks after the imperative of personal and artistic choice. It muddies that conversation intentionally with an accusation about the separation of art and commerce.

And it’s not difficult to find modern echoes in totalitarian catch phrases like, “Unfortunately, we have to educate,” and “Those who don’t work won’t eat.”

That’s a lot to cover in a brief run time, but Afterimage is not just an excellent picture of an artist Poland wanted us to forget. It’s a directorial feat to remind us that Wajda, making his last film before his death at 90, was a storyteller of the highest caliber until the end.

Verdict-4-0-Stars

The Horror

War for the Planet of the Apes

by George Wolf

They’re not kidding, this is a war movie.

The rebooted Apes trilogy concludes with a thrilling, deeply felt and always engrossing rumination on the boundaries of humanity and the levels of sacrifice, where the wages of brutality are driven home in equal measure by both sweeping set pieces and stark intimacy.

Two years after the events in Dawn of the Planet of the Apes, Caesar (Andy Serkis, again making an Oscar nod for a motion-capture performance seem inevitable) is leading an ape army that has suffered heavy casualties.

Despite some cunning maneuvers, Caesar is on the run from The Colonel (Woody Harrelson, also award-worthy), an unforgiving military dictator who shaves his head and preaches dominance of a master race.

Director/co-writer Matt Reeves says “Ape-pocalypse Now” before you can, but such an obvious ode to Brando’s Colonel Kurtz ultimately becomes a clever misdirection for the layered themes that resonate on a much more current level.

Reeves, returning from 2014’s Dawn, expands his vision of this franchise and its possibilities, crafting a majestic slice of summer entertainment that also reminds us of what fertile soil fear can easily become.

And yet amid all this heavy drama, some bittersweet humor finds a home, due mostly to “Bad Ape” (Steve Zahn), a hermit who is found by Caesar and his followers. Zahn’s performance is expressive and touching, his frequent close-ups serving as amazing evidence of the visual wonders at work. As the trilogy has progressed, the effects have improved in perfect sync with the cognitive growth of the ape characters, giving this third installment new depths in the richness of its storytelling.

The raging battles give way to a personal war within Caesar, as he balances the good of his population with a primal desire for revenge. His final meeting with The Colonel does not disappoint, thanks to the subtle foreshadowing and effective thrills that fill Reeves’s confident march to the showdown he knows we want.

Ultimately, we’re left with a bridge to the original 1968 film in sight, and a completely satisfying conclusion to a stellar group of prequels.

But is there room for more?

You bet, and War for the Planet of the Apes makes that prospect more than welcome.

Verdict-4-0-Stars

I Don’t Want to Go Out – Week of July 11

How big is your screen? We got a couple options this week if you have the normal size TV and one that – well, it rains cars. Is your screen big enough for raining cars?

Here’s what you can find this week in home entertainment. Click the title for a full review. And as always, please use this information for good, not evil.

Norman (The Moderate Rise and Tragic Fall of a New York Fixer)

Verdict-4-0-Stars

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

The Fate of the Furious

Verdict-3-5-Stars

A Quiet Passion

Verdict-2-5-Stars

Gonna Break Into Your Heart

American Valhalla

by Hope Madden

An aging musical icon wants to end his career on a fresh note and reaches out to an esteemed industry powerhouse to help him.

A modern master gets a text from his childhood hero, reminding him in a rush of all that informed the direction of his life.

In what could easily have been a simple marketing tool – a documentary to support Iggy Pop’s last album, Post Pop DepressionAmerican Valhalla instead offers a look at the creative process. But, more than that, it’s a glimpse into the kind of rock star adoration we’ve all felt, and an image of the all-too-human object of that worship.

In this case, the adored is punk rock godfather Iggy Pop; the adoring, Queens of the Stone Age front man Josh Homme, (who also co-directs).

Reading directly from their own journals written during the planning, recording and touring process, Homme, Pop and the rest of the band narrate the clashing emotions, nerves and anxieties that fueled this partnership and the ensuing album and tour.

Pop, now in his late sixties, is a small, crooked, humble guy, and still every bit a spectacle. His raw, unpredictable humanity is etched in the deep lines and huge eyes that haunt his famous face.

Homme – every inch Pop’s physical opposite, tall, sleek and handsome – opens himself up on camera in a way that’s disarming. Between Pop’s honest humility and Homme’s almost paralyzing adoration, the film somehow strikes a deeply sweet note. It’s validation for the overwhelming awe your own personal heroes can inspire. At the same time, it’s a touching reminder that even our heroes are deeply human.

Homme, directing with Andreas Neumann, shows great instincts visually. The documentarians cut between live footage, portraits and stills, creatively framed talking heads, and lonesome vistas. The pieces weave together to create an image that’s simultaneously haunting and energetic.

The music also happens to be outstanding.

Most surprising may be the film’s sweet, open heart. It’s a mash note for fans – all fans, but particularly Iggy Pop fans. If this is, indeed, to be Pop’s final hurrah, it is a lovely way to go out.

Verdict-4-0-Stars

Fright Club: Maybe a Vampire

So many vampires – so many! And then there are all these other guys who may or may not be. Sometimes it’s hard to say. Sure they drink blood, but do they really need to? Let’s explore.

5. Vampire’s Kiss (1988)

Sure, Nicolas Cage is a whore, a has-been, and his wigs embarrass us all. But back before The Rock (the film that turned him), Cage was always willing to behave in a strangely effeminate manner, and perhaps even eat a bug. He made some great movies that way.

Peter Lowe (pronounced with such relish by Cage) believes he’s been bitten by a vampire (Jennifer Beals) during a one night stand. It turns out, he’s actually just insane. The bite becomes his excuse to indulge his self-obsessed, soulless, predatory nature for the balance of the running time.

Cage gives a masterful comic performance in Vampire’s Kiss as a narcissistic literary editor who descends into madness. The actor is hilarious, demented, his physical performance outstanding. The way he uses his gangly mess of limbs and hulking shoulders inspires darkly, campy comic awe. And the plastic teeth are awesome.

Peter may believe he abuses his wholesome editorial assistant Alva (Maria Conchita Alonso) with sinister panache because he’s slowly turning into a demon, but we know better.

4. The Transfiguration (2016)

Milo likes vampire movies.

Eric Ruffin plays Milo, a friendless teen who believes he is a vampire. What he is really is a lonely child who finds solace in the romantic idea of this cursed, lone predator. But he’s committed to his misguided belief.

All this changes when Milo meets Sophie (Chloe Levine), another outsider and the only white face in Milo’s building. A profound loneliness haunts this film, and the believably awkward behavior of both Ruffin and Levine is as charming as it is heartbreaking.

The Transfiguration is a character study as much as a horror film, and the underwritten lead, slow burn and somewhat tidy resolution undercut both efforts.

Still, there’s an awful lot going for this gritty, soft-spoken new image of a teenage beast.

3. The Reflecting Skin (1990)

Writer/director Philip Ridley has a fascinating imagination, and his film captures your attention from its opening moments.

Seth Dove lives with his emotionally abusive mother and his soft but distant father, who run a gas station in rural Idaho sometime after WWII. Seth’s older brother Cameron (Viggo Mortensen) is off serving in Japan. Seth has decided that the neighborhood widow Dolphin Blue (a wonderfully freaky Lindsay Duncan) is a vampire.

Positively horrible things begin to happen, each of them clouded by the dangerous innocence of our point of view character.

The film plays a bit like a David Lynch effort, but with more honesty. Rather than the hallucinatory dreaminess Lynch injects into films like Blue Velvet (the most similar), this film is ruled by the ferociously logical illogic of childhood.

With this point of view, the realities of a war blend effortlessly with the possibility of vampires. Through little Seth Dove’s eyes, everything that happens is predictably mysterious, as the world is to an 8-year-old. His mind immediately accepts every new happening as a mystery to unravel, and the jibberish adults speak only confirm that assumption.

This film is a beautiful, horrifying, fascinating adventure unlike most anything else available.

2. Cronos (1993)

In 1993, writer/director Guillermo del Toro announced his presence with authorty by way of this tender and unusual “vampire” flick. Del Toro favorites Federico Luppi and Ron Perlman star. Luppi is Jesus Gris, the elder statesman, an antique store owner, loving husband and doting grandfather.

Perlman plays Angel, a thug – what else? Angel’s miserable but very rich uncle wants an Archangel statue from Gris’s store, but the real value has already found its way into Gris’s veins.

A vampire film of sorts, it’s a beautiful story about faith and love – not to mention the real meaning of immortality. Performances are wonderful, and watching this masterful filmmaker find his footing is the real joy.

1. Martin (1978)

Martin (John Amplas) is a lonely young man who believes he’s a vampire. He may be – the film is somewhat ambivalent about it, which is one of the movie’s great strengths. He daydreams in black and white of cloaks, fangs and mobs carrying pitchforks.

Or are those memories? Does Martin’s uncle hate him because Martin, as he claims, is really in his Eighties, as his uncle would surely know? Romero has fun balancing these ideas, tugging between twisted but sympathetic serial killer and twisted but sympathetic undead.

Romero’s understated film is more of a character study than any of his other works, and Amplas is up to the task. Quietly unnerving and entirely sympathetic, you can’t help but root for Martin even as he behaves monstrously. It’s a bit like rooting for Norman Bates. Sure, he’s a bad guy, but you don’t want him to get into any trouble!

The film’s a generational culture clash wrapped in a lyrical fantasy, but quietly so. It’s touching, gory at times, often quite tense, and really well made. That, and it’s all so fabulously Seventies!

https://www.youtube.com/watch?v=NNIGTSdKPl0

It’s Not a Vibrator

My First B&E

by Hope Madden

When my sister Joy and I were about eight, our next door neighbors, the Manns, went on vacation. (I’ve changed their names in case the statute of limitation on breaking and entering is longer than I realize.)

They unwisely entrusted another neighbor up the block, Vickie Carmen (also a totally fake and not entirely convincing name), with the key to the house.

Vickie was to pick up the mail and feed the cats. Instead, she chose to bring her older sister Heather, as well as Joy and me, into the house for snooping, eating, and the stealing of coins from a giant container on the washing machine.

Heather was two years older than Vickie, Joy and myself, and we considered it a terrifying honor that she played with us. She also smacked and bullied us, bossed us around, mocked us without pity, and tricked us into doing dangerous and idiotic things that would land us in hot water.

But it was Vickie you had to look out for.

Together one afternoon, we four wandered through the neighbors’ home as some might an archeological find, examining everything. We ate their chips. We thumbed through their records. We opened cabinets. We stole Corey Mann’s Barbie clothes.

We went into the basement.

It was with starry eyes that we spied that jug o’coins, and promptly filled our pockets, fantasizing about the booty we’d buy at Cook’s Food Store down the block.

I looked forward to Caramel Creams or a Milky Way bar – or both! – since I was now a professional larcenist and could live it up bigger than I ever had.

Vickie would undoubtedly begin by hiding beyond the freezers eating baby food with her fingers, as was her Cook’s food-shopping tradition. Then, who knows what that freak would buy.

I once caught her eating the skin she’d peeled from a sunburn. I swear to God.

Before plunging headfirst into our illegally appropriated candy binge, we eyeballed the rest of the basement. Eager as we were for a sugar rush, we nearly overlooked an antique piece of exercise equipment.

Unfortunately, I did notice it. Indeed, it took my fancy and I recommended that we investigate.

Connie Mann was the youngest mom in the neighborhood and she insisted on being called by her first name. She was different. She was better. Not unlike Amy Poehler’s character in Mean Girls, but I can’t remember whether she had the same affinity for velour.

Connie had one of those weight-loss machines you’d see in old sit-coms. It was the kind of thing that resembles a doctor’s office scale, but at the top is a big, white belt that loops around your middle and vibrates away the fat.

I don’t know what you call this piece of equipment.

I’m sure you don’t call it a vibrator.

Whatever you call it, we turned it on.

Heather took the first tour. The knobs rotated furiously back and forth, back and forth, causing the movement in the belt that would make you sound like you were talking through the blades of a fan but would not, I felt sure, whittle away belly fat. Only a proper diet and sensible exercise regimen can do that.

The mistake I made – I mean, beside the mistake of breaking into a neighbor’s house and wandering around the dark and potentially dangerous basement of a home that would remain vacant for another week at least – was in examining the knobs too closely.

As I looked down, one tenaciously rotating gear grabbed the tips of my waist-length hair, yanked, and almost immediately my scalp was pressing cold metal.

“Turn it off! Turn if off! TURN IF OFF!”

They turned it off. My hair was already knotted around the knob, my head tugged so tight against the machine I thought the scalp would tear away from my skull. I was trapped.

My friends’ faces were ashen.

There was a long silence, and then Vickie, inching up the basement steps, whispered, “Let’s go. Come on. Let’s just go.”

Attached by the head to a machine at least twice my weight, stooped to one side and crying, I couldn’t even clearly conceive of my plight. My mind swam in terror.

And they did leave.

I didn’t scream or even slump to my knees looking for a more comfortable way to situate myself around my new anchor. I stared at the concrete block wall and did nothing at all. My brain ceased to function.

I know me, and I am terrified of everything. It’s hard to imagine that I didn’t stare into some dark corner, sure I’d seen movement or heard growls – human growls – coming from the darkness behind me.

It’s hard to believe I didn’t tear myself free, running bloody and half-hairless back to my house.

I honestly believe I was more afraid of my mom’s reaction to my breaking and entering than I was to dying alone in a basement.

Lucky for me, though the Carmens may have been the kind of bitches who’d abandon you to rot in the basement of your neighbor’s temporarily unoccupied home, my sister isn’t.

She strode somberly up to my father – likely relaxing with a cup of coffee and an episode of M*A*S*H – and told him, “Come with me. Bring your tools.”

Simple as that. My hero.

Dad dismantled the machine and freed my head. The hair on the left side tangled to about 1/3 its natural length, and the scalp remained raised and bumpy for months. To this day my hair does not lay flat on the left side. But we never told my mom, never narced on the Carmens, never fixed the machine.

Maybe the mysteriously broken equipment drew the Manns’ attention away from all that missing change.

Life Support

The Big Sick

by George Wolf

The Big Sick is that rare breed seldom seen in the wilds of the multiplex. It’s a smart and incisive romantic comedy that has something new and vital to say while it’s being both romantic and comedic.

It also feels incredibly authentic, probably because co-writers Emily V. Gordon and Kumail Nanjiani are telling much of their own story.

Kumail (Nanjiani) is a struggling standup comedian in Chicago who can’t bring himself to tell his traditional Pakistani family about his new girlfriend Emily (Zoe Kazan). Family pressures eventually lead to a breakup, not long before Emily becomes hospitalized with a mysterious infection that becomes life-threatening.

Emily’s parents (Holly Hunter and Ray Romano) know all about Kumail, and they aren’t exactly thrilled with his insistence on hanging around the hospital with a visitor’s badge.

Director Michael Showalter (Wet Hot American Summer, Hello My Name is Doris), is blessed with a uniformly wonderful ensemble cast, and he guides the actors through alternating levels of humor and societal insight that feel effortlessly organic.

We see a Muslim family portrayed much as any other movie family might be (imagine!), with generational conflicts that are plenty familiar, even if they manifest in unfamiliar ways. Bonus points for cleverly educating about Pakistani culture while also finding the funny in culture clash and persistent stereotypes.

Almost all the humor – be it scatalogical, corny, or suddenly dark – finds a mark, and is paired with a constant undercurrent of relatable humanity that draws us into these characters and becomes truly touching.

At times hilarious, sweet,  emotional and even heartbreaking, The Big Sick has a case of charming that will follow you home.

Let’s hope it’s catching.

Verdict-4-0-Stars

 

 

This Dude Abides

The Hero

by Hope Madden

Somebody finally wrote a starring role for Sam Elliott. Let’s be honest, we all love him. What’s not to love? His lived-in masculinity, mannered charm and sonorous delivery make every line a comic/dramatic/romantic dream.

His latest film, the Brett Haley directed and co-penned The Hero, feels like an attempt to give Elliott his own The Wrestler or Crazy Heart.

I’m cool with that.

Haley was responsible for the 2015 life-renewing romance I’ll See You In My Dreams, a post-middle-age adventure starring Blythe Danner, with Elliott joining as her mustachioed gentleman caller.

With Hero, Haley places Elliott firmly in the lead of another “life begins when you decide it does” kind of story.

In a role undoubtedly written specifically for the actor, Elliott plays an aging performer who’s knocked around Hollywood for decades but is best known for his deep, cowboy voice. The film opens with that memorable baritone recommending, “Lone Star barbeque sauce – the perfect pardner for your chicken.”

It’s an inspired scene, full of humorous indignity and carried beautifully by the voice-over veteran. It’s really a shame Haley can’t build on it.

Elliott’s Lee Hayden has cause to reevaluate his life when a health issue, a lifetime achievement award, a viral video and a surprising new girlfriend all collide unexpectedly. Oh, so many reasons to contemplate your own mortality.

Elliott’s quiet, moseying way remains as enigmatic and charming as it ever has been, and seeing him play a character so very close to himself is sometimes eerie. Real-life wife Katharine Ross even plays his ex.

The film scores highest marks in two scenes with Ross, and in everything with a delightful Nick Offerman, playing against type as Lee’s goofy former co-star and current weed dealer.

It derails hardest, though, when it tries to juggle a distant relationship with a daughter (Krysten Ritter) and a new romance with a hot, much younger woman (Laura Prepon).

The Hero breaks no new ground. Had Haley and co-writer Marc Basch (who also co-wrote Dreams) thrown one or two fewer contrivances at us, or found perhaps a fresher way to contend with their obvious choices, they might have had something.

Instead they ride Elliott’s charm and settle for sentimentality, which is such a shame. It’s high time Sam Elliott gets to lead his own movie, but he deserves a little more than this.

Verdict-3-0-Stars

Hope Madden and George Wolf … get it?