Just last year, Divergent glimpsed a dystopian future where destinies rose and fell with the company you kept, and social cliques were used to enforce a merciless pecking order. In short, high school all over again.
Insurgent, part two in the latest “three books as four movies” franchise, ups the ante on action, but delivers little more than some flashy CGI amid a formula growing increasingly tiresome.
Tris Pryor (Shailene Woodley) and her boyfriend Four (Theo James) are on the run from henchmen sent by Council leader Jeanine (Kate Winslet). Seems Jeanine has uncovered a strange, Hellraiser-looking puzzle box containing a message that could end the civil strife among her subjects. But this box can only be opened by a “divergent” with enough specialness to pass a variety of deadly tests…so Jeanine is hunting them all down to find the one.
Whoops, I mentioned “the one,” so I’ll pause now while director Robert Schwentke swoops in for a quick tight shot of Tris looking pensive. Get used to it.
There are some nifty visual sequences, but the core of Insurgent remains overly familiar young adult elements and overly bland presentation. The special girl burdened with a uniqueness she didn’t ask for, angst, melodrama, parental issues, walking among the rubble…all the basics are here. Ironic, then, that Schwentke (R.I.P.D., Red) doesn’t seem interested in moving his film beyond the ordinary.
The dream/virtual reality red herrings are as numerous as they are obvious, and those high drama arm -grab turnarounds are better left to the daytime soaps. Woodley is one of the best young actresses working, and she is plenty spunky during Insurgent‘s action scenes, but she’s saddled with dialogue and direction that is difficult to elevate. Even the great Winslet is reduced to standing still and looking villainous.
Attempts at social commentary are clunky at best, while contrivance in the script finally gives way to outright laziness, as when the common folk are enslaved by a behavior modifying implant which can’t be removed – until it is.
Tris is told, “We finally found a way to remove it.” Okay, then.
Two more Divergent films may be coming, but Insurgent will only leave you eager for the next round of Hunger Games.
We want to recommend a couple of lovely Irish tales for this week’s queue, beginning with the Academy Award nominated Song of the Sea. This beautifully watercolored dream mixes modern day with Irish folklore to spin the yarn of a wee selkie and the brother who begrudgingly loves her. Magical, sweet, charming and funny, it’s a treat parents will enjoy at least as much as their kids. It should have won the Oscar.
Pair it with director Tomm Moore’s first Oscar nominee, the gorgeous Celtic poem The Secret of Kells. Moore’s talent for blending everyday challenges with ancient magic is again at work as we shadow young Brendan through the riotous color and animated details of the enchanted forest outside the medieval abby where he lives. It’s another visually stunning bit of animation that’s as compelling to adults as it is to children.
The Sixties offered a turning point in horror, redefining and reshaping a genre that would explode the following decade. The era saw horror evolve from the atomic paranoia that informed schlocky Fifties fare to more politically challenging, artistically relevant work – work that would shape the modern genre. Here are the five best films horror had to offer in the 1960s.
5. Eyes Without a Face (1960)
The formula behind this film has been stolen and reformulated for dozens of lurid, low-brow exploitation films since 1960. In each, there is a mad doctor who sees his experiments as being of a higher order than the lowly lives they ruin; the doctor is assisted by a loyal, often non-traditionally attractive (some might say handsome) nurse; there are nubile young women who will soon be victimized, as well as a cellar full of the already victimized. But somehow, in this originator of that particular line of horror, the plot works seamlessly.
An awful lot of that success lies in the remarkable performances. Still, the power in the film is in the striking visuals that are the trademark of giant French filmmaker Georges Franju. His particular genius in this film gave us the elegantly haunting image of Dr. Genessier’s daughter Christiane (Edith Scob). Her graceful, waiflike presence haunts the entire film and elevates those final scenes to something wickedly sublime.
https://www.youtube.com/watch?v=TGNFynNqJ2A
4. The Innocents (1961)
Quietly desperate and delicately high strung, Deborah Kerr’s performance is the perfect central image in The Innocents, the best of many screen adaptations of Henry James’s The Turn of the Screw. Is Kerr’s hypersensitive governess turning delusional as she spirals toward spinsterhood, or are her angelic charges in danger of becoming possessed by the spectral lovers who seem to haunt the property?
Thanks to Kerr, the wickedly cherubic turn by Martin Stephens as young Miles, and Freddie Francis’s gorgeous black and white photography, this eerie ghost story is a glorious study in the shadowy line between reality and imagination.
3. Rosemary’s Baby (1968)
Rosemary’s Baby remains a disturbing, elegant, and fascinating tale, and Mia Farrow’s embodiment of defenselessness joins forces with William Fraker’s skillful camerawork to cast a spell. Along with Repulsion (1965) and The Tenant (1976), Rosemary’s Baby is part of Polanski’s “apartment trilogy” – disturbing films of tension and horror in which metropolitan life and nosey neighbors conspire to drive a person mad.
Working from Ira Levin’s novel, Polanski takes all the glamour out of Satanism – with a huge assist from Ruth Gordon, who won an Oscar for her turn as the highly rouged busybody Minnie Castevet. By now we all know what happens to poor Rosemary Woodhouse, but back in’69, thanks much to Mia Farrow’s vulnerable performance, the film boiled over with paranoid tension. Was Rosemary losing it, or was she utterly helpless and in evil hands?
2. Night of the Living Dead (1968)
From the brightly lit opening cemetery sequence to the paranoid power struggle in the house to the devastating closing montage, Night of the Living Dead teems with the racial, sexual and political tensions of its time. An unsettlingly relevant George A. Romero knew how to push societal panic buttons.
As the first film of its kind, the lasting impact of this picture on horror cinema is hard to overstate. Romero’s inventive imagination created the zombie genre and the monster from the ground up. Beyond that, the film’s shrill sense of confinement, the danger of one man turning on another, and the unthinkable transformation going on in the cellar build to a startling climax – one that utterly upends expectations – followed by the kind of absolutely genius ending that guarantees the film’s eternal position in the annals of horror cinema.
1. Psycho (1960)
In making Psycho, Alfred Hitchcock made horror a legitimate genre by producing a movie that scared smart people, mostly by upending expectations. Hitch kills off his pretty lead in the first act, after letting us know that she has pre-marital sex and is capable of stealing large sums of money. What’s great about these revelations is that she isn’t judged for them. She’s treated as a sympathetic, likeable heroine – although the villain comes off as even more of an innocent. Anthony Perkins’s sexually confused, vulnerable, awkward killer is almost too sympathetic.
Hitchcock’s masterpiece is known best, of course, for the shower scene, and with good reason. But what changed history was his decision to give us a hero who is flawed and a villain (a full-on psycho, no less) that we can’t help but root for.
Who wants to spend St. Pat’s with a badass Irishman? Run All Night is just your latest chance to see Liam Neeson show off his particular set of skills.
An aging thug and unrepentant lush, Neeson’s Jimmy Conlon relies heavily on the good will of his best friend from the neighborhood, Shawn (Ed Harris). Shawn runs a business that used to be shady – maybe still is – but Shawn’s legitimate. Shawn’s son is strictly shady, and when Jimmy’s estranged son sees something he shouldn’t, the dads have to sort things out. With bullets.
After Non-Stop and Unknown, this marks the third time director Jaume Collet-Serra has filmed Neeson as the damaged, aging loner with regrets and a bunch of people to shoot – but at this point, who hasn’t? While this film certainly doesn’t feel fresh, it’s a more accomplished movie than their last two collaborations, offering emotional pull and fine performances.
Neeson’s haunted tough guy Jimmy is one of his more memorable action movie roles, even if the father/son angle telegraphs the redemption theme from up the block. Full of regret and just barely daring to hope, Jimmy’s last attempt at fatherhood is a complicated, bloody affair.
Ed Harris is characteristically excellent as well, and the two veterans invest in their characters and the history they share. Because the relationship feels honest, the payoff maintains some emotional punch.
The supporting cast is solid from top to bottom. From Vincent D’Onofrio’s good cop down to an uncredited Nick Nolte, they’re not flashy, but they are committed enough to their characters to keep the drama tight.
Collet-Serra’s film begins as a Seventies’ style gritty NYC street drama, but as the night wears on, little glints of modern action flick start to tear through that fabric. It’s too bad, even if it is inevitable. Contrivances pile up, and wildly obviously plot twists appear only to resolve in exactly the way you expect them to.
Much of Run All Night – too much, really – is familiar and predictable. It’s a credit to Collet-Serra’s pacing that the film can keep your attention, and a nod to the talent of his cast that you can feel caught up in their dysfunctional family drama regardless of the threadbare script.
It seems weird that Disney and director Kenneth Branagh would remake Cinderella in 2015. The animated classic that generations grew up with feels rooted in the gender norms of the middle class culture of the 1950s.
To put Cinders up on the big screen today…I didn’t know what to expect.
But this is Disney…a company that somehow managed to make a blockbuster franchise out of the Pirates of the Caribbean ride. Sometimes they do make magic happen out of the most gossamer of source material.
I anticipated some serious updates. After all, the classic was pretty thin on plot. The mice carried most of the movie. And this one is live action and nearly 40 minutes longer.
There’s a lot about the new movie that remains familiar. Cinderella is portrayed as an impossibly earnest and optimistic blonde by Downton Abby’s Lily James. Her mother’s early demise leads to a stepmother and two new stepsisters. Then her father bites it. Her social status falls until we find her nestled into the ashes at the hearth struggling for a few minutes of sleep in between her stepfamily’s incessant demands.
We even get cameos from the mice and Stepmama’s cat, Lucifer. (Seriously, Dad, was the cat’s name not a red flag?)
There are some updates, though. There is a nod to diversity in the casting, a new moral (have courage and be kind), Cinders and the prince get to exchange some dialogue before still randomly falling for each other, and there are extended scenes of Cinders’ childhood and Stepmama behaving badly.
Much of the cast is delightful. Cate Blanchett hams it up as the Evil Stepmother in some truly amazing costumes. Helena Bonham Carter takes a daffy spin as the Fairy Godmother. And, in a bit of an upstairs/downstairs reversal, Downton Abby’s Daisy (Sophie McShera) flounces around in catty splendor as evil stepsister Drisella.
The animation that transforms mice into horses and lizards into footmen is Disney magic at its best and is probably the highlight of the film.
Ultimately, however, after movies like Enchanted, that take the tropes of these familiar tales and update them, Cinderella seems oddly dated. It’s like a pair of glass slippers—something beautiful to look at that doesn’t make sense in today’s world.
Are you ready? It’s just about time to find your Guinness T-shirt and crack everybody up with “You know what I wish? IRISH I had another beer!” Yeah, that one always kills, most likely because all your friends are hammered.
But aside from the blackouts and inflated drink prices, let’s celebrate the season with five..er..six of our favorite Irish flicks!
6. The Boondock Saints (1999):
Let’s start with the pretend Irish here at home. Jesus, these brogues are terrible. Just awful. But writer/director Troy Duffy’s sordid story of the righteously violent McManus twins did find an audience. They’re out to clean up the Boston they love – or at least ensure that it’s the Irish, not the Russians, allowed to shoot up the neighborhood. Steeped in Catholicism, blood, pathos and, again, the worst imaginable accents, Boondock Saints is weirdly watchable. It helps that Willem Dafoe tags along as one bat shit insane FBI agent.
5. Knuckle (2011)
James Quinn McDonagh cuts an enigmatic presence through the bloody world of Irish Traveler bare knuckle “fairfights” in Ian Palmer’s documentary Knuckle. The unbeaten pride of the Quinn McDonaghs, James takes on challengers from the feuding Joyce clan. Unfortunately, each win quells the action only briefly, as family members’ chest thumping and boasting reignite the feud, and another challenge is made. Palmer aims to illustrate the culture that fuels rather than overcomes its grudges, due in equal measure to unchecked bravado and finance (wagers bring in fast money for the winning clan). Filming for more than a decade, Palmer uncovers something insightful about the Traveler culture, and perhaps about masculinity or warmongering at its most basic.
4. The Guard (2011)
Then to a lighthearted look at drugs and crime on the Emerald Isle. Writer/director John Michael McDonagh assembles a dream cast anchored by the ever-reliable Brendan Gleeson to wryly articulate a tale of underestimation and police corruption in this very Irish take on the buddy cop movie. Through Gleeson, McDonagh shares a dark, philosophical yet silly humor, crafts almost slapstick action, and offers a view of hired guns as workaday folk. The Guard is a celebration of tart Irish humor and character; the actual plot merely provides the playground for the fun.
3. Calvary (2014)
McDonagh and Gleeson return three years later in Calvary. The endlessly wonderful Gleeson plays Fr. Michael, a dry-witted but deeply decent priest who has a week to get his affairs in order while a parishoner plans to kill him. Sumptuously filmed and gorgeously written, boasting as much world-weary humor as genuine insight, it’s an amazing film and a performance that should not be missed.
2. Once (2006)
You can’t celebrate St. Pat’s without some music. In Once, an Irish street musician fixes vacuums by day and dreams of heading to London in search of a recording contract. His unpredictable relationship with a Czech immigrant becomes the needed catalyst. Writer/director John Carney creates a lovely working man’s Dublin in a film blessed with sparkling performances from heretofore unknown leads Glen Hansard and Marketa Irglova. Their chemistry and their music are the heart of the film. This immensely charming slice of life picture, superbly crafted with tender realism, also boasts an honest, understated screenplay, and undoubtedly the best soundtrack of 2006.
https://www.youtube.com/watch?v=FWJIylZ8VyM
1. The Commitments (1991)
Jimmy Rabbitte intends to manage the greatest soul band in the world, so he hand crafts The Commitments, a Dublin-based, all white, blue collar soul band the likes of which Ireland has never seen. (The band includes Hansard again, much younger and with a magnificent ‘fro.) Alan Parker’s “behind the music” style tale of the rise and fall of a band is as charming, energetic and great sounding a way to spend St. Patrick’s Day as you will find.
Those are a few of our favorites…and if you think we missed any…let’s meet at the bar and fight about it!
Sunday, March 8 was International Women’s Day. We thought we’d celebrate by perusing the very best horror directed by women. It’s a much stronger list than many people realize and it includes two of the finest genre works of last year.
5. Near Dark (1987)
Back in ’87, future Oscar winner Kathryn Bigelow brought a new take on a familiar theme to the screen. A mixture of vampire and western tropes, Near Dark succeeds mostly on the charisma of the cast. The always welcome Lance Henricksen is campy fun as the badass leader of a vampire family, while the beguiling Mae (Jenny Wright) – nomadic white trash vampire beauty – draws you in with a performance that’s vulnerable and slightly menacing.
The most fun, though, is Bill Paxton as the truest psychopath among the group looking to initiate a new member. All the film’s minor flaws are forgotten when you can watch an unhinged Paxton terrorize a barful of rednecks. Woo hoo!
4. American Mary (2012)
A masterful Katharine Isabelle (Ginger Snaps) stars as med student Mary Mason, a bright and eerily dedicated future surgeon who’s having some trouble paying the bills. She falls in with an unusual crowd, develops some skills, and becomes a person you want to keep on your good side.
Writer/director/twins Jen and Sylvia Soska offer a screenplay that is as savvy as they come, clean and unpretentious but informed by gender politics and changing paradigms. Were it not for all those amputations and mutilations, this wouldn’t be a horror film at all. It’s a bit like a noir turned inside out, where we share the point of view of the raven haired dame who’s nothin’ but trouble. It’s a unique and refreshing approach that pays off.
3. A Girl Walks Home Alone at Night (2014)
Writer/director Ana Lily Amirpour has made the world’s first Iranian vampire movie, and though she borrows liberally and lovingly from a wide array of inspirations, the film she’s crafted is undeniably, peculiarly her own. The film is simply, hauntingly gorgeous.
Set in Bad Town, a city depleted of life – tidy yet nearly vacant – Girl haunts the shadowy, lonesome fringes of civilization. The time is spent with singular individuals – a prostitute (a world-wearied and magnificent Mozhan Marno), a drug addicted father (Marshall Manesh), a street urchin (Milad Eghbali), a pimp (Dominic Rains), and a rich girl (Rome Shadanloo). Two people weave in among these players – the handsome Arash (Arash Marandi), and a lonesome vampire (Sheila Vand).
Vand’s Girl is the constant question mark, and that – along with the eerie, sometimes playful camerawork – is what makes the film unshakably memorable. I promise the image of a vampire on a skateboard will stay with you.
2. The Babadook (2014)
You’re exhausted – just bone-deep tired – and for the umpteenth night in a row your son refuses to sleep. He’s terrified, inconsolable. You check under the bed, you check in the closet, you read a book together – no luck. You let him choose the next book to read, and he hands you a pop-up you don’t recognize: The Babadook. Pretty soon, your son isn’t the only one afraid of what’s in the shadows.
Like a fairy tale or nursery rhyme, simplicity and a child’s logic can be all you need for terror. Writer/director Jennifer Kent’s film is expertly written and beautifully acted, boasting unnerving performances from not only a stellar lead in Essie Davis, but also the alarmingly spot-on young Noah Wiseman.
The film’s subtext sits so close to the surface that it threatens to burst through. Though that does at times weaken the fantasy, it gives the film a terrifying urgency. In the subtext there is a primal horror, a taboo rarely visited in film and certainly never examined with such sympathy. Indeed, the compassion in the film may be the element that makes it so very unsettling.
1. American Psycho (2000)
American Psycho represents the sleekest, most confident black comedy – perhaps ever. Director Mary Harron trimmed Bret Easton Ellis’s novel, giving it unerring focus. More importantly, the film soars due to Christian Bale’s utterly astonishing performance as narcissist, psychopath, and Huey Lewis fan Patrick Bateman.
There’s an elegant exaggeration to the satire afoot. Bateman is a slick, sleek Wall Street toady, pompous one minute because of his smart business cards and quick entrance into posh NYC eateries, cowed the next when a colleague whips out better cards and shorter wait times. The more glamour and flash on the outside, the more pronounced the abyss on the inside. What else can he do but turn to bloody, merciless slaughter? It’s a cry for help, really.
Harron’s send up of the soulless Reagan era is breathtakingly handled, from the set decoration to the soundtrack, but the film works as well it does because of the lunatic genius of Bale’s work. Volatile, soulless, misogynistic and insane and yet somehow empathetic. It is wild, brilliant work that marked a talent preparing for big things.
In what amounts to RoboCop meets Short Circuit, Neill Blomkamp’s latest, Chappie, celebrates the outsider.
Chappie is the first sentient robot, his consciousness a program crafted by the engineer behind Johannesburg’s “scout” police force. The scout robots – a simple form of artificial intelligence assisting the Jo’burg po po – have all but eliminated urban crime.
Two problems. 1) A handful of the city’s remaining thugs want one to help them pull a heist, and 2) a weirdly coiffured rival engineer (Hugh Jackman) believes AI is an abomination and thinks his own robot – controlled by a human brain – is superior.
Imagine how pissed he gets when he finds that his rival Deon (Dev Patel – everywhere this weekend) has taken the body for one of his scouts and given it life.
Blomkamp’s third film proves that he is kind of entrenched in a single story: the corrupt wealthy versus the damaged poor with an innocent outsider hero to bring it all together. But in Blomkamp’s hands, the story always feels wildly, deeply his own. The fact that he tells it through richly imagined characters doesn’t hurt.
Chappie tells this tale with more heart and enthusiasm than the director’s last effort, the middling Elysium, but it lacks the originality (obviously) and much of the tension of his impressive debut effort, District 9.
His film suffers from an abundance of sentimentality and attention-seeking. Jackman’s over-the-top aggression and bizarre costuming are almost overshadowed by the often fascinating (though sometimes cloying) oddity that is the duo of Nija and Yo-Landi Visser (South African rappers cast as Chappi’s thug-life parents).
Blomkamp favorite Sharlto Copley performs admirably as the maturing robot-child Chappie, though you can’t help but feel abused by the manipulative child-mind/adult-world theme.
Blomkamp, who also wrote the screenplay with District 9 collaborator (and wife) Terri Tatchell, finds fertile ground in the images of Johannesburg’s criminal population, and when he can keep the sentimentality in check he does a nice job of balancing drama, comedy and action.
His real aim – as is usually the case with decent SciFi – is social commentary. The consequences he leaves unexplored in his film are so big and complex they are often the entire storyline of other films, but Blomkamp has his muse to follow. Chappie is true to his creator’s intention, and though it’s certainly a flawed and limited image, the experiment is not a complete failure.
I can’t seem to remember any movies that have tried to mix glory holes and the G8 summit, and yet civilization has soldiered on. Unfinished Business tries that and several other things, failing at them all.
Vince Vaughn again finds trouble moving from ensemble player to top of the marquee. He’s Dan Trunkman, a sales rep in St. Louis who pulls a Jerry Maguire and leaves the firm to start his own after a public dust up with his boss Chuck (Sienna Miller).
Dragging his box of shame to the car, Dan finds his first two hires in the parking lot: beaten down sales vet Tim (Tom Wilkinson! What are you doing? Don’t you know you’re Tom Wilkinson!), and Mike (Dave Franco), an impossibly naive newbie who had just stopped in to apply for his very first sales gig.
Fast forward one year, and the trio is still using Dunkin’ Donuts as an office, but the deal of their lives is on the horizon. Dan assures his guys it’s in the bag, but they all need to travel to Portland, Maine to wrap it up. Once in Portland, of course, Dan finds his old nemesis Chuck is close to stealing the business, so the guys understandably head to…Germany, to get in completely contrived and ridiculous situations which rarely approach comedy.
What’s worse, director Ken Scott (Starbuck, Delivery Man) and writer Steve Conrad (Ben Stiller’s The Secret Life of Walter Mitty) also want to cue the tender music and get real. See, Dan is on the road just when his wife and kids seem to need him most, so the film offers tone deaf u-turns from tasteless gags with obvious punchlines into attempts at serious lessons on bullying and working too hard.
It’s a mess.
The one bright spot is Franco. Given little to work with, he crafts a character which at least piques your interest, and Franco continues to show the potential for some real comic talent.
The efforts of a talented, veteran cast, coupled with a refreshing attitude toward the love lives of senior citizens, enabled The Best Exotic Marigold Hotel to rise above a tendency for silly contrivance.
The Second Best Exotic Marigold Hotel can’t quite measure up.
Director John Madden and screenwriter Ol Parker return, along with most of the original cast, for a trip back to India where things are busy at the eccentric hotel which caters to “the elderly and beautiful.”
Hotel proprietor Sonny (Dev Patel) and girlfriend Sunaina (Tina Desai) are planning their wedding, but Sunny is distracted by business. He wants to expand, and has reached out to a U.S. firm for financial backing. When American “writer” Guy Chambers (Richard Gere) checks in to the hotel, Sonny is convinced he’s actually a spy sent by the prospective business partners.
Guy has barely gotten his room key before Madge (Celia Imrie) has the hots for him, he has his eye on Sonny’s mom (Lillette Dubey), Sonny is jealous of Sunaina’s childhood friend “Kush” (Shazad Latif), and Norman (Ronald Pickup) is afraid he accidentally took out a hit on his girlfriend Carol (Diana Hardcastle). Plus, Douglas (Bill Nighy) and Evelyn (Judi Dench) still haven’t gotten together!
Maybe Captain Stubing can talk some sense into everyone!
It doesn’t take long to realize how much this installment misses the dear departed Graham, as played by Tom Wilkinson. Beyond Wilkinson’s immeasurable talent, Graham’s thoughtful storyline grounded part one in a graceful humanity that the sequel sorely needs. Gere is a fine addition for sheer star power, but his character only serves as a means to add more empty conflict to all the sit-comery.
It’s too bad, because even with Wilkinson gone, this cast features a vast wealth of talent that can instantly improve most any flailing script. The odd man out again is Patel, whose exaggerated histrionics serve as an annoying distraction from his sublime co-stars.
Despite a few charming moments, this sequel is overlong, overdone, and easily Second Best.
