Tag Archives: Dafne Keen

Lips Together and Blow

Whistle

by Hope Madden

Wish Upon. Polaroid. Talk to Me. Ouija. Choose or Die. The “gang of youngsters stumble across a cursed object to everyone’s peril” subgenre is alive and thriving.

But hey, Talk to Me was good.

Corin Hardy’s Whistle isn’t particularly good. It is incredibly formulaic, with mainly one-dimensional characters forever making unlikely choices because the plot requires that they do. It’s shot quite well, though.

Dafne Keen (Logan) just moved in with her cousin after some terrible mishaps. Her first day in the new high school, she opens her locker—vacated by a basketball star who inexplicably died recently—and finds some kind of creepy, ancient looking skull whistle.

Any number of ridiculous contrivances later, and a group of high school cliches—the burnout (Keen), the smart girl (Sophie Nélisse), the drunken asshole jock (Jhaleil Swaby), his hot girlfriend (Ali Skovbye), and the comic book nerd (Sky Yang)—have to battle death as conjured by that creepy whistle.

Yes, writer Owen Egerton mashes some Final Destination whatnot in with the other familiar beats. Don’t expect that franchise’s Rube Goldberg style kills, but Hardy does bring some blood and gore, as promised by that R rating.

The curse itself does feel somewhat fresh. The death stalking each victim is their own natural death, just come early. Why their own death would want to creep around, chasing and terrifying their still-alive selves for days beforehand is a bit of a mystery.

Percy Hynes White stands out as a new twist on the neighborhood drug dealer, and Nick Frost is fun as a teacher who likes to hand out detentions. Truthfully, most of the cast does solid work, impressive given the uninspired script. James is particularly hamstrung with the most boilerplate character among them.

Keen struggles, too, delivering a one-note melancholy character that never feels authentic.

There is fun to be had here and there, especially at the Harvest Festival. One basketball player goes in costume as Teen Wolf without mention, and another unnamed werewolf character is a treat. The whole festival setting is filmed beautifully and reminds you that Hardy has some skill.

Not enough to elevate this script to something worth watching, though.

I Hurt Myself Today

Logan

by Hope Madden

At the close of X-Men: Days of Future Past, Wolverine (Hugh Jackman) gazes with befuddled joy at his beloved colleagues (one more beloved than others), his own ugly history and the dire fate of his breed now expunged. Remember?

Expect nothing so precious from James Mangold or Logan.

Set just a handful of years into the future, the film sees the most haunted of the X-Men – a guy around 200 years old by now – really beginning to show some wear and tear. Limping, scarred, drunk and mean, Logan no longer heals quite the way he used to. His beard is grey, his hero days long gone.

The last mutant was born more than 25 years ago. Nowadays, Logan drives a limo and uses the cash to grab dementia meds he brings across the border to his old father figure, Charles Xavier.

Bloody and bleak, tossing F-bombs and the franchise’s first flash of nudity, Logan is not like the other X-Men.

Or is he? A little girl claws her way into his life, and suddenly it’s evil scientists, armed goons and genetically enhanced villains all over again.

The villains won’t leave an impression, but the film will.

Logan relies on themes of redemption – a superhero’s favorite. Mangold pulls ideas from Children of Men and Mad Max Beyond Thunderdome, but his film reminds me more of The Girl with All the Gifts. (If you haven’t seen it, you should.)

The point? The children are our future and Logan’s real battle has always been with himself. Almost literally, in this case.

He fights others, too, don’t fret. Indeed, you will see those claws tear into more flesh in this film than in all previous efforts combined. The violence in Logan is more unhinged, bloody and satisfying, too.

Even more startling is the behavior of Logan’s tiny feral beast, Laura (Dafne Keen). Oh, this movie has a body count – at least two of them headless.

It has an emotional center as well – which is not to say Logan works on all fronts. It’s lacking as the family drama it flirts with becoming, and can’t hold its own as a road movie, either. The narrative can’t find momentum.

But as an opportunity for Hugh Jackman to put his most iconic character to bed, it’s sometimes amazing.