Tag Archives: George Wolf

What the Hell?

Boorman and the Devil

by George Wolf

There was a new list floating around social media this week, and it ranked the 25 all-time worst movie sequels. 1977’s Exorcist II: The Heretic was nowhere to be found. That will probably surprise a bunch of people, including some that are part of Boorman and the Devil, a fascinating look behind one of the most infamous productions in film history.

John Boorman was fresh off of an Oscar nomination for Deliverance when he accepted the gig to follow up the phenomenon that was The Exorcist. Looking back, the now 92 year-old Boorman realizes Stanley Kubrick was correct when he warned the only way to follow Friedkin’s classic was to bring even more shock value.

Boorman chose an approach that focused on light over dark. Plus “the Synchronizer,” a tap-dancing Linda Blair and James Earl Jones in a locust getup.

It was a complete disaster. But director David Kittredge’s look back is so captivating, the urge to give The Heretic another look will be strong.

Boorman’s candor about the pain of failure is refreshingly honest, and the way that Kittredge surrounds it with insightful commentary from filmmakers such as Karyn Kusama, Mike Flanagan and Joe Dante creates an engaging filmmaking conversation.

Kittredge also shows some sharp editing skills, weaving in specific moments from the film to create wry commentary on the battles going on behind the scenes. Linda Blair would show up late, Richard Burton would leave early and Oscar-winner Louise Fletcher wound up exasperated.

Plus, there was the battle over the script re-writes, some ballooning budget and production schedules and Boorman’s case of Valley Fever that shut the whole thing down for five weeks.

Was there a Devilish curse at work?

Kittredge makes sure you appreciate all the things Boorman did right, and hear from a few critics who insist The Heretic is more triumph than tragedy. Either way, Boorman and The Devil is an essential and entertaining breakdown of one infamous film, and the devil-in-the-details of the filmmaking process itself.

On the Road Again and Again and Again

It Ends

by George Wolf

Just in case Backrooms was too abstract about the anxieties plaguing Gen Z right now, It Ends arrives to hammer the point home more directly. Writer/director Alex Ullom’s feature debut is a well-constructed metaphor for a timely existential dread, with a slam-bang setup fueled by one early kickass jump scare.

Four twenty-something friends pile in a trusty four-door and head out. They’re laughing, talking and trusting their GPS until driver Tyler (Michael Cole) suspects that something doesn’t seem right.

He’s correct.

One wrong turn has trapped them on a never-ending backroad through the woods, where stopping for even a few minutes can be deadly. Don’t worry about the gas gauge, bathroom breaks or starvation, Ullom sees those questions coming. Instead, worry about how Tyler, Day (Akira Jackson), Fisher (Noah Toth) and James (Phinehas Yoon) will try to deconstruct this road trip rubric, and what they’ll learn as the miles add up.

If you’re thinking Exit 8, understandable, but that game offered a finish line that these drivers can only dream of.

They’re fresh out of college, and now they’re just facing an endless road of toil and frustration, managing a few fleeting moments of joy while they hang on to the hope that one day they might find salvation.

What kind of life is that?

Horror movies have always reflected generational fears, and this particular anxiety continues to resonate as an anchor for psychological torment. After that first act blast of terror, Ullom settles into a groove of introspection and gloom, with his four talented actors elevating a script that is a bit light on character development.

The important thing is, we believe these people are friends, and for the most part, their reactions to the situation (and, by extension, what it represents) seem genuine. The road only gets bumpy in act three, when Ullon seems desperate to reach a feature length runtime, spinning his wheels a bit before hitting us with his Rod Serling-esque finale.

It Ends still leaves a well-earned mark. It’s more proof that horror can be trusted to these talented young storytellers, and the future is looking scary good.

Kitchen Knives Out

Tony

by George Wolf

Among other things, Tony is another reminder that we’d all be better off if everyone’s first job was in a restaurant. It certainly altered the course of Anthony Bourdain’s life, and director/co-writer Matt Johnson makes the most of focusing his biopic squarely in that one eventful summer of 1975.

“Tony” was 19 then, and by his own admission decades later in the Kitchen Confidential memoir, a narcissistic lout in need of a “good ass kicking.” The story of that BTA wakeup call makes for an entertaining coming-of-age tale full of humor, humanity and one righteous clambake.

Dominic Sessa is exceptional as the young Bourdain, who is so caught up in his future writing genius that he lies to everyone about the huge Vassar fellowship that he didn’t get. Following his crush Nancy (Emila Jones) to Provincetown, Mass., Tony is forced to earn his keep by washing dishes at The Flagship restaurant and sleeping in Chef’s (Antonio Banderas) hammock out back.

And so the education begins. While co-worker Sal (Tuner‘s Leo Woodall) schools him on the local women and party life, Chef’s gentle and patient influence nudges Tony to stop pretending and follow his passions.

Sessa, with his frantic hair and brooding intensity, makes the gradual transition frustrating, relatable and heartfelt. His chemistry with Banderas (in a performance perfectly suited for an Oscar nod) is warm and real, providing the film a reliable anchor that does not disappoint.

Johnson (Blackberry, Nirvana the Band the Show the Movie) has been clear that he came to the project with little knowledge of the Bourdain brand. That helps the film avoid undue reverence, and lets Tony’s future accomplishments hang bittersweetly in the air, an unspoken but understood step in this character arc from lout to legend.

Because in the summer of 1975, Bourdain’s future could have taken many different paths. Though the end was tragic, Tony finds a messy, inspiration joy in the beginning, and in the subtle twists of fate that can change lives forever.

Screening Room: Union County, End of Oak Street, Wrong Girls & More

Hope & George review this week’s new releases: Union County, The End of Oak Street, The Rivals of Amziah King, The Wrong Girls, Do Us Part – and we’re joined by the director and cast, Reed Arnold, Kelly Russo & Travis Laughlin! —Don’t Say Good Luck, Hellcat, Feed, and The Legend of Juan Jose Mundo.

Payback’s a Bee-yotch

The Rivals of Amziah King

by George Wolf

Back in 2019, Andrew Patterson’s debut feature The Vast of Night was a welcome surprise. Meticulously crafted with a detailed throwback vibe and some snappy dialog, it got me excited for what Patterson had in store.

We finally get his second feature with The Rivals of Amziah King, and once again, I am charmed.

His timeline shifts to present day, and the setting moves from New Mexico to Oklahoma for an adventure filled with rousing roots music, the basics of beekeeping, a Southern Gothic mystery and one clever plan for revenge.

Matthew McConaughey is electric as Amziah King, a rural beekeeper, musician and all around character who’s asked to help find the rightful owner of twenty barrels full of stolen honey. But after some absurdist violence, a reconnection with his former foster daughter Kateri (Angelina LookingGlass in a captivating debut) and a memorable pot luck/jam session, King finds his own bee colony has been lifted.

Kateri’s affection for King as a father figure has never wavered over their years apart, and she commits herself to payback for the guilty party. And she’s pretty sure the trail will lead right to local tycoon Dob McCoy (Kurt Russell).

Patterson has a delightfully unique brand of storytelling, one that retains a youthful innocence no matter what adult themes are being juggled. His wordplay is fresh and often deadpan funny, and his camera can oscillate between fluidity and bits of slo-motion for effect.

Two films in, it’s clear Patterson is a skilled world-builder. And here, that world is a small Oklahoma community with many interconnected parts and memorable personalities. The parallels that Patterson draws with bee colonies are clear but not force-fed, and his wonderfully eclectic ensemble makes it a kick to follow them around.

Patterson seems to be enjoying the bigger canvas for his second film, with a few strands of excess and a 130-minute run time that does get a tad bloated when we reach some odes to Huck Finn in Act III. But it always feels in service of a big swing and a committed vision, and that will always bee easy to forgive.

Yes, bee.

Don’t You (Forget About Mom)

Don’t Say Good Luck

by Hope Madden

There is a sweet, delightfully messy coming-of-age film at the heart of director Julia Hart’s Don’t Say Good Luck.

As high school sophomore Sophie (Sunny Sandler) nervously auditions for the school musical, navigating friendship and crush and theatrical nerves, her relationship with her mom takes a hit. What’s refreshing about Don’t Say Good Luck is that each of Sophie’s high school sources of angst takes a back seat to her issues with her mom, rather than vice versa.

In your average John Hughes film, troubles at home are the backdrop for our plucky teen hero. Hart, who co-wrote the script with Laura Hankin and Jordan Horowitz, reframes priorities. The film is about Sophie and her mom (Melanie Lynskey).

Hart goes so far as to soften the villainous stereotypes Hughes trained us to expect. By rounding out the more minor characters and refocusing attention away from high school angst and toward family relationships, Don’t Say Good Luck abandons the age-old trope that teens are on their own, their parents just don’t understand.

It’s nice. Beyond that, it’s often moving.

Lynskey is characteristically wonderful, and she and Max Greenfield present a very natural, endearing, weary bond as parents going through something tragic. The chaos of their lives—a busy high schooler, twin boys, a deli they co-own where they both work—feels lived in.

Add, in minor supporting roles, the great Bebe Neuwirth and Steve Buscemi, and you’re looking at an impressive ensemble, ostensibly there to buoy Sandler, whose father and mother (Adam and Jackie Sandler) produce.

Sunny Sandler does a fine job in the spotlight. She’s fine, like her sister Sadie Sandler was fine in Roommates. She’s probably not strong enough to anchor this film, but she doesn’t sink it, either.

Still, there’s a refreshing untidiness about Don’t Say Good Luck that keeps you off kilter and helps the climax hit harder. The film lacks cynicism, believes teenage girls do dumb things but are not dumb people, and sees depth where other films choose not to. It’s an enjoyable high school dramedy, and one that acknowledges its audience’s humanity.

A Good Day to be Clean

Union County

by George Wolf

Union County is an absolutely stunning feature debut from writer/director Adam Meeks. Expanding his short from 2020, Meeks delivers a film that feels like a persistent memory, one with a deceptively subtle grip not easy to shake.

Gripping performances from Will Poulter and Noah Centineo blend seamlessly with a supporting cast of predominantly non-professional actors, imbedding us within a rural Ohio community struggling to escape the opioid epidemic.

Cody Parsons (Poulter) and his brother Jack (Centineo) are both addicts, but they navigate the court-mandated drug rehabilitation program is strikingly different ways. Jack is upbeat and smiley, charming girls at a local bonfire with an aura of positivity. But Cody, from his first day in the 18-month program, is reserved and quietly intense.

The heart and soul of the recovery program – and of the film – is Annette (Annette Deao). She is a tireless anchor of hope for the addicts, picking up the phone at all hours and absorbing their anger and frustration with the patience of a sage who knows there can be better days ahead.

Meeks, an Ohio native, goes straight to the frontlines of this national crisis, but he is careful to show us more than the grim, barren landscapes that so often characterize the Midwest. From the blooming of greenery to the changes in wardrobe to the rebuilding of a wrecked car, Meeks finds understated metaphors that gracefully mirror the journeys in play. His pace is led by a compassion that never wavers, no matter the tragedy or roadblock.

Poulter, who has been compiling a litany of standout performances since his teens, has never been better. We feel Cody’s struggle even in his quietest moments. And when he finally allows himself enough joy to smile, Poulter makes it a moment of internalized triumph. It’s a towering, award-worthy performance.

With more limited screen time, Centineo finds the wayward, fractured heart of a man whose more frequent moments of celebration may be misplaced, given the never-ending road he’s traveling. Jack is the loose family cannon, but Centineo makes his relationship with Cody, and their cautious sister Kat (Emily Meade, also terrific), both sympathetic and heartbreaking. 

And Deao? She’s a revelation. As a fictionalized version of herself, Annette (who did study acting years before her current career) consistently grounds the film with the unwavering commitment to all those – like herself – who are a daily lifeline for their community members just struggling to see another one. One of the film’s most pivotal moments comes from Deao’s real experience in the program, and it’s just one reminder of the life-and-death work being done in these American trenches every single day. 

The struggle is indeed real, in rural Ohio and so many other areas like it. But the hope, the humanity and the steps forward are equally real. Union County doesn’t rest until you feel every bit of all of it, and feel thankful for the time you spent here. 

Fright Club Bonus: Author/Publisher Billy Graves

Thrilled to get a peek behind the indie publishing curtain with Lacandon Jungle Press founder and author of Seams of the Infinite, Billy Graves! We talk publishing, indie horror, and George lets us in on recording an audio book!

ljpbooks.com

lacandonjunglepress@gmail.com

Screening Room: One Night Only, Cookie Queens, Ice Cream Man & More

Hope & George review this week’s new releases: One Night Only, Super Troopers 3, Ice Cream Man, Cookie Queens, Tinsman Road, Big Baby and The Yeti. PLUS! News & Notes from The Schlocketeer Daniel Baldwin!

Always Be Cookie-ing

Cookie Queens

by George Wolf

Did you ever look at the girl selling you Thin Mints and think, “she’s going to be a Supreme Court justice some day?”

You might start, once you meet the youngsters of Cookie Queens, a triumphant look at goal setting, upselling and the fleeting years of girlhood.

Writer/director Alysha Nahmias travels to North Carolina, Texas and California to immerse us in the frenzied weeks of cookie season with four budding entrepreneurs. There’s Ara in San Diego, an impossibly cute and precocious 5-year-old who hopes to be strong enough to pull her own wagon of treats. 8-year-old Shannon Elizabeth is in El Paso, practicing karate and trying to make sure her parents don’t have to skip a mortgage payment to pay for unsold cookies. Nikki is a 9-year-old in Chino, who has a family tradition to uphold while she’s chasing enough sales to earn a trip to Europe. And then there’s 12-year-old Olive, the future Supreme who sets sales records, schools her troop on upselling, and already frets about disparities in the relationship between management and labor.

With a week-by-week countdown and some helpful onscreen stats, Nahmias builds a subtle layer of sales tension while letting us glimpse how these girls, their families and friends are navigating life. It’s all endlessly engaging, full of inspiration, frustration and some way-too-early hints about the ways of the world.

We see older teenage sisters pine wistfully for the carefree days of youth, while those younger ones are already wondering about their purpose in life and learning that success can hinge on their appearance.

Yes, some parents can Cookie vicariously, but Cookie Queens never lets the focus stray from these wonderful young ladies. Even with all they are juggling during the height of selling season, their sparks of joy and enthusiasm can’t be denied.

And for us grown-ups, the film might make you sorry about the world we’re leaving these kids. But would I bet against them growing up and changing it?

Not a chance.