It’s Halloween, and after a seven year absence, Jigsaw is back with more evil tricks in store for some unrepentant sinners.
But is it the real Jigsaw, back from the dead? Or maybe just a fanatical copycat?
And can you, after 15-20 minutes of the movie Jigsaw, keep your mind from wandering away to that viral video of the guy trying to live with tiny Jigsaw for a roommate?
Come on, that video’s pretty funny.
After six sequels to the over-achieving original, the Spierig Brothers (Daybreakers, Predestination) attempt to revive the franchise with a suspense-free mystery of ridiculousness that confuses close ups of mutilated body parts with actual scares.
Those dead bodies are turning up with Jigsaw calling cards carved in conspicuous places, and the local detective (Callum Keith Rennie) naturally assumes it’s a copycat, as the infamous killer has been dead for ten years. The cop’s suspicions soon fall on a medical examiner (Hannah Emily Anderson), despite the objections of her supervisor (Matt Passmore), while somewhere on a remote farm more sinners are begging for release from deadly puzzle games.
And somewhere in a darkened theater, you watch what passes for dramatic tension between Anderson and Passmore and wonder why they didn’t just do a porn version called Bonesaw and be done with it?
Writers Josh Stolberg and (let’s just call him Dr.) Pete Goldfinger know you’d like a twist ending so give them credit, they come up with a pretty decent one. But ultimately, that just calls attention to the faint glimmer of hope this project had before it wilted under warmed-over ideas well past their prime.
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.
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.
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.
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.
As wildfires continue to devastate areas of California, it seems incredibly timely for the debut of a populist firefighter tribute full of bombast and manipulation.
Thankfully, Only the Brave is not that movie.
Director Joseph Kosinski seems well aware of overwrought pitfalls so easily indulged, taking care to deepen our connection to major players as events build to a terrifying, true-life conclusion.
Based on the GQ article “No Exit,” co-writers Ken Nolan and Eric Warren Singer deftly adapt the story of Arizona’s Granite Mountain Hotshots, the first group of municipal firefighters to achieve elite “Hotshot” status.
Josh Brolin stars as supervisor Eric Marsh, a firefighting vet trying to ready his seasoned pros and new recruits for both the upcoming season and the essential state evaluations. Rookie Brendan McDonough (Miles Teller) is the team’s biggest question mark, a recovering drug addict and new father who’s determined to turn his life around.
While filmmaker Peter Berg has perfected a successful formula of quick character intros, then frenetic action for his “unsung hero” films (Deepwater Horizon, Patriots Day), Kosinski (Oblivion) is committed to a separate but equally effective path.
There are cliches here, such as a frequent “lost cause” metaphor and the obligatory stoic women standing by their men, but Kosinki and his writers are able to keep them in the background through an emphasis on intimate storytelling. We see the fires battled in often spectacular fashion, but we also come to feel the toll the job takes on family life. We learn firefighting tactics along with the newbies, and as Brendan fights to prove his worth to the mother of his child (Natalie Hall), Teller finds a nicely subtle groove to get us on Brendan’s side as well.
Even better are Brolin’s scenes with Jennifer Connelly as Marsh’s wife Amanda. Through these two skilled actors and some pointed dialogue, a couple’s fight to hold on to each other feels authentic, and the film finds an emotional core that will pay later dividends.
Often powerfully gripping and thrilling to watch, Only the Brave is a fitting salute to real people that deserve one.
The most fun of the year’s superhero movies is finally available to binge at home. Woot! There’s also a quirky indy dramedy and a naughty girls weekend available, but the smart money’s with Spidey.
Martial arts legend Jackie Chan jumps back into the action genre feet first with The Foreigner, a film with more depth than you might expect.
Chan plays Quan, a restaurant owner in London who loses his daughter when a rogue faction of the IRA bombs a bank. Quan believes Irish Defense Minister Liam Hennessy (Pierce Brosnan), who rose to power after a violent IRA past, knows the identity of the bombers. After his polite requests for information are rebuffed, Quan resurrects his own bloody roots to get those names by force and have his revenge.
Director Martin Campbell (Casino Royale) knows you’re ready for the latest take on Taken, but mixes some satisfying fight choreography with long stretches of political intrigue that might disappoint those looking for nothing but bad guy beatdowns. There’s nothing overly original here, but Chan provides just enough layers to be mysteriously sympathetic, Brosnan brings the seasoned gravitas, and The Foreigner keeps its head above some gaps in logic to remain interesting.
My my, turns out Wonder Woman’s lasso was designed for a little bit more than just truth-telling.
Writer/director Angela Robinson’s Professor Marston and the Wonder Women is the fascinating story of the birth of an iconic superhero, told with enough earnest emotion and sly subversion to craft a captivating, entertaining history lesson with a naughty side.
Anchored in 1945, when Wonder Woman creator William Marston (Luke Evans) is defending his comic against charges of indecency, the film flashes back often to the 1920s, as Marston and his wife Elizabeth (Rebecca Hall) were psychologists at Radcliffe college. After taking on a young teaching assistant (Bella Heathcote), the three develop a relationship that launches both scandal and inspiration.
A mix of Saving Mr. Banks and A Dangerous Method, PMATWW boasts excellent performances and a refreshing, if a bit idealized worldview.
More of the best films of the summer roll onto the home screen. More of the crappy ones, too, so choose wisely. Let us help you out – click the title for a link to the full reviews.
