Screening Room: Freaky, Fatman, Ammonite, Dirty God, Dating Amber, Meeting Michael
Tag Archives: George Wolf
Wreathal Weapon
Fatman
by George Wolf
Talk about a brand new bag.
As an entry into the Holiday season, Fatman gives us a Santa with serious issues and some high-powered heat to unpack. This is a movie that’s going to piss plenty of people off, starting right at the top of the cast list.
Starring as Chris Cringle himself, Mel Gibson is the antithesis of holly and jolly. Times are tough at the workshop, since Chris’s government contract pays by the present and kids seem to get more naughty every year.
One of those is Billy (Chance Hurstfield from Good Boys), an entitled rich boy who makes servants do his school projects and threatens torture to any classmate who might beat him out of a blue ribbon.
Santa knows who’s been bad or good, and Billy gets a big ‘ol lump of coal. Billy, for badness sake, decides that Santa must die.
Ruthless assassin Skinny Man (Walton Goggins) has his own grudge against the Fatman, so when the call from Billy comes in, he’s only too happy to make the long trek to the North Pole and stain the snow with Santa’s blood.
It only takes minutes to realize casting Gibson and his baggage was the perfect harbinger of what writers/directors Eshom and Ian Nelms (Small Town Crime) are bringing home for the holidays. This is no bad Santa, this is a dark and confrontational Santa, in an ambitiously unfocused and often bitingly funny takedown on everything from Trumpism to the military industrial complex to capitalism itself.
Gibson delivers with a gritty, committed performance that’s aided tremendously by the glorious Marianne Jean-Baptiste as Ruth Cringle. The two share a wonderful chemistry, as Ruth consistently brings the measured, cookie-baking wisdom to calm Chris’s gruff cynicism.
Workshop shortfalls force the Cringles into accepting a government contract to manufacture military hardware, which lets the Nelms brothers show just how far they’re willing to go in depicting Santa as a struggling businessman weary from the fight. Indeed, they go far enough to threaten the precision of their own barbs.
When the foreman elf comments, “It’s the giving that keeps him young,” the sudden deadpan underscores the clash of goals that muddies the road leading to the film’s final showdown. A little more lean in either direction – coal black humor or grim metaphor – might have upped the accessibility and impact.
But why would two filmmakers use uncomfortable realities, casual obscenities, wanton gunplay and blood-soaked violence to blaspheme the pristine legend of Santa Claus in the first place?
That’s a good question. The Nelms boys are glad you asked, and if you’re open to it, Fatman has a wholly unexpected, brazenly unapologetic and pretty satisfying answer.
Many thanks to Daniel Baldwin for “Wreathal Weapon”
Hey Overlook Me Over
Lingering
by George Wolf
So there’s a big, old hotel that’s creepy now that it’s off season and no guests are around. There’s a little kid who likes to wander the halls of this empty hotel, and there’s one specific room that’s off limits.
This hotel’s in South Korea, though, not Colorado, so Lloyd the bartender must have had an expired passport.
Shudder premiere Lingering (originally Hotel Leikeu) finds Yoo-mi (Se-yeoung Lee) coming to the aid or her young half sister Ji-yoo (So-yi Park) after the death of their mother. Yoo-mi has no means to look after the child, so they head to Hotel Lake, which is run by “Auntie” (Ji-Young Park), their mother’s oldest friend.
The plan is to drop Ji-yoo off quickly, but Auntie invites Yoo-mi to stay awhile, where she’s quickly drawn into a mystery of missing persons, murder and one surly, drunken maid (Park Hyo-joo).
Writer/director Yoon Een Kyoung’s feature debut is light on originality, but heavy on common K-horror tropes and the usual superficialities of jump scares, music stabs and hallucinations.
The director’s camerawork is occasionally fluid and effective, but most of the set pieces are more noteworthy for the atmospheric cinematography and sharp sound design that manage to punctuate the dark, empty rooms.
Lingering feels like it’s doing just that, hanging around after its welcome has worn. Holding attention becomes a problem, as does the lackluster payoff waiting at mystery’s end.
Maybe a guy in a bear suit would have helped.
Fright Club: Best Voices in Horror
In horror, it’s often what you hear—not what you see—that terrifies you. Who can send chills of terror or thrills of another kind with just a whisper? We talk about the best voices in horror.
5. William Marshall
Effortlessly elegant, William Marshall commands respect even before he speaks. It’s impossible to imagine him playing Bar Patron #2. This is the man who tells you what to do, and you listen. You comply. And you hope he keeps talking.
4. Keith David
A classically trained singer, Keith David uses his voice like a tool of his trade. Voice over work, stage acting, song, drama, horror—his buttery baritone leaves an impression everywhere.
3. Christopher Lee
Like another great British actor with another unforgettable voice, Boris Karloff, Lee gained fame playing characters who barely (if ever) spoke. But soon enough, he was lending his saucy baritone to literally hundreds of projects from film to voice overs, theater to music. His elegant growl brought terror to The Lord of the Rings films, but long before that, it graced Anthony Shaffer’s The Wicker Man screenplay with perhaps the greatest delivery it could have hoped for.
2. Tony Todd
Todd’s physical presence guaranteed that he be noticed in a scene, but that voice made sure no one else would be. Seductive and sinister, tender and terrifying, the voice alone made you believe that Helen (or anybody else, for that matter) could be seduced regardless of the known danger.
1. Mercedes McCambridge
Like Nick Mancuso in Black Christmas and Teresa Wright in The Exorcist III, Mercedes McCambridge offered a show stopping, horror classic performance without even having to show up to the set.
The Oscar winner deepened her already gravelly voice with cigarettes and liquor to conjure a sound so sinister, it gives you chills.
Gotta Be the Shoes
Meeting Michael
by Hope Madden and George Wolf
Normally, you’d expect the MVP of any doc about Michael Jordan – especially one featuring some priceless footage of MJ in his prime – to be the man himself. But in Meeting Michael, he’s upstaged by two kids curious about their Dad’s obsession.
Dad is writer/director Adam Kontras. An Ohio native, Kontras was just a youngster himself when he first idolized Jordan and the mid-80s Chicago Bulls. Now, his L.A. attic is bursting with impressive MJ memorabilia, including two special videotapes with some amazing behind-the-scenes footage.
At just 19 years old, Kontras was pulling the overnight shift at a news/talk radio station in Columbus. Through that gig, he scored a press pass for the Bulls game in Cleveland on Nov. 9th, 1995, and brought a camcorder. With both courtside and locker room access, Kontras captured a truly compelling moment in time.
He released some of the footage five years ago as a short film, drawing superlatives in outlets ranging from online blogs to the Washington Post. For the feature length version, Kontras smartly reframes the entire story as one he’s telling his young son and daughter on the day they’re finally allowed to explore his fan cave.
Though Kontras’s storytelling can flirt with self-congratulations, it’s more often laced with a sheepish wonder at what he pulled off, and some endearing self-deprecating humor aimed at his younger self.
As a director, Kontras (Fastest Delorean in the World, Fastest Delorean Part II) exhibits fine instincts for answering the questions raised by his on-court encounter. For example, footage of Jordan finally answering a merciless heckler sparks a natural curiosity about the garishly dressed front row loudmouth, and Kontras delivers. Bypassing this sidebar wouldn’t have wrecked the film, but giving some time to Eddie “the Heckler” Nahra leads to a richer experience.
It’s these details – some personal, some observational – that keep the film from feeling like a short surrounded by filler.
For Jordan and/or NBA fans, Meeting Michael is a must. But by anchoring the story through the sharing of passions – and by using a touching story about shoes to cement a life lesson – it’s a film with more of a purpose than just liking Mike.
Meeting Michael releases 11/9/20 on Amazon. $4.99 to rent, $7.99 to buy.
Screening Room: Let Him Go, Jungleland, Mortal, The Dark and the Wicked, Kindred & More
Space Stationary
Proxima
by George Wolf
I don’t know how many jobs are more challenging than astronaut, but there can’t be many. And it is via that intense work experience that French writer/director Alice Winocour’s Proxima ruminates on the career struggles faced by women in every profession.
Eva Green carries this weight gracefully as Sarah, the only female member of a team of astronauts training for a year-long stint at an international space station. This means a year away from her young daughter Stella (Zelie Boulant), who will stay with her father/Sarah’s ex-husband Thomas (Lars Eidinger).
From the moment Sarah is introduced as a crew member by team leader Mike (Matt Dillon), her gender is fodder for subtle (and not so subtle) condescension. Resisting a heavy hand, Winocour (Mustang, Disorder) revels in the details of the job, showcasing the added strain carried only by Sarah.
The setting may center on spaceflight, but this is not a film about going into space. It is about preparing to go into space, preparing to leave your child, and preparing to be separated from your mother. And all of that preparing is work.
Green has never been better, and Winocour continues to display understated insight as a filmmaker. Like that walk among the stars that Sarah has long dreamed about, Proxima is quiet, but often emotionally dazzling.
Wounded, Not Even Dead
Jungleland
by George Wolf
Jungleland is a film with a path that’s so well marked and worn, the biggest attraction becomes what a new group of actors can bring to such recognizable characters.
Director/co-writer Max Winkler has two fine ones in the lead. Jack O’Connell is “Lion” Kaminsky, a talented bare knuckle fighter in Boston who’s constantly at the mercy of bad decisions made by his brother Stanley. Yes, Stanley Kaminsky, which doesn’t make you think of Stanley Kowalski at all.
Charlie Hunnam plays Stanley, and he and O’Connell are able to craft an authentic brotherly bond that holds your attention as the film hits one familiar benchmark after another.
Stanley is in deep to a local crime boss (Jonathan Majors) who has a proposition. Go to San Francisco and enter the big Jungleland tournament. If Lion is king, it’s 100 large. And also, take this girl named Sky (Jessica Barden) with you.
Desperation breeds dreams of one big score and a better life. Sky has more secrets than just a fake name. Complications arise.
The storytelling is competent, the performances fine. But we have seen this so many times, contenders and pretenders begin to look pretty similar and you can’t help but wonder what point there is in another round.
Family Feud
Let Him Go
by George Wolf
It feels like Kevin Costner and Diane Lane have made ten movies together, doesn’t it? They haven’t, but their low key and lived-in chemistry keeps you constantly invested in Let Him Go, a slow burning and effective revenge thriller aimed squarely at the older demos.
Costner and Lane are George and Margaret Blackledge, a retired Sheriff and his wife loving their status as grandparents to little Jimmy Blackledge in late 1950s Montana. The simple life turns tragic when their son James (Ryan Bruce) dies in an accident, and complicated when their daughter-in-law Lorna (Kayli Carter) marries the brooding Donnie Weboy (Will Brittain).
Donnie’s an abusive husband and stepfather, and without warning, takes Lorna and Jimmy back to his family in North Dakota.
George and Margaret decide to track them all down, finding out pretty quickly the Weboy clan don’t appreciate attention from strangers.
The flashpoint to this Western Gothic blood feud is matriarch Blanche Weboy, brought to scenery devouring life by the glorious Lesley Manville. Dragging on her cigarettes and demanding obedience, Blanche is quick to show the Blackledges how far she’ll go to keep Lorna and their grandson under her thumb.
Writer/director Thomas Bezucha builds the tension well, then uses Manville’s entrance as the natural catalyst for amped intensity. Adapting Larry Watson’s novel, Bezucha carves out the road to vengeance and redemption like a less nuanced Cormac McCarthy. This isn’t poetry, but that doesn’t mean it’s not primal and satisfying.
Costner’s in his comfort zone as a weathered country lawman, more invested and touching than he’s been in years. Lane grounds Margaret with a wounded but determined heart, stepping easily into the soul of the film.
After a tender kiss, a sixty-something husband telling a fifty-something wife, “Don’t start anything you can’t finish” could seem like a cheesy ad for Viagra. It doesn’t here, and that’s a testament to the authentic bonds of time, grief and love formed by Costner and Lane.
Even at nearly two hours, the secondary character development does feel slight, and some thematic possibilities of the Blackledge’s friendship with a young and wayward Native American (Booboo Stewart) are never quite fulfilled.
But Let Him Go is here for the adults at the ranch, with a solid American genre yarn full of few surprises, but plenty of bang for your buckaroo.
Screening Room: Come Play, The Craft: Legacy, True Adventures of Wolfboy & More
