Tag Archives: Hope Madden

Scar Tissue

Blade of the Immortal

by Hope Madden

One hundred films in, you might expect director Takashi Miike to start repeating himself.

He does, in a way, with this big screen adaptation of the manga Blade of the Immortal, the tale of a samurai cursed with immortality.

Though Miike sticks mostly to genre work (horror, samurai, yakuza), his style veers wildly from one project to the next. Still, a thematic thread can be found in a lot of his films that questions the relevance of societal conventions. Though this theme was explored with a far more subversive touch in his 2001 gem Ichi the Killer, Blade of the Immortal shares a lot in common.

Manji (Takuya Kimura) is an insider on the outs. A samurai who’s killed his masters, he’s already doomed as the film’s prologue unwinds in gorgeous black and white. As Manji butchers his way through dozens of reprobates looking for the bounty on his head, Miike invites us into the hyperbolically brutal world of his imagination.

But it’s here, on the ground bleeding out surrounded by carnage of his own making, that Manji is gifted with immortality—a gift he takes to quite begrudgingly. Forever an outsider wanting to get farther out, he eventually takes up with an orphan bent on revenge.

Rin (Hana Sugisaki) lost her parents to outlaw bladesman Anotsu (Sota Fukushi) and his gang. Anotsu is an outsider who longs to be accepted. He’s skilled and serene where Manji is brutish and disheveled. They are opposite sides of the same coin, and for Rin’s sake, they become mortal enemies.

It’s not such an unusual plot, honestly. Though screenwriter Tetsuya Oishi complicates things with one side plot about Anotsu’s quest for acceptance and another about a rogue band of bounty hunters, the film basically boils down to one guy taking remarkable injury as he dispatches others due to sworn vengeance.

For two and a half hours.

Miike populates the corpse-strewn landscape with intriguing characters. Sure, they mainly exist to be dispatched by Manji, but each brings enough fresh personality and style to keep battle fatigue from setting in.

As is the case with his best efforts, Miike’s flair for fight staging, action choreography and bloodspatter—all of it in abundance—is on display. The result is a gorgeous, bloody mess that treads familiar ground but never wears out its welcome.

WTF

LBJ

by Hope Madden

This is Spinal Tap. Stand By Me. The Princess Bride. When Harry Met Sally. Misery. A Few Good Men.

What does that list say? That director Rob Reiner came out of the gates as a filmmaker who defined a generation. And also, that director Rob Reiner hasn’t made a good movie since the mid-Nineties.

LBJ does not turn that tide.

Reiner directs Woody Harrelson as our 36th president, a larger-than-life Southerner as crass as he was cunning, as charming as he was quarrelsome.

Maybe he just wanted to be loved.

I’m not kidding—that seems to be the thrust of Reiner’s film, written for the screen by Joey Hartstone. His script covers a window in Johnson’s career opening at his failed bid for the presidency and closing as he helps a mourning nation recover from the assassination of JFK.

Harrelson—as fine a character as you will find—relishes every second inside this conundrum of ego and insecurity. His scenes are riveting, particularly those he shares with another character actor of the highest order, Richard Jenkins. Jenkins portrays Georgia Senator Richard Russell, conservative and racist. The sparring between the two politicians, so ably brought to life by these talented actors, gives the film a sense of purpose as it sheds light on the true nature of Johnson’s character.

But the rest of it is bullshit.

Beautifully lit, clean-cut men looking earnest and overwhelmed, ask “How is he going to do all of it?” and receive the awe-struck answer, “The same way he always does.”

Aside from Harrelson and Jenkins, the ensemble is unable to rise far enough above Hardstone’s superficial writing and Reiner’s sentimental direction to leave a mark.

So Lyndon Baines Johnson, who pushed the Civil Rights Act through the Senate and mired us in the Vietnam War, is being remembered onscreen for pouting because the good looking rich kids who took over the White House wouldn’t let him in their clique?

It’s a shame Woody and LBJ couldn’t have taken their excellent collaboration to a better production.

No One Is to Blame

The Killing of a Sacred Deer

by Hope Madden

What if God exists and he’s an awkward adolescent boy?

That’s not exactly the point of Yorgos Lanthimos’s latest, The Killing of a Sacred Deer, but it’s maybe as close a description as I can muster.

Lanthimos’s work (The Lobster, Dogtooth) does tend to balk at simple summarization, none more so than Sacred Deer. The film offers a look inside the life of a successful surgeon (Colin Farrell), whose opthamologist wife Anna (Nicole Kidman) and their two children (Raffey Cassidy and Sunny Suljic) are, well, perfect.

It’s the kind of perfect you might find in a Stanley Kubrick film—cold, clean, sterile. In fact, from the framing to the violently intrusive score to the thematic suspicion of intimacy, Sacred Deer leans heavily Kubrick.

But Lanthimos brings with him a particular type of absurdity all his own. He hints at it with the memorable opening shot and deepens it with the now-characteristic stilted, oddly detached dialog.

But the filmmaker’s unique tone finds its perfect vehicle in Barry Keoghan (also wonderful this year in Dunkirk). Unsettlingly serene as Martin, the teenage son of a patient killed on the surgeon’s table, he controls the film and its events.

With Martin, Lanthimos is able to mine ideas of God, of the God complex, of the potentially ludicrous notion of cosmic justice.

All the while he sends up social norms, dissecting the concept of the nuclear family and wondering at the lengths we will go to avoid accountability.

Sacred Deer, though certainly absurd, lacks the comedic flourish of 2015’s The Lobster. This film’s comedy is ink black and subversive in a way that’s equally likely to break your heart as draw a chuckle. This is particularly true as Anna and her children begin bargaining for their lives in scenes that are astonishing in their insight.

Nicole Kidman is chilly perfection in a surprisingly unlikeable role. The uneasy chemistry she shares with Farrell helps the film balance its weirdness with moments of authenticity. She and Farrell shared the screen earlier this year in the also engrossing The Beguiled, a fact you may almost forget as they trade in the steamy tension of the first relationship for the frosty, antiseptic nature of this one.

As was true with The Lobster, Farrell comfortably shoulders lead responsibilities in Lanthimos’s weird world. His scenes with Keoghan, at first treated as if some kind of illicit affair, give the film its unsettling power.

Their karmic battle strangely told will be hard to forget.

What We Do on Asgard

Thor: Ragnarok

by Hope Madden

What if the next Avengers movie was a laugh riot? A full-blown comedy—would you be OK with that?

The answer to that question has serious implications for your appreciation of Taika Waititi’s Thor: Ragnarok.

You’re familiar with Thor, his brother, his buddies, his hair. But how well do you know Waititi? Because he’s made a handful of really great movies you should see, chief among them What We Do in the Shadows and Hunt for the Wilderpeople.

Waititi’s films are charming and funny in that particularly New Zealand way, which is to say equal parts droll and silly. So a total goofus has made our latest superhero movie, is what I’m trying to tell you, and you’ll need to really embrace that to appreciate this film, because Thor: Ragnarok makes the Guardians of the Galaxy franchise seem dour and stiff.

There’s a real Thor movie in here somewhere. Thor (Chris Hemsworth and his abs) learns of his older sister Hela (Cate Blanchett—hela good casting!). Sure, Thor’s the God of Thunder, but Hela’s the Goddess of Death, so her return is not so welcome. But daaayumn, Cate Blanchett makes a kick-ass Goth chick.

Indeed, the film is lousy with female badasses. Tessa Thompson (Dear White People, Creed) proves her status by taking all comers, Thor and Hulk among them.

But can you get behind the idea of Hulk and dialog? Because he has dialog in this movie. Like whole conversations. Dude, I don’t know about that.

Loki (Tom Hiddleston) returns, as does Idris Elba, so this is one bona fide handsome movie. Mark Ruffalo makes an appearance in a vintage Duran Duran tee shirt. It’s like Waititi thought to himself, how many of Hope’s crushes can we squeeze into one film?

One more! Jeff Goldblum (don’t judge me) joins as a charming and hysterical world leader. His banter with his second in command (Rachel House—so hilarious in Wilderpeople) is priceless.

Also very funny, Karl Urban (who brings a nice slap of comic timing to every bloated franchise he joins), Waititi himself (playing a creature made of rocks), and one outstanding cameo I won’t spoil.

Thor: Ragnarock lifts self-parody to goofy heights, and maybe that’s OK. There’s no question the film entertains. Does it add much to the canon? Well, let’s be honest, the Thor stand-alones are not the strongest in the Marvel universe.

You will laugh. You’ll want to hug this movie, it’s so adorable.

Unless you’re totally pissed about the whole thing, which is entirely possible.

A Grateful Nation

Thank You for Your Service

by Hope Madden

American Sniper screenwriter Jason Hall moves behind the camera for his thematically similar big screen adaptation, Thank You for Your Service.

Where the Clint Eastwood-helmed Sniper dealt in large part with its hero’s bumpy re-acclimation to civilian life, Thank You deals almost exclusively with veterans’ troubles on the homefront.

Miles Teller is Adam Schumann, returning permanently to his wife and two small children after his third tour in Iraq. He’s joined by buddies and platoon-mates Solo (Beulah Koale) and Will (Joe Cole).

Too earnest for its own good, Thank You for Your Service shadows these three servicemen as the responsibility for and repercussions from their actions overseas haunt their post-war lives.

This is a film about PTSD, but more than that, it’s about a country both ill-equipped to serve those who served, and often disinterested in trying.

Hall’s storytelling can’t rise above cliché, but he manages to tell his painfully heartfelt tale without cloying manipulation or judgment. Though Thank You buzzes with impotent rage—that of the filmmaker as well as that of the protagonists—it never feels preachy or even pessimistic. Hall articulates these veterans’ helplessness and frustration in a way that is genuinely rare in our current glut of flag-waving dramas, big screen and small.

Teller, always strong when playing a likable goof who’s just hanging on, is in his comfort zone as the soldier with the best chance to make it. He and Haley Bennett, playing Schumann’s wife Saskia, share believable, well-worn chemistry and there are moments between them when Hall’s gift for naturalistic writing shines.

At other times, the dialog forces too much explanation at the audience, as if Hall doesn’t trust us to understand the extent of the problems plaguing our veterans. A newcomer to directing, Hall’s unsteady craftsmanship can’t overcome that weakness in the same way that Eastwood was able to.

This is a tough film to criticize, though. Hall and crew do get an awful lot right, and the film surprises with periodic bits of gallows humor, selfishness and other glimpses at human frailty that make the film feel far more authentic than Sniper or most any other veteran-themed film.

The flaws can’t go unseen, though, and Hall either needed a better writer or a director who could take some of the obviousness of this screenplay and find a fresher way to approach it.

Save Your Tears

Tragedy Girls

by Hope Madden

Heathers meets Scream in the savvy horror comedy that mines social media culture to truly entertaining effect, Tragedy Girls.

Sadie (Brianna Hildebrand) and McKayla (Alexandra Shipp) are looking for more followers to improve their brand, and they have been doing a lot of research to make their content more compelling. The Tragedy Girls plumb their small Ohio town’s surprising death toll with more insight than the local police seem to have. Where do they get their knowledge?

Provocative.

Tyler MacIntyre directs a screenplay he co-wrote with Chris Lee Hill and Justin Olson. The trio wade into the horror of a social media generation with more success than anything we’ve seen to date. A great deal of their success has to do with casting.

Hildebrand and Shipp (both X-Men; Hildebrand was the moody Negasonic in Deadpool while Shipp plays young Storm in the franchise proper) nail their characters’ natural narcissism. Is it just the expectedly shallow, self-centeredness of the teenage years, or are they sociopaths?

Mrs. Kent (Nicky Whelan) would like to know. The spot-on teacher character offers the film’s most pointed piece of social (media) commentary when she points out the traits encouraged in a snapchat world, where shallowness and parasitic, even psychotic behavior is a plus.

The film is careful not to go overboard with its commentary, though, and the final product is the better for it. MacIntyre’s affectionate, perhaps even obsessive, horror movie nods receive at least as much of his time and attention.

The result is both mean and funny. Josh Hutcherson’s small, image-lampooning part is an absolute scream proving that MacIntyre and company have pop cultural insights to spare, and proper comedic timing to boot.

McIntrye loses his snidely meta tone briefly with a lengthy sidetrack focusing on Craig Robinson, which becomes more zany and broad than anything before it. The director can’t entirely find his footing again, as the resolution of the film gets mired a bit too much in the genre tropes.

Still, the details are priceless (she lends him a copy of Martyrs! Dig that ringtone!), the performances impress and the whole thing is a hoot.

A Ghost at My Sister’s House

The story of Miss Hanes begins when my sister Julie Anne and her young family moved from a small apartment above a Toledo wicker shop to a charming old house in the suburb of Point Place.

It was a very pretty first home for Julie Anne, her husband Brett, their toddler Brenna, and their sweet but excitable Dalmatian, Gonzo. It offered a homey neighborhood and plenty of room for the family to grow. But there was always something off about the place.

Immediately upon moving in, my sweet baby niece Brenna began to take on odd qualities.

Odd, even for my family.

Brenna’d always had an almost eerie calm about her, even as a toddler, quietly observing with the hint of judgment. But somehow, in the new house, she seemed almost otherworldly.

Need an example? One of Brenna’s more unsettling games during this particular period was called Magic Fingers. It was a game of her own creation, where she’d cast a spell by wiggling her fingers above her head, chanting. After calling on the power of the magic fingers, Brenna would utter a command.

“Magic Fingers, make Hope be dead,” for instance.

At that time, I didn’t know whether to fear that some demon intended to steal my beloved niece or take comfort in the more realistic notion that Brenna would be the child who could summon and command the spirit world.

It wasn’t just Brenna’s unusual playtime antics, though. Things moved around the house. Not before your eyes, but objects just didn’t remain in the spot you remembered putting them or seeing them last.

This was particularly problematic for Brett.

Not long after they’d taken residence, Brett’s wedding ring came up missing. After an exhaustive search and a little drama, they replaced it.

He lost that one, too.

It was an ugly time until Julie Anne – doing laundry down the basement – found both rings on the floor under a pile of clothes. She handed one to her husband, who promptly lost it again. Julie Anne returned to the basement to check and found the ring right where she had spied it the last time – in the center of the basement floor under a pile of dirty laundry.

Had it been only the ring, well that would have been weird enough, but it wasn’t.

Items moved around Brenna’s room as well, winding up on surfaces too high for her to reach. The front and back door would be standing open, even if you were certain you’d closed and locked them. And worst of all, the dog refused to go into the nursery.

That is never a good sign.

Fascinated, Julie Anne talked to neighbors, who spun a yarn about a tragedy in the Hanes family, who’d lived in Julie Anne’s house a few years before.

A story emerged. The teenage daughter babysat all around the neighborhood one summer. She was well-liked by the area kids and their parents. She had a nice enough family, herself, although maybe a little strict, overprotective.

That might be why she decided to sneak out her bedroom window, across the porch roof and down the tree one night to meet a boy at the little wooded patch beyond the cul de sac.

Neighbors couldn’t remember whether her father claimed to suspect an intruder, or if he thought he was catching that boyfriend sneaking into his daughter’s room.

Or if Mr. Hanes was just a psycho.

Whatever he was thinking, Mr. Hanes shot his daughter. She never left the house again.

Now the troubled, lovesick teen wandered Julie Anne’s halls, stealing wedding rings and hiding them where Brett would never find them – under a pile of work needing to be done.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Little evidences of Miss Hanes’s presence filled Julie Anne’s house, from the bedazzled basement floor to the little knickknacks that moved around Brenna’s room – all harmless enough reminders that we were not alone in Point Place.

And then one night I would have more of a one-on-one run in.

My twin sister Joy and I were sleeping over, sharing Julie Anne’s bed upstairs. Julie Anne was sleeping with Brenna, and Brett was working the night shift.

It was late and Joy and I were both long asleep when I was roused by a stomping sound.

It didn’t wake Joy up. I lay there a while in the dark. The house was quiet.

Then I heard it again – it sounded like footsteps from above, which was odd because I hadn’t even realized that Julie Anne had an attic. Certainly, no one was walking around in the attic at this hour, but by now I was absolutely awake and a clear footfall could be heard coming from beyond the ceiling above me.

What could it be? I considered.

Squirrels?

Nope, squirrels scurry.

Deer.

Now that’s just idiotic.

How would a deer get into Julie Anne’s attic? 

Stomp. Stomp. Stomp. Stomp. Stomp.

Ooooooh. I did not care for this. I shook Joy.

Nothing.

“Joy! Joy!”

Nothing. A sound sleeper, that one.

Stomp. Stomp. Stomp.

I decided to ignore it. Maybe block it out. I landed on the age-old, truly courageous plan to roll over and pull the covers over my head.

I rolled to my side, facing Joy, covers in hand.

I tugged.

The covers would not move.

I really yanked them toward my head, but they wouldn’t reach. They were held firmly in place.

I tugged and tugged, but it was as if someone was sitting on the bed with me, sitting on top of the blankets.

I imagined her there, right behind me. Her bloody nightgown, her mournful face…

I looked at the peacefully sleeping Joy, the sister I was about to abandon to a ghost.

Then, without a thought to her safety or so much as a peek over my shoulder at whatever was back there sitting on the bed with us, I hopped up, stood on the bed, stepped over Joy and toward the bedroom door, and fled to the TV room downstairs.

And, like big, dumb Gonzo, I never went back upstairs.

Fright Club: Best Anthology Horror

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.