Tag Archives: Hope Madden

Listening for Banjos

When our son Riley was young, sometimes – well, often – my husband George and I were those parents who had no idea what was going on.

We never quite figured out how other parents always knew about picture day, field trips, permission slips and other school-related whatnot. I’d have found those in-the-know parents irritating if they weren’t so helpful.

Usually, we’d be made aware of some impending deadline or event when somebody else’s mom brought it up at a baseball game. Such was the case with 4th-grade camp.

It was little second baseman Joe Trapp’s mom who asked, “So, is Riley excited about camp?”

Ick. What?

“Camp. It’s coming up. Don’t you have your paperwork filled out?”

I believe my disgusted face said more than just, No, I haven’t seen any paperwork.

“Oh, it’s so fun. He’ll love it.”

I couldn’t imagine why that mattered.

As an unwritten, shameful rule, George and I never let Riley do anything that kept him away from home for more than a single night. It wasn’t an overprotective instinct, really. We were just kind of sad when he wasn’t around. Life beams brighter when he’s on hand.

My oldest sister had harassed me for years to let Riley stay with her for a few days each summer. Her house is six whole hours from mine.

Screw that!

We were to relent in our smothering territoriality for 4th-grade camp, though. It was a mandatory excursion.

Still, there was a hiccup. Because of our situational ignorance, we’d let Riley audition for a play that rehearsed right through the week of camp. He was the lead in James and the Giant Peach, and he was not going to be allowed to miss a full week’s rehearsals.

So, he’d go to camp for two days, come home overnight (allowing for two rehearsals), and then return.

I’d fetch him.

The camp was situated in Hocking Hills, Southern Ohio’s little patch of Appalachia. For an awful lot of Ohioans, the word “Appalachia” conjures images of serene rolling hills, green and peaceful valleys, a restful vacation spot. But for those of us who log too many hours watching horror films, it means something entirely different.

So it wasn’t visions of sugarplums filling my head as I took the Grandview School bus driver’s directions in hand and set off to fetch Riley in time for rehearsal.

As a rule, I dislike any road that lacks the common decency to bedeck itself with streetlights. Sure, this trip into the holler back in the pre-GPS days took place in broad daylight, but that matters not.

It’s not just the dark that I hate.

It’s this type of street – invariably flanked by fields or forest or some other overwhelming, claustrophobic presence of nature where anyone or anything can hide and watch and wait and play a banjo.

Little did I know as I started off that late spring morn that the bus driver who’d written my directions prefers a scenic route.

I would later learn that a good old, reliable highway runs directly from Columbus to Hocking Hills. But I didn’t know that yet, so I was stuck with Bussy’s rural landscape map.

I followed one country road after another rural route and then back across the sticks when, without warning, the road closed. There was no detour, nary a two-story building in the town where the thoroughfare ended, and I had very few bars left on my cell phone.

I pulled into an abandoned Blockbuster Video parking lot and called the school. Time and bars were wasted as the school secretary found me a phone number for the camp, which I dialed promptly. It rang and rang without end.

Why was no one answering?

I called George, who jumped online to google map me up a new route. I could have turned around and looked for the highway, but I was so far away from Columbus by this point that he thought we should try to find a detour that put me back on Bussy’s route.

George began directing, but my brain filled with flies and wax at all these unmarked turns being recommended.

I wrote down his directions, but I panicked.

I called the camp again. Ring, ring, ring, ring….

Panic, panic, panic, panic….

I tried to push the image of a 4th-grade camp overrun with bears or hillbillies or hillbilly bears out of my brain and decided to walk into the intersection to get some thoughts from the cop directing traffic.

“Ma’am, you can’t just walk out here.”

“Yes, I know. I’m lost.”

“I can’t help you right now,” he told me, arms waving rhythmically so this pick-up truck or that would know who had the right of way at the construction-handicapped intersection.

“Right. But here’s the thing. I have to pick my son up from camp, and the only directions I have say I need to stay on this closed road for another few miles, until it crosses 97. Do you know another route to 97?”

He did not know, but he guessed that if I took the next rural route and drove a while, I might be able to find a country road that cut back across to this closed road before it intersected with 97.

Guessing, meandering, wandering, and hoping are not things I am prepared to do on rural routes.

I would rather be eaten alive by sharks.

I called George back, who, taking my own crippling handicaps into consideration (it’s kind of surprising I am legally allowed on the road, really, given that most of Ohio is rural), said the best thing to do was just turn around, come almost all the way back to Columbus, and then take I71 to Athens county, where I could stop at a gas station to determine the whereabouts of the camp.

I felt sure I’d seen that movie, too, but I love me some highway, so I did it.

I won’t say things went smoothly once I hit Athens County, or that I was in my most sound and socially adjusted mind when I found the camp and collected my boy, but the mission was accomplished and James made it to his Giant Peach on time.

The Screening Room: Back to the Future

Click HERE to join The Screening Room Podcast, where we hash out our thoughts on Blade Runner 2049, The Mountain Between Us, and what’s new in home entertainment – The Survivalist, A Ghost Story, Pirates of the Caribbean: Dead Men Tell No Tales, and Goon 2.

Skin Trade

Blade Runner 2049

by Hope Madden

Who’s ready to go back to the future?

No gigawatts necessary. With Blade Runner 2049, director Denis Villeneuve returns us to the hulking, rain-streaked metropolis of another generation’s LA. We ride with K (Ryan Gosling), a blade runner charged, as always, with tracking down rogue replicants and retiring them.

Things get more complicated this time around.

Gosling’s the perfect choice to play dutiful sad sack LAPD blade runner K. Few actors can be simultaneously expressionless and expressive, but Gosling’s blank slate face and long distance stare seem to say something mournful, defeated and rebellious without giving anything away.

It’s no spoiler to mention that Harrison Ford returns. He’s a welcome presence, and not simply for nostalgia. The film toys with the “is he or isn’t he?” debate that has raged for 35 years, and gives the veteran ample opportunity to contribute.

God complexes, sentience and existence, clones – Ridley Scott saw his own longtime preoccupations playing out in Philip K. Dick’s prose and now, with returning screenwriter Hampton Fancher and new teammate Michael Green (Logan), Villeneuve gets his chance.

Their take is engrossing, satisfying and impressive, though the group stumbles over a few of their ideas—particularly those that consider the female in this particular universe.

As enamored of the original as we are, Villeneuve weaves intoxicating threads and callbacks throughout—most welcome is Hans Zimmer’s periodic moaning and sighing echoes of Vangelis’s original score.

In fact, the echoes from the Ridley Scott (now executive producing) ‘82 classic almost threaten to overrun the film. There are plenty of differences, though.

Villeneuve carves out a much larger corner of author Phillip K. Dick’s universe—not quite taking us off-world, but far beyond the teeming streets, towering buildings and oppressive rain of Scott’s retro-futuristic noir. The expansive story fills the screen with breathtaking frames and immediately iconic imagery, thanks in large part to acclaimed cinematographer Roger Deakins, at the top of his game.

Few if any have delivered the kind of crumbling, dilapidating futurescape Ridley Scott gave us with his original. But between the stunning visual experience and meticulous sound design, Blade Runner 2049 offers an immersive experience perfectly suited to its fantasy.

Picking at ideas of love among the soulless, of souls among the manmade, of unicorns versus sheep, Villeneuve channels Dick by way of Scott as well as a bit of James Cameron and more than a little Spike Jonze. There’s even a splash of Dickens in there.

Sounds like a hot mess, but damn if it doesn’t work.

I Don’t Want to Go Out – Week of September 30

Two of the best and most criminally underseen films of the summer are now available for your home viewing pleasure. Watch them! And also, there are a couple we think you might want to skip.

For the full review, click the film title below.

A Ghost Story

Survivalist

(DVD/BR)

Pirates of the Caribbean: Dead Men Tell No Tales


https://www.youtube.com/watch?v=1xo3af_6_Jk

Goon: Last of the Enforcers

(DVD/BR)

Separation Anxiety

Super Dark Times

by Hope Madden

Super Dark Times opens ominously enough: a broken schoolroom window, a trail of blood running through empty classrooms and into a cafeteria. Though the outcome is not what you may expect, it sets an eerie stage for the 90s-set coming of age thriller.

Zach (Owen Campbell) and Josh (Charlie Tahan) are best friends, not yet driving, not yet dating, not yet determined if they are permanently dorks or just “awkward stage” dorks. They both like Allison (Elizabeth Cappuccino), both tolerate Daryl (Max Talisman).

Thanks in large part to a weirdly believable cast, writing that dances past clichés and confident direction, Super Dark Times creates the kind of charming but clumsy authenticity rarely seen in a coming-of-age indie.

Eighties high school flicks, mainly of the John Hughes variety, focused on right- versus wrong-side-of-the-tracks, popularity and the pressures parents can put on us. That is to say, they focused in most ways on the same worries that had plagued adolescent-focused films since the Fifties.

Contemporary films dealing with high schoolers require the ubiquitous presence of social media. But there is a particular darkness that entered the global consciousness about adolescents in the 90s, and Super Dark Times tries to tap that, using it to color the tone of its nostalgia and cusp-of-adulthood energy.

Kevin Phillips, making his feature debut, leans on his experience as a cinematographer to ensure the film looks as appealing and authentically nostalgic-90s-coming-of-age as possible. Writers Ben Collins and Luke Piotrowski are unafraid to drop contextual clues without burdening characters with too much backstory, just to go on to upend expectations now and again to keep you on your toes.

Super Dark Times develops a thriller atmosphere fueled by the paranoid, confused logic of an adolescent. It’s all a fascinating and realistic journey—until it isn’t.

At a certain point in Super Dark Times, the film settles. It becomes something it didn’t have to become—like the teen who’s cool to hang onto that Subway job when he really needs to ditch town and make something of himself.

It’s an enormous credit to Philips and his young cast that this unnecessary cop-out doesn’t ruin the film. Together they have drawn so much investment in these characters and their futures that you can’t help but stay tuned and attentive.

But they could have done more.

Dream Baby Dream

Woodshock

by Hope Madden

Do you know the Suicide song Dream Baby Dream?

For some, it’s a profound and moving meditation. For others, it is the longest, most unendurably boring song on earth. It figures prominently in one scene in the film Woodshock, becoming maybe the strongest (perhaps unintentionally as well as intentionally) metaphor in the picture.

The film, written and directed by Kate and Laura Mulleavy—better known as fashion icons Rodarte than as filmmakers—follows one woman as she descends from melancholy to full-blown madness.

Theresa (Kirsten Dunst, doing much with very little) works part-time at a legal pot dispenser somewhere in California’s logging country. Marijuana is legal; assisted suicide is not, but many of the shop’s clients are suffering greatly—including Theresa’s terminally ill mother.

The film opens on Theresa dripping some kind of liquid into the contents of a joint, then holding her mother as she passes painlessly from this life.

Painless hardly describes the future Theresa has found.

Hers is a slow—very slow—downward spiral. Woodshock is a character study. Unfortunately, Theresa’s conflict and chaos happen internally, so we spend an enormous amount of time watching her do basically nothing. At the one hour 29 minute mark, she does something. That’s a long wait.

The Mulleavys attempt to offer glimpses into Theresa’s psyche with dreamlike imagery. Their lawless style is equal parts mesmerizing and frustrating. For the power they infuse in their visual presentation they deserve praise. They need to stop ignoring story, though.

Terrence Malick films can sometimes become a confoundingly beautiful amalgam of free-form imagery, episodes disguised as story providing the whisper of a plot. The reason Woodshock doesn’t hold together as well is that the few plot points provided are each of profound importance to character development. Rather than a meditation, the film becomes a highlights reel padded with hallucinatory imagery.

The sisters’ work is formally confident, and rightfully so, but their investment in story is too weak to hold attention. Woodshock offers style to spare, but it’s too shy with substance.

I Don’t Want to Go Out – Week of September 25

Remember the unbelievable bounty in home entertainment last week? Well, it can’t be Christmas every day, kids. Things are a little slower this week, but making its way to DVD/BluRay is a decent horror flick and swimming to your screen for the first time is a shark attack flick that’s not nearly as bad as you think it is. Also, a 17-hour long movie about kids toys dating back to medieval times or some such bullshit.

Click the film title for the full review.

47 Meters Down

The Devil’s Candy

Transformers: The Last Knight

Fright Club: Non-Franchise Halloween Movies

So, there’s this one set of movies you may or may not be aware of about a guy with a William Shatner fixation just trying to get home in time for Halloween. You may have heard of it.

Here’s the thing, there are also other Halloween-themed movies you could watch this holiday if you’re so inclined. Loads of them. And while we feel like you probably know which Michael Meyers movies to skip (5 & 8), which to love (1, duh), and which to watch for the ironic enjoyment (6—we’re looking at you, Paul Rudd!), you might need some direction outside that series. So, here are our five favorite non-franchise Halloween horror movies.

5. Night of the Demons (1988)

It’s Halloween night in the late Eighties and a bunch of high school kids decides to go hang out at Angela’s party because, as the resident goth girl, “Halloween is like Christmas to Angela.”

Where’s the party? At the old, abandoned funeral parlor built over sacred land above some kind of demonic water source. Natch.

Do not be confused – Night of the Demons is not exactly recommended viewing. It’s terrible. Once you get past its dirt-cheap sets and TV-level staging, you’ll notice that the film boasts among the most stilted and cardboard dialogue of any film from the Aquanet decade.

But Angela (Amelia “Mimi” Kinkade) looks cool. Every goth chick— Fairuza Balk’s Nancy Downs from The Craft in particular—owes Angela a little respect. And professional dancer Kinkade does the demonic transformation justice. The acting is atrocious—all of it— but the film boasts a campy, nostalgic, oh-so-80s quality, and we never disagree with Bauhaus on a soundtrack.

4. Murder Party (2007)

Jeremy Saulnier is a filmmaker worth watching. Murder Party is not the near-masterpiece of Blue Ruin or Green Room, but it is a savvy, funny, fun change of pace.

Chris Sharp plays lonesome loser Christopher. Alone with his selfish cat on Halloween night, he decides to follow a whim and hit the party advertised on a flier. A “Murder Party.”

Fun!

What Saulnier pieces together could have dripped with condescending judgment, as a group of insecure art students plot to kill the poor guy as a piece of art that will impress Alexander (Sandy Barnett) enough to nab them the grant Alexander keeps lording over them.

The comedy is more self-referential and human than snide, simultaneously mocking and empathizing with the group of artists as well as their would-be victim.

Funny, tender, biting and often quite bloody and energetic, Murder Party does not suggest the style of film to come from Saulnier, but it predicts a filmmaker who knows what he’s doing.

https://www.youtube.com/watch?v=qI_DqgxNR7U

3. Ginger Snaps (2007)

Ginger and Bridget, outcasts in the wasteland of Canadian suburbia, cling to each other and reject/loathe high school (a feeling that high school in general returns).

On the evening of Ginger’s first period, she’s bitten by a werewolf. Writer Karen Walton cares not for subtlety: the curse, get it? It turns out, lycanthropy makes for a pretty vivid metaphor for puberty.

This turn of events proves especially provocative and appropriate for a film that upends many mainstay female cliches. Walton’s wickedly humorous script stays in your face with the metaphors, successfully building an entire film on clever turns of phrase, puns, and analogies, stirring up the kind of hysteria that surrounds puberty, sex, reputations, body hair, and one’s own helplessness to these very elements.

A well-timed Halloween party allows Ginger to display her new look and skills in as insightful a high school horror film as you’ll find, peppered equally with dark humor and gore.

https://www.youtube.com/watch?v=Zoa1A987A_k

2. May (2002)

Who wants a little romance? How about the tale of a wallflower, the blossom of new love, the efficient use of veterinary surgical equipment, and a good sized freezer?

Lucky McKee’s 2002 breakout is a showcase for his own talent as both writer and director, as well as his gift for casting. The entire ensemble surprises with individualized, fully realized, flawed but lovable characters, and McKee’s pacing allows each of his talented performers the room to breathe, grow, get to know each other, and develop a rapport.

More than anything, though, May is a gift from Angela Bettis to you.

May’s vulnerability is painful yet beautiful to watch, and it’s impossible not to hope that cool outsider Adam is telling the truth when he reassures her, “I like weird.”

McKee’s film pulls no punches, mining awkward moments until they’re almost unendurable and spilling plenty of blood when the time is right—on Halloween night, of course.

He deftly leads us from the sunny “anything could happen” first act through a darker, edgier coming of age middle, and finally to a carnage-laden climax that feels sad, satisfying, and somehow inevitable.

1. Trick ‘r 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.

HAPPY HALLOWEEN!

I Don’t Want to Go Out – Week of September 18

Damn! So many great movies coming home this week – blockbusters, indies, horror, drama, comedy. Everything you could want, and not a bad one in the batch. Hooray for us!!

Click the film title for the full review.

The Big Sick

Certain Women

The Bad Batch

Wonder Woman

The Hero