Screening Room: Dune: Part 2, Spaceman, Io Capitano, Dr. Cheon and the Lost Talisman
Tag Archives: Hope Madden
The Doctor Is Real In
Dr. Cheon and the Lost Talisman
by Hope Madden
Modern horror is littered with fake ghosthunter tales, films about scammers who come face to face with the evil they’re certain doesn’t exist. Kim Seong-sik’s Dr. Cheon and the Lost Talisman begins down a similar path.
Dr. Cheon (Gang Dong-won) leads his assistant/technician In-bae (Lee Dong-hwi) into the garden of a wealthy family whose bitchy teenage daughter they presume is possessed. She is, of course, just teenaged. Dr. Cheon convinces the family that it’s the house, he exorcises the house, tells the family what they want to hear, and all’s well that ends well.
But the truth is, Dr. Cheon is looking for more than the next gullible family to scam.
He finds it when Esom (Yoo-gyeong) dumps a bag of cash on his desk and asks him to follow her to her village, where her sister is possessed. Of course, though, this time the possession is real.
Don’t expect the same old routine of con artists being outed, learning a valuable lesson before bleeding out. Dr. Cheon is ready for this supernatural nemesis.
There’s a frenetic charm to the film’s main action sequence, where the demon leaps from one villager to the next as it chases Doc and Esom through town. Electric blue FX have a delightfully cheesy, throwback feel that balances the handful of gruesome moments.
Though never laugh out loud funny, levity throughout the film keeps it from ever crossing over truly to horror. Gang’s haunted straight man benefits nicely from Lee as a comedic sidekick, and veteran actor Huh Joon-ho menaces laudably as the evil mace, Beom-cheon.
Kim never fully lands on a tone. What begins as a lightweight horror show develops a kind of Saturday morning TV vibe before turning into an action adventure. Think Korean Dr. Jones meets Scooby Doo, or something along those lines. There’s a weird charm to it that might particularly delight those who like their scary movies not too scary.
Fright Club: Skeletons in the Closet, 2024 Oscar Nominees
It’s the most wonderful time of the year! We get to celebrate the terrible decisions some of this year’s Oscar nominees have made in their careers. Why? Because we sincerely love them—the movies and their stars. Join us as we comb through this year’s Oscar nominees’ bad horror past.
5. In Dreams (1999): Annette Bening and Robert Downey Jr.
It’s a twofer! Nominees for Best Actress and Best Supporting Actor, Annette Bening and Robert Downey Jr. joined director Neil Jordan (In the Company of Wolves, Interview with a Vampire, Byzantium) for this gender fluid serial killer/fairy tale mash up that just doesn’t work.
With Aidan Quinn, Stephen Rea, Margo Martindale (in a brief, thankless orderly role), it’s a convoluted mess of a movie that tosses together tropes from about six different styles of horror without ever trying to make sense of any of them.
This was Bening’s only real foray into horror, while Downey Jr. starred in Zodiac (great) and Gothica (poor).
4. Godsend (2004): Robert De Niro
Do not be surprised that De Niro starred in a lackluster horror flick in the early 2000s. He starred in several, not to mention the handful of bad actioners, bad thrillers, and bad comedies he peppers into his otherwise impressive filmography.
In this case, De Niro plays a geneticist with an ulterior motive, preying on the grief of a couple (Rebecca Romijn, Greg Kinnear) whose only child (Cameron Bright) has been killed. De Niro brings him back, but when has that ever been a good idea in a horror movie? Derivative and embarrassing, considering the cast.
Robert De Niro has starred in some great horror (Cape Fear, Angel Heart) and some bad horror (Hide and Seek, Frankenstein).
3. Case 39 (2009): Bradley Cooper
Like George Clooney, Bradley Cooper can write, direct, star, earn Oscar nominations, and be counted on to shine bright in a bunch of bad early career horror. In this case, he co-stars with now two-time Oscar winner Renee Zellweger.
It’s a blatant, lifeless The Ring ripoff with bad FX, bad acting and lame plotting. Cooper plays Doug (he’ll be your Doug). It’s a thankless role of boyfriend/buddy/bee sting sufferer.
We’ve talked about other Cooper horror before, but here’s his whole lineup: My Little Eye (pretty bad), Midnight Meat Train (not very good), and 10 Cloverfield Lane (voice acting, a really good movie).
2. The Wolfman (2010): Emily Blunt
We had such hopes for this one when it came out. That cast! Benicio Del Toro, Anthony Hopkins, Hugo Weaving, and 2024 Oscar nominee Emily Blunt.
Good God, was it awful. If you can look past the idea that Hopkins and Del Toro could be father and son, look past the insipid plot, look past Hopkins’s hamminess or del Toro’s disinterest, you cannot look past the heinous FX. But Blunt handles herself really, really well.
This was not the first, nor would it be the last horror film for Blunt: A Quiet Place (very good) A Quiet Place 2 (good) and Wind Chill (pretty good).
1. Frankenstein and Me (1996): Ryan Gosling
This one’s hard to track down, but worth the effort if you enjoy very badly made family-oriented “horror.” It’s a Disney TV movie starring Burt Reynolds (I swear to God). Burt’s married to a woman 1/3 his age (played by Myriam Cyr, who—God love her—is the worst actor on earth). The two have two young sons, who dream of bringing the dead to life.
Oscar winner Louise Fletcher takes abuse in a role that’s wildly beneath her, but there is one bright spot. This is Ryan Gosling’s first film, and he’s a spunky charmer, elevating every scene he’s in.
It wouldn’t be his last horror film, having also starred in Stay (mediocre, but co-starring 2024 Oscar nominee Sterling K. Brown) and Murder by Numbers (mediocre).
The Worm Will Turn
Dune: Part Two
by Hope Madden and George Wolf
Never trust the white guy.
Is that the theme of Denis Villeneuve’s second installment of the Frank Herbert sci-fi epic? A colonizer twists religion to convince a huge population to act in their own worst interests? Sounds more like modern times, but maybe the blandly named Paul (Timothée Chalamet) really is The One.
Dune: Part Two is as breathtaking a vision as Villeneuve’s 2021 Part One. And it’s a better film, benefitting immeasurably from the freedom of exposition that weighed down Part One. The sequel rides intensity and action from its opening segment.
Having taken refuge with his mother (Rebecca Ferguson, still the most interesting performance in the film) among the Fremen, Paul tries to understand his visions while fighting alongside Chani (Zendaya), the woman he loves, to take back the spice-rich planet Arrakis from the evil and extremely pale Harkonnen.
Villeneuve’s world-building is again a wonder to behold. He immerses us in this world of sand and savagery, providing fully realized reminders of how much Herbert’s original vision has influenced iconic sci-fi tentpoles such as Mad Max and Star Wars.
And, in turn, this Dune isn’t shy about its own inspirations. From the conversion of Paul to the schemes behind the throne, from the cries of “false prophet!” to the bloodline surprises, Villeneuve and returning co-writer Jon Spaihts bob and weave the narrative through a fertile playground of Biblical and Shakespearean roots.
The ensemble is again large and mighty, sporting a litany of heavyweights (Javier Bardem, Florence Pugh, Josh Brolin, Charlotte Rampling, Christopher Walken, Léa Seydoux, Stellan Skarsgård, Austin Butler, Dave Bautista) who are all able to leave unique impressions amid the battle of screen time.
And that tells you how many characters are populating this adventure, because there is no shortage of screen time. But while Part Two‘s 2 hours and 45-minutes eclipse the first film, you’ll also find more meat on the bone. Yes, the second act does bog down a bit, but the finale sticks a damn fine landing. Overall, there’s just more earned tension, more thrills (get ready for the worms!) and more character arc to keep you invested in this fight.
Part Two also feels like the complete film that its predecessor did not, and it begins to pick the scab off that “white savior” issue, although we’ll need to get to Part Three to really do it justice. Even if there is not a third installment (and let’s be honest, there’s going to be), Dune: Part Two delivers a satisfying and complete adventure all its own.
Coen My Way?
Drive-Away Dolls
by Hope Madden and George Wolf
Is the flattery still sincerest if you’re imitating yourself?
Because about 15 minutes into Drive-Away Dolls, the first installment of a lesbian B-movie trilogy from director/co-writer Ethan Coen and co-writer Tricia Cooke (Coen’s longtime producer/editor/wife), you can’t ignore how much this film reminds you of Coen Brothers movies.
And yes, better Coen Brothers movies.
Like The Big Lebowski, Burn After Reading, Barton Fink and A Serious Man, all of which get subtle and not-so-subtle nods in a twisting story of two young women and a mysterious, valuable briefcase.
Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan) are queer best friends in 1999 Philadelphia. Marian is sexually conservative, and the free-spirited Jamie hopes to get her friend some action while they accept a drive-away job down to Tallahassee and hit every lesbian bar they can find.
What the girls don’t know is that the car they’ve been given has two very important items in the trunk, and it isn’t long before “The Chief” (Colman Domingo) and his two hapless henchman (Joey Slotnick, C.J. Wilson) are on their tail heading South.
The cast is indeed impressive (with appearances from Pedro Pascal, Bill Camp, Beanie Feldstein and Matt Damon), but while the film serves up a handful of LOL moments, the vast majority of the nuttiness lands with more desperation than inspiration.
It all feels so forced, except for Viswanathan, whose earnest delivery points out the artifice in Qualley’s. The Foghorn Leghorn-y of pre-millennium lesbians, Jamie’s every line draws attention to its own zaniness. It calls to mind The Ladykillers—and that’s never the Coen movie you want to make people remember.
Much of the ensemble works magic, though. Camp is particularly, dryly memorable. But this script, and the unsteady direction, suffers from high expectations. Drive-Away Dolls is fine. It’s fun enough. It’s nutty. But if Coen and Cooke weren’t awkwardly chasing their own family history, it would have been more satisfying.
Glad I Spent It With You
Perfect Days
by Hope Madden
Wim Wenders is having a year. Though his epic 3D documentary Anselm somehow regrettably missed out on a Best Documentary nomination from the Academy, his unhurried slice-of-life Perfect Days caught their attention.
Nominated for Best International Film, Wenders’s lovely drama tails Hirayama (Koji Yakusho, perfection) through about two weeks in his life. Hirayama doesn’t have a lot to say, but he misses nothing in his days driving from public restroom to public restroom with Tokyo Toilet written on the back of his pristine blue jumpsuit.
Tools in rubber-gloved hand, Hirayama is meticulous as he works. He has a routine that suits him—brings him joy, even—and Wenders cycles us through that routine day after day after day. At a full two hours, Perfect Days begs your indulgence with this montage of minutely changing events.
The cumulative effect is, at first, lulling. As days pass, some small change draws attention and we try to predict a plot—will this turn into a love story, will that create financial chaos, is a tragic backstory of abuse about to come to light?
Not the goal of this movie. The film actually began as a commissioned short film meant to celebrate Tokyo’s pristine public toilets. I swear to God. It blossomed from there into a lithe, meditative character study shouldered by an impeccable Yakusho.
Though there are moments in the film that feel orchestrated—today, this happens; today, this happens—but not one breath, smile or nod of Hirayama’s head betrays the fiction. His is a mainly solitary, nearly silent life that can be surmised as a middle-aged man’s intentional creation. Hirayama has left something behind, has stripped himself of something, and what remains is what he finds vital: work where you can see a result; floor to ceiling shelves of books; a tidy and enormous collection of cassette tapes; a room full of tiny plants taking root, thanks to his tender care.
You could fit Hirayama’s dialog on less than a single page, and there are times when his silence feels forced and almost comedic. But Yakusho’s brilliantly nuanced, heartbreakingly felt performance makes up for any flaws in the film. Wenders punctuates scenes with joyously on-the-nose song choices—minus the cassette hiss—and the final few singalong minutes showcase one actor’s transcendent work.
A Walk in the Woods
Lovely, Dark, and Deep
by Hope Madden
What is the draw of the deep woods? Ticks? High likelihood of injury with haphazard chances of rescue? Cocaine bears?
Even the obvious reasons to steer clear of the woods can’t deter a lot of people. Writer/director Teresa Sutherland’s Lovely, Dark, and Deep links two risks that have haunted writers and creators throughout existence. Some people go crazy in the woods, and many get lost in there and never come out.
“And into the forest I must go, to lose my mind and find my soul.” John Muir said that. The “father of the National Parks” may not have predicted Sutherland’s translation.
Sutherland drops new ranger Lennon (Georgina Campbell, Barbarian) in the National Park back country, where she will spend the season mainly alone in her ranger hut. Does she know that Ranger Varney (Soren Hellerup) disappeared last season?
Likely it wouldn’t dissuade Lennon, who has a past to reconcile and some podcasts on missing people to listen to.
Campbell’s performance shifts as Lennon’s determination makes way for absolute confusion and terror. What begins as single-minded pursuit shows itself to be desperation in disguise. Willfulness gives way to horror as Lennon’s investigation turns up wooded weirdness and wickedness she did not predict.
Wide shots and drone work keep Lennon dwarfed by an increasingly claustrophobic forest, though Campbell never lets the character feel overmatched by nature. Not nature. But a disorienting woods as deep as these (it’s actually Portugal) can easily conceal a lot that is far from natural.
Sutherland’s film is a bit of a slow burn, but once it hits its stride, she throws an unsettling assortment of hellish visions at you. You don’t have to have a natural (and really healthy, I think) fear of the woods to know it’s time to get the F out of Jellystone.
Fantastic Mr. Fox Corpse
Stopmotion
by Hope Madden
There will be moments when you’re watching Robert Morgan’s macabre vision Stopmotion that you’ll think you see the twists as they’re coming. That’s a trick. Morgan, writing with Robin King, assumes you’ll catch the handful of common horror twists, but he knows that you won’t predict the real story unfolding.
Although you should because he’s given you every clue.
Aisling Franciosi (The Nightingale) is Ella. She’d like to make her own stop-motion animated film, but instead she’s helping her mom finish hers. Ella’s domineering mother Suzanne (Stella Gonet, very stern) is a legend in the field, and she makes Ella feel as if she has no stories of her own to tell.
But when Suzanne is hospitalized, Ella determines to finish her mother’s film. Her boyfriend Tom (Tom York) sets Ella up in a run down, empty flat where she can work and he can check in on her, bring dinner and take care of her.
Sounds perfect, doesn’t it? Unless Ella really has no stories to tell, or the story she tells is too scary, even for her.
Stopmotion delivers a trippy, uncomfortable, and deeply felt tale of a struggling artist. This is a descent into madness horror of sorts, but it’s also the story of an artist coming to a realization about what scares her most. Franciosi’s turn is brittle and often internal. Ella’s insecurities float to the surface, and Franciosi’s unafraid to make the protagonist frequently unlikeable.
The dual storylines—live action and animation—are both well told, but the real pleasure is in the gruesomely tactile movie Ella is making. Her characters—wax and feather, bone and blood and ash—come to life in a lumbering, grotesque way that hints at any number of possible horrors.
This should come as no surprise to anyone who’s seen Morgan’s animated shorts, including “D Is for Deloused” in ABCs of Death. The animator sees the monstrous possibilities in his medium, clearly. But his feature debut balances that with an existential ugliness in Ella’s real life, and thanks to committed and nuanced performances from the whole small ensemble, both sides keep you riveted.
Fright Club: Towns that Won’t Let Go
Being trapped in a town–whether by supernatural forces or physical ones–is a nightmare scenario that horror movies use to their advantage. Maybe it’s bloodthirsty kids in a cornfield who keep you. Maybe it’s some kind of unnatural barrier, and every time you leave, you wind up where you started. Either way, spooky times! Here are our five favorite towns that won’t let you leave!
5. Hilsboro: The Brotherhood of Satan (1971)
One of those mid-afternoon TV watches one day home sick from school, this movie scared the shit out of me. Was it the kidnapping and possession of children? The Satanic cult? No–it was the idea that K.T. and Nicky could never leave the town. No matter what direction they drove or how they attempted it, they would never get out of the town.
That idea stuck with me for ages, but in restrospect, the movie has a lot of weird goodness going for it. It seems to have inspired Being John Malcovich to a degree, as well as Cemetery Man. It’s a B-movie, no question, but it is a lot of fun.
4. Camp Arcadia: The Endless (2017)
Justin Benson and Aaron Moorhead continue themes developed in the remarkable Resolution (which could also be on the list). And though it’s really a camp they need to leave, the dread the filmmakers develop is identical to that of the town that won’t let go.
As brothers return to the cult they’d escaped years earlier for a friendly visit, you spend every minute hoping, goading, yelling, begging them to fucking just leave! Get out! What are you still doing there?!
The tension is palpable and the fraternal familiarity between Justin and Moorhead is painfully, tenderly authentic. This works to ground the science fiction elements as they develop, creating an unnerving and memorable feature.
3. Hobbs End: In the Mouth of Madness (1994)
John Carpenter combines King with Lovecraft to create an unforgettable journey into madness. Sam Neill is an insurance investigator out to prove that vanished author Sutter Cane is a phony. He just needs to get to Hobb’s End and prove it.
There’s a scene with a bicyclist on a country road that boasts of Carpenter’s genre magic, as madness and mayhem collude to keep Neill where he is, at least until he can serve a greater purpose.
2. Buffalora: Cemetery Man (Dellamorte Dellamore – [of death, of love], 1994)
Inarguably director Michele Soavi’s best work is confined mainly to the cemetery in Buffalora. Released the same year as In the Mouth of Madness, Cemetery Man explores a handful of the same themes. It just does it with more sex.
The film balances humor with horror, sneakily leading to meaner and more chaotic plot turns until there’s no going back.
Rupert Everett is perfection as Dellamorte, the cemetery keeper who has noticed that the dead come back about seven days after they’re interred. Things go from bad to worse to worse still, and finally he loads up his best friend Gnaghi and plans to put Buffalora behind him. Good luck.
1. The Yabba: Wake in Fright (1971)
First time in the Yabba?
Sweaty, drunken, debauched–Ted Kotcheff’s Aussie thriller wrings tension from every scene as John Grant, put-upon school teacher, explores his manliness with the very manliest in town.
A pressure cooker, the film is an absolute education in escalating tension, but it also boasts what may be the greatest performance of Donald Pleasance’s career.
The film is not for the faint of heart, and potential viewers beware: the kangaroo hunt is real.
Screening Room: Madame Web, Bob Marley: One Love, Oscar Nominated Shorts, Monolith, Bleeding Love
