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Say His Name

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Candyman

by Hope Madden and George Wolf

Sweets to the sweet, indeed.

This new Candyman is the most delicious brand of horror sequel. Thanks to the startling vision of director/co-writer Nia DaCosta and producer/co-writer Jordan Peele, it is a film that honors its roots but lives so vibrantly in the now that it makes you view the 1992 original from an urgent new angle.

We go back to Chicago’s now-gentrified Cabrini Green housing project with up-and-coming artist Anthony McCoy (Yahya Abdul-Mateen II), whose works have taken a very dark turn since he learned of the Candyman legend from laundromat manager William Burke (Colman Domingo).

Anthony’s obsession helps spark the interests of curious doubters, which means blood will soon be shed. Suspicions about Anthony’s possible role in the killings begin to grow, leading his girlfriend Brianna (Teyonah Parris) to worry about her own promising career in the art world – and eventually her own safety.

Research on the legend reacquaints us with events from the first film, gloriously reenacted through the paper and shadow puppet work first seen in the film’s trailer. Without dismantling the backstory, only shifting the point of view from white storyteller to Black, DaCosta takes ownership of the narrative—which is, itself, the point the film makes. Own the narrative.

DaCosta’s savvy storytelling is angry without being self-righteous. Great horror often holds a mirror to society, and DaCosta works mirrors into nearly every single scene in the film. Her grasp of the visual here is stunning—macabre, horrifying, and elegant. She takes cues from the art world her tale populates, unveiling truly artful bloodletting and framing sequences with grotesque but undeniable beauty. It’s hard to believe this is only her second feature.

Compelling performances throughout draw you into the saga. Abdul-Mateen II delivers terrifying layers while Parris gives the filmmaker a vehicle for outrage and satire. The always reliable Domingo (having a banner year) brings the film’s institutional knowledge — important in any sequel (somebody has to tell the protagonist what’s already happened), but invaluable in a film about the legacy of trauma.

And then there’s Vanessa Williams, whose return to the franchise is heartbreaking perfection.

Fans of the preceding films will find no reason to be disappointed, but that’s about the least of what this Candyman accomplishes. By the time a brilliant coda of sadly familiar shadow puppet stories runs alongside the closing credits, there’s more than enough reason for horror fans to rejoice and…#telleveryone.

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I Hate Your Face

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Together

by George Wolf

We’re living in unprecedented times – that’s no news flash. But the daily process of navigating the minefield of consequences from this pandemic can beat down our psyche until acceptance is required for survival.

While it may be decades until we can fully fathom the extremes we’re going through right now, filmmakers have been showing impressive instincts for adapting to on-set constraints, and reflecting on our currently shared experience.

Enjoying Together may depend upon how much you welcome the reminder.

Filmed in under two weeks with a cast of just three in a single location, the film finds humor and poignancy while mining both the intimate and more universal aspects of a nationwide lockdown.

The nation is Great Britain, where we meet He (James McAvoy) and She (Sharon Horgan) at the beginning of the quarantine, when onscreen text begins keeping track of the days and the casualties.

He’s a bootstrap conservative just fine with buying privilege, while she’s a power to the people “communist.” They were splitting up even before lockdown, so now that they’re forced to stay together, he hates her face, she wants to feed him poison mushrooms, and they both speak directly to the camera while trying to keep the worst of their vitriol away from son Artie (Samuel Logan).

Directors Stephen Daldry (Billy Elliot, The Hours, The Reader) and Justin Martin (debut feature) use the broken fourth wall and the multiple extended takes to draw us in and make us part of the conversation.

Writer Dennis Kelly provides McAvoy and Horgan with funny, biting barbs and heartfelt monologues, and the two actors consistently find authentic levels of humor and emotion – even in the moments when it starts to feel we’re being talked to instead of with. He and She are demanding, intense roles, and both McAvoy and Horgan respond with fiery, nuanced turns that alone make the film worthwhile.

In between the mounting death toll and the promise of a vaccine, Together glimpses how our lives have been changed in small, inconvenient ways and larger, heartbreaking ones. And as an impressionable child waits in the next room while his parents get closer to their true feelings, American audiences may especially notice the missing chapter on pandemic death cults.

But in our darkest days, art has always been there to help us question, laugh, cry and heal. So while using a welcome night out to spend time back in lockdown may seem as entertaining as a poke in the eye with a sharp stick, this film just wants you to know there’s hope if we just stay…

You know.

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Bzzz

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Mosquito State

by Hope Madden

Right from its scientifically precise and profoundly unsettling opening, Filip Jan Rymsza’s Mosquito State is almost unwatchable. The film, about Wall Street analyst Richard Boca (Beau Knapp) and the 2008 financial collapse, takes on an upsetting metaphor.

Richard, brilliant and socially awkward in equal measure, brings two bodies home with him one evening: the poised and lovely Lena (Charlotte Vega) and a thirsty mosquito. Thanks to Richard’s intimacy ineptitude, things don’t go well with Charlotte, but that mosquito gets all she came for.

Though the buzzing of the bloodsuckers that soon breed in Richard’s apartment may suggest those Wall Street parasites whose appetites will soon collapse the market, Rymsza has something less obvious on his mind.

Any underlying themes about benevolence versus predation serve the filmmaker’s somewhat confounding allegory, but his aesthetic is as pointedly horrific as they come. My god, that whining buzz! The sound threatens to overwhelm you as certainly as the insects themselves overwhelm Richard, who becomes utterly submissive, offering his naked body to the unholy swarm.

Rymsza orchestrates a certain ghastly beauty, but first he has to immerse you in sounds and sights that trigger an automatic, primal revulsion and need to swat and flee.

Knapp’s performance suggests a bloodless Nicolas Cage as Elephant Man — bloodless not just because he’s made Richard the mosquitos’ feast, but because Knapp drains his character of charisma and flamboyance. Richard’s as unpredictable and difficult to enjoy as the film itself, but that makes him —and Mosquito State — no less distressingly intriguing.

Rymsza’s anticlimactic finale will leave many unsatisfied with his film. But for a wild combination of revulsion and beauty, Mosquito State is worth a look.

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Bad Decisions

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Echoes of Violence

by Rachel Willis

Alex (Heston Horwin) is having a terrible day. While trying to sell a leasing office in the middle of the Sedona desert, he hears a gunshot. When he hears a second shot, rather than calling the police, he runs off to investigate.

This is the first of several bad calls that Alex makes.

However, we might be able to get on board with this terrible decision because the lead-up to this moment is intriguing. From a funny opening, we’re then placed in this jarringly violent moment. Alex, endearing in his suit, waiting for his clients, is the right kind of naïve to help the film get underway.

It’s too bad this great opening is followed by such a weak story. But what writer/director Nicholas Woods delivers in Echoes of Violence is a juvenile take on the humanitarian crisis of human trafficking.

Upon meeting Marakya (Michaella Russell), Alex makes one more dumb decision after another as he’s caught up in her violent existence. A sex slave on the run from her immigration lawyer/human trafficker (another good idea that fails in the execution), Marakya enlists Alex’s help on a mission of revenge.

We never quite understand why Alex is so taken with Marakya, which is a problem. There’s no reason or explanation why he doesn’t call the police – or even just walk away – as it’s clear he’s in over his head.

Another poor choice on the film’s part is an attempt to create a sympathetic character out of a man who is part of the sex trafficking ring. Though we’re given reasons why this guy is ‘okay,’ it feels like a gut punch to root for someone who previously ignored the horrors around him. That his redemption arc is given the same weight as Marakya’s story is as unsurprising as it is disappointing.

But the film’s weakest element is the dialogue. Some of it is so bad it’s funny, but mostly it’s just bad. There’s too much needless exposition, too many lines that try to offer profound wisdom (when no one talks like that), and not enough time to let the characters come to life.

The actors are good, particularly Russell, but even the best actors will stumble around clumsy dialogue. And Sten Olson’s cinematography is spectacular, but there isn’t much else holding up this movie.

A weak script will nearly always tank a film, and this one is no exception.

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Screening Room: Reminiscence, The Protege, Night House, Sweet Girl & More

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Reminiscence, The Protege, The Night House, Sweet Girl, Habit, Cryptozoo, Barbara Lee Truth to Power, Finding Kendrick Johnson

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Teacher’s Pet

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The Protege

by Hope Madden

For one of those hired assassin thrillers to work, it helps to have a convincing lead who has chemistry with the bad guy. Martin Campbell’s The Protégé delivers on both fronts.

And yes, in these films story often takes a backseat to fight choreography, writing rides shotgun to action. This also sounds a lot like Campbell’s latest, although it would be more forgivable if the action stood out enough that you could overlook the shortcomings in story.

Maggie Q is protégé assassin Anna, and while her inner conflict never breaks the surface, Q convinces as she moves bewigged from one set piece to the next. Anna’s mission this time is personal, natch, and her soft spot comes from her mentor, played by Samuel L. Jackson.

How is he? Well, he’s, you know, Sam Jackson. He’s exactly Sam Jackson. That works in almost every other movie, and it works just as well here.

But the real shining treasure in The Protégé is Michael Keaton. His talent, charisma, easy charm and natural good humor elevate every scene. Luckily, he’s in a lot of them, so he elevates most of the film.

Campbell (Casino Royale) stages capable though uninspired action sequences. His script, by action veteran Richard Wenk (The Equalizer), can’t tie character motivation to mystery elements to location or conflict. Instead, it stitches together ideas from a smattering of other films with little concern for coherence.

Perhaps this is why Campbell struggles so mightily with tone. This thing swings back and forth between buddy picture and revenge fantasy, international espionage thriller and romance. The bit that generally drives a film like this—you know, when the steely lead finally faces their demons—feels almost coincidental, leaving it no room to resonate.

The Protégé is not a terrible film. At worst it’s just a waste of your time.  

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White Savior: The Documentary

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Queen of the Beach

by Cat McAlpine

While returning from his trip filming traveling preachers in India, Chris McDonell becomes enamored with some young girls hawking their wares on a beach in Goa. One precocious girl, in particular, catches his eye, and her name is Shilpa Poojar. At the time, Shilpa’s only nine years old, and she works full-time to help support her family.

Almost desperately McDonnell repeatedly asks her, “Do you have a dream? Are you happy?” Shilpa shrugs several times before finally admitting that she’d like to go to school, but she can’t afford it. Unable to shake the idea that this young girl is working instead of getting an education, McDonell sets out to change her fate.

McDonell has many paths he could follow in his telling of Shilpa’s story, but he largely avoids any avenue except trying to convince her to go to school. As he returns to India year after year, Shilpa’s interest in school fluctuates. She’s the breadwinner for her family, and if she stops earning an income her family won’t eat. It’s rare that you see a documentary so heavily dependent on the director inserting themselves into the narrative, but McDonell is determined to “save” Shilpa in the way he deems best.

As he is entangled with Shilpa’s family, McDonell grows disheartened that there isn’t an easy win ahead of him. The girls he’s desperate to help are businesswomen who easily out-barter him. He’s constantly promising them gifts in exchange for their participation in the documentary, and his proximity to the young girls sometimes feels uncomfortable. He never acknowledges the obvious power imbalance between himself, a white adult man with the promise of money, and the young Indian girls who are desperate to earn their daily keep or otherwise be beaten. Once or twice, McDonell recognizes that India is often a location for sex tourism, but he doesn’t delve.

McDonell never delves, in fact. He is desperate to make a documentary about sending Shilpa to school, and that’s the documentary he makes despite all odds. He never ends his mission, even when Shilpa is run out of her shop on the beach because she is accused of having an inappropriate relationship with McDonell.

“I come here to help, and instead I cause all of these problems.” He worries out loud to her.

“This is called life, Chris.” She consoles him. “This is India life.”

The documentary is worth watching just to meet the whip-smart, incredibly charismatic Shilpa, who carries on despite horrible circumstances. But her journey seems halted and messy through McDonell’s insistence that she receive his help the way he wants to give it. Cultural context is sidestepped and ignored. Her story ends with no update on her adult life. Does she still have dreams? Is she happy?

We are left with a multitude of unturned stones and unanswered questions. The only thing that is clear is that McDonell is proud of what he thinks he’s accomplished.

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Buyer Beware

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The Night House

by George Wolf

The Night House rests on a trusted horror foundation that’s adorned with several stylishly creepy fixtures. But it’s a terrific lead performance from Rebecca Hall that becomes the support beam preventing total collapse.

Hall plays Beth, a New York teacher still reeling from the recent death of her husband Owen (Evan Jonigkeit). As Beth drifts through her impressive lakefront house trying to adjust, new discoveries bring unexpected questions about her late husband’s outside interests.

Though Beth’s neighbor (Vondie Curtis-Hall, always a pleasure) and best friend (Sarah Goldberg) both warn her not to fill the void in her life with “something dark,” the dark keeps calling. The more Beth digs into things Owen left behind, the more signs point to an unsettling secret life, and to the possibility that Owen may not have entirely moved on.

Director David Bruckner (The Ritual, The Signal) and screenwriters Ben Collins and Luke Piotrowski (Super Dark Times) each have resumes showing impressive results within limited budgets. Stepping up a bit in class, their metaphor for the fog of grief and depression is familiar but well-crafted, with soft-pedaled jump scares and effectively spooky visuals.

Bruckner fuels the standard what’s real/what’s-in-her-head questions with some nifty camera tricks that make the house come eerily alive with forced perspectives and Dali-esque illusions.

As solid as the film’s construction may be, it falls on Hall to make sure the reveals waiting in the third act land with more emotion than silliness.

She’s more than up to the task. Early on, Beth’s sustained grief, and her indignation toward everyone who’s not Owen, carries an authenticity that gets us squarely behind Beth’s personal journey. And that pays dividends once the film relies on our belief in what Beth believes. Thanks to Hall, we end up buying in.

Looking ahead to 2022, Bruckner, Collins and Piotkowski will team up again for the Hellraiser reboot. That means that while there’s enough in The Night House to satisfy horror fans today, there’s also plenty here to get us hopeful about the future.

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Sister Christian

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Habit

by Hope Madden

Bella Thorne is the best thing about writer/director Janell Shirtcliff’s zany thriller Habit. When is that ever a good sign?

Thorne plays Mads, a Jesus-loving Texan transplanted to Hollywood’s underbelly to be with her two hometown besties Evie (co-writer Libby Mintz) and Addy (Andreja Pejic). Mads really loves Jesus. Like in an entirely unwholesome way.

But that’s the least of her problems after Evie’s one night stand makes off with all the drugs and money the girls are holding for Eric (Gavin Rossdale).

This movie tries so hard to be Tarantino by way of John Waters and it fails so absolutely that it gets credit for commitment. What it lacks is inspiration—Shirtcliff’s odyssey requires that we be shocked by Mads’s behavior, surprised by the stilted lunacy of her pursuers, and weirdly drawn into her unseemly world.

The fact that none of it feels especially wild, or that the pursuers lack originality and panache, takes a backseat to the film’s lacking cinematic quality. Individual scenes have no structure – they drag, most of them missing purpose, punchline or punch.

Nothing feels especially taboo, and that’s a problem because without any real “wild” in these antics, you find yourself paying attention to the writing or, worse still, the acting. Rossdale has a tough time developing a character, partly because there’s no telling whether to like or dislike Eric.

Shirtcliff and Mintz have no idea what to do with the real villains, Queenie (Josie Ho) and Tuff (Jamie Hince). The filmmakers dress them up like something out of Pee-wee’s Playhouse, but their villainy is sloppy and suspect.

Habit plays like a film made by people who really liked David Lynch’s Wild at Heart, Tony Scott’s True Romance, and everything John Waters ever made, but had no real idea what they liked about it. The result is a mishmash of borrowed ideas, none of them interesting enough to merit the label subversive.

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We Fought a Zoo

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Cryptozoo

by Matt Weiner

Harder even than finding a cryptid these days might be getting to see a new animated feature meant for adults. Cryptozoo, the latest from comic book artist Dash Shaw and animator Jane Samborski, is compelling proof of how vital it is that we still do—rare as these sightings get.

Not that there’s anything wrong with the many excellent animated options we do get, all with the requisite PG+ jokes to keep parents occupied and weepy climaxes that make you realize a matinee out with the family has turned into at least three future therapy sessions for a child 20 years into the future. But it’s refreshing to get a chance to see lushly textured, hand-drawn animal work go toward interrogating society just a little more than something like “stereotypes are bad.”

Cryptozoo kicks off as an Indiana Jones-style adventure with a mythical twist. Lauren Grey (Lake Bell), trained veterinarian and globetrotting cryptid hunter, tracks down these strange creatures and offers them a place in a protected zoo where they can safely interact with the public as well as their own kind.

Not all cryptids are humanoid, though—you try explaining “Jurassic Park but with sasquatch” to a kraken—and so the zoo’s population is a mix of humanely captured exhibits and fully sentient magical creatures who just want to live and love and go about their daily lives without fear of persecution or worse from their human neighbors.

The “worse” comes in the form of Nicholas (Thomas Jay Ryan), a mercenary ex-military tracker who hunts down cryptids to sell to governments as living weapons. When Nicholas and Lauren go after the same beast (a dream-eating baku), Lauren must partner up with Phoebe (Angeliki Papoulia), whose point of view on coexistence as a gorgon leads Lauren to slowly question her lifelong pursuit and recoil from the stinging indictment of liberalism and capitalism.

If that sounds like a drag, Shaw’s script—and especially the meticulous drawings and whimsical details on each cryptid—keep it buoyant. The result is an ambitious animated feature where the medium fits the message. This is a bestiary with real bite, mapping out a world where good intentions can still come to a bad end, and that can be the most important moral to learn.