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Reconnecting

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Unplugging

by Rachel Willis

When his UPS delivery driver unexpectedly dies, Dan (Matt Walsh) decides it’s time he and his wife “unplug” and reconnect with each other.

With Unplugging, co-written by Walsh and Brad Morris, director Debra Neil-Fisher attempts to find humor in a couple so plugged-in that a weekend without cell service becomes a disastrous nightmare.

The premise of the movie is applicable to plenty of people. Who doesn’t know someone who’s practically married to their phone? In this case, that’s Dan’s wife, Jeanine (Eva Longoria). The demands of her office are such that she’s typing emails and sending Jib Jabs at 3 am.

Dan and Jeanine’s daughter is just as connected as Jeanine, but this is apparently not a problem. Dan’s tech-free weekend getaway is just for Mom and Dad. His daughter, still looking at her phone as she says goodbye to her parents, is left behind with her grandmother.

Walsh and Longoria are adept at comedy, but the script never gives them anything to work with. Gil (Keith David) runs the local place where the only thing worth eating is the enchiladas, but the spot is so dead that Dan and Jeanine are his only customers. At least, until Perkins (Lea Thompson) shows up.

Thompson and David also have a knack for comedy, but David is underutilized, and Thompson’s drone-tracking, government-conspiracy-spouting rural nut is too over-the-top to land any jokes. Neither character make a lot of sense in the grand scheme of things, except to criticize rural people as “out there.” Perkins’s pet raccoon Lulu only belabors this point.

The film is unclear about its message. Is tech a bad thing? Or is it okay in moderation? Does getting lost in the woods make you appreciate your tech more, or less? Will a person’s constant disconnection from the “real” world make them suspicious of their neighbors? Or are your neighbors worthy of your suspicion? (If they live in the country, the answer seems to be yes.)

Like its characters, Unplugging gets lost about halfway through and never finds its way back. That it’s light on the humor only makes it harder for those of us who unplugged to watch the movie to keep our hands off our phones.

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

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Days of Future Past

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Memoria

by Hope Madden

If you are in the mood for something decidedly different, let Apichatpong Weerasethakul’s meditative wonder Memoria beguile you. Or bewilder you. Or both.

You won’t be alone. Indeed, you’ll be much like Jessica (Tilda Swinton, perfect, of course). She’s awakened one dawn by a sound, a kind of “bong” that’s impossible to ignore. She assumes construction in a nearby building is to blame, but eventually, this sound follows her wherever she goes.

A desperate yet somewhat resigned curiosity drives Jessica to try to place the noise, or to identify its cause, whether natural or supernatural.

Her journey unfolds in gorgeously unconventional and profoundly cinematic fashion. Weerasethakul’s approach is simultaneously deliberate and dreamlike, and his tale rejects simplification or, indeed, proper summarization. It certainly avoids that comforting Hollywood structure, but Memoria offers a meticulous structure of its own, one that feels vague but supports the spell being cast.

The film becomes a mystery of sorts, but one that dredges up more questions than answers. On the filmmaker’s mind seems to be concepts of collective memory and isolation, sensory experience and existence.

Jessica’s travels through Colombia in search of answers becomes an entrancing odyssey. Akritchalerm Kalayanamitr’s sound design heightens the experience, almost becoming a second character in the way that the sound supports Swinton’s performance.

And what a performance. Quiet and precise as if always listening and careful not to disturb, Swinton once again disappears wholly into a role.

No fan of simple solutions to life’s puzzles, Weerasethakul still leaves the story with an enigmatic but astonishing resolution. The spell he and his lead cast while bringing you to those final moments offers an experience more surprising and unique than anything else you’ll find onscreen this year.

The Screening Room

Screening Room: The Northman, Massive Talent, The Bad Guys & More

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The Northman, Massive Talent, The Bad Guys, Stanleyville, Marvelous and the Black Hole, Virus: 32, We’re All Going to the World’s Fair, Follower

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Practical Magic

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Marvelous and the Black Hole

by Hope Madden

Anybody who remembers Cheers knows Rhea Perlman can be tough as nails. But a magician hoping to befriend an angry adolescent? Well, that’s just masochism.

Still, that is the plot of Kate Tsang’s Marvelous and the Black Hole. Sullen Sammy (Miya Cech) is in trouble again. Her widowed father (Leonardo Nam) doesn’t know what to do with her, but the vandalism and angry outbursts — especially toward his new love, Marianne (Paulina Lule) — have got to stop.

The ultimatum: get an A in a summer course at community college or go to a religious boot camp.

But the course on entrepreneurship is lame and the teacher’s a moron so Sammy hits the bathrooms for a smoke. There she runs afoul of Perlman’s Margot, on campus to entertain a preschool. Margot sees something of herself in Sammy. Slowly, reluctantly, they pull friendship out of a hat.

Tsang’s got a history with whimsy, which certainly informs her feature debut. Animation, fantasy and magic spill together in sometimes inspired, sometimes ill-fitting ways to highlight Sammy’s tumultuous coming of age.

There’s an interesting clash of visual styles, but beneath that is a uniformly predictable story. Situations and characters are too broadly drawn, but just when you’re tempted to give up on the film, Tsang and gang hit a note of authenticity that pulls you back in. That’s particularly true with the way the film deals with grief.

What elevates Tsang’s tale no matter the scene is Cech’s performance. She anchors the story with a believably angry girl trapped between the tantrums of childhood and the self-destruction of adolescence. The performance feels authentic rather than angsty and it elevates even the weakest scenes.

Perlman’s a charmer as the lonely mentor and she and Cech share a sweet chemistry. The film boasts some laughs and some cringes, but uneven as it gets, Cech delivers.

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From the Land of the Ice and Snow

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The Northman

by Hope Madden

Robert Eggers releases his third feature this week, a Viking adventure on an epic scale called The Northman.

You had me at Robert Eggers.

On display once again are the filmmaker’s aesthetic instincts, his mastery of framing, and his ability to squeeze every ounce of brutal beauty from a scene. This film is gorgeous, simultaneously broadcasting the wonder and unconquerable ruggedness of its Nordic land and seascapes.

There are also familiar faces. Anya-Taylor Joy plays Olga, a spoil of war too cunning to remain long in bonds. She’s joined in smaller roles by Eggers favorites Ralph Ineson, Kate Dickie, and Willem Dafoe as a wizened court jester.

Now, if you’re not a fan of the director’s two previous features, 2015’s The Witch and 2019’s The Lighthouse, that does not necessarily predict your feelings about his latest effort. Eggers is working in a different genre with a different, far larger cast and scope this time around.

Alexander Skarsgård is the film’s titular hero; Claes Bang, his uncle and foe.

What you have is a classic vengeance tale: prince witnesses royal betrayal and the murder of his father. He loses his mother and his crown and vows revenge. You’ve seen the trailer.

I will avenge you, father.

I will save you, mother.

I will kill you, Fjolnir.

Skarsgård is cut to play a Viking. His performance is primarily physical: blind rage looking for an outlet. He’s believably vicious, bloodthirsty, single-minded and, when necessary, vulnerable. The entire cast around him is equally convincing.

Nicole Kidman – who played Skarsgård’s wife in the HBO series Big Little Lies, graduates to mother here, while Ethan Hawke plays his father, King Aurvandil War-Raven.

That’s a good name.

Oh, plus Bjork because Iceland. In fact, Egger’s co-writer here, beloved Icelandic novelist and screenwriter Sjón, penned not only last year’s gorgeous folk horror The Lamb, but also Bjork’s early work with Lars von Trier, Dancer in the Dark.

Classic is exactly how The Northman feels. The story is gritty and grand, the action brutal and the storytelling majestic. As is the case with Eggers, expect a fair amount of the supernatural and surreal to seep in here and there, but not enough to outweigh the meticulously crafted period realism.

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Dark Night

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Surviving Theater 9

by Rachel Willis

Tim McGrath survived the shooting at a midnight screening of The Dark Knight Rises in Aurora, Colorado. He shares his story in the docudrama, Surviving Theater 9.

McGrath not only wrote and directed but also plays himself in a film that focuses on what transpired before and after the event. Keeping his runtime to a brisk 49 minutes, McGrath narrows his focus to three survivors: himself, a teenager who went to the screening with his brother, and a woman whose brother was killed in the shooting.

The most affecting moments are the scenes that focus on what happens after. Some of it is appalling to consider: a neighbor who accuses a woman of exploiting her brother’s death; a law school committee that listens heartlessly as a student tries to appeal their decision to suspend him; a teacher who doesn’t understand her student just needs a moment alone.

Though the Before moments want to give the audience a chance to get to know these three, perhaps the shortness of the film’s runtime is to blame for the lack of depth. Surviving Theater 9 might have been more poignant if the survivors had been allowed to speak for themselves in a documentary, but you can see that this story might be easier to tell through another person’s point of view.

McGrath might have been wiser to restrict the timeline to a chronological retelling. Instead, he skips from After to Before and back again, creating gaps in the timeline. You’re left wondering about the fate of a cousin who accompanied McGrath to the theater, because it’s hard to recall if he appears in the After sections or only the Before sections.

McGrath’s goals are understandable, but flaws in the filmmaking detract from the experience.

Wisely, McGrath does not focus on the shooting itself. We’re given only minor moments of the chaos and terror that happened inside theater 9 because this isn’t the shooter’s story. Nor is it the story of the event. It’s about the survivors and the story they need to tell.

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Influencer Pay

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Follower

by Tori Hanes

It’s a classic setup: three girls, an annual camping trip, a sadistic killer. Reminiscent of an 80’s horror flick, the antagonistic stalker is set on making girls pay for the crime of being female. With the added stomach-turning twist of the dark web community, director James Rich’s Follower establishes itself within the modern-day horror genre. 

Early in the film, the promise of an interactive experience is teased. Subsequently, within the first scenes, the audience is prompted to follow “Heather’s” real Instagram page. While a fun moment, it can only be defined as that- a moment. 

The interactive portion is forgotten until midway through, when the audience is encouraged to follow the killer’s page. With that, the interactive portion is complete. Ultimately, there was a heightened expectation for interactivity to be a prevalent part of the narrative fabric. The inclusion of the Instagrams with no correlation to the plot, though interesting in theory, was a disappointment in practice.

In a genre plagued by inauthentic and uneven performances, this indie horror shows shimmers of talent- specifically in leading ladies Revell Carpenter and Molly Leach. While it did take the characters a moment to ground themselves, once they achieved steadiness a natural buoyancy emerged. 

Even with these breakthrough examples, many performances left something to be desired.  It’s not uncommon to see actors derailed by the unevenness of their co-stars. Carpenter and Leach never fell victim to this – just the opposite. Whether subconscious or intended, they heightened their performances in response.

The film prides itself on women taking back the narrative from patriarchal horror films of the past. Whenever watching films that put the onus on the victims to reclaim their power, there is always the underlying hope that vengeance will somehow be inflicted tenfold. 

This is not only to claim revenge for the protagonists but justice for every bikini-clad teen who wasn’t given a chance in your favorite slasher flick. Follower fell short in this regard, not quite able to break the skin of what makes female vengeance so unique and deserved. 

Though set with a postmodern twist, Follower feels like a relic of horror movies past. 

New In Theaters, Shudder Premiere

28 Zombies Later

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Virus: 32

by Hope Madden

It’s nearly impossible to watch a zombie film without seeing pieces of this, pieces of that. Virus: 32 does call to mind a handful of other genre flicks. 28 Days Later is all over it. Sequences call to mind Rammbock: Berlin Undead. The film’s claustrophobic, spook-house vibe might conjure Rec from time to time.

Still, Gustavo Hernández (The Silent House) braids these ideas into something unnerving, tense and moving.

Iris (Paula Silva), living an extended adolescence in Uruguay with her roommate, finds herself saddled with her young daughter for the day. She’d forgotten and picked up a shift, which means Tata (Pilar Garcia) will join her today at “the club.”

The club is an old, abandoned sports club. Iris is on security patrol. Tata can occupy herself in an old gym with some basketballs while Iris makes her rounds and keeps an eye on things from the security footage she accesses through her phone.

No sweat.

Unbeknownst to the two, a virus has infected Montevideo, turning people insatiably violent.

Sweat.

The title comes from the brief reprieve the illness offers. The infected become catatonic for 32 seconds after quenching their bloodlust. It’s contrived, but Hernández — writing again with Juma Fodde — enlists the pause button effectively.

Fermin Torres’s sometimes creeping, sometimes soaring camera generates anticipation and dread in equal measure. Security footage — often a lazy gimmick in a horror movie — gets real purpose and style here. Likewise, the poorly lit passages, shadowy staircases and rooms reflecting leakage and rot create an atmosphere of decay that suits the effort.

Nothing works harder or more forcefully, though, than Silva. Her believable tenderness, drive and instability combine to create a hero you root for, understand and worry about. She’s brilliant.

Daniel Hendler joins the cast at about the midway point, injecting a needed sense of calm and purpose. His presence pulls the narrative out of its chaos and points things toward resolution. He and Silva elevate scenes that could feel perfunctory. Their talent and Hernández’s skill turn even the most zombie-eaten tropes into riveting action.

Virus: 32 can’t entirely overcome its set of borrowed notions, but it grips and tears nonetheless.

https://www.youtube.com/watch?v=ZjqmPP28Vto

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Dead Horses and Where to Find Them

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Fantastic Beasts: The Secrets of Dumbledore

by Hope Madden

After much delay, Fantastic Beasts: The Secrets of Dumbledore comes to big screens this weekend. The film is the needless third installment in a 5-part series based on a single 2001 guidebook that walked readers through the various magical animals of the Harry Potter universe. The guidebook’s “author” is Newt Scamander, and Harry Potter has jotted notes throughout it.

That’s it. No narrative, no characters, really. It’s like a little, pretend textbook from Hogwarts.

The book was a semi-adorable cash grab — one additional little scrap to throw the hungry Harry-heads at the height of Pottermania — meant to raise money for charity. And now it’s a planned 5-part series, each installment thus far clocking in at well over two hours.

Oof.

The new adventure catches up with Newt (Eddie Redmayne) assembling a ragtag band of witches, wizards and muggles to help mentor Albus Dumbledore (Jude Law) fight the dark magic of Gellert Grindelwald (Mads Mikkelsen).

Grindelwald hates muggles (non-magical losers like us) and wants a war. He’ll deceive, bully, appeal to baser instincts, and when it comes down to it, cheat the election to take over the wizarding world.

It’s a good guys v bad guys tale with loads of Trumpian nods (keep an eye on that newspaper), but that feels hollow given creator/co-writer J.K. Rowling’s history of bullying vulnerable populations. A main role for the recently shameful Ezra Miller (who plays forlorn baddie Credence Barebone) doesn’t help those optics, either.

As superficial spin goes, though, it is nice to have Mikkelsen on board. He replaces Johnny Depp (easily the best thing about the previous installment) as the film’s villain. Where Depp embraced the magical elements and leaned into camp, Mikkelsen is all elegant, understated menace.

The cast boasts a lot of solid, wasted talent. Law continues to charm as the unflappable Dumbledore, Redmayne’s quirk tests patience, Dan Fogler’s a bright spot.

Director David Yates — who directed four HP movies as well as the previous two installments in this franchise — struggles this go-round to even conjure much visual panache to distract from the bloated, overpopulated and underdeveloped script.

Rowling co-writes for the screen again with Steve Kloves, her scripting partner for every Potter and Fantastic Beasts installment. The Potter films often suffered from unimaginative adaptation, which could be chalked up to the writers’ tough time pruning the source material.

No idea what’s to blame here, but these movies are not getting any better.