Tag Archives: movie reviews

Throwing Stones

The Glass Castle

by Hope Madden

I was excited about the screen adaptation of Jeannette Walls’s memoir The Glass Castle. Hers is a well-told, often jaw-dropping story of a most unusual family. Her telling is neither sentimental nor leading; she is both clear-eyed and forgiving of an upbringing that is eccentric at best, criminally negligent at worst.

Clearly destined for big screen treatment, the adaptation appeared to fall into the right hands considering the director – Destin Daniel Cretton, of the underseen gem Short Term 12 – and the cast.

Oscar winner and fellow Short Term 12 alum Brie Larson takes lead responsibilities as the adult Walls, while her parents are played by the always wonderful Woody Harrelson and Naomi Watts.

That’s a pedigree right there. So what went wrong?

A lot – and the release date was the first clue.

August tends to be a dumping ground. If it didn’t have “summer blockbuster” written on it and it’s not likely to bait Oscar voters, it comes out now.

Presumably, Glass Castle was originally conceived as Oscar bait, and the performances are wonderful, to be sure. It’s really Cretton, along with Andrew Lanham, who adapted Walls’s text, who fell down on this one.

With Cretton, Lanham co-wrote the 2017 screen adaptation of The Shack, an inspirational drama in which a grieving man receives a letter, and then a visit, from God. And that may be all you need to know.

Between Lanham’s refocusing of the story, Cretton’s manipulative use of slow-mo and the emotionally leading score, Walls’s remarkably balanced portrait of wanderlust, addiction and damage is utterly lost.

In its place, you’ll find cheap sentimentality.

The volatile and life-shaping relationship between Walls and her mother is discarded almost outright and Watts is left basically sidelined while a more cinema-friendly arc is developed between father and daughter.

Harrelson has far more to work with, but the root of his troubling quest for freedom is pushed aside in favor of wise-yet-innocent monologues and general zaniness.

Do yourself a favor and grab the book instead.

Verdict-2-5-Stars

Hello, Dolly

Annabelle: Creation

by Hope Madden

There are a lot of things James Wan’s 2013 hit The Conjuring got right. Leaning toward practical effects over CGI, casting high-quality talent, and digging into an allegedly true story – all good choices that, matched with his eye for framing and skill with mounting dread, led to a chilling and memorable flick.

There’s also a creepy doll, the element that seems to be driving this unexpected franchise and the only item from the original film that made the leap to Annabelle: Creation.

You remember her – she terrorized a young family, and later a pair of nursing students before being locked in a glass case in that creepy room at Ed and Lorraine Warren’s house.

But did you ever wonder what kind of demonic hijinks created her in the first place? Or do you just find yourself in the mood to watch orphans being persecuted? Either way, may I introduce you to Annabelle: Creation?

Director David F. Sandberg (Lights Out) does what he does best, relying on good, old-fashioned jump scares. If that’s your bag – and you don’t get side tracked with nit-picky things like how utterly ignorant writer Gary Dauberman is of actual Catholicism (so maybe he shouldn’t have chosen a Catholic orphanage!) – then this film may be for you.

Years after a doll maker and his wife lose their precious daughter, they accidentally conjure up a demon to live in the single ugliest doll any toy maker has ever seen fit to make.

Bad choice.

Worse choice? Inviting those orphans to move in.

Welp, empty-headed horror it is. And there is something to be said for that in a mid-August slump. This is the sequel to a weak film, itself a sequel of sorts to the kind of movie that felt like a one-off.

It seems unlikely a franchise was the expectation back when Conjuring hit screens in ’13. Since then, filmmakers have scrambled to cobble together a universe of supernatural spookiness to spin off and connect. (Look closely at the picture from Sister Charlotte’s convent – any of those nuns look familiar?)

Sandberg offers little in the way of originality. (He’s clearly a pretty big fan of Wan’s Insidious.) But there are jumps aplenty and a couple of very freaky images in the third act.

Because if you can’t have a creepy nun, may as well make due with a disfigured mother and a scarecrow.

Verdict-3-0-Stars

Camping in Australia – Just, No

Killing Ground

by Hope Madden

Australian campers find trouble in what amounts to Eden Lake meets Wolf Creek.

If you missed either of those two deeply troubling horror classics, you should watch them now. Right now, seriously.

Great, right? Terrifying, eh? Makes you kind of want to see what writer/director Damien Power has in store with his feature film debut, Killing Ground.

He starts off predictably enough: Sam (Harriet Dyer) and her boyfriend Ian (Ian Meadows) are headed to an out-of-the-way campsite Ian remembers from his childhood. They stop for directions, are warned off by a creepy Aussie with a barking pit bull, go anyway.

Right.

They arrive and are disappointed to see that they’ll be sharing the site with another group – based on the parked SUV and the pitched tent. But where are these other campers?

Though Power doesn’t explore a lot of new ground with this campsite horror flick, his approach is so authentic and spare that it breaks free of cinematic hyperbole and leaves you seriously wondering why in the hell anybody camps – anywhere, but especially in Australia.

His narrative builds tension by cross-cutting between the tale of the camping couple and the story of the family whose vacant tent begins to really worry Sam and Ian come nightfall.

From The Babadook to Wyrmwood to The Loved Ones, Australia’s horror output has been outstanding in recent years. Earlier this year, newcomer Ben Young rocked cinemas with his low-budget Aussie horror Hounds of Love.

Killing Ground isn’t quite ready to join those ranks, mainly because, at its core, it’s an unremarkable story – although a few clever twists and choices keep it fresh enough.

The tale is well told and beautifully performed. Aaron Pendersen and Aaron Glenane, in particular, craft believable, dimensional, terrifying characters.

A satisfying power struggle and the provocative use of ambiguities that refuse to offer a tidy ending help the film hang around after credits role.

Seriously, though, why do people camp?

Verdict-3-0-Stars

I Don’t Want to Go Out: Week of August 7

Summer bombs worm their way into the home entertainment market, but so do a couple of intriguing indies. Choose wisely.

Click the title for a full review. And as always, please use this information for good, not evil.

The Transfiguration

The Transfiguration

Verdict-3-5-Stars

The Dinner

Verdict-3-0-Stars

Snatched

Verdict-2-5-Stars

King Arthur: Legend of the Sword

Verdict-2-0-Stars

Tenacious M

Kidnap

by Hope Madden

Let me admit this from the start – I may have liked Kidnap better than I should have. Why? Well, I saw it immediately after The Dark Tower, and it is Citizen Kane compared to that festering pile.

In this film, Haley Berry plays Liam Neeson. It’s her second time in the role, actually.

Back in ’08, Neeson – with help from the pen of Luc Besson – revolutionized film with the (wildly over-appreciated) genre flick Taken. Mid-budget “I have a particular set of skills” thrillers have littered the cinematic landscape since, wreaking righteous vengeance and prolonging the careers of middle aged actors everywhere.

In 2013, Berry made The Call, which was not a bad B-movie thriller and her first turn as Liam Neeson. Kidnap sees the Oscar winner playing a loving mother whose 6-year-old (a very sweet Sage Correa) is nabbed from a busy park. Mom sees the napper shoving her son into a car, she jumps in her minivan and the pursuit begins.

The film amounts to a 90-minute car chase with one unreasonably attractive mom behind the wheel. Several of the action sequences are interesting and flashy (for a film with this level of budget – do not go into this hoping for Fast and the Furious: Minivans).

Writer Knate Lee can’t really justify the lack of cell phone or police presence, but he does what he can. Meanwhile, director Luis Prieto ably assembles car chases and panicked driver close ups, then competently shifts tone for a final act that toes the line between thriller and horror.

There’s nothing exceptional about Kidnap. Not one thing. You’ll forget it existed as quickly as you forgot The Call was ever made. But for a getting-the-phone-bill-paid flick, it’s not too bad.

Verdict-2-5-Stars

https://www.youtube.com/watch?v=R-Ht8VRPRvU

 

“It” Looks Good, though, Right?

The Dark Tower

by Hope Madden

So, there’s this tower, see. And it sits at the center of all the parallel worlds of the universe and as long as it stands, it keeps the monsters away. Why? How did it get there? No time!

Anyhoo, an evildoer (Matthew McConaughey) wants to knock it down, let in the monsters and rule it all. But there’s this kid – you know what, let me not summarize what amounts to little more than a summary in the first place. Suffice it to say, The Dark Tower is not very good.

There are a lot of bad Stephen King movies. But even Dreamcatcher, The Night Flier and Sleepwalkers (three of the worst) offered a sort of B-movie charm. The Dark Tower is not even the fun kind of bad. It’s tedious, lumbering and schmaltzy, visually unappealing, narratively embarrassing and a woeful waste of Idris Elba.

McConaughey, on the other hand, makes the most of his time onscreen as Walter – which is a much funnier name for the prince of darkness than Man in Black. As the antagonist, he brandishes a restrained evil and moves with a little swagger, plus there’s that wig. Glorious! Real Shatner – hell, even Travolta-esque.

But McConaughey and Elba – true talents, no doubt – are hamstrung from the beginning by the production’s meat-cleaver-and-band-aid approach to screenwriting.

Nobody is more convinced than I am that Stephen King uses too damn many words. Too damn many! Succinct he will never be. But to believe you can boil his multi-volume, many-thousand-page Dark Tower series into a coherent 90 minutes is just brazen idiocy. No offense to the team of writers working on the adaptation – some of whom have talent; the other one is Akiva Goldsman.

Director Nikolaj Arcel (A Royal Affair– also credited with writing) is zero help, managing to take this Cliff’s Notes version of King’s prose and still produce something bloated and slow.

I remember reviewing the Tom Cruise debacle The Mummy earlier this year and thinking, this isn’t even any fun, it’s just bad. Dark Tower makes The Mummy feel like a rollicking good time.

But, hey, the trailers for It look great, don’t they?

Verdict-1-5-Stars

Still Just a Rat in a Cage

Some Freaks

by Christie Robb

High school, amirite? Setting of so many movies: The Breakfast Club, Heathers, Clueless, Mean Girls… and lately, Some Freaks, written and directed by Ian MacAllister McDonald.

McDonald’s perspective on high school is bleak, lonely. The other kids whisper about you behind your back, when not being physically menacing. The adults are absent. And even your closest friends are kind of douchey, sensing your weak spots and needling them under the guise of jokes.

The action starts with a one-eyed dude named Matt (Thomas Mann), who is stalked by classmates desperate to see what’s under the eyepatch. And maybe capture a photo of the gaping hole to upload to the internet.

He’s partnered up with the new girl, Jill (Lily Mae Harrington), to dissect a fetal pig in biology. Turns out she’s related to his only friend Elmo (Ely Henry), a fast-talking wannabe popular kid who monologues about getting into his jock crush’s gym shorts, but is quick to lash out at anyone but Matt who seems clued into his sexuality.

After school, Matt and Elmo chat while playing video games on Elmo’s couch, sharing some misogynistic fat girl jokes. Then Jill walks in.

She’s living with Elmo’s family for a while. She’s fat – and the clear butt of the jokes. But she just lets it slide. Jill has clearly been putting up with this bullshit for years and has a fairly thick skin when it comes to sexism and body shaming.

With this auspicious beginning, Jill and Matt stumble into the sort of romantic relationship you have when your main reason for being there is to put a temporary patch on the gaping wound of your own loneliness and poor self-esteem.

Jill flies across country to college, but Jill and Matt take their relationship long distance with Jill sending Matt provocative selfies.

After six months, Matt flies out, step one in his plan to move in with Jill permanently. She’s lost 50 pounds, changed her formerly green hair to a sunny blonde, and traded in her punk gear for a more boho vibe. All the photos she’d sent him were taken before her transformation. He hates it.

Unwilling to let Jill change, Matt attempts to regain the status quo. A quo in which Matt was the only man who could find her attractive (besides “elderly degenerates”), and thus, had no competition. No reason to think about how he measures up to other guys.

Contrary to movies like John Hughes’s The Breakfast Club, the coming together of these teenage misfits doesn’t do much to bond them and bolster their self-esteem. Instead, each of the central characters remains isolated with their own damage, even if sometimes physically close. Their very proximity gives them increased ability to wound each other.

The climax of the film, in which each character attends a party that provides a setting for them to confront their greatest insecurities, seems a little contrived. Some characters are underwritten, making their motivations in these moments a bit confusing.

However, the film is well acted. Each member of the cast does a decent job of portraying their character as a mixture of victim and aggressor. Harrington stands out, providing emotional depth behind her wariness and verbal armor, undergoing an impressive physical transformation for the role.

Some Freaks does not provide a cheery John Hughes ending, but may be a more authentic representation of the high school experience for some.

Verdict-3-0-Stars

https://www.youtube.com/watch?v=WFtR28a6Qf8

I Don’t Want to Go Out – Week of August 1

Damn, a lot of stuff is coming out for home enjoyment this week – much of it is not at all enjoyable, though, so there’s that. What should you watch? Let us help you make that call.

Click the title for a full review. And as always, please use this information for good, not evil.

The Lovers

Verdict-4-0-Stars

Colossal

Verdict-3-5-Stars

Wakefield

Verdict-3-0-Stars

Sleight

Verdict-2-5-Stars

The Circle

Verdict-2-5-Stars

Going in Style

Verdict-2-0-Stars

The Ottoman Lieutenant

Verdict-2-0-Stars

Don’t Knock Twice

Verdict-2-0-Stars