Okay, so here’s the story: if you’re on a bridge at night and blow into an empty bottle, you’ll conjure the Empty Man. And in three days, he’ll find you.
Right, so it’s a bit of Candyman, some of The Ring, lots of jump scares and kills for Halloween, got it.
I don’t think you do…unless you’ve read Cullen Bunn’s graphic novels.
Writer/director David Prior adapts the series with James Badge Dale in the lead as James, an ex-cop still grieving from the loss of his wife and son. When the daughter of his good friend Nora (Marin Ireland) goes missing, James sidesteps the local Missouri cops for a rogue investigation of his own.
Prior, a video vet making his feature debut, lays down an atmosphere that gets plenty creepy, but seldom horrific. As James digs in, the film becomes a dark mystery, one full of freaky cult members with aspirations of total consciousness and malevolent chaos.
Dale keeps your interest with a terrific performance full of wounded determination, getting solid support from Ireland (plus Stephen Root in a memorable cameo).
But at nearly two hours and twenty minutes, it’s a bit too much of wandering slog in need of a leaner path.
Come in looking for a tidy little slasher, and you’re going to be disappointed. But if you’re down for a dark and moody rumination on grief, metaphysics and itchy brains, you could conjure up worse than The Empty Man.
by George Wolf, because Hope Madden can’t watch Borat’s pranks without leaving the room
You may have already seen a headline or two about Rudy Giuliani’s run-in with Sacha Baron Cohen as Borat.
When it happened this past July, Giuliani called the cops, and then boasted that Cohen didn’t “get him.” But now that Subsequent Moviefilm is here, we see Giuliani still lives in a world unhindered by reality, and Cohen still has a knack for finding cringeworthy humor in the most unseemly situations.
Much as changed in Borat’s world – and ours – since his 2006 adventure brought shame to his native Kazakhstan, and earned him a life sentence of hard labor. But now, with the American president’s fondness for dictatorships, Borat has a chance for redemption.
He must return to America, and get Kazakhstan on the short list for Trump’s “strongman club” by bribing Vice President Pence with a valuable offering.
The gift? Borat’s 15 year-old daughter Tutar- also known as “Sandra Jessica Parker Sagdiyev” (Bulgarian actress Maria Bakalova, nearly Cohen’s equal for stone faced boundary-pushing.)
Borat’s special delivery during Pence’s CPAC speech (beautifully synched to a COVID-19 reassurance of being “ready for anything!”) is rebuffed, so Giuliani becomes the next logical target.
And that road to Rudy is filled with Cohen’s fearless hijinx, again skewering the breeding grounds for bigotry, ignorance, misogyny, anti-semitism, QAnon, Karens and..what else ya got?
Pervy ex-mayors of NYC!
But Borat is pranking a meaner America this time. There are no layers to peel away anymore, the ugliness is out and proud. From a bakery to a pregnancy center to a Tea Party rally, the often hilarious audacity is tempered by the sadness of realizing we no longer need Borat to expose this underbelly.
So Cohen and director Jason Wolinar (a TV vet helming his first feature) make a smart and subtle pivot. Segments with Tutar’s “babysitter,” and another featuring two elderly Jewish ladies in a synagogue (one of which the film is dedicated to) mix the bracing humor with moments of touching sweetness. Cohen’s not going soft, just pausing to remind us there is hope.
Early on, Borat has to run from random Americans excited to see him on the street. It’s a refreshing acknowledgment that we’ve seen this schtick before. Yes, it’s still shockingly brazen and often laugh out loud funny, but the thrill of discovery is naturally gone.
But whether he’s Cohen posing as Borat or Borat posing as Cliff Safari (or John Chevrolet, take your pick), the comedy and the tragedy are nearly impossible to ignore, even if you want to.
Let’s give credit where it’s due. Remaking a Hitchcock classic takes some stones. Beyond putting aside the inevitable comparisons, you’ve got to find a way to follow your own vision while honoring the elements that make the film worth revisiting.
A look at Ben Wheatley’s resume (Kill List, A Field in England, Sightseers, High Rise, Free Fire) suggests the promise of edge and/or sly wit. But Wheatley’s update of Hitch’s 1940 gothic potboiler Rebecca can never quite fulfill that promise.
Things start well enough. Armie Hammer cuts a detached and dashing figure as wealthy heir Maxim de Winter. Surrounded by luxury on a Monte Carlo holiday in the late 1930s, he still struggles to recover from the sudden death of his wife, Rebecca.
Max’s mood improves when he meets a young ladies’ maid (Lily James), who must sneak away from her employer Mrs. Van Hopper (Ann Dowd) each time Max sends handwritten invitations for increasingly intimate meetups.
The whirlwind courtship leads to an impulsive marriage, with Max taking the new Mrs. de Winter back to Manderlay, his family’s sprawling estate on the windswept English coast.
The new bride’s welcome, led by Manderlay’s imposing head servant Mrs. Danvers (Kristin Scott-Thomas, icy perfection), is less than warm.
The memory of Rebecca permeates the house and haunts the new wife. But even as she struggles to compete with the ghost of a seemingly perfect woman, the second Mrs. de Winter is drawn into a growing mystery of what really happened to the first.
James is a natural at delivering the innocence and naïveté of the never-named proletarian suddenly thrust into aristocracy. Likewise, Hammer’s chisled handsomeness and graceful manner make Max’s required mix of societal etiquette and subtle condescension instantly identifiable.
But their character arcs – like much of Rebecca‘s stylish narrative – begin to crumble with each new breadcrumb. Wheatley, going bigger than ever with a veteran writing trio’s new adaptation of Daphne Du Maurier’s celebrated novel, checks off the revelations in a workmanlike succession that’s almost completely devoid of the suspense and sexual anxiety that propel the original film.
So when the seismic power shift strikes the de Winter’s marriage, it lands as a turn less earned and more like a matter of melodramatic convenience.
It’s all perfectly grand and respectable, but never memorable. And by the time Wheatley’s final shot suggests a haphazard attempt to re-frame all of it, this Rebecca, like the young Mrs. de Winter, has a tough time measuring up.
Cartoons can be scary. Scooby Doo knew it. You can paint a nightmare in a way that no amount of CGI or practical effects can really execute. Animation frees a filmmaker from the constraints of the concrete world, allowing for more imaginative storytelling. Here are our favorite animated horror gems.
5. Vampire Hunter D: Bloodlust (2000)
Feature length, R-rated anime is so often a simple excuse for fantasy fulfillment aimed at stunted adolescents of all ages. Director Yoshiaki Kawajiri’s 1987 film Wicked City certainly is that.
But in 2000, working from a story based on Hideyuki Kikuchi’s novel, Kawajiri executed the near-impossible. He made a sequel that was better than its much beloved predecessor (1985’s Vampire Hunter D).
Gothic and futuristic, beautifully drawn and nicely paced without losing the energy of the genre, Bloodlust delivers a gorgeous, bloody time.
4. Perfect Blue (1997)
This psychosexual thriller might feel garden variety if it had been made into a live action film. A young woman trades in her innocent image to take on more suggestive roles as an actress, only to find her fans turning on her in violent ways. Or is it an internal conflict over the way men and the media need to sexualize her that’s fragmenting her own mind?
In director Satoshi Kon’s anime vision, those familiar thriller tropes take on an unseemly dreamy quality. The animation style suggests more about the way mass media consumes a sexualized idea of innocence than any live action film could muster, and the hallucinatory quality achieved in the film would never have played this well in any other style.
3. Seoul Station (2016)
An animated side story to writer/director Sang-ho Yeon’s blistering zombie flick Train to Busan, Seoul Station gives us a chance to see what’s happening in other parts of Korea while Soo-an and her dad try to make it off the train alive.
A gripping story of people on the fringe, Seoul Station also boasts some incredibly imaginative animation. Scenes teem with slaughter, salvation, and social anxiety in a film that takes anime into reaches unsought before.
2. The Nightmare Before Christmas (1993)
Tim Burton penned and produced, directed by Henry Selick (Coraline), this tale of the Halloweentown/Christmastown mash up became an instant and unbreakable Goth favorite. Jack Skellington (“What’s happenin’, bone daddy?”) just doesn’t feel the same kind of love for Halloween that’s kept him motivated lo these many years. A little melancholy, he heads into the woods, only to take a wrong turn and find himself in the land of Christmas. Naturally, he and his fellow ghouls – meaning no real harm, you see – decide to kidnap Santa and run Christmas themselves… just this once.
The story, the music (by Danny Elfman, natch), the inspired stop-action style animation, and that sweetly macabre sensibility that Burton brings to every project spoke to the Nineties generation and continues to speak to outsiders, monsters, and lovers of animation everywhere.
https://www.youtube.com/watch?v=T3xTgBED5cQ
1. Fear(s) of the Dark (2007)
A French import perfectly suited to a dark and stormy Halloween night, the film brings together some of the top graphic artists in Europe and America to present six animated vignettes that showcase some of the mind’s deepest fears.
The human mind is always more capable of true horror than any teenage slasher movie, and that is what this film is interested in exploring. shorts delve into social anxiety, sexual insecurity, sociopathic tendencies, needles, dismemberment and the good old fashioned fear of the dark to achieve an overall feel of impending doom. You’ll get goosebumps without really knowing why.
Totally Under Control is arriving at a complicated time, making a case that exists in a contrasting space.
The film eviscerates Donald Trump’s administration mere weeks from Election Day, yet it’s presentation is miles away from inflammatory. It’s timely enough to feature a tail-end acknowledgment of Trump’s recent COVID-19 diagnosis, but feeling more outdated with each day’s increasing infection numbers.
Directors Suzanne Hillinger, Ophelia Harutyunyan and the Oscar-winning Alex Gibney present a devastating case against the government’s handling of the pandemic. From the first documented U.S. case (Jan. 20th, Washington state), the response has been fought with brazen dishonesty, stupefying incompetence, and a firm insistence on politics Trumping science.
Apparently filmed in secrecy with the aid of a portable “covid cam” to avoid in person interviews, the film unveils its step-by-step timeline with a measured and confident tone. Utilizing a series of whistleblowers, graphs, stats and archival footage, Gibney, Harutyunyan and Hillinger earnestly deconstruct the folly of treating a country like a business.
And though Trump is certainly an understood subject, the finger-pointing is never belabored. Indeed, a flow chart of malfeasance sporting this many lackeys and sycophants would usually conclude a conspiracy, but by then it’s clear that’s not among this film’s objectives.
Sadly, this crisis is probably a long way from being over. But when the history is finally written, the most nagging question will be “How in the hell did this happen in America?”
And there will be no better time for Totally Under Control.
I can’t remember the last time a film I was dreading made me feel so grateful that it existed.
I knew that Time was a documentary account of a man serving an outrageous prison sentence, and the wife who was working to get him released. I braced for another heartbreaking deconstruction of injustice and systemic oppression.
As effective as those films can be, what director Garrett Bradley delivers is a miracle of love, hope and superhuman perseverance. The film unfolds in a poetic, sometimes stream-of-consciousness fashion, enveloping you in the indefatigable spirit of Fox Rich.
Bradley first envisioned Rich’s story to be a bookend for her 2017 short film Alone, which focused on families effected by incarceration. But as she dug deeper into the hours and hours of Fox’s home videos, Bradley knew this was a journey that could not be denied.
In 1997, Fox was the getaway driver as her husband Rob held up a credit union in Louisiana. After Fox delivered twins, she served three and a half years in prison. Rob tried to accept a plea deal, but a series of mishandled legal maneuvers forced him to stand trial. The guilty verdict brought a sentence of sixty years with no chance of parole. Six-zero.
The respect that Bradley and editor Gabe Rhodes exhibit for the deeply personal nature of Rich’s footage is eclipsed only by the emotional power of how they present it. Concentrating more on the effects of Rob’s sentence than the background of his case, the film sings in a style that is simply transportive, carried by the voice of a true wonder woman.
We see Fox lift herself and her children to the heights of motivation and self-respect, never letting Rob’s return home seem like anything less than a coming day. And that ending…bravo. I’m tearing up just thinking about it.
Time is a stunning journey, searingly intimate with a sobering undercurrent of commonality. You wear this film like a blanket of feeling. Don’t miss the chance to wrap it around you.
People that haven’t seen it are outraged, and you know what that is?
Outrageous, but not surprising.
According to writer and co-star Luke Barnett, people are upset at just “the idea of it.” And that’s an ironic protest that actually speaks more negatively about the Christian film industry than anything in this actual movie.
Barnett and director Vincent Masciale, both Funny or Die veterans, are more interested in the goofy exploits of two lifelong friends in California who are having trouble adjusting to adulthood.
Tanner (Tanner Thomason) is a ladies man bartender whose life goals don’t extend beyond drinking and hanging out with friends. Luke (Barnett) cleans pools while peddling the weight loss tea pyramid scheme of his entrepreneurial idol Nicky Steele (Jason Alexander in a bonkers cameo).
Luke and Tanner are big movie fans, and when they discover just how profitable the faith-based market is, a plan emerges. If they can make their own “Jesus” film and sell it to ChristFlix pictures, there should be more than enough profit to stuff their pockets and help out the local Elevate Church where Luke’s father (Lance Reddick) is the pastor.
The big question: can the boys snag Butch Savage (David Koechner, bonkers himself), the action hero from their youth, for the pivotal role?
Masciale, helming his second feature, brings an irresistibly absurdist vibe to the shenanigans that practically begs you not to overthink any of it. Sometimes we get character interviews as per a mockumentary, sometimes we don’t. The continuity and internal logic gets shaky at times, all of which falls perfectly in line with the movie within this movie.
Good-natured fun is certainly had at the expense of the faith-based industry. Margaret Cho’s appearance as a ChristFlix executive running down the rules of Christian films is every bit the bullseye of the horror rules in Scream, and the big Christian yacht rock concert (pay attention to those lyrics!) is subtle perfection.
But it’s the continued success of the Christian entertainment industry that makes it ripe for satire. And while Faith Ba$ed uses the setting to great advantage, its knives are never out for the believers themselves.
Because you know what else Barnett’s script gives us? A church community that is welcoming to all, one where people missing something in their lives can and do find real fulfillment.
And it gives us plenty of laughs, memorable quotes and overall nuttiness at a time when we could use it.
Though they live in different countries, Usha (Sarita Choudhury) and her daughter Pallavi (Sunita Mani) talk often, and Mom always seems to have two main things on her mind.
Does Pallavi have a boyfriend yet? And is she remembering to wear her “evil eye” bracelet?
It’s been years since Usha and her husband left the U.S. for their native India, as Pallavi stayed behind with aspirations of writing a novel. Now, as her very American daughter nears thirty, the traditional Usha is getting impatient for a wedding, and trusts in the bracelet to protect Pallavi against any evil spirits preventing her from marriage.
So, when Pallavi begins a serious relationship with the dashing Sandeep (Omar Maskati), she is shocked when Mom objects, and strenuously.
You’d object, too, if you believed your daughter was dating a reincarnation of the abusive boyfriend who tried to kill you three decades before.
Originally a best-selling Audible original, Evil Eye is directors Elan and Rajeev Dassani’s contribution to Amazon’s Welcome to the Blumhouse series. With an adapted script from source author Madhuri Shekar, the film lands as a delightfully cultured mystery. As narrative layers develop, the atmosphere is more supernatural thriller than outright horror show.
Plot turns tend to rely on convenience and in the absence of any sustained tension or outright fear, the real draw becomes the mother/daughter dynamic propelled by the two lead performances.
The veteran Choudhury makes Usha a fascinating conundrum, haunted by her past, fearing for her daughter’s future and forced to question some beliefs she’s long held dear. When the script wavers, Choudhury elevates it, selling every moment with conviction.
Mani, an up-and-comer seen in Glow and the current Save Yourselves!, provides the effective contrast. Pallavi’s modern path is, at first, only mildly affected by her mother’s traditional sensibilities. But when Usha comes west to present her concerns in person, Pallavi must confront her own inner turmoil.
By the time the final twist is revealed, you’ll most likely have already guessed it. But what you’ll remember about Evil Eye has little to do with the mysterious occurrences surrounding this mother and daughter. It’s the humanity flowing between them that sticks.
It takes a good while to get to the creature in this creature feature, but that’s hardly the most misplayed hand in Tar. It isn’t until the last few minutes that the film serves up the kind of winky-winky that would have gone a long way toward saving it.
A group of employees in an office building above L.A.’s old La Brea Tar Pits is under a tight deadline to clear out. The smarmy landlord is evicting them all with one day’s notice, and they have to be gone by 6am or face a big penalty. Then of course the building’s power is cut mid-move, but there are bigger, messier problems.
Underground construction work on the subway expansion has awakened La Brea’s Matchi Manitou, and it ain’t happy.
Director/co-writer/co-star Aaron Wolf gets Timothy Bottoms and Graham Greene to head up his cast, which is good for the poster but bad for the rest of the actors who can’t keep up.
Wolf employs a narrative structure heavy on flashback, and the moments of tension that manage to avoid that roadblock are awkward and clearly telegraphed.
The ensemble of evacuees/possible victims (including Emily Peachy, Sandy Danto, Tiffany Shepis and Nicole Alexandra Shipley) has the depth and logic to only reinforce the point of that horror spoof Geico ad. And after about 90 minutes, the film’s eureka moment makes you wonder about the Drive-In pleasure Tar might have been if it hadn’t waited so long to tap a self-aware vein.
