The 'Not-So-Critical' Critic: INCARNATE

The 'Not-So-Critical' Critic: 

on INCARNATE (2016, 91 minutes, PG-13)

The Quick of It -

Don’t be fooled.  There have been some decent horror releases this year… this is not one of them.

The story concept has merit – a scientist has found a way to enter the subconscious mind of a possessed individual and expel the entity, or ‘parasite’ as he calls them.  A young boy, played by David Mazouz, of ‘Gotham’ and ‘Touch’ notoriety, becomes possessed by a powerful demon and the ‘self-loathing’ scientist is asked to help, finding out that this body-creeper is the one he has a personal vendetta against. 

The trap is set since you think Aaron Eckhart (of THE DARK KNIGHT, BATTLE LOS ANGELES, and OLYMPUS HAS FALLEN) as Dr. Seth Ember is involved in this project.  Damn them!  Wish I had been possessed for the time spent watching.

Director Brad Peyton, known for SAN ANDREAS and JOURNEY 2, makes a poor choice in trusting writer Ronnie Christensen’s (of PASSENGERS (2008)) story has something worthy of the silver screen.  It first felt like a ‘credit card film’.  Sure there were some interesting effects, but that did little to save the film.  The dialogue is atrocious.  So much so I chuckled at some of the heavy-drama moments.  The over-acting was crushing and the lines were just trite spiels and crappy info dumps.  You would expect this from a beginner in screenplay writing… and this is coming from someone not so practiced who noticed.

The only upside was that it is a brief watch that does move between scenes quickly and the score that accompanied.  The music was great and should probably be repurposed for another project.  Seriously.

Skip this one… sorry.

Grade: D

“Blu-ray or Bust” - DON’T BREATHE

“Blu-ray or Bust”

DON’T BREATHE (2016, R, 88 minutes, GHOSTHOUSE PICTURES/SONY)

Hollywood has found it in its blackened, regurgitative heart to pay closer attention to horror films these days.

Most of the crap-flicks now go straight-to-video; actually, as this here be modern times, most of it goes straight-to-streaming. There are much fewer horror films released in theatres these days than there were, say, back in the 90’s. The slasher film has had its heyday, and passed on like one of its teenage victims. Genetically bred monsters have retired to the subbasements of ill-conceived and overused government labs, and alien invasions have become a thing of yesterday (unless Roland Emmerich has his way…).

What now sneaks out of La La Land under the cover of darkness and original ideas are horror films that give a slight nod-and-a-wink to those films of bygone eras and leave them far, far behind. I’m talking smart horror films, kids. Movies that are intelligent little nuggets of terror, which use basic premises and turn them on their heads. By lending a more psychological element to the proceedings, directors and writers have turned our definition of ‘horror’ on its bloody, bludgeoned head. Horror no longer necessarily means there HAS TO BE a giant monster, or that there HAS TO BE an un-killable maniac with a machete or a giant freaking knife.

 

IT FOLLOWS was groundbreaking because it lifted the “teen has sex, teen dies” bit of the 80’s to horrifyingly new and smarter levels. Yes, there was a monster, but you couldn’t always see it, and it never looked the same. The first INSIDIOUS film took the ghost story and re-wrote the rules, which director James Wan repeated with the equally good THE CONJURING.

With DON’T BREATHE, director/writer Fede Alvarez (the man behind 2013’s EVIL DEAD remake) goes one step further: he brings along a cinematographer who waxes poetic all over your face, like a ruptured carotid artery of visual assault. The way this film is shot is enough to make this required viewing; from the wonderfully shot sequence of the team of burglars/friends looking through the house of ‘The Blind Man’, to the amazing all-dark photography that lets in brilliant flashes of color whenever a shot is fired…

There are enough subtle touches both behind and in front of the camera to make you want to re-watch specifically for certain elements. But all technical aspects aside, watch this because of Stephen ‘Freaking’ Lang (AVATAR, “Terra Nova”). His performance of the blind homeowner who finds himself defending his house against three able-bodied teens is nothing short of (OBVIOUS PUN ALERT) breathtaking. I don’t like spoilers, so I cannot say much about him, but you have to watch closely to catch all the little things he brings to the job. The rest of the cast is good—Jane Levy (EVIL DEAD, “Suburgatory”) as “Rocky”, our morally questionable heroine, is especially effective—but this movie belongs to Lang… and to cinematographer Pedro Luque (ABC’S OF DEATH 2)…

… and to that damnable maze of a house. Oh, and musician Roque Baños.

Just go watch the dang movie before the sequel comes out, ‘kay?

Film Grade: A

Special Features: A (several short docs that give you peeks behind all of the magic—just enough to make you appreciate the finished product even more, without the boredom of one half-hour doc where everyone talks about how awesome the gaffer was)

Blu-ray Necessary: Abso-freakin’-lutely

-- T.S. Kummelman

The 'Not-So-Critical' Critic: ALLIED

The 'Not-So-Critical' Critic: 

on ALLIED (2016, 124 minutes, R)

The Quick of It -

Period pieces can be a hit-or-miss for me.  Sometimes they feel like a Hollywood white wash of the actual time period, fitting it to what they need for the story.  ALLIED could be one of those, but I didn’t care as I was enthralled once the lights went dark.

ALLIED is about an airman, acting as an intelligence officer, who falls in love with a French Resistance fighter during a mission in North Africa.  Brad Pitt, as Max Vatan, plays a foolhardy and deadly serious soldier willing to go great lengths to accomplish his mission.   Marion Cotillard (of INCEPTION, DARK KNIGHT RETURNS, and LA VIE EN ROSE) plays Marianne Beausejour, a very capable and confident displaced agent.  After a daring mission in Casablanca, they fall in love and then wed once they are reunited in England.  Not long after having a child, her loyalty comes into question.  The organization that Max is attached to believes her to be a German spy.  The standout here by far is Marion.  She makes you fall in love, even beyond caring if she is a traitor.  Her self-expression and well-spoken interaction sells you beyond the screen.  You cannot help but feel crushed at the possibility, and to such lengths, that you would spirit her away to protect her.

Director Robert Zemeckis is rightly known for powerful stories: CAST AWAY, FOREST GUMP, FLIGHT, THE WALK.  He has proven himself before and again, showing he has not missed a beat in his extensive career.  His ability to pull the project together, complimented with the cinematography of Don Burgess, makes for a grand experience visually.  As an example, they incorporate camera shots for the car scenes that you would expect to find in films during that era, and then use modern technology for the illusion of traveling down streets and everything going on outside.  The incredible results are a testament to this film.  Even the bombardments taking place in the skies of England make you feel as if you are on the street watching in awe and horror.

There is not much to harp on as the story centered on their love, a sense of genuine expression, while the war continues around them.  Everything seems to fade in the distance as their bond grows.  The rooftop nights in Casablanca, that is where you will find me.  If only to fall in love like that…

Grade: A

“Blu-ray or Bust” - HELL OR HIGH WATER

“Blu-ray or Bust”

HELL OR HIGH WATER (2016, R, 122 minutes, LIONSGATE/ODDLOT ENTERTAINMENT)

Chris Pine has been making a statement for the last few years.

After un-Shatnering James T. Kirk in the latest STAR TREK films, his performances in-between have proven him to be a versatile and rather fearless actor. In 2014’s uncredited role in STRETCH, Pine (literally) lets it all hang out, showing that he had the comedic chops to match his action-star skills.

Now, with HELL, he pretty much acts his ass off.

Directed by David Mackenzie (PERFECT SENSE) and written by Taylor Sheridan, the brilliant brain behind SICARIO, HELL is a story about brothers—two by blood, two by partnership. The dynamics of these relationships is what makes this one of the best character study/Texas crime thrillers since the Cohen Brothers gave us NO COUNTRY FOR OLD MEN. And while there may seem to be some similarities between the two films, there is no comparison when it comes to the story, the life lessons, and the individually brilliant performances on display here.

Jeff Bridges is the acidic, thoughtful Texas Ranger who, with his partner (played by the patient, quiet, and wonderful master of body language Gil Birmingham of the TWILIGHT “films”), chase down two bank-robbing brothers who seem to be hell-bent on robbing every branch of Texas Midlands Bank that they can. It is the story behind each character that fascinates; what each one is willing to do or sacrifice for the other is as touching as it can be under the sometimes violent circumstances. Playing “Tanner” to Pine’s Toby is the versatile Ben Foster (WARCRAFT, LONE SURVIVOR). He gives a performance which runs much deeper than his outward toughness reveals; the connection between the brothers is obvious. These are roles no other actors could have pulled off the way this ensemble does, so don’t be surprised if you see a few nominations for these well-deserving players.

At times, you might wonder about the underlying story being a bit heavy-handed with the visuals. From houses for sale to debt relief billboards on the side of the various roads, poverty seems to be an overbearing, unspoken character which drives every person in this movie to their destinies.

There are enough special features to answer any questions you may have. From a look behind the characters and their relationships to set locations, you are not left wanting for more. And to truly appreciate the desolation and desperation of these locales (not to mention the characters), the Blu-ray format is a must.

In a film that showcases realistic performances and situations, you should also cast a loving eye to the ‘Angriest Waitress in the World’, Margaret Bowman. You may or may not recall her from a myriad of television performances, but you most certainly will remember her from HELL. That’s the trick of this film; just when you think you are watching actors at the top of their game, Mackenzie throws in a performance so natural, so wonderfully eccentric, that you wonder if you are watching a movie or real lives unfold.

There are too many little moments that turn this film into a lifelike sketch of the real world and its daily problems to describe here. Do yourself a favor, and go discover them for yourself.

Film Grade: A

Special Features: A

Blu-ray Necessary: Most definitely

- T.S.Kummelman

The 'Not-So-Critical' Critic: FANTASTIC BEASTS AND WHERE TO FIND THEM

The 'Not-So-Critical' Critic: 

on FANTASTIC BEASTS AND WHERE TO FIND THEM (2016, 133 minutes, PG-13)

  

The Quick of It -

There is a reason they have 'fantastic' in the title.  No, not for the awesome creatures themselves, more for the sense of wonder they bring.

Set in the Potter world, FANTASTIC BEASTS offers a whole new set of characters and settings, taking place before Potter was a seed in his mother's belly.  They started off by doing the most intelligent thing they could, put director David Yates behind the camera.  He was responsible for closing out the Potter series.  This allowed for a sense of continuity in the visual style.  With a total of four more in the works and him directing each, the future does look bright.

As an animal lover, this film resonates with me on many levels.  Don't get me wrong, not a PETA card carrying member or a vegetarian.  The human's set of teeth prove we are meat eaters, so don't judge.  Each critter in the film is great and adds a depth to the sense of urgency and the impulsive need to protect while watching the story unfold.

The casting left no room for error.  Leading with Eddie Redmayne (of THE THEORY OF EVERYTHING, THE DANISH GIRL, and LES MISERABLES), who plays the socially awkward Newt, and Katherine Waters (INHERENT VICE, STEVE JOBS, and MICHAEL CLAYTON) as the uptight and recently demoted MACUSA (The Magical Congress of the United States of America) agent Tina, they walk you through the American side of wizarding and witchcraft.  Colin Farrell is... well... Colin Farrell.  He plays Graves and makes me want to rewatch all his past films just so I can get a larger "Farrell Fix".  He is commanding and holds an air of knowing and assuredness you want to trust.  As the comic relief and glue to the main crew, Dan Fogler (of KUNG FU PANDA and BALLS OF FURY) could not have been better.  He is the gateway for us muggles, now also called no-maj, to glimpse into the wizarding world from an outsider's perspective.  To add a final role, Ezra Miller (our new Flash) played an abused teenager and he is quite creepy.  There really is little disappointment to be found with the casting choices.

One risk they took was incorporating more CGI.  They didn't have much choice when the beasts were involved, but they stepped away from the prostheses they typically used in the past.   This was somewhat endearing for the Hogwarts world and I enjoyed the retro feel, but they used CGI on the goblins and other potential creature-builds in FANTASTIC.  I have to conclude they also had no choice thanks to the character interaction and physical maneuvering that was required.  That was one of the weaknesses from before, like the goblin hands, very unnatural in movement.  You do not want to disrupt the illusion, and push audience members out of the story.  So, I give them a pass.

The story was exciting, but was also stressful.  I couldn't get over a few of his creatures being loose in New York at first.  I knew that things had to happen but I wanted them to be collected up before the rest of the story continued.  Absurd of me... I know.  Or maybe OCD kicking in.  If you can make your way on this fine day, do so.  You will be pleasantly delighted.

Grade: A

The 'Not-So-Critical' Critic: NERVE

The 'Not-So-Critical' Critic: 

on NERVE (2016, 96 minutes, PG-13)

The Quick of It -

Well, I believe I have reached deep into the mind of a teenage girl and may have lost myself.  Help me... PLEASE!!!

This film is based on a techno-thriller novel by Jeanne Ryan and centered around the potential craziness social media can lead to.  Director team Henry Joost and Ariel Schulman, who also paired up for VIAL and the PARANORMAL ACTIVITIES, added to a growing genre for tween-targeted thriller and horror films.

The start was a crazy stumble through internet and app training.  It looked like a 'how to' video on YouTube.  Believe it or not, they did pretty well, as I can imagine those uncivilized toads not familiar with the internet and cell phones would have been quickly lost.  (It's a Trump world, I can say anything disparaging I want....)  And shortly after, you get a Nerve dare for a teenage girl, who is a cheerleader, to bear her butt at a high school event.  They didn't show, but wow.  People are going to jail for that one!  So, not thinking I can survive this one, I make myself promise to push through another 15 minutes as fair play before giving up. 

This casting was very effective and each selection, even for the smaller parts, made an impact.  Emma Roberts (of WE'RE THE MILLERS and AQUAMARINE) as Vee is very endearing and plays the perfect role for this story.  Dave Franco (of NOW YOU SEE ME and 21 JUMP STREET) continues to be a great addition to any project and makes you root for him, even when he is a douche.  The theme of the story directly targets cyberbullying and peer pressure.  I remember being a teenager once (long ago....) and could imagine some of those dares being made, and having your friends pushing you into the 'danger zone'.  Okay yeah... I was a teenager in the 80's.

Once the crap hits the fan, the pace picked up and the danger became all to real.  What seemed a struggle to get past the first 20 minutes pays off.  The hidden agenda slowly revealed itself and held together when you tried not to think too hard.  The climatic end boiled over the edge of the pot and everyone burns.  EVERYONE!  Okay, maybe not that bad, it was a tween movie.  Believe it or not, the end could be a must see.  There are some sappy and quick wrap-ups, but the overall resolution was spot on. 

I cannot endorse this film in all good conscience, as my mind has been corrupted with near-prepubescent hormones.  But... make some time.  You may be as surprised as I was... or needing some strong counseling.  Whatever...

Grade: B-

The 'Not-So-Critical' Critic: ARRIVAL

The 'Not-So-Critical' Critic: 

on ARRIVAL (2016, 114 minutes, PG-13)

 

The Quick of It -

My head has been swimming with sci-fi for the past month.  Aliens, spaceships, and anything in-between are plaguing my workload and dreams.  So, while making my way to the theater to see ARRIVAL, I was not necessarily as thrilled as I should have been.

Based on “Story of Your Life” written by Ted Chiang, ARRIVAL revolves around a linguist who is trying to find a way to communicate with aliens.  In this ‘first contact’ storyline, you get some of the typical story interaction you find in these films as well as some new elements to deepen the sub-plots.  ARRIVAL takes the path of a harder science perspective on the ‘how’ but softens it up with strong character development.  Honestly, the film is pretty straightforward and kinda has an expected ending.  Even though there is a twist, you are spoonfed along the way, so it doesn’t come off as a great reveal. 

Director Denis Villeneuve (of PRISONERS and SICARIO) keeps the drama thick but it comes off as bland plotlining.  The cast is quite phenomenal, which does help.  Amy Adams, Jeremy Renner, and Forest Whitaker help build the sense of realism, which is key for stories like this.  By the end though, something that maybe an innovative read seemed drowned in normalcy as a film.  I think the most impressive trick is that this could be a potential outcome for our real world ‘first contact’.

Grade: B