The Addiction

Tags

1990's, Abel Ferrara, Annabella Sciorra, Christopher Walken, Drama, Edie Falco, Horror, Kathryn Erbe, Lili Taylor, The Addiction

A vampire horror movie with a difference, Abel Ferrara gives us The Addiction. An allegory for the evil within humanity seen through the prism of being a night walker, it’s an incredible, cerebral and stylish evocation of sin, redemption and darkness.

Kathleen Conklin( Lili Taylor) is a young university student in New York who is studying philosophy. She’s recently been examining the evil of the world and the roles people play in it. Little does she realise it will play a big part in her existence sooner than expected. One night after class, she is walking back to her apartment. A seductive woman who we learn in the credits is called Casanova( Annabella Sciorra) greets her and then violently pulls her into an alley. She then bites a terrified Kathleen’s neck and then as she’s walking off drops hints of something dark and sinister ahead for the student. After being treated for her wound, Kathleen starts to act strangely. She begins to develop an aversion to sunlight, grows increasingly aggressive and starts to crave human blood. She soon realises she is becoming a vampire and attempts to stop her bloodlust, but it proves difficult as her affliction grows more prevalent . She runs into experienced vampire Peina(Christopher Walken) who gives her a lecture on how he’s managed to stave off the hunger for as long as he can. But can his wise words persuade a rabid Kathleen to submit and seek redemption for the bloodshed she is causing?

Abel Ferrara crafts The Addiction as his own beast and refuses to compromise with expectations of what people necessarily want to see. The film is definitely a horror film but at its heart has a lot more to say. Horror and drama coalesce in this urban and existential study of  dependency and the very concept of evil, mostly driven home through the many instances of philosophy being discussed or heard throughout. Ferrara is clearly a maverick film maker who takes risks and plays by his own set of rules. In my book, it’s refreshing to see a director really bring their vision alive no matter how strange or startling the content. I mean, using black and white in a contemporary setting plus a hip hop soundtrack doesn’t sound like something you’d think of for a movie about vampires. But in my view, it works in modernising these creatures and placing them in a real world setting with real world topics being reckoned with. The Addiction argues that humans are in essence drawn to evil and resistance can be used, but can be futile if you’re not strong enough. This is glimpsed by Casanova’s speech to Kathleen about telling her to go away instead of biting her. Kathleen later uses this on her victims as a sort of reverse psychology and power base. Ferrara and his frequent screenwriter Nicholas St. John are more interested in reinterpreting the vampire lore we think we know( and less in constant gross out horror) and their efforts add depth and oddness by equating vampirism with drug addiction and even saying that evil sin is something we are all capable of. This is showcased in a number of scenes in which Kathleen’s lecture looks at the atrocities like the Holocaust and the My Lai Massacre. It’s startling for sure but it really encapsulates the notion of brutality and evil being all around us and having been there since the start of time.

The horror aspects are extremely well handled, being brutal and startling yet with a purpose to back it up rather than just for gratuitous violence and blood letting. It’s impressive how much Ferrara manages to pack into a film that’s little over 80 minutes, but he does it. It must be stated that The Addiction isn’t going to be a film for everyone. Some of it is undoubtedly confounding and many will see the allusions to philosophy as pretentious which isnt entirely wrong in some parts. But The Addiction weaves a certain spell on you of you let it and boy does it hey The black and white is an inspired stylistic choice from Ferrara and aided by the hypnotic cinematography of Ken Kelsch, New York becomes a dark, eerie but entrancing place of shadows and brutality. It’s almost another character in the film that’s how much of an aura we get here with a debt to noir being evident. The aforementioned hip hop/ rap music featured further establishes the urban atmosphere and impaired with a slithering score that rises and falls like the eponymous affliction. Both play a big part in keeping us watching and being engrossed in this horror drama with a lot more on its mind that just gruesomeness.

Lili Taylor, of petite stature and interesting eyes, is an unusual but spellbinding presence as the student turned bloodsucker. She plays Kathleen as someone who is idealistic and curious, but after her bite, turns quite cold, aggressive and dangerous. In between craving blood and completing her thesis, Taylor explorers the characters outlook on life through philosophy and how it morphs once she sees the world in a transformative way. Her frustration and desperation, coupled with an unsettling stare and rabid hunger are all accounted for and played wonderfully as Kathleen has to come to turns with what she has been changed into. Taylor has always been a reliable performer and she doesn’t disappoint here, in what is one of her best roles that requires her to really dig into the darkness and craving of someone hooked on the taste of blood. It’s quite a subtle performance in parts( Kathleen and Taylor herself look very innocent to the untrained eye), but that only enhances the dichotomy of her even more and adds layers to the later brutal acts she commits with full on force in order to feed her thirst for blood. Simply stated, Lili Taylor is the anchor of The Addiction and haunting in the best sense of the world as the victim turned bloodthirsty predator. Christopher Walken appears in what is essentially an extended cameo, but it’s well worth it and he makes the most of the time he’s on screen. His strange, sagacious demeanour, coupled with lashings of sarcasm at the state of his existence. He’s a vampire cutting down after all so he’s philosophical like a guru and sardonic in equal measure. It’s all in a way only the talented Walken could pull off. Annabella Sciorra, all slicked hair and dangerous appeal, wonderfully acts as the instigator of Kathleen’s transformation and though seen on in a handful of scenes near the beginning and end of the film, makes her mark felt. Watch out for early roles from Edie Falco and Kathryn Erbe as unsuspecting victims.

A very different take on vampires by a director with his own unique way of telling a story, The Addiction is well directed and acted horror/drama that won’t be to all tastes. But for those looking for a film that will make you think about it’s existential themes, it’s hard to go wrong with this most unusual film.

When a Stranger Calls

Tags

1970's, Carol Kane, Charles Durning, Colleen Dewhurst, Fred Walton, Horror, Tony Beckley, When a Stranger Calls

A rightfully iconic horror, especially for its opening 20 minutes of mounting terror, When a Stranger Calls is often just lumbered with that description. But the middle section is quite fascinating, even if it doesn’t match the opening or the final reel. It’s the atmosphere, creepy music and acting that truly makes When a Stranger Calls a very good exercise in terror. It’s not a masterpiece, but it’s influence is hard to dispute.

Jill Johnson( Carol Kane) is a teenager who is babysitting the children of a local doctor, while he and his wife attend a swanky dinner. What seems to be a quiet evening soon turns into something terrifying when Jill begins receiving constant phone calls. Some are silent, but eventually the caller keeps asking her whether she has checked the children. The calls become more frequent and even though she thought they were a harmless prank at first, Jill becomes increasingly frightened. Eventually contacting the police, they trace the call to inside the house. Jill exits in terror and it’s here we learn that the caller and now killed had been in the house the whole time and had brutally murdered the children hours prior. We flash forward seven years and the detective who was on the case, the determined and upstanding John Clifford( Charles Durning), is summoned by the doctor after word gets to him that the killer, whose name is Curt Duncan( Tony Beckley) has escaped from his stay in a psychiatric hospital. Now a private investigator, Clifford is asked to find Duncan.  It seems Duncan himself is struggling to adapt to life in the inner city, constantly at odds with his grim surroundings. He becomes enamoured with Tracy (Colleen Dewhurst) a lonely woman who drinks frequently, though she is skeptical of him at first due to his awkwardness. Once she shows him kindness, he becomes obsessed with her which alarms her deeply. Meanwhile, Clifford is on his track and his anger has boiled into thoughts of killing the murderer he is searching for as he feels justice wasn’t properly served. Later Duncan discovers a now older and more prepared Jill through a newspaper article. He decides to repeat what he started but can he be stopped before he kills again?

Fred Walton excellently ratchets up suspense and horror right from the get go, before settling into a strangely deep and reflective middle half. Though the first half is justifiably celebrated, the middle area is as well directed just in a different way. Walton had a hand in writing the script and he knows how to scare without being bloody. In fact, there’s nary a drop of blood shown, which makes events even more terrifying as your mind fills in the blanks. That opening 20 minutes is seriously some of the most tense and frightening as ever you’re likely to see, as the house that Jill is in becomes even more confined and the phone takes on a haunting life of its own. The whole lighting scheme is haunting too; as blue covers a lot of it, making the most out of illuminating the leading lady and highlighting her ordeal at hands of a mad man. I can’t praise this opening highly enough with its wide array of angles, spooky atmosphere and palpable feeling of unease. I could speak about the opening part for days, but sadly I have to concentrate on the rest of the film.

As aforementioned, When a Stranger Calls is regularly given the description of the opening and last parts are the best, while the middle section drags. While some of that is true( I mean the opening is simply stated a hair raising workout in mounting suspense that is still tense), I think the middle section has its moments, despite it not living up to the expectations set by that opening. It morphs from horror into a cat and mouse thriller with the private detective searching for the killer. While there are spots that feel too stretched and out of place, the middle of When a Stranger Calls provides an unusual insight into a killer and his situation. We almost feel pangs of sympathy for him as we glimpse his lonely existence, then we are reminded of his horrendous crimes and we snap back to reason. One part of When a Stranger Calls that is in need of deep appreciation is the sensationally spooky score from Dana Kaproff. He has supreme command over rising strings, sinister bass and odd percussion that just fits this movie like a glove. I can’t give it any more praise than just saying, it’s splendidly atmospheric and just adds so much to the creep factor in innumerable ways.

The acting is also pretty great in this film. Carol Kane, with her alert, large eyes and whispery, quivering voice, is an ideal bit of casting for the main lady in the horror of everything. She’s got the vulnerability down and terrified to a T, but when we later see her(after a break from the mid section), she’s definitely changed quite a bit in the long run and grown up. She’s still terrified by what happened but is more resilient and resourceful than before, almost as if her past experience has rightly made her more wary of danger and anything alarming . All in all, Carol Kane is pretty great as the central girl who bookends this chiller with quiet force and conviction. The always entertaining Charles Durning is on hand as the detective who takes up the bulk of middle section. He has a certain affable way about him but a grave and solemn loyalty to the law that’s in evidence. That’s why it is intriguing to watch him think of murdering for what he has done; you wouldn’t expect it from him but you can certainly grasp some of his reasoning. Durning got turns in quality work that stands up. And speaking of standing up and standing out, the late Tony Beckley is the glue that holds the mid section together with his portrayal of a killer. Considering he was very ill and died just months after the premiere, put a lot of hard work into the part that you’d never know he was tragically sick behind the scenes. his weary, almost pathetic character is at first glance someone you wouldn’t think capable of murder, but his intense eyes say so much of the brutal inside of him. Colleen Dewhurst rounds out the cast as the boozy woman who doesn’t quite realise the repercussions of befriending Duncan. She’s pretty excellent here I must say.

Well directed and acted, along with being pretty creepy in the long run, When a Stranger Calls may show its age but while overall not the best horror movie ever, it’s still very influential and very suspenseful. Don’t watch it alone!

The Seventh Sign

Tags

1980's, Carl Schultz, Demi Moore, Drama, Jürgen Prochnow, Manny Jacobs, Michael Biehn, Peter Friedman, Supernatural Thriller, The Seventh Sign

A mostly engrossing apocalyptic drama/ thriller with religious and mystical overtones, The Seventh Sign didn’t do good business on its original release. But while it is flawed, there is also plenty to praise in this imaginative film that has a gloomy yet hopeful tone and a convincing central performance from Demi Moore.

Around the world, strange phenomena is occurring. In Haiti, all marine life dies in the ocean. In Israel, a desert village that was seized by terrorists is found covered in ice. Meanwhile, in Venice, California, Abby Quinn(Demi Moore) is a young woman who is looking forward to giving birth in two months. She is supported by her decent and hard working husband Russell(Michael Biehn), but she can’t shift feelings of terror as result of an unsuccessful first pregnancy. She’s also been experiencing vivid dreams of ancient times in which a man is struck across the face and asked “Will you die for Him?” Abby and decide to rent out their garage apartment, while is currently on a court case defending a young man with Down’s Syndrome who killed his incestuous parents and claims it was the will of God. The lodger they find is named David(Jürgen Prochnow), a quiet man who seems to know things before they happen and things he couldn’t possibly know. The thing is he is the man who has been present at each of these disasters and is the instigator who breaks the seals that start them. It becomes apparent that the unusual events around the world are part of a biblical apocalypse. There are seven signs referenced in the holy book and David seems to be the bringer of them. His presence begins to unnerve Abby and with more unusual portents of the apocalypse swirling around, she becomes fearful for the life of her unborn baby. It transpires that everything is somehow linked and comes back to Abby and her baby. Around this time, a mysterious priest, Father Lucci(Peter Friedman) appears, having followed the signs and his means may not be that altruistic. Abby confides in Avi( Manny Jacobs) a Jewish student training to be a rabbi, who is familiar with religious texts and helps her to unearth more of the apocalyptic future. But can Abby figure it all out before chaos reigns and her baby is born? And just how does her and the baby she’s carrying slot into the end of the world?

Carl Schultz directs as efficiently as he can and fashions out a fascinating thriller, with deep religious overtones . Certain areas of it require work, but Schultz gives it his all with the material. Visually, the moody cinematography is sublime at bringing a level of gloom into proceedings and a strange mystical aura hovers over it. The Seventh Sign is overall a very creepy film that’s also surprisingly deep in regards to the Apocalypse. It grounds the fantastical events and signs in a real world setting that is truly well executed and not without thought. Biblical prophecy and some elements of Jewish religion and mythology are what keeps The Seventh Sign really going. The sequences of destruction are memorable and unnerving( the blood red moon and a climactic earthquake are highlights , while not going full on overboard with effects). Saying this, I would have preferred if the film had a bit longer on the running time as it may have fleshed out the story even more and elevated it to masterful. As it stands, The Seventh Sign is still a watchable mix of religious drama and supernatural thriller. Mystery is kept reasonably high as Abby attempts to decipher visions and omens in order to save her baby from something she thinks is sinister. The liberal helping of confusion and reason may be here, but The Seventh Sign still holds your attention, despite the logic sometimes lacking for my liking. The hopeful colouring to the film redeems a bit of it with a certain message of hope stirring emotions. I very much enjoyed the Gregorian chanting and synths of the score by Jack Nitzsche. He is skilled at really bringing out that unusual side to the movie through his music and I for, genuinely liked how effectively used it was.

At the heart of The Seventh Sign is Demi Moore with a moving portrayal. She’s got a certain relatability to her here that goes a long way in earning audience sympathy. We witness her frightened mind and burgeoning realisation at the dark situation at hand, with Moore beautifully getting across her desperation and confusion with aplomb. Moore ensures that we emotionally attach ourselves to Abby and her journey into the unknown as the End of Days rages at her door. Her eyes have a deep sadness and vulnerability to them that is often on display in gorgeous close up, but it’s a bubbling strength and bruised resilience that truly shines through for Demi Moore. Simply stated, Moore is the lynchpin and emotional core of The Seventh Sign that is what sticks in the mind after the credits. Michael Biehn is fine as the supportive but concerned husband. The role isn’t much of a stretch but Biehn plays it well. Jürgen Prochnow, of intense face and strong jaw, brilliantly plays the dichotomy of David. He’s both incredibly menacing yet never in your face, but then deceptively gentle and knowledgeable. It’s a fine balancing act that he pulls off admirably. Also on the talk of dichotomy, Peter Friedman, though he appears late, is also a good example of walking between welcoming and very creepy. Manny Jacobs is suitably knowledgable as the young student that Abby comes to rely upon. 

A flawed film that could have benefited from a bit more on the running time to really get to the nitty gritty of it, The Seventh Sign is nonetheless a very entertaining and unusually thoughtful film.

Pete’s Dragon

Tags

1970's, Adventure, Disney, Don Chaffey, Fantasy, Helen Reddy, Jim Dale, Mickey Rooney, Musical, Pete's Dragon, Red Buttons, Sean Marshall, Shelley Winters

My second entry into the Shelley Winters blogathon is with the Disney fantasy adventure Pete’s Dragon, in which she plays a wicked supporting role. I must say thanks to both Erica and Gill for inviting me to take part

Charming and both bittersweet and funny in parts, Pete’s Dragon is undervalued as a film in my eyes. I think it should be reassessed and while some of it won’t hold up, you’ll definitely get some joy from it.

It’s the turn of the century and in Maine, young orphan Pete(Sean Marshall) runs away from his adoptive guardians. They are the vile Gogan’s, a hillbilly clan headed by the nasty Lena(Shelley Winters). They’ve treated him unfairly and made him a slave, prompting his escape. Aiding him is Elliott; a large, green dragon who can turn invisible and often is only seen by Pete. They venture into the town of Passamaquoddy hoping to start a new life. With Elliott being a clumsy creature, a string of mishaps occur. Eventually, Pete finds shelter with the kind-hearted Nora(Helen Reddy), who lives in a lighthouse with her often well meaning but drunk father Lampie(Mickey Rooney). This bliss is changed by the arrival of showy quack Dr. Terminus( Jim Dale) and his sidekick Hoagy(Red Buttons). Always on the lookout for money, when he gets wind of a dragon, he schemes to capture it. Though while both Pete and Elliott are wanted by nefarious forces, it seems that Nora and Lampie are there for them to face the evil that covers them.

Don Chaffey keeps events ticking over with humour and heart. You’re guaranteed to have a smile when watching a lot of this movie as Pete and experience thrills, adventure and danger. While Pete’s Dragon isn’t held in as high a rank as other Disney films, I think it’s unfairly overlooked. Sure it’s far from faultless and there are various issues with it, such as the length of the film, but the infectious energy and spirited heart can’t be ignored or resisted. Plus, it’s surprising how dark some parts of Pete’s Dragon are, like the singing of ‘The Happiest Home in these Hills”, in which the Gogan’s detail the horrible fate that Pete will meet if they get their hands on him. Though the overall tone is hopeful and cheery, the darkness and occasional bittersweet pang underneath in areas is a welcome addition as it doesn’t allow the film to overdose on sugary sentiment. Speaking of music, Pete’s Dragon has some lovely songs, with ‘Candle on the Water’ sung by Helen Reddy a great highlight and the sweet Boo Bop Bop Bop Bop a real gem. I’ve always liked this movie and may be a tad biased when reviewing it, but it really holds a certain place of nostalgia for me. I adore the blending of animation and live action, with Elliott being a wonderfully funny and endearing vision. Yes it’s not as slick as today’s effects, but damn if it isn’t darn effective at bringing to vivid life. The theme of wanting to belong resonates deeply with the viewer as it’s explored in numerous ways, not of least the eponymous orphan who is on his way to luck, if nothing bad befalls him first.

Sean Marshall takes the role of Pete and gives us a protagonist to root for, due to his honest face and general decency. He could have become annoying, but thankfully, Sean Marshall is a good child actor who doesn’t grate on the nerves. Helen Reddy is winsome and feisty when called for, plus using her gorgeous singing voice wonderfully. Mickey Rooney, all bluster and expressive eyes, is great as the initially terrified Lampie, who eventually comes around and takes Pete under his wing. Jim Dale is a hoot as the nasty but often hilarious showman Dr. Terminus, while Red Buttons is effective as his not above goodness sidekick. And now we come to the woman of the hour and her name is Shelley Winters. Dirtied up, spouting nastiness and generally being one evil villain, Winters is obviously having a blast playing such a vile character. Villains are in good order with the Gogan’s, but it’s Winters who stands out the most as the queen of mean. The villains are over the top and yet that’s what makes them good. They are just so nasty and often cartoonish that we want their plans to fail.

While flawed and a bit over long , Pete’s Dragon is very underrated and deserves a bit more love from people for its magic, music and story.

What’s the Matter with Helen?

Tags

1970's, Agnes Moorehead, Curtis Harrington, Debbie Reynolds, Dennis Weaver, Micheál Mac Liammóir, Shelley Winters, Thriller, What’s the Matter with Helen?

I was invited to take part in a blogathon to pay tribute to the great Shelley Winters by Gill and Erica . My first entry will be of the Grand Guignol thriller What’s the Matter with Helen? I’m doing this review early as I’m very busy and away on holiday next week.

A campy, enjoyable and creepy thriller that is not afraid to be over the top, What’s the Matter with Helen? finds the pairing of Debbie Reynolds and Shelley Winters. It’s not a perfect movie and hardly vintage, bu t it has its moments and the performances, particularly from Winters, are where it’s at.

Its the 1930’s and two boys commit a horrible murder. The boys are the sons of good friends Helen Hill( Shelley Winters) and Adelle Bruckner(Debbie Reynolds). After the boys are convicted, the two mothers are hounded ferociously and someone even starts stalking them. Terrified and wanting to start over, Adelle and Helen move to Hollywood and change both their looks and last names. This is all an attempt to escape their collective past and hopefully start afresh by opening a dance school for promising young girls wanting to be the next Shirley Temple. Adelle is the stronger of the two though she’s clearly on the make for money and success why she’s at it, while Helen is fragile and prone to aspects of paranoia. Having assumed different identities, things seem on the up for Adelle and Helen as no one knows them and life looks brighter. Adelle finds herself attracted to Lincoln Palmer( Dennis Weaver), the wealthy father of one of her students. He sweeps her off her feet and Adelle is soon seeing herself in line to success and money. Things are harder on Helen who really struggles with letting go of the past and finds herself growing ever more disturbed by life, specifically the relationship with Lincoln that Adelle finds herself in. She believes that someone is still stalking her and Adelle and begins to emotionally evaporate. Trying to cling to her religion helps stifle some of it but soon things spin wildly out of control for everyone surrounding and including Helen.

Curtis Harrington is in the director’s chair and does a serviceable job combining thriller with old school melodrama. It’s not award winning direction, but it has a sense of place and feeling which stand it in good stead and once he hits the creepy areas, he shines.  What’s the Matter with Helen? is trying to emulate the enormous success of What Ever Happened to Baby Jane? and Hush Hush, Sweet Charlotte and it has atmosphere going for it . While it never quite reaches the levels of the previous films mentioned( sometimes the narrative throws too much too quickly at us, not knowing when to stop and the pacing is left a bit wonky), What’s the Matter with Helen? still has its virtues. This starts with atmosphere which is a strong suit of this film and something that undoubtedly leaves you more than a little tense. It really hits the best moments near the 45 minute mark and from then on, everything begins to escalate and build towards a startling finish. The setting of the 30’s is rendered with a good amount of detail that shows it as a glamorous yet often sinister place, backed up by the darkness in the story that befalls both leading ladies. The settings reflect this with darkness pervading many of them but the sheen of starry gold of bright lights remains. We even get old newsreels to begin the film which is a nice touch that thrusts us into the story. Props to the visual department and set designs for bringing the 30’s to life as a backdrop to something much darker. The tone features the off the wall and melodrama of films like it in the past and that’s what makes it watchable. The fact it can be seriously creepy then campy is pretty nifty, even if not intentional. And things are really turned up to the max as the film progresses, with over the top antics and strange happenings taking full stage and unashamedly so. It won’t be to all tastes, but these kinds of movies usually are ones people either love or don’t. The score is wonderfully eerie at not being overly intrusive  but when called for, ringing through with a sense of terror and irony.

Its the acting that is one of the strong suits in the uneven but watchable narrative. Shelley Winters is the clear standout with a performance that builds little by little towards cracking. You can gather that Helen is unstable but it’s the portrayal from the professional that is Miss Winters that truly gives it its magic. Her dour, melancholy demeanour is adept at charting the mental disintegration of a haunted woman and with a raised voice here and a questionable antic there, Winters knows how to invoke both sympathy and chills. Debbie Reynolds is no slouch either as the dramatic, self-obsessed Adelle, who truly dreams of making it big. We are so used to seeing Reynolds as a sweet faced and innocent lady that it’s a kick to see her portray someone who isn’t exactly the nicest of people. Plus she gets to show off her considerable singing and dancing skills which can’t be denied. Dennis Weaver is appropriately smooth and suave as the businessman wooing Adelle, but not realising its beginning to drive a wedge between the two old friends. Micheál Mac Liammóir is wonderfully imposing as an elocution teacher who always seems to turn up at the wrong time and creep everyone out.

Agnes Moorehead, in a mainly one scene performance, is sensational as an evangelist who Helen follows to the letter of the law. I love her scene as she gives it all forgiveness and being generous, when she’s really just avaricious.

A finely acted that isn’t going to pass as high art but is an enjoyably creepy and gleefully dramatic slice of psycho biddy thriller with Debbie Reynolds and the wonderful Shelley Winters going all out.

Hustlers

Tags

2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

Lizzie

Tags

2010's, Chloë Sevigny, Craig William Macneill, Denis O'Hare, Fiona Shaw, Jamey Sheridan, Kim Dickens, Kristen Stewart, Lizzie, Psychological Drama

Inspired by the real life story of Lizzie Borden, who was accused and then acquitted of the murders of her father and stepmother, Lizzie is a tense psychological drama that puts its own spin on what drives someone to commit murder and it’s own turn on whether or not it believes Lizzie was innocent or guilty.

It is 1892 in Fall River, Massachusetts and Lizzie Borden( Chloë Sevigny) is a woman living under the tyrannical eye of her penny pinching father Andrew( Jamey Sheridan). She’s an independent woman who is different from the subservient kind of lady that was expected at the time and one who in subdued but defiant fashion, scoffs at the system around her. Lizzie also experiences violent seizures, which her father believes is a form of attention seeking. She’s not helped by her stepmother Abby( Fiona Shaw), and her sister is Emma( Kim Dickens) sweet but unable to stand up to. Lizzie is locked in a constant war with her father, with the threat of being sent away to an institution always hanging over her. Into the gloomy household comes the innocent Irish maid Bridget( Kristen Stewart). She’s a bit naive, illiterate and just trying to get along in life with what she’s got. takes a sickening liking to her and starts to visit her room nightly so he can sexually abuse her. Bridget is too terrified of losing her job that she doesn’t tell anyone, but Lizzie finds out. She also discovers that her father has been scheming with her nasty uncle John(Denis O’Hare) something dishonest and underhand about inheritance. Both things infuriate Lizzie and her independence in life and further cause tension with her horrible father. Growing closer to Bridget, the two women form a romantic relationship. It proves to be a solace from the grimness of their lives, but soon discovers it.Soon things reach a head for everyone which results in gruesome death and a trial that involves all.

Craig William Macneill ably directs this film with a keen sense for atmosphere and content. His concentration is largely on the accused Lizzie Borden and her fiery independence in the face of restrictive times that were governed by the patriarchy. His. keeps events very on edge, making the slightest of changes or events matter in the grand scheme of things. Macneill employs an almost unbearable level of tension within the confines of a household; eliciting a claustrophobic aura that transfers to the viewer. Unlike other movies about murders that are still debated and explored, Lizzie takes the side of the allegedly murderous Borden and unravels what might have drove her to commit the crimes she was charged with and then acquitted of. It sets off the dark family angle; all stifled emotions and the overarching tyrant of a father desperate to exert control over the largely female household. Lighting is a key element of Lizzie; either blindingly bright in a beautiful manner(for when Lizzie and Bridget find passionate escape from life) or for the most part shadowy and within the confines of an austere home where emotions struggle to stay under wraps. An up close camera that often lingers on faces and events, while occasionally becoming unrestrained, is employed to capture the burning desire to break free that Lizzie has and how both she and are hemmed in by a society that believes it’s already chosen their destiny. There’s nary a wasted shot in the film and that’s down to the and the cinematography of Noah Greenberg, who are very in sync with what they want from this project. The music, with its high peaks of near horror influenced strings and pulses, keeps things on a knife edge as the day of blood beckons.

Chloë Sevigny is a force of nature as the eponymous Lizzie. She bristles with stoic anger and has an unblinking quality that sets the screen alight. Sevigny has long been an actress I’ve admired and she once more provides compelling viewing with a forceful portrayal of a woman trapped in a time that doesn’t fit and slowly taking devastating action against it. In short, Sevigny is magnetic as Lizzie; discovering a smart woman whose bullied and abused but not above fighting back against it, ultimately in brutal fashion. The ever watchable Kristen Stewart, who for me has matured a lot as an actress over the last few years, is equally as compelling as her eventual lover. There’s a quietness to Stewart here that’s none the less intense and waiting to be unleashed, as her green outlook is changed and she finds strength within herself thanks to Lizzie. Both ladies have a palpable chemistry that provides the centre of the narrative and truly the main respite for these two women. Kudos to both Sevigny and Stewart for creating such a believable bond. Jamey Sheridan is ideally cast as the powerful, grasping and completely wretched father, who seems to delight in exerting his male dominance over others. It’s a credit to Sheridan that you feel the revulsion shared by Lizzie and Bridget for this man, as he’s just that get at getting under your skin as a completely snake and fraud. And Denis O’Hare, who is one of the most underrated actors out there, sinks his teeth into the part of the poisonous uncle with malice in every fibre of his being. Fiona Shaw manages to be both seemingly vindictive and alternately switched on to events around her; with just a look, we know exactly what she’s thinking.Kim Dickens isn’t really given much to work with but is pleasant enough in her small role.

A chilling yet eye opening drama with an emphasis on the psychological and fine acting, Lizzie is a fresh spin on the infamous murders that finds its fascination with events behind the scenes and their devastating impact.

 

Carve Her Name with Pride

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1950's, Based on a true story, Bill Owen, Carve Her Name with Pride, Denise Grey, Jack Warner, Lewis Gilbert, Paul Scofield, Violette Szabo, Virginia McKenna, War, World War II

I was kindly asked by Maddy and Jay to take part in a blogathon surround World War II in film. I chose the film Carve Her Name with Pride to highlight.

Based on the true story of Violette Szabo, an SOE agent in World War II who parachuted behind enemy lines and was eventually captured and executed by the Nazi’s( and then received a posthumous George Cross for her bravery), Carve Her Name with Pride is a well directed tribute to the bravery of this woman in wartime.

Early in the Second World War, spirited Violette Bushell is living in London. Her father is English and her mother is French, which accounts for her language skills. One day she meets French Army officer Etienne Szabo and the two quickly fall in love. After marrying, Violette discovers she’s pregnant, but Etienne is called back up to serve in North Africa. Tragically, Violette receives word that Etienne was killed in battle a few months later. She is devastated by the death of her beloved who never had the chance to see his daughter Tania. After his death, she shuts off as a way to deal with her grief. When she returns to life again, something unexpected lies waiting for her. To her surprise, she is asked to join the SOE to help the war effort. Due to her athleticism and bilingual skills, she’s an ideal candidate. Although apprehensive at first,  Violette accepts out of a sense of duty. She is trained in the art of espionage and though makes mistakes at first, shows her mettle and willingness to learn. Soon enough, she’s one of the finest recruits and ready for a mission. Her first mission in Occupied France is successful as she makes contact with the remaining members of Resistance loyal to the SOE and helps persuade one to blow up an important viaduct. Along the way, she becomes close with fellow agent Tony Fraser and opens up a bit more. It’s her second and last mission mission that proves to be fatal and tragic, though she refuses to give up any information to the enemy right up until her death.

Lewis Gilbert crafts Carve Her Name with Pride with unobtrusive skill and salutes the bravery of this woman and her strength for her country. As a film, it doesn’t over sensationalise events, rather presents them in serious but absorbing detail in a way that’s dignified and convincing. Foreshadowing is heavily present throughout with various lines of dialogue gaining more relevance as Carve Her Name with Pride continues. The first hour provides the build up to the first mission with the main events that lead to Violette joining by showing events in a brisk and economical fashion, without feeling too quick or too slow. Gilbert’s on form is bringing the foreshadowing of what’s to come and truly comes alive once the missions start. We glimpse how dangerous being a spy is and the moral dilemma of Violette in knowing that every minute could be her last . This helps it build to a powerful climax that’s hard to agass from your thoughts. The black and white presents events with a certain realism that’s pretty impressive and never loses sight of the serious dangers involved in spying and Violette’s immense dedication. As we know the eventual fate of the main character, a level of gloom is apparent. But it never overshadows things and makes them constantly miserable, rather it is more inspiring to watch someone do something to help their country in its time of need. An emotive score highlights the ups and downs of War and how events can take sharp turning points for those trying to help.

The ace in the hole is Virginia McKenna as Violette; she’s simply wonderful in the part. Getting across the gumption, selflessness, toughness and vulnerability, McKenna shines with her moving delivery and authentic honesty. It’s hard to picture someone else playing Szabo quite as accomplished as Virginia McKenna does or with the same blend of warmth and determination. She’s simply that good and embodies the British way of doing things in a quiet and dignified manner but making one hell of an impact. Paul Scofield compliments her as the agent who knows when to switch off emotions but still retain some level of heart. He’s nicely paired with McKenna and works splendidly and with ease beside her. Jack Warner and Denise Grey have small but nicely judged parts as the parents of Violette, who become concerned at their daughter’s secrecy. Look out for a small but funny role from Bill Owen as one of the training officers who begrudgingly acknowledges the talent of Violette. The biggest highlight though is Virginia McKenna, who is simply unforgettable.

A sober, extremely well mounted and acted war drama that truly honours its subject thanks to Lewis Gilbert’s nuanced direction and Virginia McKenna’s beautiful performance, Carve Her Name with Pride is an excellent tribute to the strength and sacrifice of one very brave woman.

Fire in the Sky

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1990's, Based on a true story, Bradley Gregg, Craig Sheffer, D. B. Sweeney, Drama, Fire in the Sky, Henry Thomas, James Garner, Mystery, Peter Berg, Robert Lieberman, Robert Patrick, Science Fiction

Inspired by the alleged alien abduction of Travis Walton, Fire in the Sky paints a mysterious yet very deep story of the impact of truth and whether people believe what is deemed extraordinary. Whether you believe the story or not, this film is bound to have an effect on you.

It is 1975 in Snowflake, Arizona and happy go lucky logger Travis Walton( D.B. Sweeney) has just started working on a job in the White Mountains. He is on the team headed by his more serious friend and future brother in law Mike Rogers, who is the kind of man who tries to keep everything running smoothly in life. Then there is the rest of the group; hot-headed troublemaker Allan Dallis( Craig Sheffer) , trustworthy and religious David Whitlock( Peter Berg) and jokers, Greg Hayes(Henry Thomas) and Bobby Cogdill( Bradley Gregg) . On the night of November 5th, they are travelling in their truck back home when they see a brilliant red light in the distance. Curious, they go to look at it and here is where events get sinister. They come across what looks like an alien spaceship, though they can’t be sure. Travis gets out to examine it and is struck by a light. Fearing him dead as he doesn’t move, the team in terror leaves. Later on, Mike returns to look for Travis but there is no sign of him. Returning to their town, they relay what they saw to the local police officer. The arrival of seasoned detective Lt. Frank Watters( James Garner) coincides with the investigation as he digs into the story. At first he doesn’t believe their tale and believes there has been foul play involved. The townsfolk get wind of events and most people are highly skeptical of what transpired. Yet when after five days, Travis turns up, disorientated and traumatised, it leaves things wide open for interpretation. Especially when he ‘remembers’ what happened to him, much to the shock of others.

Robert Lieberman is at the helm of this film and he effortlessly infuses it with a sense of time and place. He contributes a very human touch to what many will say is fiction by not going overboard with the alien aspects, keeping a certain sense of realism to things that many may sniff at. Fire in the Sky lets you make your mind up on whether the extraterrestrial encounter took place or not. It edges towards believing Walton’s claims, yet leaves a welcome ambiguity and mystery to it. What’s most impressive about Fire in the Sky is how it doesn’t go for an over sensationalised angle and instead concentrates on the pain of losing a friend and how it sends shockwaves through an uneventful small town. The film is pretty character driven, particularly by and is all the more human for it. Naturally, it has filmic elements to add to the story( which I’ll speak about later that are effectively used), and that’s what makes Fire in the Sky a strange beast. It’s a film about s science fiction subject that’s played entirely straight. Now it’s not flawless by any means( I find some parts of it don’t add up and the denouement could have been stronger), but for my money, Fire in the Sky is a very underrated movie that’s worth your time.

And when it gets to the scenes of what what happened to Travis, horrifying is taken up several notches as we witness the torture and dehumanisation of this man. Shot like a chilling horror movie, it’s a scene that genuinely makes you uncomfortable and disturbed. Many will claim that these sequences embrace science fiction too much, but I think it’s just following the story as Walton told it with an obvious bit of elaboration for the movie to chill you. And that’s not a criticism, I mean don’t all movies based on real life take some different avenues in the name of entertainment? If anything, it’s one of the best scenes in the film in terms of what it presents and just how scary it makes it. Up until that point, there has been definitely strange but these sequences that come later on in Fire in the Sky really go for the jugular. The music by Mark Isham, strikes the right chords of emotion, fear and when needed terror, to create something that plays along to the movie’s strength.

The cast assembled here is a very good one that add a lot to the film. D. B. Sweeney, with his likeable face and jovial manner is ideal for the part of the dreamer whose suddenly taken. It’s impressive because his appearance in the film is mainly in the first quarter and then the last parts, the rest of the time focuses on the other characters related to him. Sweeney manages to make Walton a full character in the time he’s on screen with just the right amount of sympathy and belief, especially after his traumatic experience which is where Sweeney really shines. Robert Patrick is given the most material and boy does he act his socks off. Embodying determination, a head full of guilt and being the boss in life, Patrick explores excellently by giving him layers and making him very relatable. It’s stellar acting from Patrick as the heart of the story. Craig Sheffer, Peter Berg, Henry Thomas and Bradley Gregg flesh out the other members of the team, with particularly good skill from Sheffer as the belligerent member and Berg as the one who tries to smooth everything into a positive. James Garner is a huge plus to the cast and he’s obviously relishing the role of old school lieutenant. Still bearing that twinkle in his eye and wit that balances with notes of grim seriousness, Garner is superb.

Involving, emotional and by turns very creepy, Fire in the Sky is an intriguing film that I think deserves a bigger audience, especially for its acting and aforementioned revelations. I think many will enjoy the mystery and very human drama within Fire in the Sky.

Jurassic Park

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1990's, Adventure, Ariana Richards, Bob Peck, Jeff Goldblum, Joseph Mazzello, Jurassic Park, Laura Dern, Richard Attenborough, Sam Neill, Samuel L. Jackson, Steven Spielberg, Wayne Knight

The delightful duo of Gill and Emma invited me to take part in a tribute to the excellent Jeff Goldblum. I’ve always been a fan of his and enjoy whenever he graces the screen. I decided to review the adventure blockbuster that is Jurassic Park.

A full on thrill ride with eye popping effects and Steven Spielberg at some of his best, Jurassic Park is an ageless spectacle with the power to shock, scare and entrance from start to finish.

Dr Alan Grant( Sam Neill), who specialises in Paleontology and Dr Ellie Sattler(Laura Dern), whose field is Paleobotany are romantically linked and currently working on another dig of dinosaur fossils .One day to their Montana dog comes eccentric billionaire John Hammond( Richard Attenborough) who has a proposition for them. He has created a theme park off the coast of Costa Rica which is inhabited by cloned dinosaurs, which his team of scientists managed to create after extensive DNA testing and sampling. Hammond is worried because there have been doubts about the safety of the park and he wants Alan and Ellie to view it and give their opinions. Naturally, they accept the offer and are joined by mathematician and chaos theory nut Ian Malcolm( Jeff Goldblum). Also visiting are Hammond’s grandchildren, Lex( Ariana Richards) and Tim( Joseph Mazzello), who are more than curious about the park. Upon arrival, Alan, Ellie, Ian and the kids are bowled over by the cloned dinosaurs that have been brought to life and in the flesh. And though some of the group have their doubts about how ethical it all is, Hammond’s enthusiasm remains undimmed. Yet all of this will change as danger lurks right around the corner. A disgruntled worker by the name of Dennis(Wayne Knight) has accepted a shady offer to smuggle out dinosaur embryos to a competitor. To do this, he sneakily shuts down the security of the park in order to disguise his theft and leave undetected . The shutdown causes all power to go out but more dangerously, the electric fences that guard the dinosaurs open, setting the scene for chaos as the many carnivorous creatures go on the hunt with humans as their prized dinner. Alan ends up sheltering the terrified kids, while Ellie, Ian, Hammond, plus game warden Robert Muldoon( Bob Peck) and chief engineer Ray Arnold( Samuel L. Jackson) , attempt to restart the power and avert more horror. It’s up to the survivors to make it through the park and to safety before they end up on the menu.

Jurassic Park finds Steven Spielberg at some of his most fun and skilled. He displays sense of wonder at seeing these prehistoric beasts and then cranks the tension up when all hell breaks loose. He knows how to entertain and keep you on the edge of your seat throughout this adventure with sequences of immense excitement and haunting terror existing right after the other. Simply put, it’s one of his best movies which is saying something considering the excellence in his filmography over the years. Memorable scenes abound like the first glimpse of the towering , the terrifying encounter with a Tyrannosaurus Rex and the nasty Velociraptors menacing Ellie in the maintenance shed as she switches the circuit breakers on and the children in the kitchen narrowly escaping being attacked. Many of these moments hold that balance between scary and exhilarating. I like the look at how playing God never ends up well, but it sure can be extremely entertaining to watch. There’s the greedy Dennis getting his comeuppance when attacked by an initially friendly dinosaur reveals itself to be bloodthirsty, Hammond’s growing realisation of what he has created and the chaos that ensues once the prehistoric creatures are let loose. One can’t speak about this movie without mentioning the influential special effects in it. They make the dinosaurs feel so real as if you could reach out and touch them. I mean, we all remember the first time we, like an awe-struck Ellie, witnessed the Brachiosaurus in all its glory, right? Or the first attack of the enormous Tyrannosaurus Rex on the visitors at nighttime? The blend of the then new CGI and animatronics is seamless in execution and so thoroughly convincing at bringing these ancient creatures to jaw-dropping. John Williams is on hand with one of his most suspenseful and alive scores; charting the wonder of the park then plunging us into the terror of fighting for survival against hungry dinosaurs.

Sam Neill has the laconic attitude right for his role, while shading it with a winning curiosity and eventual mellowing of his character’s occasional dour and solemn nature. In fact, he’s  one of the main heroes of the piece as he’s entrusted with two young children to protect against creatures he knows a lot about. Laura Dern backs him up with intelligence and when it’s called for action; her run to the shed and ordeal inside leave you on the edge of your seat as you watch an ordinary woman fighting against a terrifying situation. And of course the man of the hour and resident scene stealer is here by the name of Jeff Goldblum. Portraying the know it all mathematician who drops sarcastic yet ethical  questions, Goldblum is a hoot. And considering for a big chunk of the film he’s incapacitated, he’s still dispensing entertaining one liners among the terror and excitement. It’s the definition of a star supporting turn. In a fine showcase, Richard Attenborough subtly shows the dreams of an eccentric man of money and his realisation that it isn’t the most ideal or safe thing to do. Although his actions are questionable, he just boasts a certain geniality that is hard to fault. Ariana Richards and Joseph Mazzello are thankfully talented child actors who you feel for on this journey. Fine work also comes from Samuel L. Jackson, Bob Peck and Wayne Knight in this adventure, particularly from Jackson as the gruff chief engineer who is never seen without a cigarette.

A simply phenomenal adventure with stellar effects, fine cast, wonderful music and the masterful Spielberg at the helm, Jurassic Park is a film you can never grow tired of.