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.

 

American Horror Story: Hotel

Tags

2010's, American Horror Story, American Horror Story: Hotel, Angela Bassett, Cheyenne Jackson, Chloë Sevigny, Denis O'Hare, Evan Peters, Finn Wittrock, John Carroll Lynch, Kathy Bates, Lady Gaga, Lily Rabe, Mare Winningham, Matt Bomer, Sarah Paulson, Wes Bentley

With Freakshow emerging as my least favourite season of American Horror Story, my expectations were high for Season 5. Thankfully, though not without some flaws, Hotel is a resounding success of horror, style and game acting. Be warned, spoilers may follow in this return to form for the show.

John Lowe( Wes Bentley) is a Los Angeles detective on the edge; he’s estranged from his doctor wife Alex(Chloë Sevigny) and on the hunt for a brutal serial killer who murders victims in accordance to The Ten Commandments. Plus he is haunted by the disappearance of his young son Holden years prior. He feels responsible for the disappearance and this is what he has to live with every day. One day he is given a tip off that his answers can be found in the Hotel Cortez. A glamorous yet run down establishment with a history of horror, it soon pulls John into its depravity and history of death. The owner of hotel is the fabulously dressed and very mysterious Countess( Lady Gaga). She is a vampire like creature infected with a virus that leaves the sufferer craving blood. Her companion of late is the handsome Donovan(Matt Bomer), who she goes hunting with. She was the one who took Holden as well as other children who she turns into creatures like her in order to create something of a makeshift family. She is a fearsome creature, but is secretly hiding her true self and tragic past. The Countess finds her head turned by volatile male model Tristan( Finn Wittrock) , which enrages Donovan. Also in her sights are the soon to be owner Will Drake( Cheyenne Jackson), a fashion designer who doesn’t realise he’s part of a scheme to get his money. There’s the ghost of James Patrick March( Evan Peters), the founder of the hotel in the 20’s, who turned the place into a murder palace and was helped by the ever loyal, cleaning fanatic Miss Evers( Mare Winningham) . On front desk there is Donovan’s surly mother Iris(Kathy Bates) who longs for a relationship with her son and Liz Taylor( Denis O’Hare), a transgender bartender who seems to see everything and everyone. Also traipsing about the Hotel is the ghost of one Sally McKenna(Sarah Paulson), a trashy junkie in a constant state of sadness and mania, who was pushed out of a high window by Iris for getting Donovan hooked on drugs in 1994. Arriving later on the scene is Ramona Royale( Angela Bassett) a former lover of The Countess with a big axe to grind. Everything comes to a head once John takes up residence and gets a lot more than he ever bargained for.

I think straight from the opening, Hotel stands higher than its season just passed. For starters, I found the characters had more flavour and personality than in the last season. Plus, you could connect with many of them too, primarily Liz Taylor and Iris who both convince as outsiders wanting something more in life. And though the story had many different angles and sub plots, it largely worked and it was fun seeing how various threads connected. Sure, some parts don’t amount to much, but I found it a lot more compelling than which seemed to run out of steam rather quickly. The themes of loss and rebirth form the main crux of Hotel and it was excellent how we watched the characters change and influence one another. Hotel ranks at least in my book as the bloodiest season thus far. As it has done in the past, the blood is shocking and grisly, but definitely used to fashion a twisted delight that scares and compels at the same time. Scenes that stand out for their brutality are The Countess and Donovan slaughtering a couple during sex, a junkie being mercilessly abused by a faceless demon, a corpse rising from a rotting mattress and most shocking, a band of infected children making a meal out of one of their teachers.American Horror Story references some of the best content in the horror genre with style and panache. The crimes of the killer are a stylish homage to Seven, while the hotel of the title takes its cues from The Shining. And I’m a big fan of the flashbacks to March’s mayhem and murderous ways as the show employs a grainy black and white to emulate the time and bring out events in horrifying detail.

As it has done in the past, American Horror Story always succeeds when taking influence from real life events. Here, the hotel is similar to that of the one the depraved murderer H.H. Holmes and the poor fate of the child of chambermaid Miss Evers blends with that of the Wineville Chicken Coop Murders. And the best of all the real world allusions is an episode entitled ‘Devil’s Night’. In it, March hosts a feast for the ghosts of dead serial killers, such as Jeffrey Dahmer, Richard Ramirez, Aileen Wuornos and John Wayne Gacy. An already starting to lose it John finds himself thrown into this horror show and under the influence of absinthe, watches as these killers enjoy their depravity and find merriment in their sickening handiwork. Watch out for memorable work from John Carroll Lynch and Lily Rabe. For some reason, its something that works in the scheme of the show. Visuals are a strong component in the show and Hotel is no exception right from the opening frames. It’s an extravaganza for the eyes and senses that’s for sure and certain. Particularly good is the fish eye lens employed at times that suits the unstable nature of the establishment and turns things into something unusual. I’m not the biggest fan of the overlapping of seasons as American Horror Story was originally billed as an anthology. Though saying that while some of the bringing back of other characters fails, I found the callbacks to Murder House were particularly effective and the return of the medium( also played by Sarah Paulson) in the finale was a very well handled part and one I really liked seeing. And I can’t not praise the production department who pull out all the stops when it comes to design. The Cortez becomes a dark hotbed of violence and style, clashing with each other with reckless abandon. A well chosen soundtrack and electric, humming score add further to the delirious ride through death, horror and story.

The cast surrender to the madness and horror with fantastic results.Leading the cast is the new addition of pop superstar Lady Gaga, who shows that acting is yet another skill in her arsenal. She plays the Countess as a seemingly aloof being who dresses and lives to kill, but is looking for something more. Her performance is very multifaceted and extremely impressive at showcasing various sides to the character, in particular deep tragedy coupled with ruthless sex appeal. Then we have Wes Bentley, who is suitably intense as the emotionally scarred detective finding himself falling into madness. He just burns across the screen with a vulnerability, quivering seriousness and frightening devotion. Matt Bomer, with his strong appeal and good looks, is ideal as the latest lover in the life of the Countess. He enjoys the position but it has grown a tad stale for him and his resentment starts to form. Plus, when he’s with Lady Gaga, they make a sizzling duo. As the new paramour of The Countess, Finn Wittrock is all scowls and attitude, with a few other layers underneath. Chloë Sevigny, who I’ve always admired as an actress, turns in emotional weight and desperation as a grieving mother who goes to extremes for her son. I liked her arc in this series as she begins as a broken woman and slowly gets in touch with another unexpected part of herself.

The best performances comes courtesy of Denis O’Hare, Kathy Bates , Evan Peters and Sarah Paulson. It’s good to see a transgender character portrayed on television with respect and honesty and Denis O’Hare acts his socks off. From the great one liners through the backstory of the transformation into the person she is today, it’s all played beautifully and sympathetically by the always watchable Denis O’Hare. Thankfully in recent times, many forms of media have followed suit by showcasing characters that are transgender and actually treating them with understanding and decency. Long may that continue. Ably complimenting him is the excellent Kathy Bates, who puts in another fantastic performance . Going from dark humour to crushing sadness and then a rebirth, Bates captures the attention with her convincing acting and A Game. The always impressive Evan Peters, playing probably his most extreme character thus far, is electrifying. Mixing a Clark Gable accent with a sadistic hunger for murder, he crafts March as a supreme being of evil that is strangely charming. Peters turns in one of his finest performances in the run of the show. Rounding out the standout quartet is the wonderful Sarah Paulson. Always seen here with a mournful look( complete with smudged eye liner and the appearance of never ending tears) that also shares itself with a sly underbelly, her portrayal of the messed up Sally is riveting. You really don’t know what you’re going to get with her character and Paulson rocks it. I adore Angela Bassett and how she embraces the outrageousness of the material. She just embodies the sassy, fierce and out there nature of American Horror Story. And even if her character’s arc doesn’t feel well utilised enough, Bassett makes it sensationally watchable all the same. Providing the unusual but also tragic is Mare Winningham as the chamber maid with a love of cleaning. At first glance she’s strange and you don’t know what to make, but Winningham discovers pathos and depth in this woman who could have just been one dimensional. The main cast member who isn’t really given a chance to make an impression is Cheyenne Jackson. I’ve seen him in other things and think he’s a good actor, but he just doesn’t really get a look in here.

Hotel finds American Horror Story back in fine fettle, owing to well written characters, a theatrical staging and plenty of chills.

Love & Friendship

Tags

2010's, Chloë Sevigny, Emma Greenwell, James Fleet, Jane Austen, Jemma Redgrave, Justin Edwards, Kate Beckinsale, Love & Friendship, Morfydd Clark, Period Comedy, Stephen Fry, Tom Bennett, Whit Stillman, Xavier Samuel

Film Title

Love & Friendship

Director

Whit Stillman

Starring

• Kate Beckinsale as Lady Susan Vernon
• Chloë Sevigny as Alicia Johnson
• Xavier Samuel as Reginald DeCourcy
• Morfydd Clark as Frederica Vernon
• Emma Greenwell as Catherine Vernon
• Justin Edwards as Charles Vernon
• Tom Bennett as Sir James Martin
• James Fleet as Sir Reginald DeCourcy
• Jemma Redgrave as Lady DeCourcy
• Stephen Fry as Mr. Johnson

An impressively witty period comedy that takes a largely underrated Jane Austen tale and showcases a naughtiness that is something different from her usual stories, Love & Friendship weaves a cunning and thoroughly amusing tale of one woman’s plot to maintain her position in society, no matter what the cost. Trust me, this is one of the funniest films I’ve seen in a while.

The setting is England in the 1790’s and Lady Susan Vernon is a widow. Occupying a precarious position in the class system since her late husband’s death and known for being a flirt with a bad reputation, we open with Susan leaving one home in which she has created chaos. She invites herself to stay at her in-laws; her brother-in-law Charles who is more than happy to oblige, his wife Catherine, who cottons onto Susan’s ways and her brother the dashing and much younger Reginald. Susan, though trying to lay low as rumours spread of her indiscretions, is armed with a cunning plan while at the country home to ensnare a husband for her daughter and naturally herself. She finds that young Reginald, despite his initial reservations about her, has become enamoured with her which opens up an avenue of success. For her daughter, Susan has a candidate in the shape of Sir James Martin, who has a large fortune but little intellect. Her schemes begin to take effect, aided in no small part by her trusted confidante Alicia Johnson, who helps her best friend despite knowing that she could be reprimanded and sent back to America by her husband if she doesn’t sever ties with Susan. Yet when Frederica, who is significantly nicer and more shy than her mother, runs away from school and arrives at the country house, Susan’s plans begin to go pear-shaped as her shy daughter has no inkling to marry and is instead smitten with Reginald. It seems all the spinning of webs by the crafty Lady Susan is about to get a lot more complex than intended.

Love & Friendship takes its basis from a Jane Austen novella that was published posthumously, but thought to have been written well before her more famous later work, the likes of which have been adapted countless times for movies and television. Whit Stillman effortlessly brings the not so well-known story to the screen with aplomb and vigour. His direction is unfussy yet immersive; focusing mainly on the schemes and plots of the tale rather than being overrun by period splendour and pomposity. Saying that, costume design and set decoration is stupendously done and is worthy of all the praise it should get. Thankfully, both elements of direction and decoration are supported on equally good footing, never letting one override the other and bringing out the period setting while reveling in a certain modernity to be found. One of these modern touches that was very funny was intertitles that introduced the characters and highlighted their motives, such a simple touch added a whole lot to the overall product. The ace in the pack of Love & Friendship is the script, that is as sharp as a rapier and unearths a sauciness rarely glimpsed in anything based on Austen’s material. Who knew something from the pen of Jane Austen could be so tart, cunning and cutting in the most delicious way? Well I for one loved seeing this different side to it and Stillman’s script captures the biting humour to a very excellent degree. A classical score that appears light and almost cosy acts as an ironic counterpart to Susan’s navigation and plots for those around her.

Where Love & Friendship really scores high points is in the casting and the respective performances. In the lead role of the cunning yet seriously charming Lady Susan, Kate Beckinsale shines in what is her best performance to date. Beckinsale just has such zeal and devilish delight in the part that it’s hard to resist. The character of Lady Susan has no really redeeming features as she schemes away and has no moral compass; but there is something so likable about her that we fall under the spell of her, much like every other character does. Delivering pithy put downs, breaking hearts or explaining away any blame put on her, Kate Beckinsale fits the part of the manipulative Susan like a glove with her kittenish glee and delightful sauciness. Chloë Sevigny plays excellently against Beckinsale as her confidante who bored with her life is more than willing to listen into her scandalous plans for others and the danger of it all. Possessing both the good looks and the curious temperament, Xavier Samuel is very well cast as Reginald, who falls for Lady Susan’s feminine wiles despite his better judgement. Morfydd Clark contributes a gentle and sweet demeanor to the part of Frederica, who has no intention of following her mother’s manipulations in getting a husband. As the bemused in-laws of Lady Susan, Emma Greenwell as the suspicious wife and Justin Edwards as her husband that lets everything run its course are suitably great in their parts. Stealing the scene whenever he is present is Tom Bennett as the rich James Martin, whose financial wealth is not matched by his simple outlook and lack of knowledge. He gets to say so many hysterical lines that you can’t help but laugh yet feel a bit of sympathy for the character, due in no small part because of Bennett’s winning comic timing. James Fleet and Jemma Redgrave in the supporting roles of Reginald and Catherine’s parents have a ball with what they are given and there is a funny cameo from Stephen Fry as Alicia’s older, disapproving husband.

Filled with fine acting, quick pacing and amusing exchanges, Love & Friendship is a film that is impossible to not be charmed and won over by. I genuinely cannot remember having so much fun watching a film in the cinema of late like I did when watching the witty Love & Friendship.

American Horror Story: Asylum

Tags

2010's, American Horror Story, American Horror Story: Asylum, Chloë Sevigny, Evan Peters, Frances Conroy, James Cromwell, Jessica Lange, Joseph Fiennes, Lily Rabe, Lizzie Brocheré, Sarah Paulson, Zachary Quinto

The second installment of American Horror Story comes courtesy of Asylum. With the twisted success of Murder House and the returning of many of the cast, Asylum promises to be scarier and more disturbing. Revolving around the events of a mental institution in 1964 and the attitudes towards mental health at that time( as well as murder, deceit, religion and possession), Asylum is on taboo breaking form from the get go and unravels with fiendish delight and a whole lot of twisted horror to match. Be warned, spoilers will follow in my review.

Briarcliff Manor is a mental asylum in 1964 Massachusetts to house the criminally insane. It is run by the ambitious Monsignor Timothy Howard(Joseph Fiennes) and is maintained by the vicious Sister Jude(Jessica Lange) and childlike novice Sister Mary Eunice(Lily Rabe). The sinister Dr. Arthur Arden(James Cromwell) treats the patients but is secretly conducting illegal experiments on many of them for his twisted medical research. Into this disturbing atmosphere comes Lana Winters(Sarah Paulson), a secretly lesbian journalist is trying to find a scoop on the place and expose the cruel procedures that the patients endure at the hands of the staff. Also, a young man by the name of Kit Walker(Evan Peters) has been admitted to the facility after he is accused of butchering his wife and many other women. He is suspected of being the renowned killer Bloody Face, although Kit protests his innocence and says that a strange life form has kidnapped his wife and how she is still alive. Lana gets more than she bargained for when she trespasses into the secrets of the asylum and the cunning Sister Jude craftily has her admitted as a patient at the brutal asylum. Traumatized and brutalised, Lana has her world turned upside down as she realises the power that Sister Jude and Dr Arden possess. Other patients in the facility include the mysterious Grace Bertrand(Lizzie Brocheré), a young girl accused of murdering her family and Shelley(Chloë Sevigny), a troubled nymphomaniac who often tries to tempt the evil Dr Arden. Lana has to adjust to her surroundings and attempt to escape the asylum before it is too late, with the at first reluctant help of Kit and Grace. Elsewhere, strange creatures lurk in the woods out of sight but always hungry. Dr. Oliver Thredson(Zachary Quinto), a new psychiatrist arrives and begins to question the gruesome treatment of patients. A young boy is possessed and after an intense exorcism, the demon inside of him transfers itself into Sister Mary Eunice. This causes her personality to alter drastically as she transforms from timid girl to sly and manipulative woman. We get flashes to the present where a morbid couple visit the rundown Asylum and get much more than they had intended to in grisly fashion. There’s even an appearance from the Angel of Death(Frances Conroy) who appears to those who want to die and bestows them with a death kiss. And to top that off, each of the main characters has deep dark secrets that begin to slither out into the light.

The most prominent aspect of inducing terror is the setting, full of long, unending corridors and laboratories for sickening experiments. The visual style of harsh contrasts between light and dark, as well as jittery cuts, builds up tension and establishes this season as a creepy force of nature that won’t let go. The house in the first season may have been terrifying, but in Asylum they up the ante in terms of creepy environments.The disturbing title sequence will no doubt send shivers down the spine with its mix of gruesome experiments, stormy weather and ambiguous religious icons to the strains of the eerie theme song. Asylum exploits the deep fear of being locked away and not being believed with Lana as the embodiment of the audience’s concern. The 60’s setting allows Asylum to delve into taboos and social issues of the time, such as lesbianism, abuse of power and prejudice. It may be just a show, but Asylum does show in sometimes graphic detail how misunderstood and intolerant people were about mental health back then and how far we have come today. Religion and hypocrisy surrounding it comes under the spotlight in even more uncomfortable terms as the clash between faith and passion arises within the many members of staff as events spiral out of control .Once again American Horror Story isn’t afraid to push boundaries and make for disturbing viewing. It is almost certain that you won’t be sleeping soundly after viewing Asylum.

With members of the first season cast returning as well as newcomers, Asylum more than delivers on the acting front and adds another jolt of terror into an already scary brew of chills and carnage. Sarah Paulson makes for a relatable central heroine in Lana, with her melding of brutalised fear and burgeoning strength, as her yearning for escape increases and she tries anything to free herself from confinement. Jessica Lange once again steals the show, this time as the cruel and vicious Sister Jude. Yet rather than make her a one-dimensional monster, Lange fleshes out the character to show her vulnerability and regret for her past actions. Initially a boozy lounge singer, she became a nun after her involvement in a hit and run accident. Through her vows, she tries to atone for her crimes but realises she can’t run from her past forever. Lange runs the gamut of emotions from A to Z and delivers very impressive work. Lily Rabe comes a close second with her bewitching and challenging role as the novice Sister Mary Eunice. At first she is a sweet-faced and caring girl who wants to impress Sister Jude, but after her possession she morphs into something very different as her innocence is poisoned with the taint of evil. A sly, sexually provocative and twisted woman, she now delights in tormenting those around her as she slips out of her innocent nun’s habit and into the personification of the Devil. Rabe carefully shows this transformation with subtle assurance that is very unsettling to watch. Evan Peters is fearful and confused as the accused Kit, whose story of abduction starts to play a big part as the season goes on. James Cromwell is evil personified as the sinister and imposing Dr. Arden, whose experiments get out of control as his mental state crumbles and his treacherous past comes back to bite him. Joseph Fiennes makes for a self-righteous and beatific presence as the Monsignor in over his head, while Zachary Quinto subtly contributes care yet a bristling menace to his role as the new psychiatrist. Lizzie Brocheré and Chloë Sevigny are also effective as two of the inmates at the asylum;Brocheré adding mystery and whispery uncertainty and Sevigny with her mix of sexuality and fear. Frances Conroy is impressively ethereal and wise as the Angel of Death, who makes many appearances towards the end of the season.

Unpredictable and filled with many twists along the way, Asylum is a provocative and terrifying entry into the American Horror Story canon.