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.

Valentine’s Day

Tags

2010's, Anne Hathaway, Ashton Kutcher, Bradley Cooper, Bryce Robinson, Carter Jenkins, Emma Roberts, Eric Dane, Garry Marshall, George Lopez, Hector Elizondo, Jamie Foxx, Jennifer Garner, Jessica Alba, Jessica Biel, Julia Roberts, Kathy Bates, Patrick Dempsey, Queen Latifah, Romantic Comedy, Shirley MacLaine, Taylor Lautner, Taylor Swift, Topher Grace, Valentine's Day

Film Title

Valentine’s Day

Director

Garry Marshall

Starring

• Jessica Alba as Morley Clarkson
• Kathy Bates as Susan Moralez
• Jessica Biel as Kara Monahan
• Bradley Cooper as Holden Wilson
• Eric Dane as Sean Jackson
• Patrick Dempsey as Dr. Harrison Copeland
• Hector Elizondo as Edgar Paddington
• Jamie Foxx as Kelvin Moore
• Jennifer Garner as Julia Fitzpatrick
• Topher Grace as Jason Morris
• Anne Hathaway as Liz Curran
• Carter Jenkins as Alex
• Ashton Kutcher as Reed Bennett
• Queen Latifah as Paula Thomas
• Taylor Lautner as Willy Harrington
• George Lopez as Alphonso Rodriguez
• Shirley MacLaine as Estelle Paddington
• Emma Roberts as Grace Smart
• Julia Roberts as Capt. Kate Hazeltine
• Bryce Robinson as Edison
• Taylor Swift as Felicia

I was saddened yesterday to read of Garry Marshall’s death. He was a prolific director, producer and writer, who had a long and interesting career. One area he really succeeded in was directing romantic comedies and that is why I am going to review the all-star Valentine’s Day. I was planning to review this film anyway, but I will dedicate it to Garry Marshall now due to his passing. Anyway, back to the review.

Over the course of Valentine’s Day, the love lives of many residents is explored. Varying from newfound attraction to older couples, blinded love and pining, love seems to be everywhere in this set of interlocking stories. Good-hearted florist Reed Bennett proposes to his pretty girlfriend Morley, who accepts. The day seems to be going amazing for him, yet he soon sees that Morley is having doubts about marriage. His friends Alphonso and schoolteacher Julia stay quiet but aren’t surprised when Morley calls it off as they saw that the couple wasn’t ideally suited. Julia is having a relationship with the dashing Dr. Harrison Copeland, yet he is stringing her along because he is already married which Julia is unaware of. Reed discovers this and wants to help Julia, making him acknowledge that he has harboured feelings for his good friend for a while. Then we have Julia’s other friend publicist Kara, who despises the romantic day due to an unlucky history in love. Yet this could be changed by the equally cynical sports reporter Kelvin Moore, who has been coerced into doing a special on the importance of the day. Older couple Estelle and Edgar Paddington have been married for a long time, but something from the past is bothering Estelle as they contemplate renewing their vows. Kate Hazeltine, an army captain shares a flight with affable Holden and the two become friendly as she tells him that she is returning for one day to see someone special. And there are many more stories that are too many to document because this review would become extremely long-winded otherwise.

Garry Marshall brings his expertise to this sweet and fluffy film. This kind of movie was his bread and butter and his considerable love for the genre is very much apparent. I can’t really fault his direction here as it is well done, though other parts of the film aren’t as assured as Marshall’s direction. Each of these stories links to the next one in some strange way or another, some turning out not like you’d expect. Like with any movie containing an ensemble cast and multiple tales, certain stories are going to rise above others in terms of enjoyment. The best way to describe Valentine’s Day is as a big box of ribbon wrapped chocolates that is full to the brim with sweetness and delight, yet you remember some of the flavours more than others. The Taylor Swift/Taylor Lautner story could have been cut as it contributes nothing whatsoever to the story and the little boy trying to impress his sweetheart feels a bit too similar to one of the links in Love Actually. Then we have a nice story with Julia Roberts and Bradley Cooper talking on a flight back to Los Angeles that isn’t as clichéd as one would originally think. Anyone going into Valentine’s Day thinking it’s going to be something new will be mistaken because the formula of the film is familiar. Yet this isn’t to do the film down, it’s just how many romantic comedies have a story that is generic and been done before? It’s a genre that thrives on stories you’ve seen before and Valentine’s Day is no different in that respect. It’s a surprisingly sweet and funny experience actually and not as bad as many people have made the film out to be. I will admit I can be a sucker for romantic comedies sometimes so my opinion could be biased, but I enjoyed this film, even if the film is guilty of being over busy.

And following on about the film being busy, you have to say that the cast is one attractive bunch of stars. Be prepared readers, it may take some time talking about his massive cast. Ashton Kutcher is probably the person seen the most in Valentine’s Day and he has a real exuberance that shines through in an endearing way. A natural and sweet performance from Jennifer Garner is a nicely cast part, with plenty of humour and heart. Jessica Biel is particularly funny as a woman who holds a I hate Valentine’s Party, but secretly wants some romance in her life that has been elusive so far. Alongside Biel in the humour department there is an amusing Jamie Foxx. Old pros Shirley MacLaine and Hector Elizondo bring warmth and experience to their roles as an older couple having to deal with feelings they weren’t sure of. Anne Hathaway and Topher Grace have good chemistry as a new couple with a hitch, she moonlights as a phone sex operator to pay off bills. Leading to much confusion, the two stars have fun and spark off each other well as they navigate the challenges of love.

Julia Roberts, who is already adept at romantic comedy, is luminous along with Bradley Cooper, in an amiable and funny vignette. Eric Dane and George Lopez fare pretty well with the material they are given. Emma Roberts and Carter Jenkins make their tale funny and a little relatable as they play two students planning to have sex for the first time. Trouble is, it doesn’t go to plan leading to an amusing scene of Jenkins preparing to serenade his beloved wearing nothing but a guitar and being caught by her mother. Kathy Bates is unfortunately reduced to nothing but a cameo which is annoying considering how good Bates is as an actress. The same goes for Queen Latifah who is wasted and not given any opportunity to shine. On the negative side of casting we have Jessica Alba, who despite her beauty, is more than a little bland in her delivery. Young Bruce Robinson is endearing enough as the enamoured young boy wanting to impress a girl he has a crush on. The problem is the story is pretty much a non-starter that never comes to life. Patrick Dempsey plays a love rat with some smoothness that starts to vanish once he’s found out. Taylor Swift and Taylor Lautner are pretty poor as a love struck young couple and their story feels like it could have been left on the cutting room floor.

It’s not the best romantic comedy but it’s far from the worst, and Valentine’s Day displays the flair and entertainment value that Garry Marshall had for this sort of thing that will be missed within the genre. Rest in Peace Garry Marshall, may your great spirit live on through your wonderful work.

 

Misery

Tags

1990's, Frances Sternhagen, James Caan, Kathy Bates, Lauren Bacall, Misery, Psychological Thriller, Richard Farnsworth, Rob Reiner, Stephen King

Film Title

Misery

Director

Rob Reiner

Starring

• James Caan as Paul Sheldon
• Kathy Bates as Annie Wilkes
• Richard Farnsworth as Buster
• Frances Sternhagen as Virginia
• Lauren Bacall as Marcia Sindell

A sterling and very unsettling adaptation of the Stephen King novel, Misery, as directed by the versatile Rob Reiner, gains great suspense and uneasiness from confident direction, a sinister score and an Oscar-winning performance from Kathy Bates.

Paul Sheldon is a successful author, most famous for his romance novels containing the character of Misery Chastain. Yet after writing so many books about the character, Paul has grown restless and wants to try other things in the more serious genres. He has just finished writing the manuscript for a new novel of a different vein while in the retreat of a Colorado lodge and plans to journey back to his New York home. As he drives though a fierce blizzard halts these plans and he crashes his car violently off the road knocking him unconscious. Trapped in his car as the blizzard rages on, Paul is rescued by Annie Wilkes, a former nurse who takes him to her house and tends to his injuries. When he wakes up, the seemingly friendly Annie makes him as comfortable as possible, while telling him that she is his number one fan. Annie is a homely and lonely woman who is slightly odd but spears to be relatively harmless in Paul’s eyes and he’s extremely grateful to her for saving his life. Annie promises that once the phone lines are back up,and working and the road is safe, she’ll take him to a hospital. Yet things turn very creepy very fast once Annie reads Paul’s latest Misery novel and finds out her favourite character has been killed off. Flying off the handle she shows her true frightening colours. She then reveals that she never called the hospital, so no one knows where Paul is and many presume him to be dead. Still bedridden and now completely terrified, he is for forced to comply with her demands of writing a new novel bringing the character of Misery back to life. Frightened for his life, he begins writing, all the while planning some form of escape from the disturbed Annie, who never wants to let Paul go and is so intensely obsessed by him and his work, that she will resort to the most brutal tactics to make sure he completes the novel she is forcing him to write. Meanwhile, the local Sherrif Buster, an old, seasoned pro begins searching for the missing Paul, convinced that he isn’t dead as everyone else seems to believe. Before, writing was just a way of making a living for Paul, but now in the desperate situation of prisoner under the obsessed and deranged eye of Annie, he is writing to save his very life.

The ever versatile Rob Reiner shoes flair for the psychological thriller genre buy focusing on events with the confined setting of Annie’s house, that becomes claustrophobic once her mania comes out. Reiner taps into the fear of entrapment and fanatical devotion that both palpably leap from the screen and increase the terror. Tension and chills are provided through zooming close-ups, particularly of a fearful Paul and a crazed Annie. These are used most effectively in the iconic scene of Annie hobbling Paul after finding out he has tried to escape, just thinking about that scene gives me chills. Just as entertaining as watching the terrified Paul attempting to escape is the battle of wills between him and Annie. He tries to reason with her, but is ultimately forced to give in to her demands for fear of his life. Annie basically becomes the role of a disapproving and demanding(plus very menacing) editor of Paul’s work, adding to a gleefully dark undercurrent of Misery. There are some impressive jolts of black humour and irony thrown into the mix that give Misery yet more of a twisted scope to work within and coil around with mounting intensity. While the film is filled with shots of snowy hills and landscapes almost from the off, the suspense-building score from Marc Shaiman lets the audience now that we are not in for a cosy ride with strings and brass mixing to chilling effect as Paul becomes at the mercy of the unhinged and devoted Annie.

James Caan, who from the roles I’ve seen him in often plays the hell raiser of the menacing type, flips it here successfully portraying the imprisoned Paul. He convincingly conveys the feelings of entrapment and terror that soon arise when Annie’s niceness vanishes. The main draw of the film is the super impressive and award-winning performance from Kathy Bates as the psychopathic Annie Wilkes. Essaying the mood swings of the character, from calm and homely nurse to enraged torturer who will stop at nothing to keep Paul with her, Bates registers on every level so well it is frightening to behold. There is simply no other actress who could have played the part of Annie with the creepy intensity of Kathy Bates and the Oscar she won for the role was well-merited indeed. Richard Farnsworth breathes intelligence and humour into the part of the searching sheriff who won’t give up and his performance is complimented by that of Frances Sternhagen as his sarcastic but helpful wife. Lauren Bacall appears in a small but memorable role as the concerned publisher of Paul’s work.

A chilling psychological thriller of shocks and squirms, Misery will have you most uncomfortable by the end due to the creepy factor that is built throughout it and the excellent work of the cast, in particular an unforgettable Kathy Bates as the devoted but extremely dangerous number one fan.

American Horror Story: Freak Show

Tags

2010's, American Horror Story, American Horror Story: Freak Show, Angela Bassett, Denis O'Hare, Emma Roberts, Evan Peters, Finn Wittrock, Frances Conroy, Jessica Lange, John Carroll Lynch, Kathy Bates, Michael Chiklis, Sarah Paulson, Wes Bentley

This fourth season of the hit horror anthology entitled Freak Show boasts even more weird content than before. Even though there were flaws in the previous installment Coven, I think Freak Show emerges as the weakest season so far, putting it well below the supreme greatness of Murder House and Asylum. Though that may be the case, the cast, style and blend of strange and extremely unusual horror makes it at least have some currency and effectiveness, albeit in something of a tired capacity. Be warned, there will be spoilers in my review.

The setting is Jupiter, Florida 1952. Elsa Mars(Jessica Lange) is a glamorous German expat who is running a struggling freak show and has delusional ideas set on stardom. The floundering freak show’s fortunes have dwindled due to the increase in popularity of television and immense stigma aimed towards the performers in the show. She comes across a rare find: conjoined twins named Bette and Dot(Sarah Paulson), who were found looked away in their sheltered house with their mother brutally murdered. Although they share a body, they are two distinct personalities; Bette is dreamy and romantic, whereas Dot is stern and unsmiling. Yet they are very conflicting and occasionally their personalities overlap, clearly shown when it is later revealed that the sweet Bette was the one who murdered their horrible mother for locking them away. Elsa sees the girls as saviors for her show and takes them under her wing and in time they prove a prize-winning draw. But this comes at a price as Elsa grows increasingly jealous of the attention lavished upon them. The other members of the sinking freak show are Jimmy Darling(Evan Peters), who has hands that are webbed giving him the nickname ‘Lobster Boy’, his loyal mother and bearded lady Ethel(Kathy Bates) and later Jimmy’s strongman father Dell(Michael Chiklis) and his hermaphrodite wife with three breasts Desiree(Angela Bassett). Ethel keeps the fact that she is dying and that Dell is Jimmy’s father to herself because of history. Yet as the show begins to take off, horror and deception soon invades in various forms. A menacing clown known as Twisty(John Carroll Lynch) , clad in a horrific mask, begins to terrorise and kill people in the surrounding areas.  He later finds a helper in the form of spoiled man-child Dandy Mott(Finn Wittrock), who is bored with his rich life and obsessed with the freak show, in particular Bette and Dot. But after being turned away by the show and when Twisty is taken away by a Halloween spirit adding to his collection,  Dandy soon evolves into something more sadistic than ever, much to the worry of his subservient mother Gloria(Frances Conroy). After a police officer insults Jimmy and the other members of the troupe, out of anger Jimmy kills him and has to cover up the murder. Two money hungry con artists, Stanley(Denis O’Hare) and fake fortune-teller Maggie Esmeralda(Emma Roberts) infiltrate the camp, but while Stanley is willing to murder one of the freaks to get his dirty hands on a profit, the observant Maggie gets cold feet despite her skewed moral compass as her conscience catches up with her. So who will survive as carnage creeps in and evil rears its head once again, predominately in the form of the psychotic Dandy?

As I have already mentioned, Freak Show is for my money the weakest season so far. So I think it’s best to get my thoughts on the stuff that didn’t work out the way first because there is still some good parts to it and it isn’t a complete failure. I sometimes found some of the characters this time where not written with the usual verve that the show is known. And the fact that important characters seem to appear and then disappear, either by being killed off or god knows what else is a bit jarring. I just felt that Freak Show didn’t have the grip that past entries have so successfully evoked. The pacing could have been kicked up a notch or two, as certain episodes did drag before finding a bit of a groove. Then again, I know every season of a show can’t be amazing, but I expected a bit more from American Horror Story.

Moving on to the positives of this season, of which there are a number of. The visual palette popped with bright colours of the carnival, that acted as irony to the disturbing events brewing beneath the surface.  The addressing of themes of prejudice provides a modern resonance, because while steps have been taken in the world to eradicate discrimination, it is still there. Freak Show portrays the circus troupe as human beings who have done nothing wrong but look different to others. Through this, we feel a sense of kinship towards them in their struggle for acceptance in a cruel world. I loved the two-part episode set on Halloween that features Edward Mordrake(played splendidly by Wes Bentley), a man with another head that speaks to him who collects a freak every Halloween. There is such an eerie feeling when he’s on screen and though his brief appearance we get glimpses into both Elsa’s and Twisty’s past and unearth tragedy in both. Freak Show also ups the ante on bloodshed this time, with many scenes of murder emerging as extremely disquieting and very disturbing to watch. And not forgetting an excellent score that combines with the unusual nature of the show and sends a doom-laden pulse through each frame. While I’m discussing music, I have to speak of the musical numbers that are sprinkled throughout. Modern songs placed in an older setting can often be jarring, but here it is quite enjoyable. The title sequence follows with a stop motion evocation of the carnival, complete with nightmarish clowns, carousels and strange figures. Once more, the title sequence is a tone setter with the customary unusual tics that have become the show’s trademark.

And despite the negatives that somewhat spoil the potential that this season had, the talented cast makes up for some of these errors with good work, often rising above the limited material they’re given to work with. The amazing Jessica Lange signs off from the show in style portraying the manipulative Elsa, who’ll do just about anything to keep her star in the ascendance. Lange just brings a whole wealth of emotions and drama to the character that I think her presence will be missed in future seasons of American Horror Story. Sarah Paulson turns in captivating work as the Siamese twins Bette and Dot. The way she displays the opposite personalities of both and then sometimes wraps them together is quite marvellous to view. Evan Peters exudes a sense of pathos and dignity as Jimmy, whose beliefs that the troupe should be treated equally is to be admired but whose actions regarding this sometimes end badly as he challenges the norm. Kathy Bates exhibits her usual high calibre mark to the role as the strangely accented Ethel, dealing with the fact she is dying and staying loyal to those around her. Angela Bassett has a sassy ability that she incorporates into Desiree, while Michael Chiklis as strongman Dell, who is fearing that a secret will get out, imbued the part with strength and emotion. Both of the roles played by Bassett and Chiklis I felt were underwritten, but they both sidestepped this flaw and made the parts better.

Joining the cast and making a huge impact is Finn Wittrock in the evil role of Dandy. Essaying the part with bratty antics, a stunted, petulant manner, sinister smiles and arrogance, Wittrock makes Dandy a really frightening monster as his boredom with his rich life begins to manifest itself as murderous and heinous crimes. This season may be weaker, but one can’t fault the work of Wittrock here. John Carroll Lynch makes a mark despite his brief appearance as Twisty the clown. By turns immensely creepy and then when his back story is revealed quite sad, his presence can’t be forgotten. Frances Conroy has all the right nervous ticks and worry as Dandy’s mother Gloria. A delightfully slimy performance from Denis O’Hare as a remorseless con man is a highlight of the weirdness this show can conjure up, and Emma Roberts is convincing as his accomplice who has a change of heart after getting to know the troupe and feeling sympathy for them.

So while pushing the envelope once more with disturbing content and featuring a great cast once more, Freak Show lacks the killer punch of past seasons. Hopefully the next season can bring back some magic.

American Horror Story: Coven

Tags

2010's, American Horror Story, American Horror Story: Coven, Angela Bassett, Denis O'Hare, Emma Roberts, Evan Peters, Frances Conroy, Gabourey Sidibe, Jamie Brewer, Jessica Lange, Kathy Bates, Lily Rabe, Sarah Paulson, Taissa Farmiga

I decided to go back to American Horror Story again to catch up as I felt I’d fallen behind. This will be my review of Season 3, subtitled Coven. While still as chilling and weirdly perverse as Murder House and Asylum, I just feel like there’s something missing from it to make it a better entry. Not that the season is bad, in fact its far from it with excellent acting, chills and atmosphere, it just slightly pales in comparison with its predecessors. Be warned, spoilers will follow in this review.

Coven is set in modern-day New Orleans. Zoe Benson( Taissa Farmiga) is a young girl whose life appears pretty normal, until a strange and tragic incident reveals that she is in fact a witch. Her power is that when anyone comes into sexually contact with anyone they will die horribly. Feeling alone and afraid, she is bundled off to Miss Robichaux’s Academy that doubles as a haven for witches to harness their powers and survive intolerance thrown at them. The school is watched over by the demure Cordelia Foxx( Sarah Paulson), whose mother Fiona Goode( Jessica Lange) is the reigning Supreme ( in other words the most powerful witch). Fiona has been out-of-town on a personal vanity trip to find a way to restore her waning youth. She returns and takes charge of the school, much to the chagrin of her estranged daughter. Fiona is still obsessed with retaining youth and her position as Supreme and no one is going to stand in her way, even if it includes murdering the next in line. Fiona’s integrity and less than perfect rise to being the Supreme is constantly questioned by the council, specifically Myrtle Snow( Frances Conroy), her most sworn enemy. Little by little, we see how devious she can be and how only Spalding( Denis O’Hare), the mute butler of the Academy knows of her past misdeeds. Meanwhile Zoe befriends fellow witches Madison Montgomery( Emma Roberts), the catty movie star who is telekinetic, Queenie( Gabourey Sidibe), an African-American girl who can inflict pain on other much like a voodoo doll and the wise clairvoyant and telepathic Nan( Jamie Brewer). As the series progresses the witches come under attack from outside forces. A long truce between witches and voodoo practitioners comes to a bitter end when Fiona over steps the mark when searching for eternal beauty and angers priestess Marie Laveau( Angela Bassett) with harrowing results. We also have Delphine LaLaurie( Kathy Bates), a wealthy women who murdered slaves in the 19th Century and was cursed with immortal life by Laveau resurfacing again after Fiona finds her unmarked grave. She’s not the only person returning as we have Misty Day( Lily Rabe) a nature loving witch with the power of resurrection who dwells in the swamps after being burned at the stake for her gift by the zealously religious community . Zoe meets nice guy Kyle Spencer( Evan Peters) at a party and takes a liking to him. But when his frat brothers rape Madison, the movie star gains revenge by flipping over their bus and killing them. Zoe is devastated that Kyle is dead because he was innocent and Madison, who is clearly more confident with magic makes a bargain with her. Through dark powers and an assembling of assorted body parts in the morgue, they resurrect Kyle again but their experiment turns him into a Frankenstein like being of immensely violent and unpredictable rage. Intolerance from the outside world and unrest among the girls also threatens to sneak in as they must not only band together, but ultimately eliminate the others to rise to being the new Supreme.

I think I’ll start by talking about the main things that didn’t work for me first. While I know that subtlety is not what American Horror Story is all about, I just felt that Coven overdid it with the sheer outrageousness this time around. And while the campy humour and crackling dialogue is often a Godsend on this show, it really went overboard. Hopefully when I get to the next season, this can be a bit more controlled and not as disjointed as it is here in Coven. Also, I felt certain plot elements( such as almost a million resurrections) were used repetitively and thus became a little stale. I mean in the beginning the resurrection thing is interesting for certain characters like Misty and Myrtle, but then when it shifts to other it becomes a little dull. Many of the episodes feel disjointed and this does have a negative impact on this season.

And now onto the good stuff of this flawed but still watchable season, of which there is a lot. I really liked the whole arc of witchcraft and voodoo clashing and the history of it. It also introduces in various ways the subject of prejudice and intolerance. It can be seen with the young girls of the academy as they are shielded away to avoid abuse and the racism of the past that still lingers on. Coven delivers the horror in spades, with little nods here and there to films that populate the genre and a few new spins. Like most of the seasons, I don’t think anyone will find it easy to sleep after watching the horrifying and brutal episodes that abound. I mean just listing some of the things that happen doesn’t do it justice: we’ve got killer zombies, rituals, cascades of dripping blood, necromancy, beheading. You named it, Coven’s got it. And I can’t do a review without mentioning yet another sinister title sequence. This time we have stark black and white images of fire, tarot cards, witchcraft rituals, a Minotaur and plenty more disturbing imagery that is designed to disturb.

The music throughout is spine-chilling with an intense electronic pulse that seems to predict the gloom that will inevitably come once the war breaks out. Unusual camera angles and strange jump cuts only add to the effect of the season and capture the alienation that is felt primarily by Zoe because of her gift. The location of New Orleans offers a Southern Gothic atmosphere that is palpable and memorable. From the swamps to the cemeteries, it has such a mystical and mysterious aura surrounding it.

Once again, we have many amazingly written and played female roles on display here, which is one of the show’s biggest strengths. Jessica Lange is at her glorious best in the role of Fiona, a powerful witch and a ruthless bitch. Lange successfully embodies the fabulous personality of her, while showing us that as despicable as Fiona is, there is a heart in there somewhere beneath the hard exterior. The talented Lange is at her best when delivering catty lines, going to extreme methods to stop her from being usurped and exuding menace as the vanity obsessed Fiona, which gives the show that something else. Kathy Bates is an excellent addition to the show, bringing her always high calibre skills to the role. She portrays Delphine as initially remorseless for her cruel and twisted actions in the past. Yet Bates goes beneath this and shows that is remorse in there and injects the character with eccentricity and mordant humour as she has the tables turned on her by having immortality and struggling to accept the modern world. The fact that she strikes up an unusual friendship with Queenie( an excellent Gabourey Sidibe) shows a different side to Delphine. Angela Bassett rounds out this trio of excellent women with her fierce performance of the voodoo queen Marie Laveau. Bassett exudes rage, a sense of mystery and unquestionable power as she declares war on the coven. It’s safe to say that the combined talents of these three amazing actresses, armed with one-liners and put downs, ensures that Coven is watchable, despite a few flaws.

The rest of the cast is none too shabby either. Taissa Farmiga is superb at getting under the skin of isolated Zoe who discovers the extent of witchcraft along the way. Sarah Paulson ably charts the emergence of Cordelia from her insular and demure facade to powerful witch who is not to be trifled with. A lot of this change comes when she is blinded by acid, by this she gains the power to see the true nature of people and sends her on the way to battle. Emma Roberts obviously is relishing the role of Madison, who is trashy, flashy and bitchy. Roberts brings this seemingly stock character who is criminally underwritten to life with verve and tongue in cheek delivery. Jamie Brewer and Gabourey Sidibe both turn in great work as two of the witches of the coven that befriend Zoe, while the always reliable Denis O’Hare gives the role of the silent butler Spalding menace and intrigue. Lily Rabe is ethereal and dreamlike as the nature-loving, Stevie Nicks fangirl and very strong Misty. Rabe just radiates this glow that is hard to describe but you just can’t take your eyes off when she appears on screen. Frances Conroy stole whatever scenes she was in as the determined, wildly dressed and ostentatious Myrtle Snow. While Evan Peters did a credible job as the resurrected Kyle, I personally felt he wasn’t given enough to do in comparison with the characters he has played in the past.

Flawed it may be and probably the series of the show that so far I didn’t fully enjoy, Coven is far from unwatchable thanks to a game cast and overall craziness.

Midnight in Paris

Tags

2010's, Adrien Brody, Alison Pill, Comedy, Corey Stoll, Fantasy, Kathy Bates, Marion Cotillard, Michael Sheen, Midnight in Paris, Owen Wilson, Paris, Rachel McAdams, Romance, Tom Hiddleston, Woody Allen

Film Title

Midnight in Paris

Director

Woody Allen

Cast

• Owen Wilson as Gil Pender
• Rachel McAdams as Inez
• Marion Cotillard as Adriana
• Michael Sheen as Paul Bates
• Kathy Bates as Gertrude Stein
• Adrien Brody as Salvador Dali
• Alison Pill as Zelda Fitzgerald
• Tom Hiddleston as F. Scott Fitzgerald
• Corey Stoll as Ernest Hemingway

From the opening minutes of Midnight in Paris, as the camera takes in the sights of the city with a jazz soundtrack, you know you’re in for something magic and nostalgic from Woody Allen. Funny, touching and imaginative, Midnight in Paris is a comical fantasy film of beauty and the link between the past and present and how one longs for a life before their time.

Gil Pender is a hack screenwriter who is desperate to write a novel. He is a wide-eyed and nostalgic guy who travels to Paris with his gorgeous but disagreeable fiancée Inez, with her wealthy parents. Gil is suffering from writer’s block and is in need of inspiration, though Inez dismisses this as a daydream and cares more about herself. After an evening at a wine tasting with Inez’s pedantic friend Paul, Gil goes for a walk through the Parisian streets as it chimes midnight. As this happens, an old car from the 20’s pulls up and the passengers coax Gil into getting in. He does and soon realises he has been transported into his favourite era and along the way he meets such iconic figures as F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein and Salvador Dali. This re-invigorates Gil’s imagination and he continues to travel back in time every night into the magical and nostalgic world. Through his trips to the past, Gil gains more inspiration, falls for Picasso’s alluring mistress Adriana and begins to realise that his union with Inez is not exactly a match made in heaven.

Prepare to be swept into the glamorous fantasy world conjured up from the pen of the prolific Woody Allen, who imbues the material with humour and a bittersweet longing for the past. His Oscar-winning script and various characters of literacy fame that populate it are funny, assured and highly enjoyable. Woody Allen shows he still has the gift for comedy after so many years in the celluloid spotlight. It is almost impossible not to be captivated by this tale of the tentative link between the past and present. Props should go to the jazz score that sets the right period setting and the dazzling cinematography, that bathes Paris in a golden glow of times gone by. Many beautiful shots abound in the film, but the one I remember the most is Paris in the rain. It just has such a poetic and romantic beauty about it that I can’t describe as I’d need a good few pages to do so. Above all it’s the characters that capture the interest of the viewer as Gil explores the nocturnal haunts of the famous. A played by Owen Wilson, Gil becomes a wide-eyed dreamer escaping his boredom by journeying back to another time. Wilson takes on this role with a charm and imagination, that is in the mould of roles Allen used to play many years ago. Rachel McAdams absolutely nails the role of the stylish but increasingly shallow Inez, who disapproves of Gil’s romantic notions of nostalgia. Fleshing out the supporting cast are a wide array of talented individuals. As Paul, the know-it-all friend of Inez, Michael Sheen injects humour as he tries to be much superior than he really is. Marion Cotillard, who is fast becoming one of my favourite actresses, is ideally cast and radiantly beautiful as the alluring Adriana. She has charming chemistry with Wilson, highlighted more by the fact that both characters wish for a long-lost past. Whilst Gil enjoys the 20’s, Adriana longs for a time before this. This adds a distinct poignancy tp the picture as we watch them fall for each other and discuss their nostalgic longings that somehow remain elusive at times. Also look out for Kathy Bates who is witty and wise as writer Gertrude Stein, Adrien Brody who is a hoot as surrealist Salvador Dali and Corey Stoll as Ernest Hemingway, whose advise holds special meaning to Gil. And not forgetting the pairing of Alison Pill and Tom Hiddleston who are excellently cast as the Fitzgerald’s.

Touching, warm and funny, Midnight in Paris is a comedy injected with a mischievous fantasy that is guaranteed to at least make you smile. Woody Allen proves he’s still got what it takes to make quality movies with this delightful picture.

Dolores Claiborne

Tags

1990's, Christopher Plummer, David Strathairn, Dolores Claiborne, Jennifer Jason Leigh, John C. Reilly, Judy Parfitt, Kathy Bates, Mystery, Stephen King, Taylor Hackford

Film Title

Dolores Claiborne

Director

Taylor Hackford

Cast

• Kathy Bates as Dolores Claiborne
• Jennifer Jason Leigh as Selena St. George
• Judy Parfitt as Vera Donovan
• Christopher Plummer as Detective John Mackey
• David Strathairn as Joe St. George
• John C.Reilly as Constable Frank Stamshaw

Based on the novel by Stephen King, Dolores Claiborne is a sombre and compelling mystery headlined by a superb performance by Kathy Bates. Evocatively scored by Danny Elfman and featuring an interesting flashback structure, Taylor Hackford has created a chiller that leaves you guessing till the very end.

On a coastal town in Maine, hard-working and tough-talking housekeeper, Dolores Claiborne is accused of murdering her elderly employer Vera Donovan. The chief detective, John Mackey, heads the investigation into the suspicious death and harbours a desire to imprison the woman as he believes she murdered her abusive husband Joe 20 years ago. Soon after, Dolores’s daughter Selena arrives to support her mother. Selena is a succesful writer struggling with a drink problem and suspicious of the events surrounding both Vera’s death and her father’s. Dolores hasn’t seen her daughter for years and attempts to get through to her, even though her daughter is unsure of her mother’s plea of innocence. Through the use of a flashback structure, subtle incidents in both of the women’s lives are revealed and we begin to understand more about them and their strained relationship with each other. Is Dolores innocent of the crime? Or is she in fact a double murderer? You’ll have to watch the film to find out.

Kathy Bates, starring in her second adaptation of a Stephen King novel after her Oscar-winning role in Misery, fixes the attention and steals the show as the title character. She at first appears to be a stony, bitchy woman, but as the mystery begins to unravel, she is shown to be something quite different. She is a tough woman, wounded by life but not beaten yet and Bates embodies the worn-down but still resilient spirit of the title character effortlessly. It truly is a testament to Bates’s ability that we are never sure if Dolores is well and truly innocent of the crime until the finale. Ably supporting her is Jennifer Jason Leigh as the suspicious and sullen Selena, who is never truly convinced of her mother’s innocence but forced to confront her own painful past in the process. Christopher Plummer savours his role as a resentful but motivated detective who will stop at nothing to make sure Claiborne is imprisoned. David Strathairn, seen in flashback as the abusive husband of Dolores , helps set the secondary conflict in motion because of his menacing presence. Also seen in glowing flashback is the excellent Judy Parfitt, as the overbearing rich woman who becomes an unlikely ally to Dolores before her mysterious death. John C. Reilly also appears in a small role as a sympathetic constable investigating the case.

Visually, Dolores Claiborne creates a chilling atmosphere, shading the Maine town in which Claiborne resides in blue and grey. This is counteracted by luminous flashbacks, bathed in an almost sepia tone, showing the ugliness that lies beneath a happy facade. Danny Elfman’s melancholy score accentuates most of the scenes with a sombre and evocative expression of suspicion and delving into the shocking past of the main character for answers.

Dramatic, enigmatic and enthralling, Dolores Claiborne is a mystery that grabs you from the opening frame and refuses to let go.