Hide and Seek

Tags

2000's, Amy Irving, Dakota Fanning, Dylan Baker, Elisabeth Shue, Famke Janssen, Hide and Seek, John Polson, Melissa Leo, Psychological Thriller, Robert De Niro, Robert John Burke

A very contrived psychological thriller that could have used a bit of work on it, Hide and Seek at least generates some jolts of terror and has two great central performances from Robert De Niro and a young Dakota Fanning.

David Callaway (Robert De Niro ) is a renowned and talented psychologist in New York City with a glamorous wife Alison( Amy Irving)and adorable 9 year old daughter Emily (Dakota Fanning). One night, David awakes in the middle of the night to find that Alison has committed suicide by slitting her wrists in the bath. Emily sadly sees her mother dead and withdraws into herself from that very moment. In an attempt to get Emily away from the trauma of her mother’s passing, David uproots her to Upstate New York . This is against the advice of fellow psychologist and and family friend Katherine(Famke Janssen), who doesn’t think it is a wise idea to just move Emily without letting her deal with what has happened. Emily is traumatised, morose and distant towards David, though he attempts to get her to open up to him. Moving Upstate to a large house with only a few neighbours ( who are all depicted as rather creepy and too curious) , David hopes that a fresh start will help both him and Emily work through both shock and grief . He strikes up a conversation and attempted friendship with sexy divorcee Elizabeth( Elisabeth Shue) but this is met with aversion and awkwardness from Emily. One day, Emily tells her father she has a new friend called Charlie. As no one has seen Charlie, David deduces that Charlie is imaginary. He is at least happy that Emily seems to be doing a little better than before , but things begin to change for the worse. Emily plays games with Charlie , their favourite being hide and seek. All seems innocent enough at first before a string of horrifying events begin to manifest. Soon the so called games between Charlie and Emily escalate to vicious scenes and overt hostility towards David, resulting in danger and death. A twisted game is afoot as David attempts to uncover who Charlie really is before it gets too late. Is Charlie simply a figment of Emily’s traumatised imagination? Or has Emily herself got something to do with it? Or is Charlie truly a flesh and blood person who is intent on mayhem and evil? You’ll have to watch to find out.

John Polson is not a bad director, he just goes down the rather obvious route here. This makes it seem like he’s simply ticking a box to make it a thriller, but not adding too much difference along the way.  That being said, he at least manages to scare up some rather unnerving moments throughout. It’s just a shame it couldn’t coalesce better with the full picture The problem with Hide and Seek is that it feels tired and derivative, plus it tries to be overly serious but winds up looking anything but. I don’t mind predictable when it’s done well, sadly Hide and Seek has its fair share of problems. The big twist is effective enough but it feels a bit too telegraphed if you watch close enough. Once things are revealed, events do get more intense and harrowing it has to be said, with Emily put through the emotional mill. Yet it can feel a too little too late eventually as what’s come before has been impactful enough I guess, but then descends into standard psycho horror territory . There are many cases of misdirection involving the neighbours which don’t go anywhere or ring true, resulting in numerous plot holes . The bad thing is that the movie thinks it’s being clever by throwing in many red herrings; but it ends up coming off. The music and atmosphere are things that kept me watching , even if the film is largely illogical. The score from John Ottman has a ghostly feeling too it, with choral voices and foreboding ambience elevating the material. The autumnal setting and muted colour scheme brings a certain chilliness to feel proceedings. So while, certain elements do manage to keep you watching in Hide and Seek, it doesn’t add up to a cohesive whole. 

Robert De Niro is one of my favourite actors and I find even in films that aren’t quite worthy of his talents , he still delivers. Such is the case here with his quiet and often contained performances as a caring father trying to understand the horror around him, but occasionally not realising that he’s treating his daughter and not another patient. It’s not one of his best performances , but it’s still good and one of the better parts of Hide and Seek. It’s Dakota Fanning, who at the time was movie kid royalty and with good reason, who really delivers the goods and provides one of the most effective parts of the routine movie. Using her saucer like eyes to unnerving and devastating effect, a dark haired Fanning taps into the mystery of her character who is by turns traumatised and creepy. Fanning is compelling at displaying emotions far beyond her young years and especially in the latter half of the film, she pulls you in and holds her own against Robert De Niro with a haunting performance. Robert De Niro and Dakota Fanning are the people who hold Hide and Seek somewhat together. Famke Janssen has some good moments as the supportive family who is protective of Emily, but the rest of the talented cast are wasted. You have the likes of Elisabeth Shue, Melissa Leo, Dylan Baker, Robert John Burke and Amy Irving here. And they are all given barely anything to work with

So it’s a pretty standard psychological thriller that is rather pedestrian in parts and mixed, but Hide and Seek gains points from the main cast and some good atmosphere crafted.  It still doesn’t come up to scratch, but it’s not completely unwatchable.

The Village

Tags

2000's, Adrien Brody, Brendan Gleeson, Bryce Dallas Howard, Cherry Jones, Joaquin Phoenix, Judy Greer, M. Night Shyamalan, Psychological Drama, Psychological Thriller, Sigourney Weaver, The Village, William Hurt

Somewhat of a conundrum among movie fans and critics upon release, The Village is no doubt about it a flawed movie from M. Night Shyamalan. But there is something about it that always sparks my mind and it does have my opinion of it being a misunderstood movie.

In the late 1890’s, a sheltered village borders a foreboding woods. The Elders of the village speak of creatures referred to as ‘Those We Don’t Speak Of’, who inhabit the woods but who not many have actually seen . No one is supposed to cross the boundaries between the village and the woods as their is a truce stating this and that never the twain shall meet. The villagers all go about their days seemingly in harmony but whenever they see a red colour they must discard of it and appointed members take a nightly watch over the village and the woods. The quiet yet thoughtful Lucius( Joaquin Phoenix )has an idea to trek through the woods in order to get medical supplies for those in need of it as recently a little boy died who could have lived if medicine was around. The request by Lucius is denied by the village Elders, which include his guarded mother Alice(Sigourney Weaver). We learn that the mentally disabled Noah Percy(Adrien Brody)has once been in the woods but supposedly wasn’t seen by Those We Don’t Speak Of. Noah also has feelings for Ivy(Bryce Dallas Howard) , who is the blind daughter of Elder Edward(William Hurt) . Ivy though loves the stoic Lucius and is determined to bring him out of his quiet shell. Things change within the village when Lucius briefly steps over the boundary before being spooked and returning home. After this breach of truce, animal carcasses are found about the village, red warnings are left on doors and Those We Don’t Speak Of appear to menace the villagers. It soon becomes clear following a near tragedy that someone must pass through the woods in search of help. But just what will be discovered when the brave Ivy does?

M. Night Shyamalan is a very skilled director and he definitely knows how to stylishly delivery creepy imagery and emotion, plus a twist ending that is always going to be debated. Sequences like entering the village and menacing the locals are appropriately creepy as is Ivy’s eventual journey through the forbidden woods. These show M. Night Shyamalan exercising immense cinematic ability in displaying the build up in pace as we get to know the dwellers and their lives/routines.  I’m going to just put it out there that The Village is an imperfect film that while intriguing, leaves a lot of things vague and sometimes it doesn’t quite make sense. In some ways it provides a watchable mystery with a human heart, but then there are areas that really don’t add up when you actually give them some thought. Saying this, I do find that The Village  was pretty miss marketed at the time of release as a straight up horror movie when it’s more of a psychological drama/thriller in period costume. I think this made the public’s idea of what it would be to be very different from the finished article. And as a study in secrecy, belief and how fear/grief make an impact on those attempting to steer away from it, The Village is different but effective in its execution of those themes.

In terms of visuals, The Village looks glorious especially throughout, owing the mood enhancing cinematography of Roger Deakins that coats a lot of the unfolding film in a golden, near sepia tone which resembles flickering candlelight . This along with Shyamalan ‘s use of long close ups that start slow and then zero in on the faces of the cast add to the creepy and uneasy atmosphere. One of the best things in The Village is the sublime score from James Newton Howard and featuring the talents on solo violin of Hilary Hahn. It is by turns menacingly creepy and poignant in equal measure as the mystery unravels and the sense of sadness comes through to the sounds of ambience from James Newton Howard and the mournful yet expressive violin of Hilary Hahn . The duo deserve every inch of praise for their haunting contribution to a confounding movie.

Where The Village doesn’t falter is in its cast , which is pretty stacked with talent from top to bottom. Joaquin Phoenix, who I find is one of the most reliable and dedicated actors out there , is commendable as ever here. Contributing a thoughtful take on a man who often finds it difficult to express himself but who has enough gumption to begin to emerge from his shell, Phoenix is thoroughly superb. In an early role that helped her get notice and show off her talent we have Bryce Dallas Howard. Radiating a delicacy and alternating iron will , she’s beautifully convincing as Ivy. Though the character is blind, Howard makes her a character who refuses to be defined by this and instead is a rather forward thinking woman, who is braver than most of the eponymous village and not afraid to show it. Adrien Brody is effectively tragic as the misunderstood Noah, who finds himself in trouble but is not really aiming for it as he is not treated with the appropriate help, except from a sympathetic and beautifully understanding Ivy. William Hurt and Sigourney Weaver exhibit stoic secrecy and a guarded authority as the village elders who are a lot more than meets the eye . Brendan Gleeson emits a melancholy and dejected persona as a man who lost his son and is wrestling with the unimaginable grief. The impressive Cherry Jones is also effectively used as a high up member of the village with her own private sadness to hide .It’s only really Judy Greer that gets shortchanged with the role of Ivy’s sister. It’s not that Greer isn’t good, in fact she’s a very talented actress. Unfortunately it’s just that the part of Kitty doesn’t leave a lot of scope to do much with.

The Village has quite a bit to recommend and is quite an eerie and melancholy film from M. Night Shyamalan with many a great performance( particularly the one from Bryce Dallas Howard) and a superlative score. It’s still got many head scratching moments that can render some of it ambivalent for the viewers. Yet I believe some reassessment is in need for The Village, as it does have some forms of merit within it’s often mind bending story.

The Killing of a Sacred Deer

Tags

2010's, Alicia Silverstone, Barry Keoghan, Colin Farrell, Horror, Nicole Kidman, Psychological Horror, Psychological Thriller, Raffey Cassidy, Sunny Suljic, The Killing of a Sacred Deer, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as Steven Murphy
• Nicole Kidman as Anna Murphy
• Barry Keoghan as Martin
• Raffey Cassidy as Kim Murphy
• Sunny Suljic as Bob Murphy
• Alicia Silverstone as Martin’s Mother

An unsettling psychological horror with the trademark Yorgos Lanthimos touch and reference to Greek myth, The Killing of a Sacred Deer is very disturbing but impossible to turn away from.

Cardiologist Steven Murphy has it all; a great career, a beautiful ophthalmologist wife Anna and two young, well-behaved children, Kim and Bob. His picture perfect life in the suburbs is seemingly here to stay, but there is a tiny and disturbing hitch too it. He has a friendship with a 16-year-old boy named Martin, who he meets and showers gifts upon. Although is friendly with Martin and introduces him to his family, there is something decidedly off about the whole arrangement that you can’t shake. And soon enough, the demanding Martin, when he’s not trying to set up Steven with his mother, becomes a thorn in side. He becomes more dependent and doesn’t seem to understand that his presence is not always needed. His obsession grows and starts to worry Steven, who mainly took interest in the boy after his father, who he treated earlier, died . Then, out of nowhere, Bob loses the use of his legs and is hospitalised. This is soon followed by Kim, which begins to have an impact on Anna who is in the dark on what is happening. Steven starts to unravel too as things turn worse for his idyllic family and he’s thrown into a tailspin. Yet as illness sets in, an increasingly menacing Martin reminds Steven of a past mistake of his that links to the young boy’s life. Soon everything is under crisis and  Steven’s existence is torn apart by his past actions and the boy who wants to even what he sees as the score.

With a catalogue of films that revel in dark subject matter, unusually black humour and an all round weirdness, Yorgos Lanthimos has really made a name for him. The Killing of a Sacred Deer is Yorgos Lanthimos working fluently and creatively to fashion a story of deep-seated revenge and culpability. He has this bubbling intensity and creeping eeriness that happens right from the startling opening of an open heart surgery. You know from that point on it’s going to be a disturbing movie, but what a movie it is. Lanthimos is in control here; cold and calculating in the style of Stanley Kubrick whose work clearly has an imprint. And while Martin is what seems to be the main antagonist of the piece, the other characters also sport unusual tendencies that mark them out as not as innocent or polished as they outwardly appear. For example, Steven is an arrogant man who can’t handle not being able to exercise control over things. This extends to his love life with his wife, who he has pretend to be under anaesthetic when getting intimate. The deadpan, almost robotic way of talking that has come to populate the work of Lanthimos is here, but does also allow for shadings of emotion and drama in there. And the uneasy and uncomfortable humour further sears itself on to the mind, as characters behave in ways that seem at once alien and yet so ordinary. It’s the kind of humour that you don’t know whether to laugh at or question, and is all the better for it. It sure keeps you on your toes as you navigate another weird world from the mind of Yorgos Lanthimos. And though some of it might sound familiar to lovers of psychological horror, it’s the execution that truly counts and Sacred Deer delivers with its own twist on things.

With long corridors of scrubbed white, cavernous interiors and a zooming, voyeuristic camera, The Killing of a Sacred Deer also deserves praises for what it visually gets across to the viewer. It’s a sinister and slithering atmosphere of increased dread as evil and retribution combine and you feel the hairs on the back of your neck stand up. Credit must go to the cinematographer that is Thimios Bakatakis for imbuing The Killing of a Sacred Deer with such an impending aura of doom and inevitable woe. We often observe characters from a distance or from a looming height; neatly edited and giving the impression of spying on events as they take shape.  The whole psychological aspect of having to make a horrifying decision for something you’ve done is creepy and more than makes its mark on you as the gears of tension continue turning. Discordant strings telegraph that something is not right from the word go and the addition of opera accentuates the tragedy here. The film is influenced by a Greek myth that gives the movie its title and accordingly, the swelling and rumbling of music heralds the approaching agony of loss and blame. Those looking for a comfortable viewing experiences better check those expectations at the door as The Killing of a Sacred Deer is not one for the easily frightened or spooked.

Colin Farrell, who was so good in The Lobster, plays someone spineless and full of themselves here. His character’s  life is so meticulous and to his liking that it’s given a royal kicking when horror unravels. Sporting a bushy beard and his real accent, Farrell is extremely watchable as the cardiologist haunted by the past. Equally as good is the ever dependable Nicole Kidman, who’s been on a roll recently with her performances. With her face that silently projects inner turmoil and frazzled intensity, she’s ideal for the role here that could have easily just been a throwaway part. With Kidman in it, it’s impossible for it to be anything less than stellar, particularly when she comes into her own in the latter half of the film and everything gets laid bare. The Killing of a Sacred Deer is my first introduction to young actor Barry Keoghan. And if the rest of career is as good as his work here, great things await him indeed. He has this naturally mysterious and sinister presence, complimented by how he speaks the dialogue in a halting but intimidating way. It’s enough to set you on edge and Keoghan knocks it out the park as a vengeful teen, dishing out his brand of justice to an idyllic family. Raffey Cassidy plays the daughter of Steven and Anna; who is drawn to Martin even though he’s the one out to ruin her family. Young Sunny Suljic portrays the son, who is the first to fall ill and crank up the eeriness. And it’s nice to see Alicia Silverstone back on screen again with a very memorable one scene performance. She gets the movie’s best line after she is rejected by Steven for putting the moves on him. Everyone gets in to the mindset of the film and the unusual demands of it.

A spine-chilling, deeply unnerving and memorable horror/thriller with psychological terror at the centre, The Killing of a Secret Deer is a haunting movie that is hard to shake off.

Raising Cain

Tags

1990's, Brian De Palma, Frances Sternhagen, John Lithgow, Lolita Davidovich, Psychological Thriller, Raising Cain, Steven Bauer

Film Title

Raising Cain

Director

Brian De Palma

Starring

• John Lithgow as Carter Nix/ Cain
• Lolita Davidovich as Jenny
• Steven Bauer as Jack
• Frances Sterhangen as Dr Lynn Waldheim

A twisting and frequently outrageous psychological thriller from Brian De Palma, Raising Cain is thoroughly enthralling and full of stunning cinema technique, complete with a story that keeps getting you to question the certainty of it. I wouldn’t put it as the best thriller around because of some parts that go way too complicated and unnecessary, but overall the sheer outrageousness helps to make it a feverish delight.

Carter Nix is a mild-mannered child psychologist who has taken time out of work to help raise his young daughter Amy with his wife Jenny, who works as a nurse. Lately though, Carter has become unnervingly attached to his daughter that becomes even more peculiar as the film progresses. At the start, Jenny can’t quite see this though there are hints dropped that become noticeable to her. What is unknown to Jenny is the fact that the seemingly benign Carter is somehow involved in a horrifying experiment, which is where his alter ego of Cain comes in. Cain arises whenever Carter can’t do something and it is frequently nasty. The aforementioned experiment is for their doctor father; they kill mothers and take their young children all in the hopes of helping him with his maniacal studies of personality. Yet it is largely Cain who does these unspeakable acts, even though it weighs more than a little heavy on Carter and bleeds into him. He has lately taken to being overly concerned and almost studying in his treatment of his young daughter, which is a major cause for concern. His behaviour and mood swings begin to alarm Jenny, who fears for her daughter without realising the whole truth of it all. Meanwhile, Jenny herself is having to deal with her own dilemmas. The biggest one is Jack; a former flame of hers who returns out of the blue and still has feelings for her. Jenny soon gives in to temptation and ignites their affair again. Carter’s alter ego of Cain really begins to take over once he witnesses his wife engaging in her affair, leading to shocking consequences and startling revelations that are not what they seem.

Brian De Palma is the stylish man behind the camera and his stamp is well and truly on Raising Cain, complete with the customary homages to Hitchcock. Flourishes of visual astuteness and exceeding panache can be viewed in almost every frame of Raising Cain. You can’t fault De Palma for his visionary way of shooting, its gorgeous even when filled with terror. The sweeping camera , including a simply sublime long tracking shot, that lasts for a number of minutes as the history of Carter’s family is brought into the light by the doctor on the case. The many dreamlike scenes of Raising Cain come equipped with an eerie but strangely beautiful chill, that wraps them and subsequent scenes in that otherworldly grip that plays into the deceptive plot. And while a lot of the film is over the top, it suits De Palma’s style with operatic touches and a significant amount of tongue in cheek to the approach. Instead of it getting to be a parody, there is serious tension and suspense supplied. Add to that layers of whether we are witnessing dreams or reality at various points, and you can’t help but be compelled by Raising Cain. Doubles, flashbacks( or are they?) and an all around creepiness make for a heady brew. The film isn’t a titanic piece of classic movie making though, as there are flaws. Firstly, although it doesn’t fully go into parody or lampooning, it can get pretty ridiculous with some of its moves I must say. At times, some of it slips out of control and it bites off more than it can chew with a couple of parts that slip into unintentionally funny, though the mastery of De Palma’s direction and vision is still very much on show among these weaknesses. A bit more logic may have been of use in Raising Cain as the pudding does get over egged a lot, but the largely over the top narrative and twisted turns paper over some of these cracks. From what I’ve seen out of his movies, Raising Cain is a bit underrated as I haven’t heard that many people talk about it. And while it’s not a work of genius in comparison to some of his other more noted works, it shows enough skill and cinematic technique to be held in higher regard, at least a little bit more than it is. There are many times when you think you’ve got a hold on things and then the whole thing switches and you’re left to reassess them, owing to the complex and fiendish machinations of the plot. This is where the strong points of the film lies as genuine feelings of unease emerge swiftly once certain truths or something resembling that are exposed. A simply luscious and sinister score begins with an almost childlike tone that morphs into moments of shattering crescendo, much like the character of Cain and his other personality.

John Lithgow relishes his roles as Carter and Cain. He skilfully displays the different natures of both with Carter being terrified yet obsessed and Cain being the violent and underhand side. Lithgow manages to make it all very thrilling and unnerving to watch, as he occasionally blurs the lines between the two with considerable menace. He is the captivating centre of this movie and a lot of that is seen through his performance. Unfortunately, I found that Lolita Davidovich was more than a little wooden playing the terrorized wife. Now she did show some convincing moments of fear, but I couldn’t help but feel that she was too indecisive when acting in the part to truly make it work. She looked gorgeous though and her beauty is very becoming. Steven Bauer makes up for things as the handsome object of Jenny’s affections who inadvertently becomes the thing that allows Cain to fully surface with maniacal intent. The great Frances Sterhangen steals the scenes she appears in, where she embodies the shock and incisive knowledge of Carter/Cain through a past event, yet can’t quite piece all the parts of the baffling puzzle together into a whole. Sternhagen exudes an intrinsic authority and level of intelligence that feeds into the part exceptionally well.

So it is an overblown exercise which does induce head-scratching, but by and large Raising Cain still keeps your focus in a strange way, that De Palma plays to with pizzazz. It’s not a masterpiece by any means, but still a movie that demands attention for its thrills and visionary content. And just to tel you all, I’m going to be finding my way through De Palma’s filmography in the next few months, so look out for more reviews.

Frailty

Tags

2000's, Bill Paxton, Frailty, Jeremy Sumpter, Matt O'Leary, Matthew McConaughey, Powers Boothe, Psychological Thriller

Film Title

Frailty

Director

Bill Paxton

Starring

• Bill Paxton as Dad
• Matthew McConaughey as Fenton Meiks
• Powers Boothe as Agent Wesley Doyle
• Matt O’Leary as Young Fenton
• Jeremy Sumpter as Young Adam

A film that practically radiates a creeping sense of dread and shock yet keeps it in a plausible prism, Frailty is a dark and haunting psychological thriller marking the directing debut of Bill Paxton, that examines the destruction of a family through fanaticism and the relationships between father and sons.

At FBI headquarters, seasoned agent Wesley Doyle is surprised when a haunted looking man by the name of Fenton Meiks enters the building wanting to speak with him. Once he has established who this man is, Fenton reveals that he has knowledge regarding a notorious serial killer, referred to as God’s Hand who has been of large for a long time but has never been caught. Fenton claims to know this because the killer was his brother Adam, who he tells Doyle committed suicide this very night. Doyle begins to listen to the story that Fenton relays to him. Back in the 70’s, Fenton and his younger brother Adam were growing up in a small Texas house with their widowed father. He was a good father who looked after his kids and made them feel safe. That is until a fateful night when the father speaks of having being visited by an angel who appoints him as a divine force to seek out demons and kill them. Fenton as the older brother is extremely resistant to the idea of what he considers nonsense, while Adam as the younger sibling who idolizes his dad believes what he says. These claims by the father become very dark and twisted as he sets about attempting to find these demons who look like humans. The two children are then subjected to watching and helping him kill people who are on the list he acquires from an allegedly celestial source, slowly warping the way these boys see their father. Events came to a head when young Fenton couldn’t cope with standing by and watching these events unfold and his younger brother become as fanatical as his father. Yet as Fenton continues his recounting of the events that shaped his traumatised childhood, Doyle begins to question parts and gets the feeling that there is indeed more to the story than at first appears.

Bill Paxton directs with an assured touch and respect for the source material; playing scenes out in a natural way and bridging the gap between the thriller elements and the disquieting and stark drama at the centre of it all. Paxton doesn’t go for predictable here, cleverly employing various twists and turns that are jaw-dropping to witness and . The story could have easily slid into utter absurdity, but Frailty is delivered with precision and unsettling command that make sure any such fears are quickly allayed. Frailty often gets described as a horror movie and while there are certain references to this, I personally place it as a psychological thriller rather than outright horror. For starters, the main bulk of the film is charting the ways that family is accountable for shaping us and the implications of what we see can survive for a lifetime. There is precious little gore in Frailty, with Paxton excellently employing the less is more approach and leaving a lot to our own imaginations, with a healthy dose of ambiguity thrown in. If this film had gore galore, it would have destroyed the psychological drama at play as well as cheapened an intelligent story. The film is chilling from start to finish mainly because there is an air of possibility and reality to it, tempered with allusions to something metaphysical that are best embodied by the drained cinematography that steeps this exercise in a spooky atmosphere from the get go. Perhaps the most disturbing thing in the film is watching as the patriarch becomes so enveloped by his obsession and supposed visions, that he can’t face reason and becomes a force of disquieting unraveling. The film undoubtedly has a depth and layered feel to it, functioning as both a creepy evocation of a family forever altered and a mysterious thriller that conceals as much as it reveals. I mean I think everyone can relate to the feeling of the two kids in Frailty, as we all as children have usually looked up to our parents and obeyed them. No family is perfect, but the susceptibility of children plays a large part of this film, following the kids as they are forced to endure their father’s deranged ways and be party to his madness. There are those in the audience who will find some of this film hard to digest, yet it never sets out to be a comfortable watch and firmly establishes this from the start. The low hum and staccato ambience of the score perfectly match the gradual unearthing of the past and the shocking impact of it.

As well as being on directing duties, Bill Paxton successfully leads the cast with a memorable performance. Essaying the role of the father whose actions ultimately changed and traumatised his children, Paxton brings out such a steadfast belief that the character believes he is really doing the work of God and not actually harming anyone. This is probably the most effective thing about Paxton’s work; he doesn’t play the part as a horrible father who is a brute and outright monster, at the start he is a very amiable and relatively calm person. As the movie progresses, you can still see that he loves his children but is so obsessed by the alleged visitation and message that it harms them in the process. Paxton makes the role his own and displays great command of the work, both in front of and behind the camera. Matthew McConaughey marvellously conveys shell-shocked and haunted trauma as the man retelling his story, yet gives off a hint of elusive mystery to deepen the proceedings a plenty. In a supporting turn, Powers Boothe is rightly understated listening to the shocking story with both a trepidation and the feeling that something is not quite right there. He is essentially an extension of the audience and how we react to hearing this tale. The two boys(Matt O’Leary and Jeremy Sumpter) playing the kids whose lives are altered by their father’s blind devotion and zealous beliefs are both incredibly convincing, especially Matt O’Leary as the older and more mature Fenton, whose caught between the care for his father and his shock at the atrocities that occur.

A film that engages the brain as it unsettles and keeps you on your toes, Frailty is superbly executed with perceptive direction from Bill Paxton as well as a cast that he heads.

Seven

Tags

1990's, Brad Pitt, David Fincher, Gwyneth Paltrow, Kevin Spacey, Morgan Freeman, Psychological Thriller, Seven

Film Title

Seven

Director

David Fincher

Starring

• Morgan Freeman as Detective William Somerset
• Brad Pitt as Detective David Mills
• Gwyneth Paltrow as Tracy Mills
• Kevin Spacey as John Doe

A deeply unsettling psychological thriller that plumbs the depths of horror and depravity, Seven is a masterpiece of mounting tension and nerve jangling suspense right up to the shocking climax.

In a bleak, constantly rain-soaked city, William Somerset is a soon to be retiring detective who has seven days left on the job. Somerset has become disillusioned with the abject horror of the world around him and just wants to be done with it. For his last case he is partnered with young and slightly cocky David Mills, who has just moved to the city with his pretty wife Tracy. The two don’t exactly hit it off right away, as Mills is there as a replacement for Somerset and the actions of the two are very different. But gradually, the two reach a level of respect for the other. They are first called in to investigate the murder of an obese man who was force-fed spaghetti until he literally imploded. Then a second murder occurs, this time of a wealthy defense attorney, whose blood was drained to write the word greed next to his body. The cerebral and sharp Somerset deduces a link between the two murders; they are enactments of the Seven Deadly Sins. Gluttony and greed have been accomplished, so there are five left to commit. Somerset and Mills find themselves in a most twisted investigation as the killer is always one step ahead of them and appears to delight in tormenting the two. As more bodies drop and the twisted logic of the killer gains momentum, both men are not prepared for what will eventually greet them as each sin is revealed in petrifying detail.

David Fincher casts a tightly wound and creepy spell here, with all his directing skills on show. His command over the camera is an art form, conjuring up the horrifying events that transpire with a building of assured suspense. The atmosphere of sinister mystery Seven drips from every frame, revealing a world of decrepit morals and nastiness that holds on to you tightly and refuses to let go. A lot of this is down to the absolutely masterful cinematography of Darius Khondji. Through the colour scheme that is largely grey or brown, the nightmarish investigation of Mills and Somerset comes to horrible life. The city they inhabit is never given a name, but Hell Town would be a good one. It’s a city that is decaying in every sense of the word and through the cinematography, it becomes something dark and acrid. The visuals are just spectacular(check the jittery title sequence for a better understanding) at conjuring up a grotesque yet intriguing spectacle as each murder gets progressively more alarming and horrifying. It is hard to recall a film that got the feel of a setting quite like how Seven does it; you are literally placed in the squalor of this unnamed city and there is no escape. The screenplay is also a key element that holds everything together, giving us a creepy inside look at deducing the reasons behind such despicable acts of murder and staging of the sins. While Seven has grisly moments, it gets most of the impact from not showing the murders being committed. Instead we, like Somerset and Mills, glimpse the slayings after the event and it is our imagination of what transpired that gives everything a chilling meaning and core. And talking of surprises, Seven boasts a most chilling and horrifying ending that knows how to catch you off guard. Howard Shore’s eerie score of dark ambience and riveting menace plays out like the film with the shocks and discoveries perfectly matched by the music.

A perfectly cast group of actors give their very best to this unnerving movie. Morgan Freeman shines as the older detective on his way out, but assigned this haunting last case. With deep knowledge and a world-weary look at things, Freeman make a compelling character both engaging and owlish. Just as good is Brad Pitt as the new detective, whose hot-headed approach clashes with Freeman’s calm but later moves along with it. Pitt plays the role in a way that allows Mills to be idealistic but also hampered at times by his go for action approach to the investigation. The work of the actors combined is a strength of Seven, particularly the chemistry of them as they come to a sense of understanding about the other. Gwyneth Paltrow is a lone female presence in the film, portraying the sweet but frustrated wife of Mills. Paltrow is very good with what she is given, projecting warmth and sadness in good measure. And last but not least is Kevin Spacey as the killer, who reveals himself in the latter stages of the story. It is a credit to his abilities that he is only in the film for around half an hour at most and still makes a startling impact. He plays John Doe as a twisted man of significant intellect whose warped view of the world is a driving force in his bloodletting. Spacey unnerves you here, finding the right notes of reptile menace and creepy logic to keep you glued to the screen when he’s around.

An absorbing and disturbing film, Seven succeeds on almost every level in unnerving the audience and providing some very memorable jolts of terror that never leave you.

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.

Hush Hush, Sweet Charlotte

Tags

1960's, Agnes Moorehead, Bette Davis, Bruce Dern, Cecil Kellaway, Hush Hush Sweet Charlotte, Joseph Cotten, Mary Astor, Mystery, Olivia de Havilland, Psychological Thriller, Robert Aldrich

Film Title

Hush Hush, Sweet Charlotte

Director

Robert Aldrich

Starring

• Bette Davis as Charlotte Hollis
• Olivia de Havilland as Miriam Deering
• Joseph Cotten as Doctor Drew Bayliss
• Agnes Moorehead as Velma Cruther
• Cecil Kellaway as Harry Willis
• Mary Astor as Jewel Mayhew
• Bruce Dern as John Mayhew

A heady and creepy psychological thriller, Hush Hush, Sweet Charlotte may be overblown but that almost adds to the fun of the unusual mystery and watching stars from the Golden Age of Hollywood show off their chops in this ghoulish affair.

We begin in 1927 Louisiana. The eponymous Charlotte is a young girl of a prominent family. She has been conducting an affair with married man John Mayhew and they plan to elope. But Charlotte’s father gets wind of this and tries to put a stop to it, for fear of his family name being tarnished. On the night they plan to elope at a party, John is brutally murdered in the summer house, decapitated and with one of his hands cut off . Charlotte discovers his corpse, which leads many to believe that it was her who murdered John after he tried to break off their affair. We then fast forward to many years later; Charlotte’s father has died and she has inherited his Antebellum mansion. But the memory of John’s murder and the knowledge that everyone believes it was her who killed him, has driven Charlotte to near madness. She lives as a recluse in her old house, with only her slightly kooky but loyal housekeeper Velma Cruther as company. Events for the near mad and extremely traumatised Charlotte come to a head, when it comes through that her house, due to her ignoring the eviction notice, and the Highway Commission wants to tear the house down to make a road. The increasingly disturbed Charlotte is against this and violently refuses to leave. Secretly though, Charlotte is worried and it is here that she calls upon the help of her cousin Miriam Deering, who grew up with her as a child. Yet as soon as the almost saintly Miriam arrives and reconciles with her old boyfriend Dr Drew Bayliss(who himself sometimes checks on Charlotte), strange events begin to unravel around the house and in particular Charlotte. Yet while Drew and Miriam write off Charlotte’s ramblings about seeing things in the house, could something sinister aimed at the emotionally distraught Charlotte really be afoot? Is Charlotte just haunted by her past? Or does her demure cousin Miriam have something dark to hide? And most of all, who was it that killed John Mayhew?

After the success of What Ever Happened to Baby Jane?, it seemed only fitting for director Robert Aldrich to return to the Gothic atmosphere of that movie. Yet while there are similarities in the two, Sweet Charlotte has more of a mystery to it(as well as psychological thrills) which makes for spooky viewing. All the conventions of Southern Gothic are here; near crazed southern belles haunted by the events around them, sinister shadows and a Louisiana setting. It’s all a very well done brew with Aldrich confident in his direction. The black and white visuals are ghoulishly effective and create a real atmosphere of suspense and unraveling horror. As I mentioned earlier, Hush Hush, Sweet Charlotte is overblown to be sure as emotions run wild between the characters, in particular Charlotte. At times the melodrama can creek a little and become a bit too much, but for most of the time, it is still devilishly good and deviously twisted. In fact the melodrama sometimes adds to the cauldron of twisted mystery and due to the stars in the film, is very well done. There are a few moments of unexpected gore which surprised me for a film of the time this  was released, but at least it added to the unpredictability of the piece. Most of the chills however stem from the atmosphere conjured up throughout. A slithering score that hits the crescendos of terror and the bristling sense of menace is marvellously scored.

The cast of acting greats is a real delight and they all sink their teeth into the questionable characters of the film. The excellent Bette Davis fully unleashes a gamut of emotions as the terrified and traumatised Charlotte. In almost ever scene of the film, the talents of Davis when it comes to unrestrained acting are second to none as we sympathise with Charlotte because of the horror she endures, even if some of it may not actually be there. Olivia de Havilland on the other hand is more subtle but still very effective with her performance as the seemingly kind and ladylike Miriam. I like the way that de Havilland establishes a nice aura around Miriam, but then little by little gets us to question what darkness may lie beneath her respectable persona and what she knows about the ghoulish events. Joseph Cotten does similar work to de Havilland as the doctor of the town, seemingly jovial and good-hearted, but with the knowledge that something is not quite right. Stealing the show is Agnes Moorehead as the housekeeper who becomes the first to suspect foul play. With a ragamuffin appearance and theatrical glee, Moorehead throws herself into the part with great results. Cecil Kellaway exudes upper-class and well-educated upbringing as an insurance investigator who is most curious about the murder case and the monetary value of it. In what was her last film role, Mary Astor is suitably enigmatic as the ailing widow of John, who has her own secrets lurking around. A young Bruce Dern has the small but pivotal role of John, whose murder is the catalyst for all the chaos that engulfs the fragile Charlotte.

So if you can handle an occasionally over the top and wild psychological thriller, tinged with growing mystery and Southern Gothic elements, Hush Hush Sweet Charlotte is the film for you. And plus with the classic actors featured, it all adds up to a dark and mysterious film, powered by their performances.

Jacob’s Ladder

Tags

1990's, Adrian Lyne, Danny Aiello, Elizabeth Peña, Horror, Jacob's Ladder, Matt Craven, Psychological Horror, Psychological Thriller, Tim Robbins

Film Title

Jacob’s Ladder

Director

Adrian Lyne

Starring

• Tim Robbins as Jacob Singer
• Elizabeth Peña as Jezzie
• Danny Aiello as Louis Denardo
• Matt Craven as Michael Newman

A Vietnam vet’s tortured existence that blurs between reality and visions is captured in horrifying detail in Jacob’s Ladder, directed with creepy certainty by Adrian Lyne and anchored by a powerful turn from Tim Robbins. This is a film that will stay with you for a long time not just due to the haunting, disturbing story and bizarre visuals, but for its harrowing emotion rare in a horror film.

Jacob Singer is a Vietnam vet who after the war is now working as a postal worker in New York City. Although now living with his seductive girlfriend Jezzie following a divorce from his first wife Sarah, Jacob is also mourning the death of his young son and recalling a terrifying an experience during the war when he was stabbed with a bayonet by an unseen soldier. Yet as he tries to move on with his life through his new relationship and job, terror soon encroaches upon it due to visions of demonic beings plaguing him in a fragmented fashion. On his way from the subway, a passenger’s face appears distorted and strangely warped. A nurse appears to have horns under her hat. A wild party turns into a room of beasts. What is causing these sights and are they real? Has Jacob’s mind been fractured by the traumatizing events in Vietnam? He begins to believe this theory when fellow members of his platoon come forward with their stories and they become convinced that the government did something to them while they were stationed in Vietnam. But with his visions growing stronger and finding it harder to distinguish what is real and what isn’t, can Jacob uncover the mystery before the horror completely overtakes him and he completely crumbles? With assistance from his kindly chiropractor Louis and a mysterious man named Michael Newman, Jacob attempts to fathom the nature of these visions and the validity of them before it is too late.

Adrian Lyne brings the nightmarish world Jacob inhabits to life with assured direction, that also taps into the deeper emotions of the story. His successful direction gives life to the ambiguities that Jacob’s Ladder throws at us and places us like Jacob in this abyss of not knowing what to believe or see. Visually, Jacob’s Ladder is phantasmagorical with horrific visions and sights. The fragmented nature of the movie as it cuts between past, memories and possibly delusions is edited with a disjointed quality that creates fear and confusion. Two particular scenes stand out that convey the sheer horror of the piece. The first features Jacob witnessing a man at a party’s head spinning violently fast as if in a constant state of convulsion. The second and most memorably terrifying is Jacob being taken into the decaying bowels of a hospital, strewn with body parts and disturbed patients. Strapped to a gurney, he is investigated by sinister doctor, including a man with no eyes. It truly is terror at its most psychological and unsettling. And yet for all of the horror on show, there is a very melancholy tone that pervades the movie, and is embodied by Jacob’s descent. The film can also be commended for the avenues of possibility it opens up. You’ve got the prospect of government experiments, the grief felt by the loss of a loved one and biblical allusions all at play and giving the film layer upon layer of ambiguity. An ambient score from Maurice Jarre backs the mounting events of bizarre terror and unexplained horror excellently, while underlining the tortured soul of Jacob.

In the role of the eponymous Jacob, Tim Robbins is emotionally powerful and devastating. He elicits sympathy for Jacob and the nightmare he is put through, and the audience feels the same way. As emotional as Robbins performance is, he also embodies the character physically. His movements are awkward and gawky due to his tall frame, his bespectacled appearance makes him look like a young boy and his expressive face is a marvel at conveying Jacob’s plight. In short, Robbins delivers powerful work of deep emotion and clarity. Elizabeth Peña smolders as the sexy but concerned Jezzie, whose name seems very appropriate given the biblical parallels of the story. While her sexuality is showcased often here, Peña gives the character a sense of mystery and fear as she watches Jacob’s slowly fall apart. Danny Aiello makes a mark as the almost angelic chiropractor who gives Jacob an important piece of advice in his search for answers, while Matt Craven is enigmatic as someone who knows more about why Jacob has been receiving these visions.

A deeply unsettling movie of horror and emotion, Jacob’s Ladder is simply an unforgettable movie.

The Forgotten

Tags

2000's, Alfre Woodard, Anthony Edwards, Dominic West, Gary Sinise, Joseph Ruben, Julianne Moore, Linus Roache, Psychological Thriller, Science Fiction, The Forgotten

Film Title

The Forgotten

Director

Joseph Ruben

Starring

• Julianne Moore as Telly Paretta
• Dominic West as Ash Correll
• Gary Sinise as Dr. Jack Munce
• Alfre Woodard as Detective Anne Pope
• Linus Roache as Mr. Shineer
• Anthony Edwards as Jim Paretta

A potentially intriguing premise descends into confusion and disjointed genre melding in The Forgotten, which despite the talent included comes out as a weak and unmemorable movie. Only for a strong turn from Julianne Moore and a suitably eerie score, The Forgotten remains partly watchable.

Telly Paretta is trying to survive the grief of losing her young son Sam in a plane crash fourteen months earlier. No matter how hard she tries, she is haunted by the pain of loss and sadness at losing her beloved son. Her husband Jim thinks it is time that she moves on, but Telly thinks otherwise and continues to cling to the memories of her little boy who was tragically taken from her all those months ago. Then one day Telly wakes up and the strangest thing has happened. The photographs of her and her son are gone. All the tapes of him are blank. And everyone who Telly comes into contact with, even her husband, tells her that they have never heard of her son and that she is delusional. Her psychiatrist Dr Munce explains that Telly has fabricated these memories of ever having a son. Everything that she has experienced up to this point has been a dream or fantasy, according to everyone surrounding her. Bewildered and shocked, Telly knows that she had a son and wants to prove that she is not slipping into madness, despite everyone around her questioning that her boy ever existed. Telly soon finds something of an ally in Ash Correll, who she says had a daughter who died in the same crash. At first, the miserable alcoholic dismisses her claims and won’t listen, but he comes to see that she is right about the whole thing. Now with Telly and Ash searching for the truth, they find mysterious government agents on their tail. And that’s not all, a strange and unexplained force seems to be after them as well. What will be unearthed in Telly’s quest for answers?

Director Joseph Ruben knows how to direct a thriller, but none of that skill is evident here as he tries to straddle the stands of psychological thriller and sci-fi into one. The whole tone of the film suffers and is hellishly disjointed, coming off as a directionless thriller and an X Files reject . This is a shame because the opening sets up what could have been an interesting story, that is wasted and falls short in almost every category there is. The whole basis of a mother searching for her son could have provided a lot of deep emotion here, yet The Forgotten squanders most of the impact. The Forgotten aims to be unpredictable and unexpected, but the script is weak and as the story plods on, it becomes to ludicrous to take seriously. The visuals of moody blue and grey are actually quite well done, but can’t make up for the shortcomings of the film. An ominous and melancholy score, with an underlying electronic edge, adds some much-needed suspense and eeriness to the proceedings.

The saving grace of The Forgotten is the ever-reliable and excellent Julianne Moore. Rising above the multitude of flaws in the story, she invests Telly with emotional clarity and tenacity in her attempts to prove she is right and hopefully discover the truth. Moore is the reason to watch this film as she shines in the part and brings emotive depth and conviction to a hollow film. Unfortunately, none of the other parts are interesting or particularly well-written. Dominic West, Gary Sinise, Alfre Woodard, Linus Roache and Anthony Edwards all have great talent, but the material they are given to work with is abysmal so none of them can make any impact in such sketchy roles.

So except for some striking visuals, melancholy score and Julianne Moore’s performance, The Forgotten should be exactly what the title says.