The idea of remaking Dario Argento’s horror classic Suspiria seems like movie heresy. How could any filmmaker attempt to come close to the Italian master’s original? Though that has not stopped Hollywood from remaking other horror classics of yore. Italian director Luca Guadagnino (Call Me By Your Name, A Bigger Splash) tempts the unwise with a new version of Suspiria, this time following the exploits of Susie (Dakota Johnson) in Cold War Germany as she is seduced by a private dance company lead by Madame Blanc (Tilda Swinton) that’s really a front for the occult. The new Suspiria is a worthy, splashy artistic endeavor but it suffers from too much airy meandering in the name of redundant atmosphere, vague and arbitrary plotting, and poor characters.
We’re told up front this is a story in six acts and a resolution but frankly the first two acts could have been completely eliminated. Their bearing on the overall story is minimal, but then I could say the same thing about much of the characters. Chloe Grace Moritz’s role could have been entirely cut. The majority of the story is strange things happening very slowly in the background of a dance school. The characters that do investigate aren’t our protagonists, which then traps us with people who know too much and won’t share, people who don’t know anything, and people who don’t want to know anything. It gets frustrating spending that much time with them, especially when the end destination (coven conspiracy sacrifice) is obvious even if you haven’t watched the 1977 original. I was told that Guadagnino edited an hour out of the final movie. How? What in the world was left out? It feels like everything they could have shot found its way into the finished film, whether it needed to be there or not. There’s an ongoing subplot about the Red Army Faction (a.k.a. Baader-Meinhof Gang) that we keep returning to as if there’s supposed to be larger relevancy. It’s a left-wing conspiracy that translated post-war anger into violence against the government. If I work really hard I can make a larger thematic connection to witches and women, but I won’t. With Suspiria 2018, it’s really just historical atmosphere that adds little but yet is returned to again and again. There is even a post-credit scene of a character doing something unclear while looking toward the camera. Why include any of that? It’s arbitrary and superfluous to the very end.
The new Suspiria toggles through three tepid lead characters: 1) Johnson’s new dance recruit, 2) Swinton’s artistic director at the school, and 3) Swinton in old-age makeup as a grieving psychiatrist trying to make sense of his life (yes, “his,” as she plays a man). Two of these characters matter in strict plot terms and only one of them are granted some degree of characterization. Susie is essentially an empty vessel who is extremely passive, going along with whatever she’s told (there is a reason for this but it falls under the category of contrived dues ex machina). There are hints of the connection she has to some occult force at play, but we don’t really see any transformation on her part because she’s so opaque to start with. Madame Blanc is the most interesting character, somewhat by default, but she only becomes that in the last third of the film when her personal feelings for Susie make her doubt how far she’s willing to go to achieve the coven’s goal. It’s the only character with a direct internal conflict that seems to matter to the story. The old man has no reason to be in this movie. By the end, it feels like the film has found a significant story reason for his inclusion, one that will actually produce some thematic relevance for Swinton also playing this role, but nope. He serves no purpose other than exposition and to hammer home a tangential historical context of generational guilt. There is a nice character moment between two characters in the resolution but by then it’s too little too late. Even this nice moment doesn’t really need to happen. I think the reason the film toggles between these three characters is even it knows you will get bored with them.
When the horror hits, that’s when Suspiria is at its most rattling. Watching a woman’s body betray her, one excruciating limb convulsion after another, culminating in her own jaw seeming to rotate out of her head, is wince-inducing and terrifying. The sudden jolts of violence made me gasp and squirm every time. This culminates in a third act that is heavy on blood and lunacy, so much so that it feels like the finale to another movie. If the proceeding two hours was understated, atmospheric horror, the last thirty minutes feels like the splatterific Sam Raimi Evil Dead 2. There’s an explicit campiness that feels at odds with the self-serious meanderings of earlier. There are also moments that cannot be described as any other word than “goofy.” There’s an ongoing shot of characters being dispatched in a very exaggerated and theatrical manner, and the fact that we watch thirty of these in a row just invites some degree of laughter. I know I laughed. The final act and confrontation is my favorite part of the film, delivering some long-sought vengeance, but it feels like a different movie. It’s also where Guadagnino’s “put the camera anywhere” stylistic approach betrays him. It’s hard to tell what exactly is happening on a literal level, let alone understanding it, and that’s not even taking into account the muffled sound design of several characters when they hoarsely whisper aloud whatever.
I would be more forgiving if the new Suspiria had not been as exasperatingly long, a full hour longer than the 1977 original. Long movies only feel long when they haven’t fully engaged you, and there are generally only so many ways to keep an audience’s sustained attention and investment. I understand wanting to allow a movie to breathe or wanting to create an uncertain atmosphere of intoxicating dread, but there has to be more than that. There’s also what I’ll affectionately coin the Nicolas Refn Trap, meaning where all of that breathing space ultimately exposes a lot of empty indulgences and vamping. Suspiria 2018 falls into this trap too often; there simply isn’t enough of anything to spread over those 150 minutes. The odd comparison I would make is to the notorious 1980 Western disaster, Heaven’s Gate, a movie I watched for the first time two years ago and actually appreciated. Let me be more specific: I appreciated the 100-minute very good movie somewhere inside there suffocated by the artistic excesses and peculiar and mercurial artistic demands from its uncompromising director (the man refused to shoot anything for ten hours until he got a cloud positioned exactly where he wanted). I’m convinced there’s a potentially great movie in Suspiria but it’s going to require a lot of excavation to allow it to see the outside.
I was interested in re-watching Argento’s 1977 original for the first time in years, and some things have aged better and some things have aged worse. Argento is a first-class visual stylist and his famous use of color makes the cinematography often beautifully horrific as young women are terrorized. There is even less plot than I remembered, a series of surreal murders finally leading to the obvious reveal of the dance company being a coven of witches. The characterization is even thinner than the thin 2018 film, which means that Guadagnino and company had a lot of room to roam when it came to their grandly grotesque remake. Argento’s film is a remarkable example of the immersive power of the screen, with his gorgeous use of light and color, production design, and a pulsating score that is perhaps a bit too omnipresent and anxious. There is one reoccurring musical sting that sounded precisely like the beginning of “Footloose” and it made me laugh every time, imagining Kevin Bacon dancing through the hallways. It’s a testament to the transcendent power of style when done by a first-rate stylist, and it works so far as to create a nightmarish, oppressive atmosphere. However, that eerie atmosphere and technical craft are about all the original Suspiria has to offer since there is a gnawing scarcity when it comes to characters, structure, and story. That makes the 2018 Suspiria a little more confounding. While it clearly works as an homage to Argento it’s also radically different, and yet it still manages to also have underwritten characters and bad storytelling choices even when it could have ditched the original’s original sins. At least Argento’s version is only 90 minutes and a lot easier to watch in one sitting.
The Suspiria remake was clearly a labor of love and not a soulless paycheck for all those involved. The technical craft is accomplished, and even though it lacks the vibrant colors of Argento’s original the cinematography is still highly evocative and unsettling. Guadagnino has put a concerted effort into making his movie operatic, lavish, and radically different from the source material. I think it’s different yet reverent enough that fans of the original will find something to enjoy as the film asserts its own identity. And yet the moody atmosphere is undercut by the shortcomings of the characters and the contrived nature of the overly padded and meandering plot. The more I think back on the movie the more it falls apart under further scrutiny. Suspiria is a tonally confused movie that doesn’t have enough substantial material to fill out its gargantuan 150-minute running time. There will be blood but what there needed to be was a more judicious editor.
Nate’s Grade: C
After years of rumors, highly influential comedian and television guru Louis C.K. has admitted that the sexual allegations against him are indeed true. Several women recently came forward in a New York Times article citing C.K. as asking them to watch him masturbate, forcing women to watch him masturbate, or masturbating over the phone with an unsuspecting woman. Right now in the new climate of Hollywood, it appears that C.K.’s comedy career is at a standstill if not legitimately over. And strangely amidst all this was the planned release of a little movie he wrote, directed and stars in called I Love You, Daddy, about a famous Hollywood director with rumors of sexual indecency. The movie has been pulled from release but not before screeners were sent to critics. I don’t know when the general public will get its chance to watch I Love You, Daddy, but allow me to attempt to digest my thoughts on the film and any possible deeper value (there will be spoilers but isn’t that why you’re reading anyway?).
Glen (Louis C.K.) is a successful TV writer and producer. He’s starting another show and Grace (Rose Byrne), a pregnant film actress, is interested in a starring role and perhaps in Glen himself. His 17-year-old daughter China (Chloe Grace Moritz) takes an interest in a much older director, Leslie Goodwin (John Malkovich), with a troubled past. Glen idolizes Leslie Goodwin but isn’t comfortable with the interest he’s shown in his underage daughter.
It’s impossible to resist the urge to psychoanalyze the film especially considering it’s otherwise a fairly mediocre button-pushing comedy. The biggest question that comes to mind is why exactly did C.K. bring this movie into existence? He hasn’t directed a film since 2002’s blaxploitation parody Pootie Tang. It didn’t even come into being until this past June, when C.K. funded it himself and shot it over the course of a few weeks. What about this story was begging to be brought to life, especially with C.K. as its voice? He didn’t have to make this. He brought this into the world. Given the controversial subject matter, C.K. must have known that the film would at minimum reignite the long-standing rumors of his own sexual transgressions. So why would he make I Love You, Daddy? This is where the dime-store psychiatry comes in handy, because after viewing the finished film, it feels deeply confessional from its author. It feels like C.K. is unburdening himself. I cannot say whether it was conscious or subconscious, but this is a work of art where C.K. is showing who he is and hoping that you won’t realize.
This is very much C.K.’s riff on Woody Allen movies and Woody Allen’s own troubled history of sexual impropriety; it’s an ode to Allen and a commentary on Allen (C.K. had a supporting role in Allen’s Blue Jasmine in 2013). It’s filmed in black and white and even follows a similar plot setup from Manhattan, where Allen romances a 17-year-old Mariel Hemingway. It’s about our moral indignation giving way to compromise once our own heroes are affected or whether or not our own lives can be benefited. The stilted nature of human interaction among a privileged set of New Yorkers is reminiscent of Allen’s windows into the world of elites. It’s an approach that C.K. doesn’t wear well, especially coming from his much more organic and surreal television series. The movie is trying to find a deeper understanding in the Woody Allen-avatar but never really does. I grew tired of most of the conversations between flat characters that were poorly formed as mouthpieces for C.K.’s one-liners and discussion points (and an N-word joke for good measure). Leslie is an enigma simply meant to challenge Glen on his preconceived ideas. Leslie isn’t so much a character as a stand-in for Woody Allen as stand-in for C.K.’s own fears of hypocrisy and inadequacy. And that begets further examination below.
In retrospect, looking for the analysis, there are moments that come across as obvious. C.K. has generally played a thinly veiled version of himself in his starring vehicles. Here he’s a highly regarded television writer and producer who seems to keep making new highly regarded television series. There are too many moments and lines for this movie not to feel like C.K. is confessing or mitigating his misdeeds. One of China’s friends, a fellow teen girl, makes the tidy rationalization that everyone is a pervert so what should it all matter? Sexuality may be a complicated mosaic but that doesn’t excuse relationships with underage minors and masturbating in front of women against their will. Glen says that people should not judge others based upon rumors and that no one can ever truly know what goes on in another person’s private life. There’s a moment late in the film where Glen is irritated and bellows an angry apology with the literal words, “I’m sorry to all women. I want all women to know I apologize for being me!” I almost stopped my screener just to listen to this line again. In the end, Glen has a fall from grace and loses his credibility in the industry. He’s told by his producing partner, “So you were a great man and now you’re not.” And the last moment we share with Glen before the time jump that reveals his fall from grace? It’s with China’s “everyone’s a pervert” friend and after she confesses that she once had a crush on Glen when she was younger and that she finds older men sexy. After a few seconds, he slightly lurches toward her like he’s going to attempt to kiss her and she recoils backwards. Glen interprets the moment very wrong and tries to make an unwanted move on a much younger woman. Yikes.
There’s also a supporting character that twice visually mimes masturbating in public. Yeah, C.K. literally included that gag twice. For a solid twenty minutes I didn’t know if Charlie Day’s character was real of a Tyler Durden-esque figment of Glen’s outré imagination. Day plays an actor with a close relationship with Glen. He’s not like any other character and seems to speak as Glen’s uncontrolled sense of id, urging him into bad decisions. During one of those furious masturbatory pantomimes (not a phrase one gets to write often in film criticism, let alone the plural) Day’s character is listening to Grace on speakerphone. This is literally the same kind of deviant act that C.K. perpetrated on a woman detailed in The New York Times expose. It’s gobsmacking, as if Bill Cosby wrote a best friend character that would drug women at a party he hosted, and Cosby wrote this after the rape allegations already gained traction. Double yikes.
As a film, I Love You, Daddy feels rushed and incomplete. The editing is really choppy and speaks to a limited amount of camera setups and shooting time. Locations are fairly nondescript and the entire thing takes on a stagy feel that also permeates the acting. C.K.’s television work has revolved around a very observational, natural style of acting and a style that absorbs silence as part of its repertoire of techniques. I Love You, Daddy feels so stilted and unrealistic and it’s somewhat jarring for fans of C.K.’s series. The actors all do acceptable work with their parts but the characters are pretty thin. You feel a lack of energy throughout the film that saps performances of vitality. There’s a method to the reasoning on presenting China as an empty character until the very end, which speaks to Glen’s lack of understanding of who his daughter is as a person. The overall storytelling is pretty mundane, especially for C.K. and the topic. He seems to open conversations on topics he believes don’t have easy answers, like age of consent laws, statutory rape, and judging other people based upon their reputations, and then steps away. The film wants to be provocative but fails to fashion a follow-through to connect. There aren’t nearly enough nuances to achieve C.K.’s vision as saboteur of social mores.
It feels like C.K. might have anticipated having to come forward and accept the totality of his prior bad behavior, and maybe he felt I Love You, Daddy was his artistic stab at controlling the reckoning he knew would eventually arrive. I would only recommend this movie as a curiosity to the most ardent fans of C.K. comedy. I Love You, Daddy delivers a few chuckles but it’s mostly a mediocre and overlong Woody Allen throwback companion piece. It’s harder to separate the art from the artist when that artist has complete ownership over the vision. As of this writing, I can still watch Kevin Spacey acting performances and enjoy them for what they are, mostly because he is one component of a larger artistic whole. In C.K.’s case, he writes, directs, stars, and it’s his complete imprint upon the material. I consider 2016’s Horace and Pete to be of nigh unparalleled brilliance that I wouldn’t hesitate to call it a modern American theatrical masterpiece that could sit beside Eugene O’Neill. So much of C.K.’s material was based around his brutal sense of self-loathing and now the audience might feel that same sensation if they sit down and watch I Love You, Daddy. Unless you want to do like I did and unpack the film as a psychological exercise of a man crying out, there’s no real reason to watch this except as the possible final capstone on C.K.’s public career.
Nate’s Grade: C
The first Neighbors was a pleasant surprise, a gross-out comedy with heart, cross-generational appeal, and a surprising degree of sincere attention to round out its cast and supporting characters. For my money it was a comedy that checked all the boxes. Now two years later comes a sequel that looks to repeat just about all the plot mechanics of the first except with a sorority replacing the fraternity. It looks like it’s checking the standard more-of-the-same sequel boxes. I was again pleasantly surprised, especially how little Neighbors 2 repeated the comic setups and jokes of the original (the malignant comedy disease known as Austin Powers Sequel Syndrome) and how much I still enjoyed these characters. Seth Rogen and Rose Byrne are now expecting their second child and trying to sell their house. They have to pass a 30-day escrow period without their buyers rescinding their purchase. That’s when Chloe Grace Moritz transforms the next door home into an off-campus sorority. She’s appalled at the gross and derogatory nature of fraternity-hosted parties and an unfairly arbitrary rule that sororities can’t host parties. She and a couple one-note stock fiends throw a female-friendly party house (Feminist Icon parties and bawling your eyes out to The Fault in Our Stars) where they won’t cotton to uncheck male ego. I was laughing throughout the movie with some big laughs at key points. Rogen and Byrne maintain a wonderful comic dynamic and the warring generations premise can still produce plenty of entertaining set pieces. The jokes can be sly and come at you from different angles, taking you be surprise (a “bun in the oven” joke had me almost spit out my drink). There are some things that don’t quite work, mostly how listless and self-involved the female coeds come across and some of their hollow arguments in the name of feminism. I guess equality does mean that women can behave as badly as men. Neighbors 2 replaces a bit of the heart of the first film with an excess of slapstick. There’s also a weird corporate synergistic tie-in with Minions that never quite settles. Still, Neighbors 2 is a satisfying sequel that reminds you what you enjoyed about the first film while not being indebted to what made it succeed.
Nate’s Grade: B
If your idea of a fine time at the movies is watching Denzel Washington be a badass and murder people in grisly fashion for two hours, then The Equalizer is right up your alley. There’s not much to the plot of this loose remake of the 1980s TV show of the same name; Denzel plays a man with a mysterious past who works at a large Home Depot-esque hardware store. He sees injustice transpiring against his pals, and he fixes it in a violent fashion. The movie is two storylines that don’t converge until the final act, namely the Russian crime syndicate trying to ascertain who this vengeful badass just might be, and Denzel doing his episodic vigilante good deeds. The climactic act is a drawn out showdown where Denzel uses every part of the hardware store to deadly results. There’s definitely a pleasure in watching Denzel dispatch tough-talking baddies, and that’s what the film delivers, no more, no less. The confrontations are generally well written and ratchet tension nicely, especially when Denzel has some chilly conversations with his soon-to-be-victims before they inevitably make their bad decisions. The tense sit-downs were more entertaining for me than the bloody violence. Director Antoine Fuqua (Training Day, Olympus Has Fallen) goes about his business in a more than competent manner; the technical qualities are above average, though the film has moments where it seems too infatuated with its slick sense of style (slow-mo rain gun battles?). With a stream of bad guys to be toppled at a steady interval, The Equalizer can start to feel like an assembly line of cocksure carnage, a ready-made vehicle for audience blood lust. Still, watching Denzel be a badass and kill a whole lot of bad people is enough for a movie. Just don’t expect much more than that scenario and you may be satisfied if you’re not too squeamish when it comes to bloodshed.
Nate’s Grade: B
The Muppets are back, though their new film seems to vaguely be recreating the amusing if somewhat slight Great Muppet Caper. The same blend of Muppet-staple sweet goofiness and anarchy is still a pleasure to watch, causing me to laugh throughout; it’s just that there are more leaden stretches between the laughs. The side stories have more interest and humor than the main storyline where Kermit has been replaced by a nefarious Russian doppelganger. Ricky Gervais is wasted as a criminal sidekick and he doesn’t bring much energy to the film. Fortunately Tina Fey, as a gulag prison guard, and Ty Burrell, as a Pink Panther-like Interpol agent, rise to the occasion. Burrel, teamed up with Sam the Eagle, made the movie for me. Their comic interplay and rivalry is the best and gives way to the best use of sight gags. It’s an amusing and agreeable film but there’s a noticeable spirit missing, possibly from the departure of living Muppet Jason Segel as an actor and a co-writer. I was shocked that Bret McKenzie, who won an Oscar for the 2011 movie, was the same man behind these new tunes. With the exception of maybe two songs, the remaining majority of the songs are downright dreadful. Within minutes of leaving my theater I could not for the life of me remember one of the tunes. The celebrity cameos are also less fun, many poorly integrated into the film, just the actors appearing and then vanishing. James McAvoy just walks onscreen to deliver a package. Is that the best use of everyone’s time? Still, while a noticeable step down from 2011’s The Muppets, the movie still has enough of the Muppet charm and silliness to entertain. It’s just missing some of the magic that made their return so special.
Nate’s Grade: B
It’s hard for me to discuss Kick-Ass 2 without sounding like a hypocrite. I enjoyed the first film’s visceral thrills, style, and satire of superhero tropes. The sequel gives me more of the same except not nearly as well polished, and in typical sequel mentality, it goes bigger, expanding the world and the height of the sick puppy violence. Kick-Ass (Aaron Taylor-Johnson) and Hit Girl (Chloe Grace-Moritz) are trying to live ordinary lives but keep feeling the need to don their suits and fight crime. Kick-Ass joins a ragtag team of other costumed vigilantes to battle a super villain team, lead by the former Red Mist (Christopher Mintz-Plasse). For long stretches, the movie seems like an unwanted Heathers knockoff as Hit Girl attempts to fit in at high school. She has some particularly nasty vengeance against a popular bully, and if there is a line, it may have been crossed here. I don’t know what it says about me, but I guess I’m fine with a pint-sized kid slicing up bad guys and cursing like a sailor, but making a woman simultaneously vomit and defecate herself, watching both projectile streams spray out her ends, is too much for me. This is a darker, cruel, and mean-spirited feel with the material, and writer/director Jeff Wadlow fails to compensate for the lack of creativity this go-round (I miss you Matthew Vaughn). The humor is still lively, but the plot is predictable at every step, the characters behave in ways that don’t make sense, and the action sequences are poorly filmed, leading to an anticlimactic ending that simply peters out. Kick-Ass 2 won’t be knocking anyone out.
Nate’s Grade: C+
Dark Shadows was a daytime soap that aired for only a brief period of time as far as soaps are concerned, 1966-1971, but it was enough to make a lasting impression. The supernatural soap featured vampires, werewolves, and other creatures of the night, entangled in high-stakes drama and romantic excursions – it was the Twilight of its day. Director Tim Burton and his attached-at-the-hip collaborator, actor Johnny Depp, were fans as children and have kicked around a big-budget big screen version for years. Now that Dark Shadows hits theaters, you’ll be left wondering whether they really ever liked the original show or secretly despised it.
In the 1770s, Barnabus Collins (Depp) is the son of fishing and canning magnate in colonial Maine. He has a fling with Angelique (Eva Green), one of his family’s servant girls, and unfortunately for him, the gal is also a witch in her spare time. She curses the Collins family, killing Barnabus’ mother, father, and the woman he loves. She then turns him into a vampire, riles the villagers into mob mode, and Barnabus gets trapped in a coffin and buried for good.
Two hundred years later, a construction crew unearths an old coffin and out pops Barnabus from his prison. The world is a very different place. Elizabeth Collins Stoddard (Michelle Pfeiffer) is running the Collins family manor and canning company, which has fallen on hard times. A rival canning company is snapping up fisherman contracts, and this company is led by none other than the same ageless Angelique. Elizabeth tries to conceal her distant relative’s unique “condition” from the rest of her family, her brother Roger (Johnny Lee Miller), and his son David (Gulliver McGrath), grieving the loss of his mother, moody 15-year-old daughter Carolyn (Chloe Grace Moretz), and caretaker, Willie Loomis (Jackie Earle Haley). The Collins family also has a new hire, Victoria Winters (Bella Heathcote), who looks strikingly like Barnabus’ lost love from 200 years ago. He becomes smitten with the new lass, who may be the reincarnation of his lost love. That’s enough to rev up Angelique’s wild sense of jealousy, as she tries to get her long-desired man and destroy anyone that stands in her way.
Is this ever one ghoulish mess of a movie. It never settles on a tone; is it supposed to be a larky tongue-in-cheek send-up, a Gothic melodrama, a dysfunctional oddball family comedy? What is this supposed to be, because whatever it is, it isn’t entertaining. Oh sure, it’s entertaining in a, “Where the hell is this going?” kind of way, but so is being kidnapped by a drifter. The movie feels like it has a box filled with ideas, and every so often it just shakes up that box, reaches inside, grabs one and says, “Let’s give this a try.” The screenplay, credited to author Seth Grahame-Smith (Abe Lincoln: Vampire Hunter), is awash with half-baked ideas and poorly developed characters. The live-in doctor, played by the second stalwart of the Burton Repertory Players, Helena Bonham Carter, is a hoot. Carter (The King’s Speech) has got an edge to her and an interesting dynamic with Barnabus, but sadly her storyline is tied up far too quickly. The character of Victoria is a rather interesting one, a girl who could communicate with her ghostly former relatives, who happen to look just like her. The gal was sent to a mental asylum by her parents and escaped, compelled to come to the Collins mansion. Why in the world wasn’t she the movie’s protagonist? That is a far more compelling perspective than a goofy vampire who speaks all old timey. Seriously, the Barnabus stuff is your basic fish-out-of-water comedy, lazily commenting on the times. There is no joke that is too obvious for this movie (Barnabus inquires why Carolyn has no husband; Barnabus is fascinated by a lava lamp; Barnabus thinks Alice Cooper is an ugly woman – sigh). A lot of the shapeless narrative would be forgivable if the movie was just funnier. Barnabus is just not that fun of a character. His anachronistic verbiage gets dull when you discover that seems to be the movie’s one joke. You may start tuning him out like I did.
The movie feels like a collection of subplots and no main storyline to gather traction. We’re told that the youngest Collins, little David, is enamored with Barnabus, though considering we’ve only seen the two together in like one previous scene, this seems like quite a leap. Unless David has gotten particularly skilled at hiding behind rocks, we haven’t seen any of this. The entire character of David and his sleazy father could be eliminated and they would only minimally affect the story. And then there’s the late revelation that one of our characters has a hidden secret identity, a revelation that fostered no setup. When the character looks into the camera to explain and ends with a curt, “Deal with it,” it’s like Grahame-Smith himself is speaking directly to the audience, mocking it for hoping that the movie would actually do a good job of setting up and paying off character development and relationships. Stupid audience. Why can’t you just be happy with all that neat Tim Burton set design?
The final melee between the Collins family and Angelique keeps reminding you of the dashed promise of the flick. Angelique, in her witchy withiness, summons dark forces to make statues come alive. Well, sort of. They flail their arms a tad. And then she makes the walls bleed. Well, sort of. The dripping blood stops after just a few inches from where it began. If you’re going to make the house bleed, I want Shining-level torrents of the red stuff. The tonal inconsistency, matched with the muddled plot and scant character work, makes for a pretty frustrating bore of a movie.
You could usually count on Depp (Alice in Wonderland) for at least committing himself to another bravura weird performance, but the material fails him. He’s caked with alabaster makeup, given claw-like hands thanks to additional knuckles (why…?), and he’s trying his best to transform a list of peculiarities into a character, but like most things concerning the movie, it does not coalesce properly. I actually think the most entertaining actor in the movie is Green (Casino Royale). Part of that might be my hormones revved up from her frequent cleavage-baring outfits as the vampy villainous (no pun intended). There’s not much to her role but at least she has fun with it, bringing an admirable level of energy while her peers remain laconic, content to submerge into the 70s scenery. She shows a nice flair for comedy heretofore unseen. Strangely, Green adopts a slightly raspy voice that sounded like an imitation of, none other than, Helena Bonham Carter. If Burton’s note to his film’s young, frisky, sexy antagonist was, “Sound more like my wife doing an American accent,” then I think we’ve butted into something personal best left between husband and wife.
Ultimately, I have no idea who this movie is going to appeal to. The fans of the original soap will surely not be pleased with the jokey, tongue-in-cheek manner that Dark Shadows treats its source material. Fans of Burton’s stylized, dreamy, Gothic fairy tale visuals will find the film tedious and a poor waste of the man’s talents. Even the casual Depp fan will probably find the movie mostly unfunny, weird, and boring. The tonal whiplash never settles down, and the plot is replete with half-developed characters, ideas, and plot points. It just seems to throw everything at the wall to see what sticks, but that’s not the best way to tell a story. Not even Burton’s visuals or Depp’s performance can save this movie. Dark Shadows is unquestionably amongst Burton’s worst films (2001’s Planet of the Apes debacle takes the crown), made all the more inexplicable by the fact that Burton and Depp are self-described fans of the TV show. Maybe we all have different definitions of “fan” that I am not privy to. This movie deserves a quick death.
Nate’s Grade: C
Martin Scorsese tackling a children’s film feels like an odd fit for the man responsible for classic gangster epics and symphonies of violence. But if David Lynch, Kevin Smith, Tim Burton, and Danny Boyle can all make family films that don’t make your brain rot, then why not the greatest living director? Maybe notorious sadist Lars von Trier will be next. Adapted from the award-winning children’s book, Hugo is, as my pal Eric Muller put it, a family film for film historians.
Hugo (Asa Butterfield) is an orphan boy living beneath the walls of the Paris train station. He’s secretly the one responsible for winding up all the clocks and keeping time. He has to stay one step ahead of the Station Inspector (Sacha Baron Cohen), who snatches wayward boys and sends them off to an orphanage. Hugo has been swiping clock pieces from the booth of a mysterious toy collector, George (Ben Kingsley). He needs the tiny pieces to fix a metallic man that Hugo and his late father (Jude Law) had been working on together. Hugo is convinced that if he fixes the metal man the automaton will write out one last message from his father. Hugo befriends George’s niece, Isabelle (Chloe Grace Moretz), and the two of them explore the various shops and shopkeepers of the station. As they uncover more clues, the kids realize that George is actually George Méliès, the filmmaking pioneer best known for the 1902 fantasy, A Trip to the Moon (the one where the moon gets a bullet in its eye).
Scorsese’s first foray into 3D filmmaking is a rousing sensation for the eyes. The images pop without superfluous objects flying at the camera. The depth of field is nicely and creatively toyed with by Scorsese. Best of all, the 3D enhances the story rather than distracting you. Hugo is a celebration of the advances in moviemaking, and 3D is the latest advancement meant to make the theatergoing experience special. Of course the theatergoing experience has always been special, as the movie indicates. Where else but a theater can we collectively bond with a group of strangers, laughing collectively, feeling the pangs of emotion in unison? There’s a thematic rationale for Scorsese’s use of the third dimension. He masterfully fills the screen with wonderful images, like the massive inner working of clock towers. Scorsese’s signature tracking shots zoom in through the wintry 1930s Paris landscape and train station. A visual highlight is when a trunk of sketches busts open, the papers scattered all over the screen, some moving like flip books, creating the illusion of animation. I can honestly advise people to seek out a 3D showing of Hugo if given the option. For once, it’s worth the extra dough. I only anticipate making this same recommendation for the upcoming Piranha 3DD.
It’s the second half where the movie shows its true intentions, becoming a love letter to the power of cinema and the early pioneers of the art form. Scrosese has long been a historian of the movies, and Hugo is his celebration of the early cinematic dream makers, notably Méliès and his surreal theatrical landscapes. Arthur C. Clark famously said that “any sufficiently advanced technology is indistinguishable from magic.” That’s what early cinema was to a populace that had never seen the likes of moving pictures (we see an early audience fearing for their lives watching a film of a train arriving). It was like a new magic. The turn-of-the century filmmakers like Méliès were charting new terrain as visual storytellers, opening the public to new wonders of the imagination. Simple tricks of editing substitution, dissolves, and visual arrangement could help foster the ongoing illusion. It may be low-rent, like hand painting individual film frames, but it was the special effects of their day. D.W. Griffith once said of Méliès, “I owe him everything.” Scorsese is sharing his passion for the history of the movies and it’s hard not to feel the power of the movies.
But when Hugo gets swallowed whole by Scorsese’s nostalgia, the rest of the plot becomes incidental. The characters, which were not strong to begin with, are given pat resolutions that make you realize how flimsy the characterization is. The movie takes a sub-Amelie route, letting Hugo bring together disparate couples, but you don’t really know anything about these people. Emily Mortimer’s female florist has maybe two lines in the movie, so why should I root for her to get with the Station Inspector? There’s an older couple whose romance is sabotaged by an aggressive pooch. You can imagine the scintillating resolution that awaits. The film history section is honestly the best part of the movie, but it means that everything leading up to that point was just in service to prop up the academic nostalgia. It means that the characters and their mysteries were really unimportant, and they feel that way by film’s end. The movie just grinds to a halt. The mystery of the metal man is that he’s a MacGuffin, a means to discover Méliès’ past. The whole clockwork symbolism can be clumsy, instructing us time and again that people are broken and Hugo feels the need to fix things. Too bad he couldn’t fix the disjointed story.
The actors manage to make favorable impressions when they can fight free of the movie’s educational pull. Butterfield (The Boy in the Striped Pajamas) is a strong lead actor who rises above the sniveling preface of his character. He makes you root for the kid even when we don’t really know much about him beyond his Dickensian conditions. The kid has some pretty piercing Paul Newman-esque blue eyes too. Moretz (Let Me In, Kick-Ass) is showing the poise and grace to make it long term in this business. Kinglsey (Shutter Island) is effectively curt with his poorly veiled pain and regret. Cohen (Borat) expands his dramatic range noticeably, adding touches of empathy for a character that could mostly have been arch and cartoonish. He’s still the film’s best source for comedy. Michael Stuhlbarg (A Serious Man) makes a welcomed appearance as an expert on early filmmaking, Méliès especially. He serves as the mouthpiece for Scorsese’s passion.
Hugo is a family film that ultimately gets swallowed whole by the filmmakers’ passion. It makes for an entertaining and informative essay on the skill and vision of turn-of-the-century filmmakers, but if people are anticipating a fun story about a scrappy kid and his mischievous adventures, then this is not that movie. Hugo benefits from terrific visuals, strong acting, and Scorsese’s blend of whimsy and innocence without stooping to anything crass or lowbrow. Hugo aspires for the rich, romantic experience of a Jean-Pierre Jeunet film (Amelie, A Very Long Engagement) but comes up short. Hugo is at turns charming and magical but as a narrative it is too often flimsy, a wispy thing meant to lead to Scorsese’s love letter. It’s a fine and fitting tribute but even the best and most powerful love letter can only go so far, never mind the hassle of special 3D glasses.
Nate’s Grade: B
Essentially a faithful remake of the Swedish pre-teen vampire romance, Let the Right One In, this American reinterpretation loses points in originality and freshness but makes up for it with a bigger budget and better acting. Even fans of the original, and count me as one, must admit that Chloe Grace Moretz (Kick-Ass) as a pint-sized vampire stuck forever in pre-pubescence, and Richard Jenkins (The Visitor) as her aging caretaker, are upgrades. The true surprise is the eerie assuredness of the entire production from director Matt Reeves, he of shaky-cam Cloverfield fame. The entire film just feels so placidly precise, even as it draws tension and sets up for one vicious poolside climax. Some of the audience unfriendly moments from the original have been exorcised (say goodbye to lingering gender identity questions), but Let Me In still happily dwells in an unsettling place, forcing its characters to do questionable things in the name of companionship and forcing the audience to decide how they fell about that. Also, the film still retains its ambiguity for interpretation; whether you view it as a depressing saga of use and abuse, or an disaffected teen romance is entirely up to you. Let Me In won’t grab peoples’ attention in the same way its Scandinavian predecessor did, but it doesn’t screw it up either. And these days, that’s got to count for a lot.
Nate’s Grade: B+
Based on Mark Millar and John Romita Jr.’s popular eight-issue comic, Kick-Ass takes the world of superheroes and makes it one step closer to reality. Granted, it’s still a heightened reality with flexible rules erratically administered, but it’s almost recognizable. Nobody in Hollywood wanted to touch this movie, so it was produced entirely outside the studio system. That hesitation may be because Kick-Ass begins as a goofy teen comedy and morphs into a bloody action caper with off-the-wall violence. But it’s also preposterously entertaining.
Dave Lizewski (Aaron Johnson) is just a typical kid who reads comics and wonders what else could be out there for him. He’s pretty much a nobody at school who routinely gets beat up. His life’s biggest tragedy is the loss of his mother, but she was not taken by some dastardly villain but by an aneurysm. Dave questions why nobody ever tried to be a real super hero. Tired of being a nonentity, Dave orders a wet suit and fashions a costume for a superhero alter ego, Kick-Ass. His first few encounters don’t go so well, landing Dave in the hospital, but in short time his exploits become a YouTube sensation. His MySpace page becomes full of admirers all seeking super hero help. He inspires others to don cape and cowl, like Damon “Big Daddy” Macready (Nicolas Cage) and his daughter, Mindy “Hit Girl” Macready (Chloe Grace Moretz). But they have their own reasons for cleaning up the streets. Big Daddy worked as a cop but was wrongly imprisoned when he went against mob kingpin Frank D’Amico (Mark Strong). Damon has been plotting his vengeance and training Mindy to be an efficient killing machine. Unfortunately, their mob hits are being blamed on the hapless Kick-Ass. Frank D’Amico enlists his wannabe gangster son, Chris (Christopher Mintz-Plasse), to pose as a superhero and lure Kick-Ass out into the open. It’s like The Departed but with more eyeliner.
Kick-Ass is a fairly subversive work, notably in the relationship between Hit Girl and Big Daddy. He has been training her (or brainwashing) to become a tool of vengeance, but he’s also making sure that his little girl will be tough enough to handle the evil the world may throw at her. A father/daughter outing includes dad firing live ammunition into his daughter’s bulletproof wearing chest. He’s doing this so that she won’t be afraid when, not if, she gets shot. She will know what it feels like. He then promises that they’ll go out for ice cream later. This demented sense of parenting, as presented, actually becomes strangely endearing. They become the heart of the movie, and I was surprised that during some major scenes how emotionally involved I was. We have a beguiling sense of protection for Hit Girl, much like her father who even in moments of great agony screams helpful tactical suggestions to his little girl (to answer any concerns, Moretz and the character are not sexualized even with a Catholic schoolgirl outfit). Unlike Kick-Ass, they have something very concrete to fight for, which is why we feel for them and hope for their success.
The tone of this movie, as you might be able to tell, is wildly uneven. Kick-Ass exists in a reality closer to our own, and Hit Girl and Big Daddy exist in a different fantastic reality where they can perform Matrix style maneuvers at a moment’s notice. But I actually believe that these two different tones and approaches compliment one another. Kick-Ass is a realistic portrayal of what would happen if somebody with no training and nothing but complete naivety would don a costume to fight crime for the greater good. In Kick-Ass’s first confrontation with the criminal element ends with him getting stabbed. His superhero wish fulfillment is brought back to a stinging reality thanks to that blade in his side reminding him that violence is real and painful. His first successful encounter with criminals is not because suddenly he has developed super martial arts skills or any sort of power, it’s simply because he has a stronger will power to continue fighting, even as he staggers back and forth likely to pass out from exhaustion. He wins through sheer will power and little else. He’s got heart but not the ability, thus we watch him receive many pummelings throughout the film. And throughout the movie, Kick-Ass keeps to this edict. He doesn’t succeed through any sort of cunning; his only “special ability” is his above-average tolerance for pain. On the flip side, Hit Girl is the ultra stylized fantasy version of a superhero that we’re more familiar with. She has an amazing talent for death and deception, and even her back story feels ripped from the comic pages — raised to avenge the death of her mother by the hands of gangsters. She is much more in line with our anticipated pop culture sensibility of what makes a super hero. So she and Big Daddy exist as the contrast, an exaggeration that heightens the vast difference between the fantasy super hero and the harsh reality of the ordinary (Dave). It’s a satire that indulges in its targets. While the movie toggles back and forth between the two tones, I never felt chaffed by the alternating styles.
And while we’re on the subject, while the film may be called Kick-Ass but he’s the least interesting aspect of it, perhaps because he is a mirror to the audience. He’s weak, wimpy, and is delusional as far as where his lack of abilities can take him. Which sets the stage for the film to be completely stolen by Hit Girl, played to foul-mouthed, steely perfection by breakout star Moretz. She is a one-woman wrecking crew and dispatches bad guys with stylish, wall-flipping ease. The incongruity of watching an 11-year-old child turn into a killing machine both serves as commentary on the preposterous nature of the comic book world, and it also makes for some seriously wicked fun. Who wouldn’t enjoy a pint-sized little crime fighter with a profane vocabulary? Parental activist groups, I suppose, who have complained about the movie’s portrayal of young Moretz, going so far as to argue that any child should not be made to say the off-color language that she does in Kick-Ass (have they listened to school yards this century?). But here’s the point: it’s supposed to be shocking exactly because she’s a child and that battery of behavior is not expected. She lures opponents into a false sense of security because, after all, she’s “just a little kid.” But Hit Girl is anything but. She’s one tough chick and Moretz gives a performance full of swagger. Film fans, get ready for her lead role in the Let the Right One In remake this fall. It should prove to be another launching pad for Moretz.
Director Matthew Vaughn started as a producer for Guy Ritchie’s films, but with every new film under his belt it looks like Ritchie might become an asterisk for the mighty career of Vaughn. After the tense gangster thriller Layer Cake, the whimsical fantasy Stardust, it seems like Vaughn is getting to be a better director whereas Ritchie appears to be getting worse from film to film. But I am here to praise Vaughn and not bury Ritchie. The movie has splashy visuals and some grand action, especially during an all-out assault on D’Amico’s lair as finale. Pretty much like Hot Fuzz, in the last act the movie degenerates into what it was parodying earlier. But by this time I’m already hooked. Let the fireworks commence and I’ll keep munching my popcorn. It’s a rousing, action-packed finish that manages to acknowledge the irreverent ludicrousness of the whole film while still being, well, kick-ass. Vaughn makes excellent use of music, nicely pairing muscular pieces of epic instrumental rock like “In the House — In A Heartbeat” by John Murphy from 28 Days Later. There are some smart additions like having Joan Jett’s “Bad Reputation” play at a fiery moment of anger, and a kitschy kid song playing during our first introduction to Hit Girl, magnifying the absurdity.
Vaughn also coaxes a good performance from Cage, meaning the actor has strung two good performances in a row (please see Bad Lieutenant: Port of Call New Orleans). Cage has an eerie sense of determination but he plays his character in an “aw, shucks” Mr. Rogers style, even borrowing the speech patterns of Adam West when he dons his costume.
The movie does have some issues. It’s stuffed with too many subplots that go into more detail than they have to. The gangster goons have way too much screen time and are, at best, bad caricatures. The subplot with Dave’s love interest, cute girl Katie (Lyndsy Fonseca), thinking Dave is gay goes on for too long just to offer some third-rate Three’s Company misunderstanding gags. The plot is also completely self-referential without stooping to explanation. As stated earlier, the tonality shifts will not play out the same for everyone, and the plot pretty much switches protagonists halfway through, becoming the Hit Girl show. Then again some might argue that the film would be better off without Kick-Ass.
Kick-Ass plays like a juvenile romp, nothing to be taken seriously. This is not The Dark Knight by any account. I was not feeling the same sense of moral unease that I felt during the depraved, consequences-free killing-as-personal-self-actualization film Wanted, also based on a Millar comic book series. Kick-Ass is never really mean-spirited or cruel or casual with human life, despite the central themes of vigilantism and vengeance. In fact, the movie posits that more people need to make a difference and stand up to injustice, granted he movie ignores the justice system in lieu of fisticuffs. The movie doesn’t deconstruct the world of superheroes like Watchmen, but at the same time it holds it all up for ridicule, saying, “Isn’t this all ridiculous?” and offering escapist thrills. Kick-Ass is a visceral, absurd satire of the realm of superheroes that also manages to mine that same realm for polished genre thrills. Vaughn keeps the movie from feeling disjointed, even as it swaps tones from comic to dramatic, from (moderately) realistic to geek fantasy wish fulfillment. It won’t be for everybody, but consider me apart of the throng that cheered when an 11-year-old managed to make a guy shoot himself in the head with his own gun. There’s probably something wrong with me.
Nate’s Grade: B+