Mandy is a gonzo, psychotropic mood piece that will infuriate some, test others, and delight a select audience that responds enthusiastically to atmospheric indulgences. Set in the 1980s, because of course it’s the 80s, a logger (Nicolas Cage) and his titluar girlfriend Mandy (Andrea Riseborough) have a bad run-in with a small cult. Their leader, Jeremiah Sand (Linus Roache), declares that the god of the universe told him he is entitled to everything, and he picks Mandy. Bad things transpire and Cage is left for dead. He sets off on a quest for vengeance against the cult and a fetish-clad biker gang they employ as muscle, and in the process he might be going insane.
So what kind of movie is Mandy? There really isn’t a plot here so much as an immersive experience of fever dream imagery with a loving yet detached nod to its cultural influences from the 1980s, heavy metal music videos, Heavy Metal magazines, heavy metal album covers (sensing a trend?). There is the bare bones of a plot here, a revenge formula, but it’s really more about the moments and the feelings that writer/director Panos Cosmatos (Beyond the Black Rainbow) is trying to communicate through the screen. He’s another disciple of the Terrence Malick/Nicolas Winding Refn School of Filmmaking, ditching the story details for a visually immersive and hallucinatory sensory experience. The problem with these kinds of movies is that you either check into that wavelength or you don’t. I know that sounds like an oversimplification, as all movies either engage or disengage, but because the story and characters are so minimalist, the opportunities to click with the material rely entirely upon the moody atmosphere and creative execution.
Mandy is overwhelmingly a campy revenge thriller that celebrates the unique Cage-ness of Nicolas Cage’s more unhinged, bizarre performances. This is a movie that asks Cage to go the full Cage, and that can be a beautiful thing. There’s a knowing campiness to the whole exercise that doesn’t feel condescending. It’s not making fun of the onscreen antics so much as it is celebrating the artful absurdity. This is the kind of movie where there’s a chainsaw-on-chainsaw duel and it’s awesome. This is the kind of movie where every patch of woods has a blast of fog to make it feel like a dark fairy tale. It’s the kind of movie where the practical gore effects are stomach churning and memorable. It’s the kind of movie where Cage lights his cigarette from the fire of a decapitated head. It’s a movie where Cage goes on a journey where he transcends into the mythic. He is no mere mortal by the end; he is the mythic figure of vengeance. The man doesn’t just find his foes to foil; he has to first construct his own metallic scythe straight out of a fantasy adventure. Cage is fully aligned with the bizarre and eerie primal nature of the film. His crazed intensity is matched perfectly with the overwrought atmosphere and villains. There are moments where his bug-eyed stare or maniacal laughter will give you chills. He has one sequence that’s petty much non-stop screaming on a toilet as he tries to process shocking grief. It’s a performance that asks Cage to be unrestrained and tightly coiled at parts, relying more on physicality and intense looks than dialogue. For fans of the ironic and sublimely weird Nicolas Cage, Mandy should be a deranged delight to hoot and holler.
However, there’s really no entry point for a viewer if they do not celebrate the campy, gonzo, detached atmospherics of the film. Walking out of Mandy, I told my friends that it needed 20 percent more plot and 20 percent less movie. There’s no reason this movie needs to be over to hours long, especially with its threadbare plot. It takes far too long to get going, with the cult attacking Cage and his girlfriend at the one-hour mark. The second half has improved pacing but still takes its sweet time too. Cosmatos seems to favor a dreamy sense of pacing, so instead of, say, ten seconds of watching Cage’s pained reaction, we’ll get 30 seconds. The self-indulgence has a way of making the artful intent redundant. Did we need those extra 20 seconds to really feel the full artistry? Or, perhaps, could Cosmatos have used all the extra time saved from collectively trimming the excess moments and diversions to better develop the characters and story? The other problem with diverting the majority of the attention to atmospherics is that the eventual comeuppance of the cult lacks a full sense of satisfaction. If we don’t get to really know the cult members then we won’t feel the rush of catharsis when they are dispatched. I talked about this very topic with my review for Peppermint, another revenge thriller with inherent structural problems that mitigated audience payoffs. The revenge formula is a simple thing and engineered to deliver payoffs. Here are two September releases that fumble that formula, although Mandy places less importance upon it. Most of these cult members are given a look, at best, which makes them interchangeable and disposable. Jeremiah Sand is an intriguing, hilarious, pathetic creature, and so the final showdown proves satisfying and somewhat revelatory, as his ego-driven bluster transitions quickly to pleading and bargaining and abject fear. It’s a fitfully climactic moment but did we need two hours to get here? There’s a better 90-minute movie trapped inside here, subsumed and suffocated by Cosmatos’ love affair with his influences and indulgences.
This is also sadly the last score from composer Johann Johannsson, who passed away in February of this year. He was an eclectic creative voice whose musical abilities were diverse. He could create a thundering score that felt like an incoming army, like with Sicario, or a soaring melody that could lift your spirits, like his Oscar-winning score for Theory of Everything. With Mandy, Johannsson relies upon those 80s metal influences and produces a sonic landscape fitting for Cosmatos. The score is kept at a rumble that accentuates the nightmarish qualities of the visuals. To the end, Johannsson sought unconventional methods to give voice to his movies.
Mandy is a crazy, dreamy, moody movie heavy on brooding atmosphere and light on story and characters. If you can hop on its wavelength, Mandy will prove to be a gonzo good time. If you can’t, it’s going to be overly reverential to its cultural influences and laboriously long. I fall somewhere in the middle. I’m not a fan of most Refn movies because I feel like they fall into the trap of emphasizing pretty yet hollow imagery. The ideas don’t tend to go as deep as the filmmakers think they do, and I grow restless for more. Mandy needed more time spent giving greater shape to its world and narrative. This criticism may sound unfair given the nature of the film (do you ask for the details of a dream?) but I feel dismissing its lack of substance is a step too far. Mandy is essentially a dream with hazy plotting, vivid imagery, and intense feelings, but it can wash away upon waking. I left my theater torn over the movie, wanting to celebrate its artistic vision and weirdness while also wishing there was more weirdness and more of a vision.
Nate’s Grade: B-
It’s amazing to me that The Conjuring series has become a literal billion-dollar franchise and in only four cost-effective movies. Rare is the film franchise that births spin-offs so readily, but The Conjuring has already introduced two Annabelle movies, one Nun film, and an upcoming Crooked Man feature. It’s almost as if any supernatural creature given a minor spotlight in the James Wan-produced series is destined for greater things. It’s like the Conjuring universe is a pipeline to stardom for America’s next big malevolent demon. I’m thinking the Conjuring 3 could spend 30 seconds on some tall tale about a haunted plunger and it would be spun off into its own franchise within a year, tops. The Nun is the fifth film in the series, the second spin-off film, and probably the movie with the least amount of narrative substance given its starting material. It’s a mixture of old horror staples and exorcism mumbo-jumbo, and it’s also not half bad.
In 1950s Romania, a small abbey is being haunted by an evil presence that had been confined behind a door that ominously warned, “God ends here.” A nun has committed suicide under mysterious circumstances. Father Burke (Demian Bichir) is called by the Vatican to investigate the strange happenings. He teams up with a local nun-in-training, Sister Irene (Taissa Farmiga), and a traveling merchant Frenchie (Jonas Bloquet) who first discovered the dead nun’s body. The sisters inside the abbey are behaving oddly and it’s not long before our characters realize they’re trapped in the abbey with something wicked looking for a human host to escape.
There’s not really much to the plot of The Nun so the emphasis comes in the realm of atmosphere, unsettling visuals, and unnerving set pieces. The investigative process with our priest and nun-in-training doesn’t amount to many revelations, and the information won’t be new for the audience considering this specific demon Valak has been seen in two other Conjuring-related movies now (maybe three?). It becomes a haunted house thriller and, like the earlier and much ballyhooed Hereditary, a movie of moments. So your mileage will vary depending upon how affected you are by the atmospherics and imagery. With The Nun, I felt like the visuals were built upon more rigorous Catholic religious iconography and a foundation of decades of accumulated exorcism film imagery. Plus the very design of the titular nun is just super unsettling by itself, let alone placed in a spooky setting with spooky lighting. Director Corin Hardy (The Hallow) finds visually pleasing and distressing imagery that he emphasizes for better effect, like a team of faceless nuns standing in formation, or a tormented boy with a snake that slithers out of his screaming mouth. It’s not subtle in the slightest but credit for not relying upon an inordinate number of jump scares for its chief spooks. In the realm of schlocky horror, The Nun is actually a little restrained when it isn’t being ridiculous, but it’s the kind of ridiculous that makes you laugh and anticipate the next scene rather than check your watch. Again, your mileage will vary, but I enjoyed the theatrics and imagery more than the overrated Hereditary.
This brings me to the biggest head-scratcher in the movie that would have seemed designed to ensure audience investment. I had no idea Taissa Farmiga (TV’s American Horror Story) was going to be in this movie let alone the co-lead of the movie. As soon as I saw her face I leaned forward, newly intrigued. My working assumption was that the younger Farmiga was going to be the prequel version of the character played by her older sister, Vera Farmiga (yes, they’re sisters and not mother/daughter). Suddenly this made her character that much more interesting and created a direct connection from the events of the nuns to the larger Conjuring universe, providing a back-story for the Warrens to lean upon. It also allowed me to transfer my feelings for the character onto Taissa Farmiga, making me care far more about her well-being as she creeped around dimly lit corners than if she had been any other woman in a habit in a bad place. The fact that The Nun had so effectively hidden Taissa Farmiga’s presence from the marketing made it feel like an intentional surprise, something to let the audience know the filmmakers weren’t skating by. It raised my opinion of the movie and my enjoyment from scene-to-scene.
And then I found out Taissa Farmiga’s Sister Irene is a separate character from Lorraine Warren. Huh? Of all the young actresses in the world to select, choosing the literal younger sister of Vera Farmiga, who looks strikingly similar, feels far too intentional to be coincidental. Why isn’t she just the younger version of Lorraine Warren, setting her up for a life of hunting the supernatural after this formative experience? She’s even presented as a nun in training and not a full-fledged bride of Christ. Even the decades in age difference would add up. It’s not like you’re playing that close to the facts of the case when it concerns the Warrens who, by modern accounts, are considered frauds by many. Come on, James Wan. Come on Conjuring universe. What are you doing here? The solution was right within reach and you deliberately ignored it.
The Nun is a moderately entertaining movie subsisting on strong production design, exorcism iconography, and solid performances from capable actors. It’s not really more than the sum of its parts but, for me, there were enough effectively creepy moments and punchy images that won me over by the end of its 96 minutes. If you’re a fan of the Conjuring series, or particularly demonic possession/exorcism movies, then you’ll likely find enough entertainment to be had, even if the filmmakers absurdly decide not to have Taissa Farmiga play the younger version of an already established central character. Was this a late-in-the-game rewrite to absolve her of her connection to Vera Farmiga? I’m happy for anyone connected to the production to contact me and clear this up (after my surprising conversation with a key creative on Sherlock Gnomes, I’ll just start openly asking for clarifying correspondence from Hollywood filmmakers now). The Nun in essence does just enough to be silly or scary when needed and possibly worth a watch for horror fans. Now about that haunted toilet plunger. I may have a pitch ready if you’re open to it, James Wan. After all, what’s scarier than a broken toilet?
Nate’s Grade: C+
If you’re a fan of slow burning Gothic horror, the kind where characters wander slowly inside ornate and empty houses investigating various noises, then The Little Stranger is the movie for you. It’s about a laconic doctor (Domhnall Gleeson) inserting himself in the lives of a wealthy family who has fallen on hard times, their once glorious estate left to wither in post-WWII Britain. The family is convinced the spirit of a dead little girl haunts their estate and has its ghostly sights set on destroying the last vestiges of their bloodline. It’s a ghost story by design but the supernatural elements get placed on pause for long stretches. The rest of the movie is a restrained romance between the doctor and the introverted and awkward lady of the house, played by Ruth Wilson (TV’s The Affair). In reality, the doctor is more infatuated with the house than the people inside, fondly recalling his early obsession from childhood. It’s easy to see why. The house, and its exquisite production design, is enchanting. At points it feels like the movie has to remember that it’s a ghost story or a mystery as it shifts narrative tracks. The Little Stranger is a movie simmering in eerie atmosphere and is pristinely directed by Lenny Abrahamson (Room), a man proving how readily he can adapt his artistic style. For a good hour, I was on board with the movie and enjoyed its patient, controlled buildup. It’s practically the opposite of the more visceral horror set pieces we’ve become accustomed to. By the end, I was unsure whether the somewhat ambiguous ending justified the time and path taken to get there. If you don’t have a healthy love of Poe-styled Gothic horror, you’ll likely be restless as you watch understated, refined, restrained British family going through understated, refined, restrained drama.
Nate’s Grade: C+
Hereditary has built up a great roaring buzz from film festivals and its oblique marketing. Numerous critics are hailing writer/director Ari Aster’s debut film as one of the scariest movies of a generation. The studio, A24, which has built up a fine reputation for art movies and genre fare, is releasing it. Except A24 has some trouble when it comes to its horror thrillers. Last year’s It Comes at Night was similarly beloved by critics yet audiences generally disliked it, angered by the misleading marketing that framed it as a supernatural horror (there was none, no titular “it” to come at night). I wonder if A24 learned their lesson and that’s why the trailers and ads for Hereditary have been intentionally hard to follow. After watching Hereditary and feeling let down, I wonder if A24 is in for another disparity between critics and audiences. This is a sloppy, unfocused film with little sense of structure, pacing, or payoffs. It’s a movie of moments and from there your mileage will vary.
Annie (Toni Collette) and Steve (Gabriel Byrne) are ordinary middle-class parents living with two teenage children, the older Peter (Alex Wolff) and the younger Charlie (Millie Shapiro), a girl given to peculiar habits. Following a tragic accident, the family is struggling to come to terms with their loss and their new lives. Annie seeks out comfort from a group meeting, and that’s where she meets Joan (the great Ann Dowd) who shows her how to contact the spirits of the dead via a handy incantation. From there, Annie tries to establish a connection to the realm beyond and possibly unleashes a spirit targeting her family.
With the rapturous critical acclaim that Hereditary has garnered, I was expecting something far more engrossing and far less sloppy. Structurally, this movie is a mess. It feels very directionless from a story standpoint, like the movie is wading around and blindly looking for an escape route into the next scene. Rarely will scenes have lasting impact or connect to the following scene; you could literally rearrange the majority of the scenes in this movie and not affect the understanding whatsoever. That’s, simply put, poor screenwriting when your scenes lack a more pertinent purpose other than contributing to an ongoing atmosphere of paranoia (more on that later). I’m struggling to make broader connections or add lasting thematic relevance to much of the plotting, and that’s because it feels so convoluted and repetitious for so long, until Aster decides it’s time to throw the audience the most minimal of lifelines. There is a moment late in the second act where a character finds a convenient exposition dump by looking through a photo album and a book that is literally highlighted. That at least explains the intent of the final act, but even as that plays out, by the end it’s still mostly confounding. The film ends with another exposition dump, this time as voice over, and I got to thinking that if it wasn’t for these two offhand moments you would have no idea why anything is happening. I had a friend whose girlfriend had been bugging him for Hereditary spoilers for months, so I carefully explained the movie to them as precisely as I could. By the end, he told me, “I still don’t get it.” Yeah, I didn’t get it either and I was actively trying.
There is a type of horror fan that will lap up Hereditary, namely the kind that places the creation of dread and atmosphere and memorable moments above all else. If you’re a gushing fan of David Lynch movies or Dario Argento and their sense of strange dream logic, you’ll be more ready to prize the sum rather than the whole of Hereditary. The aesthetics are pleasurable thanks to crafty production designer Grace Yun (First Reformed) and the moody photography from Pawel Pogorzelski (Tragedy Girls) that maximizes the space and draws out the anticipatory dread. There are effective moments where I gasped or squirmed, but there were also moments where I wanted to laugh. The key term is “moments.” Without a structure, sense of development, and attachment to the characters and their lives, Hereditary left me chasing fleeting entertainment.
Now when it comes to horror moments, I’ll again admit that everyone’s mileage will vary. Some people will watch Hereditary and be scared stupid. Others will shrug. That’s a deeply personal response. I can look at a movie like A Quiet Place and point to its intricate structure and execution to explain why its suspense was so affecting and satisfying. With Hereditary, because all it supplies is moments, I can’t explain why something will work or won’t for a person. Maybe you have a thing against headless corpses. Maybe you have a thing for jump scares (there are more than a few). Maybe you have a thing for invisible girls making clicking noises with their tongues. Then again maybe you’d enjoy a narrative that gave you a better reason to care and that organically built meaningful scares through tangible circumstances.
If you can hang onto the final nightmarish act, that’s when Hereditary is at its best, finally picking up a sense of momentum and finality. The first forty-five minutes of this movie more closely resemble something like Manchester by the Sea, a family unit becoming undone through grief and guilt, simmering grievances just under the surface. It’s well acted, especially by Toni Collette (Krampus) as a mother barely escaping the pull of her boiling anger at her son and the universe as a whole. She gets a few quality moments to blow up and it feels like years of painful buildup coming out. The awkward family interaction is chilly but missing greater nuance. It has marked elements that should bring nuance and engagement (Personal Tragedy, Mental Instability, Blame, Guilt, Obsession), but with Aster’s undercooked screenplay those elements never coalesce. This is a movie experience that is never more than the sum of its spooky parts. Byrne (The 33) is essentially just there, and the fact that the 68-year-old actor has two teenage children is a little hard to swallow. Wolff (Jumanji: Welcome to the Jungle) does a fine job of showing his deteriorating mind late in the movie. The problem is that these characters just aren’t that interesting, so when the supernatural acceleration creeps in, there’s already a ceiling as far as how much we, the audience, will care about what befalls them. What are the stakes if you don’t understand what’s happening and don’t genuinely care about the central characters?
My pal Ben Bailey chided me after seeing Hereditary that I was trying to do the movie’s work for it by looking for deeper connections and foreshadowing clues. Is there some greater meaning for the headless women motif? Is there a larger reason why the dollhouse God imagery is prevalent? Is there a reason, after finding out about the haunting, that the family still leaves their beleaguered son alone? Is there a mental illness connection or is it all a manifestation of hysterical grief? The English teacher discusses the Greek tragedy of Iphigenia (see: a better movie following this model, 2017’s Killing of a Sacred Deer) and whether being predestined for sacrifice is more tragic than choosing your own self-destruction, and is that a glimpse at thematic relevance in a way that seems almost half-hearted? The problem with a long, incoherent story built upon a heaping helping of creepy imagery and atmosphere is that it can often fall into the lazy trap where the filmmaker will just throw up their hands as if to say, “Well, it’s up for interpretation.” I don’t mind a challenging movie experience (I was on the side that enjoyed, if that’s the correct term, Darren Aronofsky’s mother!). I can appreciate a movie that’s trying to be ambiguous and ambitious. However, the pieces have to be there to form a larger, more meaningful picture to analyze and discuss, and Hereditary just doesn’t offer those pieces. It’s an eerie horror movie with its moments of intrigue and dread but it’s also poorly developed, too convoluted, and prone to lazy writing and characterization. I’ll highlight it for you, Hereditary-style: if you’re looking for more than atmosphere and tricks, seek another horror movie.
Nate’s Grade: C
Alex Garland has been one of Hollywood’s most stable sci-fi screenwriters for some time. In 2015, Garland made his directorial debut with Ex Machina, a sly and invigorating potboiler that made you think. It helped make Alicia Vikander a star and Garland himself was nominated for an Academy Award for his original screenplay. The movie even won an Oscar for best visual effects, beating out some pretty pricey competition. With one movie, Garland displayed a natural knack for directing. His follow-up, Annihilation, is based on a book by Jeff VanderMeer and has already run into some trouble. After poor test screenings, the producer tried to force changes but these were refused. In a face-saving outreach, Annihilation will only be playing theatrically in North America and will debut on Netlfix weeks later for the rest of the world. The suits are not confidant in the larger public clicking with Annihilation, and they might be right. This isn’t going to be one of those films that people leave declaring their love over in effusive terms, despite what the critical praise may lead you to believe. This is a movie that you leave saying, “Huh.” It’s so powerfully inscrutable to the point that most other conventional forms of cinematic entertainment and narrative are smothered. And yet, it’s that inscrutability that might be the movie’s biggest point and might be its biggest asset.
Lena (Natalie Portman) is a biologist whose husband (Oscar Isaac) has been missing for a year ever since he ventured into a strange environmental disaster zone. Then he reappears with a mysterious illness and little memory of the events. Lena joins an all-female crew of scientists (Jennifer Jason Leigh, Tessa Thompson, Gina Rodriguez, Tuva Novotny) to find out some answers by exploring The Shimmer, the site where an alien meteorite collided with coastal land and has been changing local life forms at an alarming pace.
Like I said, this movie is a conundrum, not just in a “What did I just watch?” sort of analysis but also in a, “Did I actually like that movie?” personal introspection. There isn’t really a mystery here to unpack as there is an enigmatic experience to explain. I’m doing something I don’t normally like to do, which is immediately type my review shortly after seeing a movie. I generally like to marinate on my feelings after experiencing a movie; however, with this one I felt compelled to put furious fingers to the keyboard, trying to explore my myriad conflicted feelings and find my way out the other side, or at least articulate that journey. I’ll try and steer away from any major spoilers though I worry that even discussing some of my confounding responses will require some thematic and plot context, so beware readers who wish to go into this experience completely pure.
Annihilation is an existential horror movie about biology’s indifference to mankind; at least that’s my best thematic interpretation. In the beginning, Lena is explaining the history of cellular life, the simple splitting of cells that begat all life on the planet. There was no larger forethought, no agenda, and no malice, only the enacting of DNA programming. Ultimately, I think the alien mutations are running on a similar principle. This isn’t an invasion by any traditional definition. This isn’t anything nefarious. This isn’t even anything as clearly identifiable as a virus spreading its illness. This is simply life stirring in a few new recipes. There’s a general level of indifference to the overall setting, which makes the environmental wonders and horrors more dispiriting. For those who demand clear answers from their storytelling, they will be left sorely disappointed. Annihilation doesn’t have any real answers for why these things are happening. They just are occurring, much like the beginning steps of cellular life that found new modes of survival on Earth billions of years prior. It’s just another stage in the development of life. The fact that humanity can be so easily cast aside, it’s hard not to feel insignificant. There’s a mounting sense of existential dread about man’s inevitable demise. One character dubs their mission suicidal and is corrected by another. “People confuse suicide with self-destruction,” she says. “Very few people are suicidal, but all of us are self-destructive.” The plotline confirms this as characters fall victim to hubris and curiosity. However, one may argue there is biological in destruction and reconstitution.
Be warned, dear reader, this is a rather slow movie with a lot of space for breathing, the kind of thing meant to establish a particular atmospheric mood. If you connect with the material, it works, obviously. The problem with Annihilation is that because it’s so inscrutable, because it keeps you at a distance on purpose, that it allows more opportunities to check out. We’re anticipating weirdness and a general breakdown in the group of scientists, and Garland seems to understand this, which may be why he gradually delivers his genre scares. There is an amazing sequence in the middle that is the fuel of nightmares, made all the more searing and scaring by a horrifying sound design that’s even worse when you connect it with the visual source. I was almost compelled to look away and spare my memory this ghastly sight. There are other unsettling moments and the overall feel of the film is definitely one of discomfort and dread, but it’s this scene I’ll always remember and that also solidified the nasty surprises from Mother Nature. Unfortunately, these moments are few and far between. The eventual ending should be easy enough to predict thanks to Garland’s flash-forwards tipping your expectations, that is, if you can actually understand the ending. I still cannot say for certain what happened and why or whether I cared about a why. If, as stated above, the point of the movie is man’s inability to find a recognizable motive in the replication of life by biological factors, then that lends itself to a generally unsatisfying end.
One interesting idea that I regret gets short shrift is just the fact that this is an all-female group of scientists venturing where literally only men have gone before. I’m not celebrating this as some sort of nod at feminism but because it offered an interesting storytelling avenue. All the previous groups were all men and they either were killed by the new environmental dangers or went crazy and killed each other. Minor spoilers, but the women fall under the same sway, destined to the same fate, and it feels like a shame. If you’re going to make a point of questioning whether the deterioration of order and sanity is related to an all-masculine entanglement of thinkers, then don’t just have the women repeat the same decline. Or maybe that’s the point? I don’t know.
Portman (Jackie) does an convincing job of alternating looking confused and spooked, mimicking most of the audience reaction. Her character isn’t asking to be found likeable, only capable, though the first time we get a little taste of her as a person is far too late into the movie. Her marriage might not have been built on the strongest foundation, which again leads to the potential thematic deliberation over self-destruction and rebirth. Leigh (The Hateful Eight) is a bit too flatly monotone for my liking. It feels like she’s sleepwalking through the film, like maybe she was on Ambien and can’t remember even performing in this movie. Tessa Thompson is underwhelming especially with knowing how fully captivating she can be onscreen (see: Thor: Ragnarok). The other notable actress is Rodriguez (TV’s Jane the Virgin) who put on some muscle and swagger and has a terrific breakdown sequence that showcases some unnerving desperation.
I still cannot even say if I liked Annihilation. There are aspects I can definitely admire, like the commitment of its actors, the emphasis on a more scientific approach to an outbreak/invasion thriller, and Garland’s general sense of place. I still think the majority of audiences are going to leave shrugging. Annihilation is more akin to an Under the Skin or Solaris than a monster hunt. It’s quiet, philosophical, and also often boring. It has its thrilling points, its moments of mystery and intrigue, but it also feels like a slow windup to the eventually disappointing reveal that won’t be enough to justify the lethargic pacing. In the end, this is a difficult movie, but not in a way that requires a thorough decoding like mother! or even in a way that requires repeat viewings to play out the twists. Annihilation is difficult by design, keeping its audience from fully engaging, and then offering little in the way of answers or resolution. And I still don’t know if I like that. Dear reader, this is a confounding movie but it might not be the good kind of confounding.
Nate’s Grade: C+
I wanted to enjoy Tragedy Girls. I really did. There’s a good starting point with a story about two self-involved teenagers who turn to murder to raise their social media profiles. I like the lead actresses, Alexandra Shipp and Deadpool’s Brianna Hildebrand, and the film has a quirky sense of style by co-writer/director Tyler MacIntyre. The opening is even great where Hildebrand purposely lures a lover to his sacrificial death in order to trap a familiar slasher film-styled villain. Where it all goes wrong is that Tragedy Girls doesn’t have enough substance or commentary to outweigh its arch nihilism. The message is very flimsy (millennials are shallow, social media is harmful) and the film wants you to revel in the girls’ violent, gory murders but also be repelled by them. It’s a sisterhood of slaying. There are some interesting story ideas that don’t feel better attended. The girls are clumsy at their murders and luck into some absurd Final Destination-worthy kills, but the film doesn’t embrace this concept and makes them untouchable. They kidnap a local serial killer in the opening and demand he train them, but the guy refuses and is shoved to the side for almost the entire movie, stranding another interesting possibility. The high school characters are thinly designed and unworthy of their demises, though that’s also the point. Tragedy Girls doesn’t earn its candy-colored nihilism. It ultimately left a bad taste in my mouth and I found it off-putting and empty. It thumbs its nose with prickly devil-may-care attitude but without anything to really say.
Nate’s Grade: C-
The appeal of the indie thriller Mom and Dad is its frenetic, gonzo, absurdist spirit that accelerates into delicious dark comedy with a maniacal glee seldom seen in movies. The nature of the movie and its bloody violence will put off many viewers; however, if you have a healthy appetite for the bizarre and tonally incongruous, then Mom and Dad will serve as a thrilling and hilarious treat.
The Ryan family, father Brett (Nicolas Cage), mother Kendall (Selma Blair), teen daughter Carly (Ann Winters), and young son Josh (Zackary Arthur), are a typical suburban family with their share of secrets and antipathy. It’s a normal day until it isn’t. While at school, a mob of parents forms to collect their children. A rumor of a terrorist strike has circulated widely. But when the parents get close to their children they viciously harm them. It seems someone or something has flipped that parental instinct to protect one’s child at all costs. Now the urge is to kill one’s young. Carly and her friends escape the school mob and have to survive their homicidal parental units.
I didn’t realize it while watching but it became obvious in hindsight that this was the fodder of one of the debased, juvenile, and altogether hyperactive minds from the Crank movies, a series best described as debased, juvenile, and hyperactive. Brain Taylor takes a Twilight Zone premise and shoots it full of adrenaline and mescaline and whatever else was lying around on the ground. The action gets going in a relatively efficient fashion, establishing our family unit, and then setting them up for a collision course. From the 45-minute mark onward, it becomes more a self-contained thriller inside the family home, pitting our kids against their homicidal elders. It reminded me a tad of Don’t Breathe in its ability to set up a playing field and have its characters find organic ways to get into trouble, escape it, and get into worse trouble. It’s a series of moving pieces that feel elegantly arranged on the playing field. It keeps the movie barreling forward while still finding room for surprises and payoffs, including a glorious late Act Three payoff that I had long ago forgotten about its setup. It’s not quite dues ex machina because there’s more to come after, but it made me so happy.
This is a movie that strangles the concept of tone, and yet it decidedly knows what points to hit up the darker comedy, what moments need more drawn out suspense, and what moments can straddle the difference. The build-up of dread can be beautifully applied and then turned for laughs. Take for instance a moment when a teen girl comes home and notices an open blender with margarita mix, implying her mother is home. Just as a signifier of terror, it’s kind of fun, but then she leans closer and reaches into the open blender, her hand picking the blades. We’re leaning in, waiting for the blender to turn on all of a sudden, and then… she walks away, and the moment passes. Then we laugh to ourselves about how something so ordinary was turned around to be menacing. Taylor finds other little moments like this to assure the audience he’s thought through the premise and found ways to properly develop it to its potential. I was covering my face at parts in tense anticipation and I was cackling to myself at other times.
Cage (Snowden) is one of the few actors that seems to get exponentially more compelling to watch the nuttier he acts, and his crackpot zeal can elevate bad movies into something approaching unintended hilarity, like 2006’s woeful Wicker Man remake. There are few actors that go for broke regardless of how silly they eventually come across. In the wrong hands, this is an attribute that can betray Cage’s efforts and sink a movie. In the right hands, like Taylor’s, it provides the spark of madness needed to push a movie into another level of irascibility. Cage finds humor in the strangest of places, and it’s not a derisive sort of humor but more a genuine delighted bafflement at the character. If you love crazy Cage, you’ll have plenty to love in Mom and Dad.
Blair (Hellboy 2) is the more restrained parent while still getting scenes to cut loose. She’s having terrific fun getting to play bad. When she’s teamed with Cage, they form a darkly funny couple bonding over their shared intent for murder. It becomes an oddball romantic comedy in the darkest sense. Blair also impresses in her scenes of dramatic response. She’s one of the last parental figures to succumb to the hysteria, so we get to witness her process the shock and confusion of the day. There’s a great scene where she’s present in a hospital birthing room. Blair scrambles to save the newborn and try to understand what is happening, and it’s a personal kind of fear and betrayal that registers.
One of the more surprising aspects of Mom and Dad was how it’s able to build the parents as characters in clever and genuinely sincere ways. This is a crazy movie, and that’s its main appeal, but it can also find room to take things seriously. Taylor will momentarily pause the action to insert choice flashbacks that are enjoyable little asides, monologues that provide texture to the world and the characters. The flashback relating to a pool table’s demise opens up an entire analysis of a rocky marriage, a middle-aged man raging against his life’s mediocrity and the faded glory and promise of his youth, and the despair of losing your sense of self through parenthood. It builds and builds and allows the actors to unload. It doesn’t serve as significant a narrative point as other character-based flashbacks setting up ironic convergences. It’s just Brett and Kendall being able to voice their insecurities and disappointments. It’s about this point where the movie positions both as unswayable evil forces, so giving them a chance to come across like genuine human beings before they’re kill-crazy cartoons is unexpected and effective.
I know I’m having a great time with a movie when the worst thing about it is the last few seconds. Mom and Dad just sort of ends. It almost feels like there was some kind of editing accident and you may turn and say, “Wait, is that it?” I didn’t want Mom and Dad to end. This is a raucous dark comedy with an anarchic spirit but a strong sense of pacing, tone, and structure, layering in surprises and escalations dutifully while still finding equitable space to better shade the characters. If you’re looking for a risky dark comedy that will make you feel a tad crazier for watching, give Mom and Dad a whirl. This is the kind of movie you might hate yourself for loving.
Nate’s Grade: B+
I think La La Land has a shadowy culprit to blame for the big slip-up at the 2017 Academy Awards where it mistakenly was declared Best Picture before the rightful winner, Moonlight, was crowned. Actress Faye Dunaway was the one who spoke aloud the infamous slip-up, but I think she had something else on her mind. She was so preoccupied with trying NOT to think about the Bye Bye Man that she wasn’t fully paying attention to the moment. Fortunately, Moonlight got its rightful due. Unfortunately, The Bye Bye Man exists as a horror film and Dunaway within it. This is a movie whose mantra is “Don’t say it, don’t think it,” all but begging to be forgotten.
If The Bye Bye Man had been the film it appears to be in its opening scene, we might have had an effectively unnerving horror thriller. We watch in a single long take as a distressed man drives home, mutters to himself, and takes out a rifle and systematically kills every person who admits they said “it” or told someone. He goes from person to person, pleading whether they told anyone, and it’s always yes. Then he moves on to kill that person, asking them the same question. It’s an effectively chilling scene and a fantastic way to open a horror movie. And it’s all sadly downhill from there, folks. The rest of the movie is a stupid thriller with stupid teenagers doing stupid things.
Any power the Bye Bye Man has as a concept, a mimetic virus, is wasted as a goofy Boogeyman knockoff with vague powers and intentions. Apparently, one of the insidious side effects of the Bye Bye Man is his ability to cause erectile dysfunction. After the first night he-who-shall-not-be-named is named, two of our college students talk about trying again and how “that” never happens to them, all but implying the Bye Bye Man was a sexual detriment. Another weirdly defined power is that the Bye Bye Man causes his victims to see hallucinations, though sometimes they’re nightmares like maggots crawling out of eyeballs, and other times they’re fantasy, like a naked friend beckoning for a lustful tryst. One character hears disturbing scratching noises and then visions of people standing buck naked on train tracks (the amount of brief nudity made me recheck that this received a PG-13 rating). “We’re all losing our minds at the same time,” a character bemoans at the 41-minute mark. At one point, the Bye Bye Man sends himself as a GIF, knowing how to reach millennials. I don’t understand why these kids don’t accept that if they see something horrific it’s probably false. They know the Bye Bye Man is terrorizing them with their fears and yet they fall for it every time. When you’re talking with someone and all of a sudden they start seeping blood from every orifice, maybe that should be a clue. If Elliot (Douglas Smith) knows he’s afraid of his girlfriend sleeping with his best friend, then shouldn’t he doubt the voracity of seeing them together after the malevolent force with evil visions has entered his life? What’s the point of scratching “don’t say it, don’t think it” as a preventative measure? That calls more attention to the forbidden item. It’s like in Inception, when they say, “don’t think about elephants,” and invariably that’s what you’re going to think about.
If the Bye Bye Man can make people say its name, then why isn’t it doing this all the time? Why all the hallucinations to drive teens to kill themselves? That seems ultimately counter productive to Bye Bye Man business. Any businessperson will tell you the key to expanding your outreach is through happy customers. Fulfill these people’s wishes and then come to collect later. I can write an entire proposal for the Bye Bye Man to shore up his business. He seems to be doing everything wrong. If the goal of the Bye Bye Man is to spread its name/message, along the same lines of self-preservation through proliferation like the haunted Ring VHS tape, then it needs a more straightforward approach. Let these doomed teenagers know their nightmares will end if they bring in an additional however many new victims. Alas, the Bye Bye Man is painfully unclear (it even has zero references on the Google imitator search) and just another boo spook.
Even for horror movies, the characters can be powerfully boring and meaningless. The entire premise is a group of college kids moving into a house that used to be owned by the crazy guy in the opening flashback. They each take turns seeing things, hearing things, and doing things, some as mundane as scribbling without their direct knowledge. The plot is in a holding pattern that requires characters to repeat the threat over and over. The only setup we have with these characters is one house party so we don’t exactly know what they’re like before they start going crazy. Much of their hallucinatory confusion could be mitigated if they just communicated with one another. “Help, Friend A, I am seeing [this]. Is that what you are seeing as well, Friend A?” It leads to a lot of rash actions for supposed friends. Elliot even refers to his friend as a “jock,” which is a term I don’t think anyone out of high school says. When the police suspect Elliot of foul play once his friends start dying, he is acting completely guilty. He begs Carrie Anne Moss (The Matrix) not to force him to say a certain name or else her kids might be in danger. That sounded like a thinly veiled threat. And then the police let him go!
The mystery of the Bye Bye Man’s history is the only point of interest in this story, and even that has its limits. The librarian (Cleo King) is hilariously hyper focused on delivering exposition. She even knows the protagonist on a first name basis. I think she lives to tell people about this one weird event in the school’s history. She even calls Elliot on the phone! The librarian reaches out to him, saying, “I’ve had some strange dreams ever since we talked.” She then asks if she can come over to his house later. What kind of relationship does this person forge with students? Dunaway is featured as the wife of the opening killer, and I just felt so sorry for her during every second on screen. She deserves better than this. Somebody go check on Faye Dunaway and make sure she’s okay.
The Bye Bye Man is a horror movie that’s so bad it can be outlandishly funny. It starts off well and deteriorates rapidly, abandoning sense and atmosphere for jumbled scares. There’s an extended bit during a climactic dramatic moment where a father has to convince his daughter to pee out in public. I felt so bad for every actor involved. I’ll even spoil the ending, which made me howl with laughter. A little girl talks about how she saw a table with some writing. “What did the writing say?’ her father asks, and oh no, here we go again you think to yourself. Then a second later the little girl says, “Daddy, you know I can’t read in the dark! What do you think I am, a flashlight?” My God, that moment should have been followed by a rimshot. This half-baked movie opens up a lot more questions than it has the ability to answer. What is the mythology of this character? What’s with the constant train imagery? Why does the Bye Bye Man have a pet dog? Why are the coins a significant part of its Bye Bye motif? And always, if it can simply make people talk, why isn’t it doing this all the time to spread its name? The Bye Bye Man is fun bad but oh is it still bad.
Nate’s Grade: D
Stephen King movies have had a spotty track record at best. For every Shawshank Redemption or The Shining, there’s an overwhelming multitude of disappointments and dreck, including this summer’s long gestating and prophetically disappointing Dark Tower adaptation. The two-part It mini-series came out in 1990 and is best known for Tim Curry’s unnerving performance. Otherwise, it wasn’t that great itself but, grading upon a steep King curve, it comes out as perfectly tolerable. Hollywood has been trying to get a new It movie in development for years, and I mostly just shrugged at the idea. Did we really need another version? After seeing the 135-minute finished film, I can say that the answer to that is a definitive and enthusiastic yes. It is a fiendishly fun horror movie with rapturously composed visuals, an affecting emotional core, and impressive craftsmanship. It’s easily already in the top echelon of King adaptations.
Back in 1989, children have been mysteriously disappearing from the small town of Derry, Maine. Bill (Jaeden Lieberher) is still recovering from his younger brother who went missing one fateful rainy day. Bill holds onto the hope that somehow his brother is still alive, washed away through Derry’s series of sewers. He and his group of friends, affectionately nick-named The Losers, are being hunted and haunted by a strange clown who calls himself Pennywise (Bill Skarsgard). This evil clown feasts on the children’s fears and has been frightening Derry every 27 years, snatching children to consume, including Bill’s lost little brother. The Losers band together to stop this clown menace.
Director Andy Muschietti (Mama) brilliantly brings to life a dynamic funhouse of scares, suspense, and big screen delights that will leave you howling for more. Much like James Wan’s Conjuring films, Muschietti doesn’t present anything radically new into the world of horror, but he takes older, sustained horror techniques and executes them to near perfection. The greatness of horror is when you simmer in that delicious sense of tension nervously awaiting what’s to come next. For this effect to have any punch, a filmmaker needs to lay a deliberate foundation to then twist and manipulate. Muschietti is amazing at heightening the atmosphere of dread and drawing it out. There are scares in It that are textbook in their masterful orchestration. Take for instance a scene with Ben (Jeremy Ray Taylor) in the basement of a library. He looks over his shoulder to see an ashen child’s body standing on the stairs. Given the lowered camera angle, the top of the ceiling cuts off the ashen kid’s head. Then as he stumbles down the stairs it’s revealed… he has no head. It’s a startling reveal and it carries on from there. Pennywise coming through a haunted slideshow of Derry was another creepy highlight. The red balloon of Pennywise transforms into an alarming totem for the audience, a signal to begin your nervous anticipation. The movie keeps finding new ways to creep you out until the very end. It’s movies like It that can remind you what tremendous fun horror movies can achieve.
Let’s get straight to the clown, the star of so many nightmares. Curry is the reason why anyone remembers the 1990 TV mini-series. Fortunately, Skarsgard (Atomic Blonde) goes in his own direction for his own personal interpretation of the character. There are similar tics, in particular the lisp, but Skarsgard makes it his own and he is wonderful. His command over his body is incredible and it magnifies the creepiness of every appearance. He holds his cheeks together in a rictus grin that looks downright painful, and he’ll lock into expressions and just let dribbles of saliva drip off his chin. Even while playing this big, broad, malicious character with a penchant for theatricality, Skarsgard can find little touches to create an even more unsettling impression. I’ve never been impressed by Skarsgard’s performances before, mostly amounting to my unchecked hatred of his awful Netflix TV series, Hemlock Grove. He impressed the hell out of me in It. This is a Pennywise that has such loose, alarming contortion over his body. When he pulls his face back revealing row after row of sharp teeth, it’s almost a relief from the more horrifying human version of Skarsgard’s outsized antics. Tim Curry owned his character’s sense of campiness. In contrast, Skarsgard feels deliberately more unhinged and also a creature in complete revelry of being so deranged. If you have a fear of clowns, I would advise that you simply never watch this movie in your entire life.
While I was expecting the big top entertainment from Pennywise, I was surprised at how involving and relatable the teenage drama can be. The screenwriters have done an admirable job at taking time to establish the characters and their relationships to one another. The town of Derry is a world of criminally neglectful adults. Everyone in this town seems to be an asshole; even the librarian chides Ben for the indecency of looking at books in a library during the summer (do your job, lady!). It’s a world where grownups disappoint and where adulthood is just a miserly existence of abuses. Beverly’s father lecherously takes ownership over his daughter’s body. Eddie’s (Jack Dylan Grazer) hypochondriac mother tries to lock her son away from the larger world, not out of protection but out of her own selfish comfort. These are the kind of people that look the other way while the local town bullies are literally carving initials into a child’s flesh. With all of this awfulness, the coming together of the Losers and their unified friendship provides a lifeline of support. They’re relatable, realistic, and heart-warming in their affection for one another. They talk and act like authentic kids, which also means they make dumb decisions out of curiosity. The movie stops to share little coming-of-age moments that ring true, like Beverly’s (Sophia Lillis) awkwardness at shopping for her first tampons or the boys trying to act cool in front of a girl. As he did with Mama, Muschietti is super-humanly adept at directing child actors. Seriously, he might have to direct all child performances from here on. The young actors do fine work at building out their characters, though some are expectedly underwritten. Special notice should go to Lieberher (Midnight Special) as the stuttering Bill still trying to grasp his brother’s death.
Given the childish nature of the fears and the theatricality of its villain, the movie is inevitably going to skid into goofy territory, but instead of rejecting this It swerves into the skid and becomes even better. When you deal with a killer shape-shifting clown who hides in the sewers and lives upon the fear of children, things can get silly and pretending otherwise is a waste of time and energy. Muschietti and company acknowledge the otherworldly with proud panache, making the goofiness part of the fun and ultimately part of the terror. Skarsgard is tremendous at turning on a dime, having his lisping, big grinned clown go from broad and ridiculous to terrifying, and he can do it with just a look. It happens even in his earliest big screen appearance. This is a Pennywise who feels like an alien’s idea of a party clown; the original elements are there but connect wrong or are amped up. There are a couple instances where Pennywise dances, and I absolutely adored each. His malevolent gesticulations felt like an exaggerated cartoon given unholy life, which seemed more than fitting. You may laugh at points and then gasp the next, and I’m fully convinced that’s the intended response. The childhood fears are much improved from the classic Universal monsters from the original novel (I’m sorry, nobody is afraid of mothballed versions of Dracula or Frankenstein in this day and age). Seeing them manifested as misaligned phantoms is far worse, even if the effect might not be as jarring without the accompanying music and sound design.
The only structural problem I would cite is that It has a little too much fun with its scary set pieces and starts to feel redundant in the middle. It becomes a figurative funhouse (before the literal haunted house) of set pieces with each one of the Losers being tormented by our clownish friend multiple times. There are seven of them after all. We could have probably done with one or two fewer of these encounters. You’re having so much fun waiting with anticipation for each encounter that I can’t complain too hard. It’s difficult to push yourself away from the funhouse and get back on track to a narrative conclusion meant to cleave a 1000-page book into a workable satisfying endpoint. I thought the bully character featured considerably throughout the story was going to become an increasingly significant antagonist into Act Three. That didn’t quite happen. The ending scene bonding the children together also seems to exist in such an earnest tone, and yet the amount of blood onscreen for their bloody hand-holding ritual is comically excessive, which caused me to giggle. I choose to believe it was Muschietti undercutting the feel-good triumphant moments with some darkly macabre touches, to remind the viewer that while our characters have survived they are still forever distorted.
Let’s also discuss the most controversial aspect of the original novel that so many people seem to have conveniently forgotten and for good reason. Spoilers follow, though they do not pertain to this adaptation, because nobody in their right mind would ever include this. At the end of the childhood section, as the kids defeat Pennywise, they’re all coming down from facing the living embodiment of their fears. So what do you do next? Well if your answer is “have a child orgy,” then you’re correct, and also likely sick in the head. The kids all start having group sex, in the dank sewers mind you, with Beverly, the only girl, being the recipient of much of it. It’s an out-of-nowhere plot development that serves no justifiable artistic purpose and feels so wrong-headed that it’s hard to believe. But it’s real, folks. King won’t admit what seems the most obvious culprit (he was on a lot of drugs in the 1980s), and instead has offered some strange rationale saying the act was a connection between childhood and adulthood and… I don’t know. This narrative choice also grossly mistreats Beverly. It seems like an obvious and baffling misstep to have a pre-teen girl suffer viciously demeaning sexual rumors, the very real sexual abuse from her father, and then decide her ultimate gift to the group of boys that accepted her is to let them all have their way with her (excuse me while I vomit). Stephen King, just admit you were on drugs and this was a weird, lamentable mistake. It’s that easy, man.
The newest incarnation of It is a glorious chiller with top-notch acting, directing, cinematography, production design, sound design, and just about all the elements that suffered from the lackluster 1990 TV mini-series. The 2017 movie is top-notch nightmarish mayhem treated as a marquee thrill ride. You strap yourself in and wait for the carefully calibrated scares and suspense and payoffs. However, the human element is not lost amidst the ride, and the children and their bond forms an emotional anchor. Muschietti demonstrates a consistent mastery of classic horror techniques. He allows scenes to build, to surprise, to startle in uncomfortable ways. Having such a talent at the helm, I was pinned to my seat and lapping up every moment of wonderful unease. The It mini-series was split into two stores, one focusing on the characters as children and another as middle-aged adults (the childhood stuff was, without question, superior material). The movie ends with the title “Chapter One” and the promise that, if the box office gods deliver, there will be a second chapter transporting us to the present. I was indifferent before but not longer. Muschietti has made me a believer. Give me more of It.
Nate’s Grade: A-
Something akin to an art house exploitation film, Kathryn Bigelow’s Detroit is a pressure cooker about the horror of institutional racism, but it’s also a limited drama that lacks any sense of catharsis for an audience. Set among a hellish series of days in 1967, the film follows the events at the Algiers Motel, where Detroit police officers killed three innocent black men in their pursuit of what they believed to be a sniper. An all-white jury then acquitted the officers. Will Poulter (We’re the Millers) plays the lead racist cop and instigator, the man who tries using every effort to get a confession. His bad decisions lead to further bad decisions and miscommunication and then cold-blooded murder. It takes a solid 45 minutes to establish the various supporting characters, the fragile tinderbox that is Detroit during a series of riots, and getting everyone to the fateful motel. Afterwards, it’s like a real-time thriller that’s extremely harrowing to watch. It’s very intense and very well made by Bigelow and her go-to screenwriter Mark Boal (Zero Dark Thirty). Like Get Out, it turns the day-to-day black American experience into a grueling horror film. I was squirming in my seat and felt nauseated throughout much of the movie. I wanted to scream at the screen and tell people to stop or run away. However, it’s a movie with a lower ceiling, whose chief goal is to provoke primal outrage, which it easily achieves, but it feels like there’s little else on the artistic agenda. The characterization can be fairly one-note, especially with the racist cops who stew over white women hanging around virile black males. It’s victims and victimizers and we get precious little else. Your blood will boil, as it should, but will you remember the characters and their lives, their personalities, or mostly the cruel injustices they endured? It’s an intense, arty, exploitation film, and I can perfectly understand if certain audience members have no desire to ever watch this movie. It’s not so much escapism as a scorching reminder about how far race relations have come and have yet to go in this country. Detroit is a movie with plenty of merits but I think it’s the least of the three major Bigelow-Boal collaborations.
Nate’s Grade: B