Chris Rock seems like an odd choice to spearhead a revival of the dormant Saw franchise, but the actor was a rabid fan of the grisly horror series and came to producers with an idea for a new Saw movie, and the results are Spiral: From the Book of Saw, like it’s a Biblical chapter. A Jigsaw copycat killer is targeting corrupt police officers and those who protected them, and Rock plays a detective who dared to turn in his partner after he murdered a crime scene witness. Rock’s character is seen as a traitor by his fellow brethren in blue, and as the Jigsaw copycat continues his or her bloody rampage, the history of police abuse and cover-ups comes to light. The problem with Spiral is that it feels like an entirely different independent script that somebody attached gory Saw set pieces and said, “Reboot.” The Saw set pieces get increasingly ludicrous and gross and the drama in between, where Rock tracks clues and barks at his peers, feels like boring connective tissue the movie can’t even bother to pretend is worth the effort. Both parts feel rote, the police conspiracy thriller and the gory death traps. The movie is also entirely predictable by the nature of the economy of characters. Within 15 minutes, I was able to predict the identity of the copycat killer as well as their connection and motive. This movie desperately needed more time with Rock and Samuel L. Jackson together. Another issue is that the movie ends abruptly and with a needed extra turn missing, perhaps where Rock agrees to work with the killer and justifies the executions as righteous reform. I wanted this new Saw to be more in keeping with Saw 6, the best sequel and most topical of the franchise where health care employees were put to fiendish ironic tests to punish them for denying medical coverage. It feels like targeting bad cops would produce more social commentary, but I guess that would get in the way of watching people try and sever their own spine on a single nail. Spiral doesn’t feel any more promising than the other attempted Jigsaw reboot in 2017 even with its topical elements. It might be cheap enough to earn a sequel, but it feels like a franchise eternally going in circles.
A Quiet Place Part II is the first movie I’ve seen physically in theaters since the middle of March 2020, and I genuinely missed the experience. It’s been the longest I’ve ever gone in my adult life without seeing movies in the theater, and this was one that felt like the presentation would be elevated by the big screen and superior sound system. Taking place nearly minutes after the conclusion of the 2018 hit, the surviving Abbott family ventures off their farm to find refuge and potentially find a way to protect themselves and neighboring communities from the killer monsters attracted to noise. The opening is the only flashback we get; everything else is forward-looking. I would have enjoyed getting more Day One experiences where the monsters first attacked, especially as we become open to new characters and their own harrowing journeys. The movie, written and directed by John Krasinski, isn’t quite as novel and brilliantly executed as its predecessor, but it’s still a strong sequel that gives you more while leaving you wanting more by the end. The majority of this lean 97 minutes is split between the family, one half staying put in a warehouse basement, and the other traveling out into the open to find a radio tower. The set pieces are still taut though rely more on jump scares this go-round, granted well executed jump scares that still got me to jolt in my seat and squeeze my girlfriend’s hand a little tighter. Cillian Murphy (Batman Begins) is the most significant addition as an Abbott family friend who has lost his whole family since that opening flashback. He’s a broken-down man, a parallel for Krasinski’s father figure from the first film, and at points it feels like he’s being set up to appear sinister, or at least hiding some dark secret that never really comes to fruition. The world building is expanded and introduces a very Walking Dead-familiar trope of desperate people being just as dangerous as deadly monsters, though in a world of hearing-enhanced creatures, I would think there’s more danger in larger numbers than security. The movie earns its triumphant ending even if the staging, and cross-cutting, is a little heavy-handed. A Quiet Place Part II is a successful sequel that understands the unique appeal of its franchise and how to keep an audience squirming while also remain emotionally involved and curious for more.
A Quiet Place Part II: B+
Trying to sequelize Silence of the Lambs is surely harder than trying to sequelize The Blair Witch Project. The novel Hannibal by Thomas Harris I don’t think will be confused as a necessary burst of creative ambition and more of a chance to cash in on the love of Hannibal Lector. Though I’ve not read a line from the book from what I’m told the movie is faithful until the much hated ending. Starting a film off a so-so book isn’t a good way to begin, especially when you lose four of the components that made it shine Oscar gold.
The element that Silence of the Lambs carried with it was stealthily gripping psychological horror. It hung with you in every closed breath you would take, surrounding you and blanketing your mind. I mean, there aren’t many serial killer movies that win a slew of Oscars. Lambs excelled at psychological horror, but with Hannibal the horror turns into a slasher film more or less. What Lambs held back and left us terrified, Hannibal joyfully bathes in excess and gore.
Julianne Moore, a competent actress, takes over from the ditching Jodie Foster to fill the shoes of FBI agent Clarice Starling. Throughout the picture you know she’s trying her damndest to get that Foster backwoods drawl she used on the original down. The problem for poor Moore though is that her character spends half of the film in the FBI basement being ogled by higher-up Ray Liotta. She doesn’t even meet Hannibal Lector until 3/4 through. Then again, the title of the film isn’t Starling.
Anthony Hopkins returns back to the devil in the flesh and seems to have a grand old time de-boweling everyone. Lector worked in Lambs because he was caged up, like a wild animal not meant for four glass walls, and you never knew what would happen. He’d get in your head and he would know what to do with your grey matter – not that he doesn’t have a culinary degree in that department in this film. Lector on the loose is no better than a man with a chainsaw and a hockey mask, though he has a better knowledge of Dante and Florentine romantic literature. Lector worked bottled up, staring at you with dead unblinking calm. He doesn’t work saying goofy “goody-goody” lines and popping out of the shadows.
Since the director, screenwriter, and female lead didn’t show up for the Lambs rehash, it feels a tad chilled with Ridley Scott’s fluid and smooth direction. The cinematography is lush and very warm. Gary Oldman steals the show as the horribly disfigured former client of Lector’s seeking out revenge. His make-up is utterly magnificent and the best part of the film; he is made to look like a human peeled grape. Oldman instills a Texan drawl into the character yet making him the Meryl Streep of villainy.
Hannibal is nowhere near the landmark in excellence that Silence of the Lambs was but it’s not too bad. It might even be good if it wasn’t the sequel to a great film. As it is, it stands as it stands.
Nate’s Grade: B-
WRITER REFLECTIONS 20 YEARS LATER
Serial killer culture dominated the 1990s and oddly enough it’s only gotten more highbrow since. Oh, that’s not to say that you won’t have any shortage of hacky, exploitative movies featuring elaborate murderers with gimmicky calling cards (The Hangman, a killer who literally stages his crime scenes like an ongoing game of hangman). However, the dark obsession with dangerous men (it’s almost always men) has given life to thousands of prestige cable documentaries, true-crime books, and high-profile podcasts like Serial and My Favorite Murder. We still very much have an unchecked fascination for these real and fictitious serial killers and what that may say about our society. In 1992, a serial killer thriller swept the Oscars, one of only three movies to win Best Picture, Actress, Actor, Director, and Screenplay (the others: It Happened One Night, One Flew Over the Cuckoo’s Nest, and American Beauty came close if it hadn’t been for Hilary Swank). That’s how good The Silence of the Lambs was as a movie to overcome the genre biases of older Academy membership (it also helped that there were other genre biases at play for the other Best Picture nominees like Beauty and the Beast, Bugsy, and JFK). It was special.
All of this is to say that Silence of the Lambs was a near impossible project to follow, and author Thomas Harris proved it with the middling-yet-best-selling sequel novel in 1999. It was obvious that it would be adapted into a major feature film, but the only returning Oscar winner from that first foray was Anthony Hopkins, which is kind of important considering his character is the title. The sequel was directed by Ridley Scott (Gladiator), adapted by none other than screenwriting titans David Mamet (The Untouchables) and Steven Zallian (Schindler’s List), and the movie made over $350 million worldwide at the box-office. By all accounts, it was a hit, but was it any good, or was it simply coasting from the acclaim and good will of its predecessor and the A-list cast and crew?
The first thing that becomes immediately apparent while watching Hannibal is that this is not Silence of the Lambs and not in a sense of its accomplishments but more in its chosen ambitions. This is not a psychological thriller in the slightest. It’s a boogeyman monster movie. Nobody here is given to intense introspection about man’s inhumanity to man and other such Topics of Grand Weight. Scott’s sequel is more a Gothic B-movie content to spill stomachs rather than quicken pulses. The opening botched FBI raid is chaotic, action-packed, and the flimsy excuse for why Clarice Starling (Julianne Moore taking over for Jodie Foster) is shelved for most of the movie. It feels like the filmmakers know they need to delay the reunion of our favorite cannibal therapist and FBI agent as long as possible, so the 130-minute film feels like a protracted setup to tease how far audience anticipation can possibly be sustained.
In the meantime, the plot alternates between Dr. Hannibal Lector living it up in Florence, Italy and Starling slumming it in the FBI basement. Slowly, oh so slowly, she picks up the pieces to track Lector’s whereabouts, but until then we indulge a lot of narrative bloat. Do we need to follow an Italian inspector who suspects “Dr. Fell” is not who he says he is and then enact plans to prove his identity and eventually cash in? This man is literally on screen longer than Clarice Starling. We’re introduced to a rich villain, Mason Verger (Gary Oldman), but he’s more plot device than character, an all-expenses bank account to track and apprehend Lector for his bloody violence. I wish there was more to Oldman’s character given the actor and the impressive practical make-up application. He’s a symbol of rot, of vengeance, of obsession. Likewise, Ray Liotta’s lecherous FBI superior to Starling is less a character and more a plot device. He’s the stand-in for the harassment and dismissal Starling receives from her male colleagues, but a little of him goes a long way. His scenes where every other word is some creepy come-on, some sexual entreaty, or some off-color joke (he refers to Lector in homophobic slurs) are excessive. He’s an awful person but every line doesn’t have to be eye-rolling in how obviously terrible he can be. Spending extended time with all of these supporting characters is just a reminder that the movie is looking for excuses to keep its chief participants as far away for as long as possible. It’s frustrating.
The depiction of Hannibal Lector in Silence versus Hannibal is also quite noticeably different. Like most things in this sequel, the character is baser, key characteristics heightened and broadened, and bordering on farce. He’s less a scary intellectual opponent and master manipulator and more a well-read serial killer on vacation. He is profoundly less interesting in Hannibal. That doesn’t mean there isn’t a pleasure to be had watching Hopkins slice and dice his way through Italy and elude capture. Hopkins seems to relish the amplification of the campy and grand Guignol tone of the sequel. He looks to be having a blast as an unleashed beast. His performance is fun but teeters over into self-parody at times. Hearing the erudite man spout ironic catchphrases meant for incongruous comedy de-fangs some of his mystique and intensity.
And yet there are things I still starkly remember even twenty years later. Hannibal is no Oscar-winning thriller operating at an ascendant technical level with engrossing multi-dimensional characters. It’s a boogeyman movie with a scary old man. The ambitions are just lower, but that doesn’t mean that Hannibal is subpar by those lowered goals. It’s still entertaining even when it’s getting silly or overly long. Scott’s visual presentation keeps things engaging and the lovely Italian art and locales are a definite benefit to establishing the gory, Gothic atmosphere. The makeup is outstanding and, as I said back in 2001, Verger resembles a human peeled grape. Feeding a man to wild boars is also quite memorable. The conclusion still has its squirm-worthy high-point with serving Liotta’s fresh brains to himself. It’s a gory comeuppance that feels fitting. In the original book, apparently Starling then bares her breast to Lector, and he goes down on one knee, and they run off together as fugitive lovers. Needless to say, this ending was met with controversy. The film smartly nixes this, especially since I never for one second felt a romantic coupling between these two embittered characters. The movie doesn’t kill the allure of the Hannibal character but it also positions him on the same level as Michael Myers instead of, say, John Doe (Seven). It’s like a Halloween mask version of a real serial killer, dulled and magnified in some ways, but still leaving a fair impression of its source.
The Hannibal Lector incarnation had two more big screen ventures, the 2002 prequel Red Dragon and 2007’s even-further prequel, Hannibal Rising. Neither was terrific, neither was awful, though the answers that Rising offered as to what made Lector the man he is would inevitably prove disappointing (hello, childhood trauma). Arguably the best incarnation of the character, more so than Hopkins or Brian Cox (Succession) as the first big-screen Lector in 1986’s Manhunter, was from NBC’s television series from 2013-2015. Developed by Bryan Fuller (Pushing Daisies, American Gods), and starring Mads Mikkelsen (Casino Royale, Doctor Strange) as America’s favorite high-class cannibal, the series found a way to make a weekly crime procedural operatic and hypnotic and disgustingly beautiful. It’s like the artistic sensibilities from Silence and Hannibal were perfectly blended into a strange lovechild that deserved an even longer time to shine. Recently, just the week of this writing, CBS has begun a 2021 Clarice Starling TV series, though because of rights issues they cannot even reference Hannibal Lector. They have the rights to the senator and her daughter who was kidnapped by Buffalo Bill, as if those characters were what the fanbase was really clamoring for more time with. It looks like any other grisly CBS crime procedural just with a different name. I fully expect it to be canceled after one season.
Looking back at my review from 2001, I found myself nodding in agreement with my younger self from the past. I try not to read my earlier reviews before re-watching the films in question and perhaps might surprise myself by coming up with the same critiques independently. I also quite enjoy this line: “Lector on the loose is no better than a man with a chainsaw and a hockey mask, though he has a better knowledge of Dante and Florentine romantic literature.” I would even keep my grade the same. Twenty years later, the Hannibal Lector character still captures our intrigue and fascination even if he’s deposited in a lesser escapade not fully worth his full abilities.
Re-View Grade: B-
The Little Things wants to be Seven but it’s not even half of Seven (three-point-five?). It’s a meandering movie that doesn’t quite commit to being a prestige character study or a grisly, pulpy serial killer thriller, and so it operates in a middle-ground that achieves little more than prolonged boredom. It’s far too long, far too slow, and with not nearly enough excitement or intrigue or depth.
In 1990, Joe “Deke” Deacon (Denzel Washington) is a LASD deputy and living out his final days on the force in the relative anonymity of the unincorporated parts of Los Angeles. He used to be a big time L.A. cop but got far too involved in series of murders, and his obsession lead him to a heart attack, a divorce, and being removed from his office. Deacon delivers evidence to Jim Baxter (Rami Malek), the new chief detective on a series of murders that may be a continuation from Deacon’s days. The two men work together to untangle the details and target their primary suspect, Albert Sparma (Jared Leto), a bow-legged, greasy-haired creep who maybe confessed eight years ago.
The Little Things was originally written in the 90s by writer/director John Lee Hancock (The Blind Side, Saving Mr. Banks) and it’s easy to see why. The 1990s was a heyday of serial killer thrillers; it felt like any studio would greenlight a project as long as the crazed killer had a gimmick to their murders (”This guy only kills people on Friday… because you can’t eat meat on Friday?”). While the preponderance of these kinds of movies has shifted to the ever-flowing world of direct-to-video (look for The Hangman, where Al Pacino chases a killer literally playing the game hangman with victims), there is still a perverse fascination with true crime culture and serial killers to be exploited by a canny writer. We still love these kinds of stories when done well. HBO’s True Detective has also taken the serial killer formula and transformed it into a contemplative, long-form character study that looks just as much at the flawed detectives as it does the killers. Over the course of eight elegiac episodes, True Detective can take the time to immerse you in the sordid and portentous details of these people, their cases, the lingering questions, and their demons and doubts made flesh. The depth of the tortured, flawed characters and the complexities of the cases are what sustain the multiple-episode investment (exception: season two). With a movie, you must be more judicious with your precious two hours of time for storytelling. This preamble was a long way of saying The Little Things doesn’t fit as either. Its cases and characters lack the depth to justify the time dwelt, and the thrills are decidedly dimmer, denying a serial killer audience a compelling case, compelling characters, and a unique killer.
I’m going to summarize the two-hour-plus plot for you now: two cops investigate a series of serial murders. They think they have a culprit. They tail the suspect. A slightly surprising ending that lacks the shock and contemplation I think Hancock is looking for. The end. I’ll keep it vaguer to preserve spoilers but suffice to say that is not enough plot for an investigation. I recently re-watched Seven, one of my favorite films of all time and a masterpiece in its genre, and it has a natural propulsion to it where each clue leads to the next by design from its grandly clever psychopath. You know there are seven deadly sins and each new victim is another step closer to achieving that mad goal. The story engine keeps the plot driving forward. With The Little Things, there are some bodies and a whole lot of waiting. And waiting. And waiting. Paired with the placid pacing, it sure makes The Little Things feel like it’s missing a big picture.
There are also some moments that ripped me out of the movie, mostly involving a disconnect between what is intended on the page and what is delivered on the screen. We’re told that these characters are so obsessed, yet they don’t come across that way. Sure, they follow Sparma because he’s so obviously a guilty-looking suspect, but we don’t witness the lengths they’ll go and the people they’ll push away in order to close their case. In the end, Hancock approaches this territory, but it feels like a stab at subversion and relevance the rest of the movie has been missing. It feels like Hancock had two hours of one kind of thriller and then in the final five minutes said, “Eh, who cares?” This climax also involves a professional detective making so many bad decisions about his own personal safety that I felt my eyes rolling out of my head. It’s like Hancock is using the character’s dumb choices to declare how obsessed he is with finding the truth, and yet we didn’t witness this obsession earlier when he was making good decisions. Baxter is supposed to be a family man and a religious man, yet Malek is playing him so devoid of emotion and the script doesn’t present anything meaningful for his domestic life, that he feels more like a robot with a flimsy back-story provided as a default setting. Then there’s Deacon’s monologuing to the corpses of the dead women. He also sees ghosts of the victims. If the movie was presenting this as a sign of his tortured psyche, it should have gone all-in. Have him converse with them all the time, have them reappear and whisper in his ear, have the new crime scenes trigger the appearances of victims from the old crime scenes, take this unique angle and take ownership of it, really separate from the glut of other serial killer thrillers. Alas, it’s just an awkward personality motif that occurs from time to time to provoke an eyebrow raise.
All three central actors have won Oscars for their acting, and while nobody is outright bad, they all seem to be delivering wrongly attuned performances. Washington (Fences) dials down that natural charisma to go full quiet intensity, and there are few actors who can be as intimidating with looks and hushed words as this man. Except he’s supposed to be haunted and the wear and tear of the man’s past lacks weight because of the performance choice. The pain and struggle seem to be suffocated in that steady steely Washington glower. Malek (Bohemian Rhapsody) is too detached to convincingly play his young family man coming unglued thanks to the case. He’s playing the role like he’s secretly going to revealed as the real killer in a hasty last-second twist. Leto (Blade Runner 2049) is inherently drawn to off-putting oddballs and his appearance halfway through provides a necessary jolt for the movie. The problem is that he’s so creepy, he’s so weird, he’s so desirous of attention, that it makes the character overwhelmingly obvious. He’s not interesting so much as he’s just a neon sign flashing “Guilty,” and there are only two ways to go with this, neither exactly fulfilling given what has preceded. The best scene in the whole dirge of a movie, by far, is the interrogation with all three actors feeding off one another.
The Little Things feels like a dated copy of 1990s serial killer thrillers without anything new to offer besides the star wattage of its cast. It’s even set in the 90s for no real reason than to deny its characters access to cell phones and the Internet. The look of the movie is awash in the cool, moody style of David Fincher’s signature look, like Hancock and his technical artists were reviewing Seven and Zodiac and aiming for a fawning homage to a modern master of crime cinema. I would advise people to just watch Seven again, or even any of the many junky serial killer thrillers from the 1990s (Copycat, anyone?). The Little Things just isn’t that interesting. The main characters are threadbare, the women are either colleagues, wives, or corpses, the plot meanders for far too long, the pacing is turgid, and it lacks memorable set pieces and reveals that linger. It needed to be better, or worse, but instead it’s just imitation David Fincher visual wallpaper.
Nate’s Grade: C
Welcome to the not too distant future where the miracle of science (i.e. red bodysuits and washcloths over people’s faces) allow you to transport your mind into that of another individual. So what happens when a serial killer snags a catch only to be dropped into a coma with no way of discovering where his victim is before time runs out? Well we send Jennifer Lopez into his head — duh! The Latina songstress (and as my girlfriend would say, “Thankfully song-less.”) transports herself to learn the secrets of Mr. Madman before his next victim becomes just a number on a sheet. Sound contrived, like the movie was in production before they had a workable script? You’re not alone. One-named director Tarsem is from the land of music videos but for the life of me I can’t think of one he’s done.
Perhaps the excruciatingly long Nine Inch Nails promo would be less frustrating if the outpourings of creepy imagery meant something. Despite the desire to explain the inside cerebrum of a crazy man, 90% of the imagery is there for the simple sake that it looks cool. Lopez plays Alice to a lumbering wonderland of dark images and a mind-numbingly clattering musical score. Would someone please explain to me why a CGI vine grew on screen for five minutes then went away?
Lopez speaks in whispers, Vaughn speaks like he’s on Ritalin, and the movie speaks that if you had abuse as a kid it’s okay to trap women in self-filling aquarium cubes and bleach them into albino Barbies. Won’t see that in your typical after school special.
The Cell may present some things you’ve never seen before, like a jack-in-the-box theme to twirling intestines, but too often it presents things you have seen much too often in film — boredom.
Nate’s Grade: D
WRITER REFLECTIONS 20 YEARS LATER
I really thought The Cell might be better twenty years later but no. I was fairly critical back in 2000, referring to it as one of the worst movies of that year, and twenty years later it put me to sleep. Never a great sign for your entertainment. I had to re-watch the final act of this movie twice, and then I reviewed certain scenes a few more times just for good measure to make sure I wasn’t missing anything essential. The Cell doesn’t really play like a movie. It plays more like the film adaptation of a video game. The premise is promising, a psychologist (Jennifer Lopez) that has to venture into the twisted mind of a serial killer (Vincent D’Onofrio) in order to extract key info before time runs out finding his latest victim. We got something there. However, the actual movie becomes little more than an enterprise for director Tarsem Singh (Immortals) to get drunk on his lavish visual self-indulgences. As my 18-year-old self observed, it does feel like a 90-minute Nine Inch Nails music video.
I suppose The Cell could have been a harbinger of a sub-genre of movies that has multiplied in indie horror, namely the atmospheric movie where the atmosphere is the entire point. Forget story, forget characters, forget setups and payoffs, forget basic emotional investment; the film is simply constructed to deliver strange and memorable imagery and an overwhelming feeling of discomfort and/or transcendence. This isn’t a new sub-genre. David Lynch has been dabbling in this realm for decades, and Terrence Malick fully converted around the time of The Cell’s theatrical release (granted his atmospheric dawdles are considered more high-art). Dear reader, I’ll fully admit my own filmmaking tastes and biases and confess this sub-genre rarely does much for me. That’s because, in my personal experience, the atmosphere gets repetitious and predictable and without greater investment I just grow bored. I completely acknowledge that there is an audience that feels the opposite, that celebrates the immersive quality of giving one’s self into the visual decadence of a filmmaker creating a vivid dream to tempt and confuse your senses. I get it, but it’s not for me, and so I found The Cell to be overall empty and tedious.
Credit where it’s rightfully due, the visuals on display are often striking and luscious, as are the amazing costumes that were shockingly not nominated for the Academy Award that year (The Cell did receive a nomination for Best Make-Up). The sequences are gorgeously composed starting with the opening of Lopez riding a black horse through the desert and then scaling the dunes, each shot so artfully composed that it could be mass produced as a postcard. Tarsem is a gifted visual artist and has been from his early days as an in-demand music video director in the 1990s (R.E.M.’s “Losing My Religion,” En Vogue’s “Hold On”). The mind of a serial killer allows the man to open up the bizarre and grotesque imagery we would expect from that slippery setting. There’s one scene where a series of glass partitions slice a horse into slimmer portions and then spread out the still-breathing remains. There are definite nods to classical baroque painting, like Caravaggio. The various incarnations of our serial killer’s demons gave me a reason to keep watching. There’s demon horn version, giant purple curtain caped version, Alice in Wonderland version, and a final incarnation that resembles a Star Trek alien crossed with Michael Keaton’s Birdman. There is a draw to exploring a brain built upon trauma and abuse and mental illness. It’s like the horror version of Inception. However, while commendable from a production and visceral standpoint, the plot diversions have the feel of visiting the most messed up museum, taking in display cases and then moving onto the next. There’s little here beyond the superficial and the imagery, while artful, is too disposable and ephemeral.
I’m slightly surprised Tarsem hasn’t had a bigger career in feature films. He delivers pretty much what you would ask a visually decadent director to do with this material. It took him many years to get his next film up and running, 2006’s The Fall, and from there it’s been a series of studio-friendly jobs, each further neutering his distinct visual style (watch 2015’s Self/less and tell me it’s the same director of The Cell). He seemed like the kind of artist who might follow Michel Gondry’s (Eternal Sunshine of the Spotless Mind) path but it didn’t seem to play out that way.
Music videos in the 1990s became the fertile training ground for Hollywood to snatch up-and-coming talent for their projects, but looking back, very few of those directors had lasting feature film careers. Not everyone is going to be a David Fincher or a Spike Jonze or even a Francis Lawrence. Many of the most influential and prominent names, like Hype Williams (Belly), Samuel Bayer (A Nightmare on Elm Street 2009), Joseph Kahn (Torque), Mark Romanek (One Hour Photo), Floria Sigismondi (The Runaways), Jonathan Dayton and Valerie Faris (Little Miss Sunshine), Jonus Akerlund (Spun), and Dave Meyers (The Hitcher 2007) only got one or two movies to prove themselves as long-form filmmakers. You have your directors that were attached to action movies, like McG, Marc Webb, Marcus Nispel, Mark Pellington, and most successfully, Michael Bay (strange that they all start with “M”). I’m sure my general ignorance of contemporary music videos (beyond Billie Eilish it would seem) has kept me from citing more names that made the big leap. I guess this paragraph was just examining that most prominent music video directors don’t seem to last in the studio system unless they can prove themselves to be reliable purveyors of mainstream action.
The only real actor worth noting here is D’Onofrio (Men in Black). He gets to be gleefully weird, his favorite kind of acting. He looks like he’s having fun scaring Jennifer Lopez (Hustlers) and inhabiting the different demons of a very disturbed soul. Lopez is perfectly fine but almost entirely reactionary here, like she’s a video game avatar going from one dark corner to another as she clears stage after stage. Her biggest acting was simply putting on the weighty costumes. Vince Vaughn (Wedding Crashers) is completely wasted as a determined F.B.I. agent desperate to find the last victim before she drowns in one of those movie-world elaborate death traps. All of the scenes outside the killer’s psyche are a general waste and serve as monotonous running-time padding. That also includes a deleted scene, restored for the BluRay release, where the killer suspends himself from metallic piercings over a corpse and masturbates onto her body while watching another woman drown in his elaborate death trap. It’s so absurdly try-hard that it’s stunning. This scene offers no further insights into the character, only another gratuitous excuse to be transparently “edgy.”
Looking back at my original review at age 18, I’m struck by how much I agree with my younger self (good job, me). I didn’t have much to say beyond my general dissatisfaction with the boring narrative and the pretty yet vacant visuals. I would classify this review as one of my glibber entries, something I’ve noticed with bad movies and generally being a smart allecky teenager. I do think that perhaps I should raise my grade only slightly due to the level of visual flair. It’s certainly not a fun movie, or an interesting one, or even a good one, but The Cell is first-rate fetish wallpaper.
Re-View Grade: C-
American Psycho is based on the controversial 1991 best seller by Bret Easton Ellis though it got old fast. One can easily grasp how the lead connects with brand names on page one, but repeat it for 300 more and you’re tempted to add the book to your collection of firewood. Ellis’ novel was sadistically perverse, but director Mary Haron (I Shot Andy Warhol) has somehow managed to pull out an entertaining social satire from the pages of blood and name brands.
Christian Bale, mainly known as the boy-next-door in period piece films, plays Patrick Bateman with ferocious malevolence and vigorous life. Teen scream Leo was once considered for the part but after seeing Bale’s startling performance it should prove why he’s on screen and Leo’s swimming in The Beach. Bateman is an up-and-up Wall Street yuppie who glosses over appearance more than anything else. The only outlet it appears for our sinister shark from the soulless decade is by random acts of gruesome violence.
If Bateman blows off steam by blowing off companion’s heads than it only becomes more frustrating when no one believes his random confessions. Haron takes the grisly material of Ellis’ novel and mines it for pure 80s pulp. It only gets better the further it gets as you have so many points to discuss: Is Bateman acting out to prove his existence in a world that doesn’t humor him or others? Is he acting out deep-seeded rage from the actions of the decade on its people? Is he desensitized and so jaded that death does not even fracture him anymore? The questions are boundless.
The hit list of stars in Psycho includes Chloe Sevigny as a nailed home addition, Willem Dafoe as an investigative detective, Jared Leto as an axed co-worker, and sweet Reese Witherspoon as the apple of Bateman’s twisted eye. Everyone has fun in their tongue-in-cheek nostalgia romp through the absurd.
American Psychoshould not be confused with the successful teen sex farce American Pie. The only desserts in this film are just, and they’re usually left of the mayonnaise and behind the frozen head in the refrigerator. American Psycho is the thinking man’s slasher movie. A flick that slices, dices, and always entices. It only gets better after you’ve seen it. One of the best films of 2000 for now.
Nate’s Grade: A
WRITER REFLECTIONS 20 YEARS LATER
American Psycho was a literary sensation upon its initial publication in 1991 and was deemed shocking, grotesque, perverse, and all those splashy adjectives that made it guaranteed Hollywood would turn Bret Easton Ellis’ novel into a film. Every young actor in Hollywood in the 90s was rumored to play narcissistic serial killer Patrick Bateman. By the late 90s, director Mary Haron was attached with Christian Bale as the intended Bateman on the condition that other name actors could be brought on (Haron secured Willem Dafoe and Reese Witherspoon for supporting roles). The producers kept pushing for their number one target, Leonardo DiCaprio as Bateman, and Haron said she would walk if he was hired over Bale. The producers went ahead and DiCaprio was hired for several months, with the budget ballooning to over $40 million, half of which was slated just for DiCaprio’s payday. Months later, DiCaprio left to film Danny Boyle’s The Beach, and the producers went back to Haron and her top choice, Bale, who was so determined to play Bateman that he didn’t take any other acting gigs for nine months just in case (new total film budget: $7 million). Looking back again twenty years later, it’s difficult to imagine late 90s DiCaprio in the part that became the first of many star-making performances for Bale, one of the most chameleon-like actors of his generation. Haron’s tenacity and instincts proved correct and the film still stands tall as a dark comedy and a character study of a compulsive narcissist.
The novel was set in the 1980s and intended to satirize the soulless suits of Regan’s America that made their ill-gotten gains on Wall Street, and the satire has only become more relevant after the 2008 financial meltdown and numerous white-collar scandals. The perception of Wall Street as predatory and vampiric and roiling with sociopathic greed has only become more pronounced, which makes the intended satirical targets even more worthy of their take-downs.
I initially wondered in my original review in 2000 whether, among other interpretations, Bateman was lashing out in a world that didn’t care about him in order to make himself feel heard, and that is exactly the opposite response. Bateman is acting out because he can and because he no longer cares about following rules. It may be a metaphorically simplistic application to make a Wall Street trader a serial killer but that doesn’t make it any less appropriate and resonating. The iconic business card scene still sends me howling, as Bateman and his colleagues (Justin Theroux, Josh Lucas, Matt Ross) compete for supremacy with who has the most accomplished little square of cardboard with their name on it. The hushed and awed voices, the detailed micro-analysis, the slow motion and beauty shots of the cards, it’s played to such wonderful heights of absurdity. When Bateman hires two call girls for a threesome, he spends more time flexing and admiring his own image in the mirror. He spends more time on his daily beauty care rituals than he does on introspection. For these hollow men, status and appearance is the only thing that matters in a world of imposters and transitory pleasures.
Bateman is meant to serve as a character study for a man who declares there isn’t anything there underneath him. It’s an expose of vanity in an era of venal excess and it’s also an indictment on privilege. As depicted on film, and later revealed why with an ambiguous conclusion, Bateman gets away with his wild and increasingly murderous antics because of his position. He’s a rich white Yuppie during 1980s New York City. He can get away with anything, which is why he can run around screaming, flailing a live chainsaw, wearing nothing but socks and blood, and nobody seems to be the wiser. It’s why he can go back to his own crime scenes to leave even more of his evidence, and DNA, around the premises. It’s why he can pose as Paul Allen (Jared Leto) even after he has hacked Allen into tiny little Yuppie pieces. It’s why he can hilariously wax on like a Rolling Stone essayist about musical artists like Phil Collins and Whitney Houston as he prepares to slice and dice his victims. As his actions become more and more blatant, the satire rises with Bateman to blanket his reckless impulses (these crooks can get away with anything, Haron seems to be whispering in your ear while elbowing you in the ribs). After two more decades of Wall Street scandal without consequence or credible jail time, as well as a president who is convinced rules do not apply to him, the satire has approached an even darker laugh-because-otherwise-you-might-cry territory than it was back in 2000 (“This confession has meant nothing.”).
With no one able to tell him no, how far will Bateman go? Haron and her co-writer Guinevere Turner (who also appears in the film as Elizabeth, a drunk friend of Bateman’s who becomes another victim) smartly dialed into the themes they wanted to send up and dialed down the grisly gratuitous details. In the book, Bateman’s depravity is described in as much detail as he gives to his rampant consumerism. We don’t need pages upon pages of description to understand that Bateman is sick in the head, and we don’t need examples such as torturing a prostitute by trapping rats inside her vagina. The grisly overkill of the book is smartly pulled back to its essentials, and an oft-reviled work deemed misogynistic by many critics has been transformed from a deep dive into rape, dismemberment, and cruelty into a satire on the men who aspire to commit such awful acts. There’s a noticeable difference there that some will miss. One perspective focuses on the actions and the other focuses on the meaning. Bateman is a privileged, entitled, and alienated white man teeming with unprovoked rage, a figure we’ve seen more often in the news in the ensuing decades. The American Psycho movie takes aim at the fragile male egos of past and present. Haron would later go on to write and direct other indies (2006’s The Notorious Bettie Paige) but she never seemed to get that career boost after American Psycho. Ellis decried the movie adaptation and later said he felt female directors were unable to accurately translate the male gaze, which is dubious when the starting point for Hollywood filmmaking is preset at “male gaze.”
Bale is phenomenal in what proved to be his breakout role. It was only a few years later that he nabbed Batman for Christopher Nolan. According to interviews, Bale modeled his performance after what he saw during a Tom Cruise appearance on David Letterman’s talk show. Bale says he saw an “intense friendliness with nothing behind the eyes,” and he then knew how to play the part. It was also the beginning of Bale’s trademark method transformations, becoming the muscled figure of Bateman’s desire, the only thing that ever truly mattered to the man. Bale’s thinly veiled contempt for everyone and ironic detachment are constantly entertaining and provide great laughs (his go-to excuse for departing, “I have to return some video tapes,” made me laugh every time). There’s a late scene where Bateman calls his lawyer to confess to his litany of sins, feeling cornered, and it’s a spellbinding performance all in one take where he approaches mania as he finally unburdens himself (“Tonight I, uh, I just had to kill a LOT of people. And I’m not sure I’m gonna get away with it this time.”). It’s a tremendous moment in a tremendous performance. The movie is filled with familiar faces (Chloe Sevigny! Samantha Mathis! Reg E. Cathy!) that it becomes fun to realize just how many great actors and future stars contributed to the movie. For trivia buffs, it also features Batman (Bale) killing the Joker (Leto).
My original review attempts many turns of phrase, like “blowing off steam by blowing off others’ heads,” but the core points are still viable: the satire improves from the book, Bale delivers an amazing performance, and there are many ways to interpret the film. The ending isn’t quite as ambiguous as perceived but it makes sense with the outlandish escalation of events, a point where even Bateman looks at his own power with befuddled curiosity. Back in 2000, I called American Psycho the “thinking man’s slasher movie” and I think that title still applies. It’s a vicious movie but the satire is just as vicious. Weirdly, there was a direct-to-DVD sequel that just went the “non-thinking man’s slasher” route by featuring Mila Kunis (Black Swan) as a criminal justice coed who embarks on her own bloodbath, including killing William Shatner as a professor. It’s like unintended satire on Hollywood itself; follow a cerebral and daring artistic work with run-of-the-mill slop under the same name, co-opting the appeal of a “brand” to make a buck. Much like Wall Street, Hollywood doesn’t know when to stop.
Re-View Grade: A
Film is a powerful medium but it’s also one where it seems an infinite number of people are ready and willing to debase themselves just to be part of a production, just like there seems to be an infinite amount of people ready and willing to use their perch as filmmaker to exploit, particularly, young women that normally wouldn’t give them the time of day. I don’t dislike exploitation cinema on its face. I enjoy crazy movies, bad movies, and movies replete with sex, drugs, and violence as much as the next guy. The problem is when the exploitation is for its own shallow sake. Such is the case with the repellent She’s Just a Shadow from writer/director/producer Adam Sherman, whose scuzzy aim seems to be a lower-rent Harmony Korine, who is a lower-rent Larry Clark, all face down in the trough of skeevy exploitation cinema runoff. This may be the kind of movie only a disaffected 12-year-old kid would love but you wouldn’t want to get to know that child.
Set amid the glamour and grime of Tokyo, we follow Irene (Tao Okamoto, The Wolverine), who informs us in her opening narration, “It was kind of confusing how I took over the black market and sex trade of the whole city.” So, off to a good start. She’s married to Red Hot (Kentez Asaka) who is looking to gain new turf for his drug empire and stomp the competition, which happens to be a grade school friend of Irene’s that causes him intense jealousy. Gaven (J-pop star Kihiro) is tired of his rich gangster playboy life and torn between his feelings for two prostitutes, Tanya (Karuka Abe, Kiss Me First) and Beth (Mercedes Maxwell, Marfa Girl). He wants to run away with Tanya but just can’t leave his cushy lifestyle. Really, the plot of this movie is: whatever character does copious amount of some drug while naked women cavort in foreground or background. Plus there’s a serial killer. That’s it.
The opening sequence sets the tone for this repulsive TWO-HOUR experience. A woman is hogtied, naked, and laid onto train tracks. Her abductor records her panicked muffled cries as one of Japan’s bullet trains approaches. Yes, it’s a twenty-first century film where a villain straps women to railroad tracks. However, that’s not edgy enough, so the abductor proceeds to masturbate to the woman’s terror and climaxes on her, which we see, before she gets smacked by a train. It’s a gross, sleazy, and gratuitous opening, and it sets the tone for a movie that never challenges itself to be anything more than the world’s most boring exploitation film.
You can clearly see Sherman’s interests in exploitation film staples and Japanese culture, but getting to play with your kinks and getting dozens of women naked does not a movie make. It feels like I’m watching some strange and off-putting project that’s a combination of a rambling, incoherent student film and personal pornography. I’m a red-blooded heterosexual male who enjoys nudity but She’s Just a Shadow is excessive to the point of boredom. The movie is almost two hours and I can literally count on my two hands the number of minutes that did not include some naked woman. Scene to scene, naked women will just bounce around, or sometimes they just lay around while other characters talk, serving as literal scene decorations. There’s a big glitter orgy and visuals of writhing, tawny nude bodies. There’s a full-frontal photo shoot that just goes on and on. There are multiple trips to a strip club. The gang of prostitutes are dressed in chunky Alice in Wonderland-style Gothic dresses and wigs and jewels glued to their faces. I looked it up and several of the minor Japanese actresses are real porn stars (no judgement). The objectification of the women is just so overpowering. It’s not that you can’t tell a compelling story with sex workers as the primary stars/perspectives. Sherman has not provided them the material because they aren’t characters; they’re barely people (more on that below) in this realm. They’re disposable fetish figurines meant for posing. This is like some horny teenage boy’s fantasy of having enough power to get a bunch of women to frolic to his specific demands. I counted the number of actresses listed under “prostitute” in the end credits and it’s 32!
Exploitation movies trade in base behavior, memorably outrageous characters, and fans celebrate them for it, but they still need to provide an entry point for an audience. She’s Just a Shadow is trying so hard to be edgy in every scene that it reeks of tragic desperation. It’s unrepentantly misogynistic and trashy and ugly and cruel for its own stupid sake. There are no characters of interest, no recognizable people to follow and empathize with, and Sherman’s idea of a Strong Woman amounts to an abused woman forced to do awful things to fit in or rise above awful people. Crime movies and exploitation cinema is rife with immoral characters but the filmmakers know well enough to make them worth watching. With She’s Just a Shadow, one of the biggest character’s entire arc is that he keeps saying, “Man, I can’t party anymore.” He has a life of empty luxury and he says he can’t handle it any longer, and yet he stays. The lead characters are supposed to be ferocious criminal leaders but they act like self-involved morons or cartoons. They have (nick?) names like Red Hot, Knockout, and the competing gangster, Blue Sky. There is one moment that is so incomprehensible in its insane nihilism that I was gob smacked. In the span of ten seconds, a character roundhouse kicks a kid in a wheelchair across his face, then punts his dog over a fence, and then gets plowed into by a speeding truck. If you needed confirmation, here it is that Sherman has contempt for his unfortunate characters.
The heavy-handed nihilism is so tiresome and is its only trick. Sherman is forced to resort to repetitive shock theatrics to jolt life into his movie because it’s such a floundering story. There’s one scene where Tanya is eating an ice cream cone, digresses about how her drunk father was so poor he could not even afford an ice cream cone, then discusses how she was possibly molested and raped by that same father, and now he’s dead, mom too, and then she smears the vanilla ice creams over her face and asks, “Will you lick the ice cream off my face?” Then there are close-ups of Gavin’s tongue lapping every morsel. What the hell is this scene even doing?
The lingering serial killer is the biggest symptom of this diseased thinking. The “Train Track Killer” is seen murdering a half a dozen naked women in his signature over-the-top style, and why do we need to see this half a dozen times? Are we gaining any further insights about this man? The police can’t seem to determine the identity of the culprit, but in this universe not a single train employee or passenger records evidence of a weird man standing beside a dead body. The serial killer poses as a cop but most of his screen time is spent spying on Irene’s prostitutes, and hacking into their electronic devices, and masturbating furiously. I suppose there’s a mystery of whom he is, not that his identity matters, but it does matter to Irene and her girls who are at risk. Halfway through the movie, Irene knows who this guy is and… she… does… nothing. Why? Eventually, at the very end of the movie, she does take a stand, but why didn’t she take the initiative an hour earlier? There are more women dead because she chose not to act. The “Train Track Killer” adds nothing of genuine value to this story. He’s a slipshod antagonist kept along the periphery, called upon to do something horrible at random times, yet his actions have no impact on the characters he targets. Under Sherman’s guise, the women are all disposable. This is a stupid character that has nothing to do except provide work for the newscasters (who report with the same microphone and obliviously within feet of speeding trains). Let this terrible man’s spiteful ejaculation in the opening scene serve as a metaphor for the entire enterprise.
She’s Just a Shadow has so many bizarre, ineffective, and pathetic examples of headache-inducing dialogue that I had to assemble my favorites. I asked my friends on social media what the best-worst example of dialogue is, and by a close margin they went with the first selection. The candidates for Worst Line of Movie Dialogue of 2019 are the following:
1) “Women! No matter how human they seem, they are just shadows. But on the other hand, aren’t we all?”
2) “This sandwich is cold and raw AND SO ARE YOU!” *hangs up phone*
3) “There’s two kinds of love: strawberry love and Twinkie love. A Twinkie can sit there for decades and still be sweet. A strawberry is juicy and sweet but if you leave it out it will rot in just a couple of days.”
“Only a prostitute would say that.”
4) “Everything goes away in the end. Love goes away in the middle.”
“Love is a thing with feathers.”
5) “You’re a man whore. A prosti-dude.”
The production has some merit when it comes to its Grand Guignol primary-color drenched photography, but anything of technical value is quickly extinguished by Sherman’s unrestrained penchant for gratuity. Even if you enjoy some of the visual arrangements, there will be scenes where it feels like they were running out of time and just threw a camera onto a tripod and got the first take. Even if you like some of the style, Sherman will indulge to the point of self-parody. There’s one moment where Irene’s girl gang and a rival gang standoff and Sherman has 14 seconds of shots of characters just drawing their guns (I actually counted) and no seconds of watching the actual shootout (the camera frustratingly pans away to hear the off-screen gunfire). Let that be an example of Sherman’s predilections and priorities, featuring women posturing in his fetish gear but, when it comes time for there to be stakes and story significance, the movie cowardly retreats. I haven’t even talked about the numerous other awkward moments. Red Hot rapes Irene twice, once after spanking her/beating her with a laptop, and a second time after stabbing her in the thigh. Gaven badgers a dying and profusely bleeding prostitute (it’s like the floor is painted in gory gallons) about whether or not she can see God in her final moments, and she requests a kiss that is followed through with a string of bloody saliva between their lips. The earlier shot didn’t even have this string of saliva, but then Sherman shows another take immediately after, because he definitely wants this string of saliva seen and processed. It means something. Or nothing.
To say She’s Just a Shadow is in bad taste or a waste of anyone’s time is an obvious understatement. This is a bottom-scraping bad time of a movie, soaked in various bodily fluids, gruesome for the sake of being cool, smothered by its wanton excess, and supported by one-dimensional ideas of characters that are really just opposable bodies miming the exploitation influences for Sherman. He feels disdain for all of these characters but especially the women who are fetishized, objectified, abused and harassed, and made to sadistically suffer. I felt bad for every person, especially the women, involved in what feels like Sherman’s student film project where he gets to tickle every personal fetish he’s ever had. Even watching the stream of flesh and violence grows utterly tiresome without variance or reasons. At one point, a call girl stumbles into a double suicide, blood splattered against the walls, and seems to be talking directly to the audience when she huffs, “This is the stupidest fucking thing I’ve ever seen.” You said it, sister.
Nate’s Grade: D
As soon as I read about the director of The Haunting of Sharon Tate’s follow-up movie, I knew it was destined for a spot on my worst of 2020 list. This filmmaker wasn’t exactly presenting nuanced and sympathetic portraits of famous dead celebrities, and instead was exploiting their fame and their famous demises for cheap genre thrills. The Murder of Nicole Brown Simpson was always destined to be a bad movie with these people involved with these intentions. This sleazy thriller is rife with bad decisions, bad faith, and victim blaming to its very nasty core.
Nicole Brown (Mena Suvari) is trying to start her life over after divorcing her famous husband, O.J. Simpson (Gene Freeman). She meets a painter named Glen (Nick Stahl) and invites him to paint her home, to make it more her new sanctuary. Except Glen is a disturbed drifter who will eventually be known as the Casanova Killer who had murdered many blonde women. From there, Glen stalks Nicole and terrorizes her to her very end. Sigh.
The very nature of its premise alleviates the guilt from Nicole’s abusive, controlling husband. Oh sure, the movie still says O.J. is dangerous and jealous and protected by his personal relationships with many of the local law enforcement, but this is mitigated by the very act of using O.J.’s own half-baked alibi assertion from the infamous cash-grab hypothetical literary tome, “If I Did It.” In this highly disingenuous “hypothetical,” O.J. says he might have met a friend named “Charlie” and it was “Charlie” who did the killing and O.J. says he was simply blacking out that night as an unexpected accomplice. First off, the very nature of this book is disgusting, but the fact that this movie uses it as a foundation to posit an alternative theory that lessens O.J.’s blood-stained culpability is like re-telling the Ted Bundy’s account where a frisky and mischievous friend was really the one consuming people. What exactly is the purpose of presenting this alternative theory, which is predicated on the flimsiest of even a whisper of evidence; Glen Rogers’ brother says that mentally disturbed Glen once told him he killed Nicole Brown. That’s it. Add Glen talking to a voice in his head, a dark impulse he calls “Charlie,” and that’s the only connective tissue the movie provides for this new theory.
The entire inclusion of this “Could it be someone else?” theory is for crass sensationalism. Because if the filmmakers were trying to do anything beyond gaining craven attention, they would present a more compelling relationship between Nicole and Glen. The portrayal makes Nicole look like the biggest moron and the movie seems to flirt with the insidious idea that she might have invited her murder onto herself. First, she meets Glen in her neighbor’s driveway, having never seen him before, and invites him into her home and offers him a job, and all of this is miraculously before she even knows the man’s last name, an address, or references. He makes a shifty statement about past work experience being “here and there” and she hires him. The next time we see them together they’re already sleeping together. It feels like I was watching character assassinating propaganda, especially recalling O.J.’s crazed accusations of Nicole sleeping with every many she could find because, to him, she must be a whore. In one of the more wince-inducing moments, Nicole admits to her therapists that she misses the sex with her abusive ex-husband. Any feminism points the filmmakers thought they were providing by showcasing Nicole’s terror and resolve in starting a life away from O.J. just get sabotaged again and again by moments like this. Because Nicole isn’t a person to these filmmakers, she’s a marketable victim who was too stupid to understand how dangerous multiple men were.
There’s also a problem structurally with The Murder of Nicole Brown Simpson because she discovers Glen’s unhinged side very quickly. There’s no prolonged buildup of piecing things together. There is half a movie left, which means the filmmakers have an awful lot of time to kill before the actual killings. There’s a drawn-out sequence where Nicole is shopping with the Kardashians (you better believe there are Kardashian kid cameos!) at a nearly empty mall and she sees Glen stalking her. The sequence just keeps going on and on until she’s now stalking him. It’s a sequence that fulfills little we didn’t already know about Glen as a dangerous man. This is further emphasized in unnecessary ways by showing him picking up a doomed woman at a dive bar (literally called “Sinners and Saints” – sigh) and suffocating her, setting her car on fire, and presumably leaving behind plenty of physical evidence like fingerprints. It’s a gratuitous sequence where we get to watch another woman get murdered before our special murder victim gets her showcase. There’s even a shockingly superfluous nightmare sequence that literally rips off the imagery from A Nightmare on Elm Street where Nicole is battling some invisible poltergeist that drags her up a wall and onto the ceiling. It’s filling time, which the movies does even after it finally meets its titular action. There’s a whole two minutes or so of watching a dog walker creep upon the Brentwood crime scene as if we already didn’t know what happened, so where is the suspense? Then the movie fills time even more blatantly by relying on a clip package of real-life TV news from the murders, the Bronco chase, the trial, O.J.’s acquittal, and then portions of his interview for “If I Did It.” It’s literally a clip show to get across that all-important 80-minute feature-length threshold. Watching this abysmal movie, it’s clear that the filmmakers had no real intention of presenting a story and were just presenting the most baseless historical “what if.”
The dialogue in this movie can be wretchedly obvious and trolling for forced profundity with heavily applied and snide dramatic irony. This occurred in the director’s previous film, using the audience’s knowledge of Sharon Tate’s eventual slaying to force a sense of literal and figurative premonition to use as dread. This was at its worse with her awful visions but it also translated to her many heavy-handed pontifications on whether she was fated. With this new film, Nicole is basically looking dead-eyed into the audience after every one of these lines. That includes an admission, “I worry he’s going to murder me and get away with it,” and that’s only five minutes into the movie. I would estimate twenty percent of Nicole’s dialogue in the movie is her contemplations that O.J. will be the literal death of her, like chiding a dismissive L.A.P.D. officer for eventual guilt about not intervening when he had an opportunity. These moments are meant to make Nicole Brown seem more tragic but why does she need any benefit of extra tragedy for empathy?
I chiefly pity Suvari (American Beauty). She likely thought she was doing the real Nicole Brown a service by portraying a woman who was trying to work up her courage to push back against her abuser. She probably thought these moments were humanizing Nicole, presenting a more recognizable face beyond the splashy tabloid headlines (see, she has difficulty working a home alarm system too!). I need to believe that Suvari felt she was doing some service because her name is listed as an executive producer, and I would hate to think she was onboard with the more wrongheaded and sleazy aspects of the film becoming a misguided reality. Suvari seems adrift for most of the movie, perhaps the weight of all that dramatic irony crushing her down. However, she doesn’t seem as adrift as Taryn Manning (Orange is the New Black) as a boozed-up cartoon of Nicole’s friend, Faye Resnick. She snorts cocaine. She tries to seduce Nicole at one point, referring to past trysts (more propaganda?). She has a remarkable helmet of a giant blonde wig that looks like it’s crushing her tiny neck. It’s a performance that seems too off-kilter that it almost reminded me of some of the acting I’ve witnessed in The Room. Then there’s Stahl (Sin City) who just acts like a sketchy guy from his first moment onscreen. It makes it hard to believe that Nicole would, after her interactions with O.J., so obliviously accept this new man into her home and into her bed. Then there’s Agnes Bruckner (Love and Chocolate) as a jaw-clenching Kris Kardashian, a character who probably should have just been removed entirely.
The Murder of Nicole Brown Simpson might not be as offensively bad as The Haunting of Sharon Tate, but even that declaration is not exculpatory. This is still a terribly written, terribly directed, and terribly made movie based on a terrible premise. Even if the filmmakers wanted to tell a compelling alternate theory to the much-publicized Trial of the Century, it sure doesn’t look like they had any interest other than grabbing their own attention-seeking headlines. There is no thought put into any part of this movie outside of its outrageous premise. At least we’re spared having to relive Nicole’s bloody death through several gross fake-out premonitions like Sharon Tate. The Murder of Nicole Brown Simpson wants to position its lead heroine as a tragic figure, but she was already a tragic figure, and it definitely doesn’t earn the artistic right to play Nicole’s real-life 911 calls where she frantically begs for help from her enraged husband. You don’t get to present a feature film that says O.J. didn’t do it and then play her real 911 calls of abuse from O.J. It’s a stark reminder of the resolute bad faith of the people involved in this lousy production. Beware famous dead celebrities, because even the grave can’t protect you from director Daniel Farrand’s gross revisionism for profit.
Nate’s Grade: D
I believe I’m ready to cast Lars von Trier in the same dustbin I’ve consigned Terrence Malick and Michael Heneke. I think I’m done with him and his films. The man has obvious talent but is often his own worst enemy, given to self-destructive impulses and excessive cruelty meant to be daring and challenging but is mostly perfunctory. The House That Jack Built is distasteful by design but also heavy-handed, obvious, and vacuous to a fault.
Jack (Matt Dillon) narrates his life as an American serial killer in the 1970s and 80s. He’s traveling through the afterlife with the help of Verge (Bruno Ganz), a supernatural guide and easy listener. Jack divides his murderous exploits into a series of five key incidents: Lady 1 (Uma Thurman) being picked up looking for car help; Lady 2 (Siobhan Fallen Hogan) as a suspicious neighbor answering the door; Lady 3 (Sofie Grabol) as a mother with kids who is taken hunting and then literally hunted; Simple (Riley Keough), the one who tried to get away; and finally the last scenario where Jack tried to kill multiple men with a single “full metal jacket” bullet. Along the way, Jack talks about the frustrations of his boyhood and adulthood, living with OCD, and the implications of his life’s legacy.
It’s not that a serial killer film, whether it be a psychological examination or gnarly genre thrill ride, can be without artistic merit, but von Trier settles for empty provocations. He’s using the nature of the movie serial killer to essentially terrorize the audience and make them question what entertainment value they ever saw in these kinds of figures and stories, or von Trier’s films at that. I was expecting an unsettling experience given the nature of the subject and the reputation of the filmmaker, but what made the situation all the more oppressive and disquieting is how obvious and heavy-handed everything comes across. The central metaphor could not be any more transparent for any person familiar with von Trier’s back catalogue of punishing feature films. Jack views himself as an artist, specifically an architect, and his art is via terrorizing women for personal satisfaction. In case you needed it further spelled out, Jack is von Trier, a filmmaker who makes movie after movie featuring a central heroine being abused and exploited with no cosmic justice. A von Trier film experience is all about unchecked suffering and systemic abuse from the patriarchy. Sometimes this can be a condemnation that elicits strong emotional responses like a Dancer in the Dark, and other times it feels like von Trier wallowing in flip nihilism, like the conclusion of his two-part Nymphomaniac opus that undid the preceding four hours. Jack kills women for his art; von Trier tortures women for his art. There you go. With that central metaphor established, you’d expect the movie to become an introspective and excoriating probe into von Trier as a notorious filmmaker who often shocks and appalls. Oh how wrong you would be. The House That Jack Built is the same stale slog only with a slight meta twist.
For no better example of how heavy-handed the movie is, simply observe its unnecessary framing device where Verge/Virgil is literally leading Jack in the dark toward the subterranean bowels of Hell and the two are digressing the long walk. My friend and filmmaker Jason Tostevin said he was watching The House That Jack Built with a “scrunched-up face” for its majority until the last thirty minutes when he accepted it as a morose comedy, and then it started playing better for him. That might just make sense, considering von Trier’s overwrought pitch-black sense of humor and overall belief that life is a joke. I did laugh out loud once Jack and Verge are floating in bubbles. It also provides some, not much, context to scenes like Thurman’s, where she keeps needling Jack about what a bad serial killer he would be based on his decisions. It’s almost like von Trier is trying to say that Jack took the psycho killer plunge because a bossy woman kept annoying him and pushed him into it. The early sequence of Jack stumbling into being invited into a woman’s home has a clumsiness that almost invites a degree of wicked comedy, especially after Jack tries to treat the woman who seems incapable of dying. There’s also the absurd conclusion of the “house” Jack actually finally constructs. However, even as a supposed “comedy,” The House That Jack Built is an obnoxious experience that will make you feel worse by the end of its painfully lugubrious 150-minutes.
There was one kernel of an idea that could have worked, the nature of a serial killer with OCD. Those competing impulses would provide a level of new interest. During the second incident, Jack is compelled to go back to the crime scene again and again, risking being caught by a pesky neighbor or police officer, but he can’t help it. He’s obsessed that he didn’t check every last square inch and there’s an unseen blood droplet that will doom him. The concept isn’t new as Ray Bradbury had a short story “The Fruit at the Bottom of the Bowl” about a killer obsessed with eradicating every trace of his fingerprints. It puts the killer in a position of vulnerability that makes every killing more fraught. It’s almost like von Trier can suspect his audience enjoying this aspect of his story and so he must snuff it out. For whatever reason, Jack says he eventually just stopped caring. He just got over his crippling OCD tendencies through the power of criminal apathy. Jack is never in any danger of being caught because, and even Verge interjects on this, the people of this world are preposterously stupid. Nobody believes Jack is a potential murderer, and so this level of ignorance (and white male privilege) enables him to kill with impunity. By removing the possibility of any external threat, Jack becomes that much more boring. The only possible points of interest now become his disturbing murder tableaus. An extended sequence with Keough (Logan Lucky) made me feel queasy, especially when her character’s breasts end up getting severed and slapped onto an ignorant officer’s windshield. That moment felt like von Trier rubbing it in that a good-looking white man can get away with anything.
Even with its five-incident structure, plus celestial-spanning epilogue, the movie is all over the place. von Trier never met a Wikipedia article he didn’t like and want to awkwardly shoehorn into a longer narrative. Get ready for more seemingly unrelated academic asides meant to come across as philosophical pontification on the nature of art, evil, culpability, and whatever else sounded smart at the time. Jack compares his murder sprees to… medieval architecture. He then digresses about pianist Glen Gould, dessert wines and their decomposition process, the screaming WWII German airplane the Stuka, the theory of Ruin Value, the balance of light and shadow from two streetlamps, and you bet there are concentration camp anecdotes. At one point Jack and Verge are debating how one can best enjoy art and von Trier uses clips from his own movies as examples of “challenging art” in case you wondered whether or not he was going to be too hard on himself and his past. These quizzical asides often feel tacked on like academic footnotes, yet the film is stuffed full of them. It lurches from incident to incident and footnote to footnote, mostly because Jack is a rather boring lead character with a boring worldview and past. Then there’s the final epilogue that literally takes place in Hell. If you can make it past that, dear reader, you’ll be treated to a smash cut to the end credits set to, I kid you not, “Hit the Road Jack.” It’s a baffling, tonally discordant decision that only furthers the theory of Jack as a comedy.
I feel like I’ve endured enough von Trier films in my life at this point that I can walk away, content with the decision. It’s getting harder and harder for von Trier to tell a new story and his old tricks have grown tired, placing him into unintentional (or intentional?) self-parody. There isn’t enough introspection or insight or narrative complexities to justify this bloated and bedeviled look at one man’s many misdeeds. The characterization is slack and there are no significant supporting figures, only victims and stooges, and sometimes both at once in von Trier’s mocking reflection of our universe. I felt varying degrees of sympathy for every actor in this movie. They deserve better. Matt Dillon can play to the dark side well but he deserves more than to be a smiling cardboard cutout. Uma Thurman was one of the best actors in Nymphomaniac Part One. Doesn’t she deserve better than to get repeatedly smacked in the face with a broken car jack (get it, a “broken jack,” because the main guy’s name is… oh, you do get it?)? Riley Keough definitely deserves better than to have her breasts fondled for a solid minute onscreen and then used as a coin purse later. And the audience likewise deserves better than to spend 150 minutes watching misguided torment and misogyny disguised as introspection and social commentary. The House That Jack Built is rotten to its very foundations and another excuse in cheap sadism for the cheap seats.
Nate’s Grade: C-
It’s been 40 years since the original Halloween changed the horror industry. That is no overstatement. The low-budget 1978 movie by John Carpenter was a box-office sensation and ushered in a decade-plus of bloody slasher cinema. It’s even been 20 years since Halloween: H20, which was a 20-years-later sequel bringing original scream queen Jamie Lee Curtis back into the mix. It’s now been another full H20 of time since that film, which makes me feel old, personally. Rob Zombie revived the franchise in 2007 with a back-story for methodical killing machine Michael Myers that nobody asked for (surprise: his family life was not great). Now an H40 later, director David Gordon Green and actor/writer Danny McBride have revived the franchise by going back to its roots, namely by ignoring all of the seven sequels and bringing back Curtis yet again. The new Halloween 2018 edition is a strange experience for fans. The first half feels like an elusive parody of the franchise, and then the second half drops comedic pretext and becomes much more serious and straightforward. As my pal Ben Bailey said, I can understand people hating this movie or loving it depending upon the half they focus on. This new Halloween ends on a high note but still could have been so much more.
In the decades since the original murders on Halloween, Laurie Strode (Curtis) is living a hermetic life. She’s never fully recovered from the events of her traumatic youth, and so has been preparing intensely for Michael’s eventual return. She rigorously trained her own daughter, Karen (Judy Greer), for self-defense to be a survivalist, locking her in the basement and training her with an array of firearms. Laurie thought she was drilling her daughter to be strong and a survivor, but the state had other interpretations, and so Karen was removed from her mother’s home and grew up resenting her oppressive, paranoid mom who took away her childhood. Karen has forbidden her own daughter, Allyson (Andi Matichak), from interacting with her crazy grandma, but both find ways. Michael Myers breaks loose from a prison transport and is heading back to Haddonfield with a mission to find and kill Laurie. They’re on a collision course H40 years in the making.
Let’s focus on that peculiar first half first. There were several points that made me shake my head and wonder if they were trying to be subtlety tongue-in-cheek or bad on purpose, and because of the pedigree behind the project, I had to give it the benefit of the doubt, but to what end? Why skewer horror tropes in a subtle way that could be construed as simply being bad instead? Why even do it for this franchise and then mostly drop it by the second half? There were several moments where I had to laugh and I wasn’t fully sure it was intended. This was my dilemma watching Halloween 2018 and I’m sure others will have a similar experience, scratching their heads and wondering why the movie is going the route that it is. Take for instance the horror trope of the bad babysitter. We have another situation where a nubile high school girl is going to invite her boyfriend over for some late-night action, nodding to the 1978 original film. Except the kid being babysat sees through everything and calls out his babysitter. He’s a street-smart kid who speaks with the voice of the knowing participant, like when he tells the boyfriend that he will die if he goes upstairs (spoiler alert: this kid is prophetic). There’s a string of kills that feel perfunctory, like the filmmakers have noticed that too much time has passed and have to satiate audience bloodlust to buy them another ten or so minutes of setup and characters. The kills themselves are lackluster. Even the gratuitous nudity is fleeting, confined to a quick flashback relating to young Michael Myers spying on his big sister (one of these days a slasher movie is going to be replete with wall-to-wall male nudity and no boobs just to mess with its target audience). There’s the trope of the ineffective police officer. After finding out Michael Myers is on the loose, an officer bluntly says, “What are we gonna do? Cancel Halloween?” The answer is, yes, you cancel the trick-or-treat activities for the town where this guy is clearly heading and you adequately warn the populace. You ask for assistance from anyone with a cell phone to broadcast the whereabouts of fugitive Michael Myers. The guy is pretty large and easy to spot, plus he’s not that traditionally fast. A citywide digital manhunt might have made for a more interesting movie premise with some genuine cultural commentary.
Or take for instance the stupid side characters meant to be fodder for the merciless kill count. The movie mysteriously gives these disposable characters little one-minute asides to present a glimpse of another story that we’re just not privy to. There’s the little kid who doesn’t want to go hunting and wants to be accepted by his father as a dancer. Okay, that’s a more interesting conflict than I thought, and then the dad immediately stops at the site of a bus crash with wandering chained inmates and says, “I’m gonna check this out, stay here.” It’s like Green and McBride gave us one page of characters from an indie drama and then had them smash back into idiotic plot devices making the most headache-inducing decisions. Another instance is a pair of cops debating over adult meals and bread. I appreciate the effort to try and flesh out the characters in a way that makes them feel more real, but then they have no larger bearing than being the next in a line of victims. There are other strange reminders that things just aren’t exact with the movie, at least for the first half. It’s this curiously overwrought, off sensation that keeps the audience from fully engaging, being told to possibly laugh with or at the movie.
I also think the film is fundamentally flawed in its approach, namely by elevating Laurie’s granddaughter as a co-lead. Allyson is too removed from the situation to give an interesting perspective, so she becomes any other teenage heroine we’ve seen in scores of slasher cinema likely meant to appeal to a teenage ticket-buying audience. The real conflict and the real story is the relationship between Laurie and her estranged adult daughter. There is so much drama there to unpack and the movie would be far better had the filmmakers eliminated the majority of the extraneous characters and focused on these two women and their decades-long acrimony. Get rid of Allyson’s boyfriend, who gets way too much screen time to simply be jettisoned without resolution (his lone purpose seems to be disposing of her cell phone). Get rid of his friend, a supposed “nice guy” with his own entitlement issues. Get rid of the babysitter friend and her dumb boyfriend. Get rid of the cops. Get rid of the Doctor Loomis prison doctor replacement, nicknamed the “new Loomis.” Get rid of them all, including Allyson. I would have preferred Allyson being murdered in the middle of the second act as a means of raising the stakes and forcing Laurie and Karen together again. This is very much a PTSD film about the long ramifications of trauma and how it affects multiple generations. I would have loved seeing that play out in the interplay between Laurie and the daughter that she pushed away in an attempt to save her life. There is so much palpable drama there that I’m genuinely shocked how little Karen figures in Halloween 2018. It’s such wasted dramatic potential as well as a better focal point for the movie.
It’s the second half, and in particular the third act, that saved the movie for me. The finale is everything fans would want, transforming into a surging siege thriller built around Laurie’s well-armed abode. It’s here where the movie becomes a multi-generational fight to the finish and the Strode women must team up to fight the man responsible for the long lingering trauma that has defined their lives in innumerable ways. It’s a climax that feels elevated by the pull of history, and it’s terrific and terrifically satisfying. Watching Laurie stalk the house in search of Michael Myers, going from room to room and locking them down, is the first actually nervous sequence in the film, benefiting from the investment we have in Laurie as an avenging figure. It’s during this sequence where Curtis (Freaky Friday) and Greer (Jurassic World) remind us what wonderful actors they can be. It made me wish for my more realized version of the two of them and their relationship even more. This is where Green (Stronger) also demonstrates his best sense of geography and escalation. Beforehand there are a few nifty tracking shots, paying homage to the opening of the original, but they’re self-contained, congratulatory moments. It’s the finale that made me realize what this movie should have been from its first frame. Lucky for Halloween 2018 it ends a high note (excluding the cliche post-credit revelation).
The newest Halloween movie has lit up the recent box-office charts and ensures this won’t be the last we see of Michael Myers and potentially old lady Laurie Strode. That’s kind of a shame because Green’s movie serves up a fitting finale for the series that could work as a capper for Laurie as a character and a survivor of trauma. But alas, the ringing of cash registers will be enough to extend the franchise and carry on more blood-letting adventures for the man in the William Shatner mask. Halloween 2018 starts off fairly rocky with a question concerning overall tone and intent. There’s humor that feels grafted on from other parallel reality versions of this story, somehow blurring together into a weird final product. The second half works much better than the first when it stops cracking wise and takes itself seriously enough to realize where the real drama lies, with Laurie facing down her demons and working together with the women of her family for maximum vengeance. Watching three generations of Strode women fighting together is a triumphant conclusion. It’s a shame that it won’t actually exist as a conclusion for that much longer.
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-