KINDRED (2020)

November 5, 2020

 Greetings again from the darkness. It’s the first feature film for writer-director Joe Marcantonio and his co-writer Jason McColgan, which might explain why the film starts strong before faltering, mostly salvaged by three strong performances. Eighteen months into their relationship, veterinarian Ben (Edward Holcroft, KINGSMAN: THE SECRET SERVICE, 2014) and Charlotte (Tamara Lawrance) break the news to his mother that they are moving from England to Australia. Mum is none too pleased, as she expects her son to carry on the legacy of nine generations that have lived in the now dilapidated (and isolated) family estate.

Ben’s overbearing mother is Margaret (Fiona Shaw, Petunia in the Harry Potter movies) and she lives in the drafty mansion with Ben’s step-brother Thomas (Jack Lowden, TOMMY’S HONOUR, 2016), who seems more man-servant than son to Margaret. Charlotte soon discovers she’s pregnant, and while Ben is thrilled, she is unsure whether she even wants to keep the baby. Her own mother’s history plays a significant role in her uncertainty. A freak on-the-job accident kills Ben, and Charlotte soon finds herself … um … a guest of Margaret and Thomas. She’s the type of guest that’s not allowed to leave or make phone calls. Yep, she’s being held captive under the guise of this being in the best interest of her baby.

While Margaret is straight-forward vile and ignoble towards Charlotte, Thomas is more difficult to read … albeit no less off-center. Clearly both have a vision for where this is all headed. Margaret spills hers in a terrific scene where she lets her guard down with Charlotte, while Thomas is perfectly creepy and overuses the “making a quiche” punchline. For her part, Charlotte frequently passes out and has recurring dreams featuring birds/ravens/crows … and as fans of horror can tell you, that’s never a good sign. Has Charlotte been drugged or is she being gaslighted by Margaret and Thomas?

Director Marcantonio has delivered a psychological thriller that’s more frustrating than haunting. It has vibes of the classic ROSEMARY’S BABY (1968) sans Satan, but of course, is not at that level – although we do get the chilling doctor played here by Anton Lesser. Charlotte is the proverbial trapped damsel, but the film falls into a pattern of ‘escape-capture-repeat’. It also attempts to use music, but the combination of Debussy’s “Claire de Lune”, Bach’s Cello Suite No. 1, and the long-time standard “Dream a Little Dream of Me”, reaches overload. The Production Design from Derek Wallace and Set Decoration by John Neligan are top notch, but in the end, the frustration we feel overrides any creep factor or strong performance. It’s a near miss.

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Posted by David Ferguson

THAT GOOD NIGHT (2020)

November 4, 2020

 Greetings again from the darkness. Art imitating life is something we’ve not only grown accustomed to, but also something we expect. In this case it’s the bittersweet final performance of the great John Hurt. A terminally ill man taking on the role of a terminally ill man. Director Eric Styles is working from a script by Charles Savage that was adapted from N.J. Crisp’s stage production. It’s easy to see how this could be a powerful live show, but the stunning home in Portugal where most of the film is set, makes for a pleasant transition to the screen.

John Hurt stars as Ralph Maitland, a self-centered, highly successful screenwriter, who may be an even more proficient curmudgeon. He lives in a beautiful home with his younger wife Anna (Sofia Helin, “The Bridge”), who was once his nurse. Ralph receives the dreaded prognosis at his doctor appointment. Rather than tell his wife, he proceeds with ‘getting his affairs in order’ and summoning home his estranged son Michael (Max Brown, “The Royals”). Michael was born to Ralph’s first wife, and he is also a writer.

Ralph’s true colors shine when Michael shows up with his girlfriend Cassie (Erin Richards, “Gotham”). Although Cassie is pretty tough, Ralph devolves from curmudgeon to downright churlish. His rudeness exceeds the bounds of palatable during dinner at a local restaurant, sending Michael and Cassie scampering off before appetizers. Anna is embarrassed by her husband’s actions, but he just continues on with his process – a process that includes contacting “The Society”, which facilitates Euthanasia.

A man in an impeccable white linen suit appears in the doorway of Ralph’s office. He’s only referred to as “The Visitor”, and his played by Charles Dance, Mr. Hurt’s co-star in the underrated 1987 film WHITE MISCHIEF. The conversations between Ralph and The Visitor deliver the best dialogue in the film, and likely the deepest since it forces Ralph to face his mortality and the impact and finality of his decision. It’s here where Ralph’s “low boredom threshold” is mentioned, and quickly minimized by The Visitor.

The film is a relatively simple look at a complex topic, and it also highlights the importance of reconciling with family members, and discovering a reason to keep living. The weakness here is that we only scratch the surface of Anna and Michael, and even what turned Ralph into the man he is. We get a quick glimpse of Ralph interacting with Ronaldo (Noah Jupe, HONEY BOY, A QUIET PLACE), the housekeeper’s son, in a manner that makes us believe he has regrets on his poor parenting during Michael’s childhood. Cinematographer Richard Stoddard takes full advantage of the beautiful scenery, as well as the uncomfortable interactions amongst the family.

John Hurt died in 2017, just 3 weeks after filming was complete. He had a remarkable 55 year acting career, including Oscar nominations for his work in MIDNIGHT EXPRESS (1978) and THE ELEPHANT MAN (1980). Of course he will always be remembered for his iconic chestburster moment in ALIEN (1979). He compiled more than 200 acting credits, and some of my other favorite John Hurt characters are found in: 1984 (1984), OWNING MAHONEY (2003), TINKER TAILOR SOLDIER SPY (2011), and the voice of rabbit Hazel in WATERSHIP DOWN (1978). Dylan Thomas’ 1947 poem plays a key role in this film (and title), and the sentiment also captures the spirit of John Hurt: “Do not go gentle into that good night. Old age should burn and rave at close of day. Rage, rage against the dying of the light.”

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Posted by David Ferguson

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