FANTASTIC FEST 2023

October 2, 2023

Fantastic Fest is an annual film festival sponsored by Alamo Drafthouse in Austin, Texas. Specializing in independent films, the festival usually leans heavily into horror, science fiction, dark comedy, and Avant Garde – pretty much anything that could gather a “cult” following. Here is a recap of the Fantastic Fest films I covered this year (virtually).

YOU’RE NOT ME

Every year, Christmas is voted both the happiest AND most stressful time of the year. The reason why seems pretty obvious and is encapsulated in one word: family. Co-writers and co-directors Marisa Crespo and Moises Romera seize on this phenomenon by having Aitana and her wife Gabi, along with their recently adopted baby boy, make a surprise visit to Aitana’s parents’ home on Christmas Eve … or if you prefer the word used by the parents, it’s an ‘unannounced’ visit.

From the moment the front door is answered, Aitana (and us) notices the cold and strange reception. After being away for three years, she expected long hugs and oohs and ahhs. Instead, her wheelchair bound brother, Saul, is the only one happy to see her, and the curious vibe includes meeting Nadia. The layers take a while to peel back, but what’s apparent is that Nadia has replaced Aitana as the daughter, and this includes sleeping in her bed, wearing her clothes, and being doted on by the parents.

The atmosphere shifts from odd to downright bizarre in the evening as a formal dinner party confuses Aitana. Is she in danger?  Is her baby in danger? Is Nadia a threat? What is up with her parents’ odd behavior? There are teases of the supernatural, demon worship, and a culinary cult. Does any of this play out? Does Aitana’s nightmare come true? The filmmakers expertly toss out many questions, while we as viewers are reminded of ROSEMARY’S BABY (1968) and THE WICKER MAN (1973) as the set-up progresses. No one would describe this as a typical Christmas flick (although there is an Old Nick); however, it’s an impressive production that keeps us guessing.

THE COFFEE TABLE

A smarmy furniture salesman goes overboard convincing Jesus that a particularly hideous coffee table “will change your life” and guarantees it will “bring you happiness. He also claims multiple times that the glass top is “unbreakable”. Jesus and his wife, Maria, argue over the piece. She scoffs at him for believing the outlandish promises. What we soon learn is that Maria ‘rules the roost’ in this marriage and is accustomed to her word being the final word. She planned the wedding, named their newborn baby, selected the color and décor for the nursery, and has been decorating their new apartment with no input from hubby.

The purchase of the coffee table is merely Jesus standing up for himself and making a decision for their family. This couple argues over trivial matters, and they’ve yet to address the absurd accusations and demands being made by the 13-year-old neighbor girl who fantasizes about Jesus. Maria heads to the market to prepare for dinner with Jesus’ brother and his barely legal girlfriend, leaving Jesus in charge of the baby.

By the film’s end, one of the furniture salesman’s promises has come true while the other two have proven absolutely not true. We watch in amazement as Jesus desperately tries to find a way out of the worst imaginable situation … one made even worse by the extended discussions on the joys of parenting. The tension here is palpable and the subject matter is about as dark as any movie I’ve watched … it’s not for those who enjoy lighthearted flicks, but the film is about as well-made and well-acted as you’ll ever find at an indie film festival. The awards ceremony rarely matters much to me at festivals, but I was disappointed this one didn’t gain some recognition.

THE UNCLE

Croatian filmmakers David Kapac and Andrija Mardesic set this story around Christmas, or so it seems anyway. The tinseled tree is up, the house is decorated with blinking lights, and mom is cooking a beautiful turkey for the family meal. Dad and son race to finish their chores before Uncle arrives after his drive from Munich. What appears to be a Norman Rockwell set-up for the family holiday fun is somehow off kilter … each of the players displays enough awkwardness that we instinctively know not all is as it seems.

Forced conversation at the table turns to forced gratitude as presents are disbursed. A video is shown and then Uncle departs. We are left to wonder what the heck, when another day arrives and the event is recreated … right down to the roast beast. We soon see piles of turkeys, cigarette cartons, and BB guns, and realize that these evenings are not just uncomfortable, they are being repeated time after time.

Uncle states many times that all he wants is “a perfect Christmas”, though it’s not until “Sis” accompanies one evening, that we begin to assemble the clues and pieces. There is enough dark comedy in the first half that we chuckle a few times; however, the second half is so bleak and depressing and filled with suspense, that we can only attempt to shake off the feeling of horror that permeates. Two standout performances here belong to screen vet Predrag Miki Manojlovic (as Uncle) and Ivana Roscic (as the mother).

MUSHROOMS

For those of us who enjoy figuring out a mysterious story line before the answer is revealed, this little gem from filmmaker Pawel Borowski will both enchant and frustrate. A ‘granny’ is foraging in the woods for her regular supply of hard-to-find mushrooms. We are drawn to her face and confident movements as she trudges through the forest. It’s a face of toughness and experience.

She happens upon a couple resting in the forest. Both are dressed in costumes. The woman has an ankle so injured that it requires she be carried by her male partner, one who talks incessantly.  He begs the old woman to provide assistance and guide them to safety. At first, she refuses; but ultimately agrees to lead the way. She’s a shrewd woman and doesn’t believe their story about a theater prank, and what follows is a slowly-formed game of cat and mouse with no clear solution, but a definitive ending.

Nature is key here, and granny educates the couple on “spiritlessness”, the rare pure silence in nature. Musical cues occur periodically, though mostly we are left to our own until what can only be defined as a surprise ending. We might have had a better shot at solving the mystery if we were better able to pinpoint a timeframe, but without that, we simply enjoy the suspense and joy of a clever, makes-sense conclusion.

THERE’S SOMETHING IN THE BARN

Billed as a Norwegian comedy-horror, it’s unfortunate that this latest from director Magnus Martens didn’t work on either front for me … although I absolutely adore the premise. A typical American family inherits a family farm in Norway, and quickly decide to relocate to the farm and turn the barn into a Bed and Breakfast for tourists who want to enjoy country life and the spectacular views. Of course, this happens after we’ve seen the opening and what happened to the previous owner a month earlier.

The teenage daughter (Zoe Winther-Hansen) is angry about leaving her friends behind. The stepmother (Amrita Acharia) is trying to put on a happy face for the family, while the goofy dad (Martin Starr, “Silicon Valley”) is just excited for the adventure and mostly oblivious to the obstacles. It’s the young son (Townes Bunner) who stumbles on the oddity living in the barn. An elf has made the dusty place his, and a local man provides the breakdown of the local legend. The son tries to explain to his family what the “Barn Elf Rules” are, but they ignore him and proceed to break all three rules.

Numerous cracks about violence in America are included (evidently part of the ‘comedy’), but other than skiing being broadcast on every cable channel, the movie is neither as clever nor scary as it tries to be. Turning into an elf gore-fest with a gang of elves makes for some fight scenes that should have been more creative, and instead mostly fall flat. This is one I had high expectations for since I thoroughly enjoyed last year’s VIOLENT NIGHT. At least it ends with the great Darlene Love singing “Christmas (Baby, Please Come Home).”

***NOTE: I have also watched TOTALLY KILLER, a horror film that screened at Fantastic Fest this year, and a separate review will be posted since it was not part of the virtual festival package.

1 Comment | Comedy, Drama, Horror, Thriller | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

BIRTH/REBIRTH (2023)

August 17, 2023

Greetings again from the darkness. When Colin Clive bellowed, “It’s alive. It’s alive”, in James Whale’s classic FRANKENSTEIN (1931), it instantly became an iconic moment in cinema history, and inspired many new readers to seek out Mary Shelley’s 1818 novel. Since then, there have been numerous takes on the idea of bringing the dead back to life, and this latest is the first feature film from writer-director Laura Moss and their co-writer and collaborator on their award-winning short film, FRY DAY (2017), Brendan J O’Brien.

The film opens with the frantic emergency delivery of a newborn where the mother’s life is in danger. This scene bookends the story, and it’s not until the end when we realize what’s happening and why. As an opener, this throws us a bit off track, and it’s followed up by showing us the close mother-daughter bond between maternity nurse Celie (a terrific Judy Reyes, “Scrubs”) and six-year-old Lila (AJ Lister). The next morning is a mother’s worst nightmare, and this takes us into the depths of the hospital and the story.

Bacterial Meningitis takes Lila’s life in a matter of hours, and her body ends up with onsite pathologist Dr Rose Casper (Marin Ireland, “Justified: City Primeval”). Socially awkward doesn’t do justice to Rose’s personality, as she seems to be incapable of empathy or even a normal conversation. However, she is obsessed with finding a cure. No, not a cure for meningitis or even cancer, but a cure for death. And her latest “patient” is the recently deceased Lila.

When Celie tracks down Rose at her apartment, she is stunned to see Lila in bed attached to monitors, while Rose’s pet pig tromps around the kitchen. It’s at this point where we realize we have been horror-conditioned to expect Lila to stagger from bed and spread atrocities across the city, wreaking havoc on all who have wronged her. With the creativity of the filmmakers, not only does that not happen, but instead an odd example of teamwork builds between Celie and Rose. It’s a brilliant turn of events, and one that elevates the film within the horror-thriller genre.

Rose’s obsession and focus is quirky and odd and unconventional, and watching Celie not just join in the mission, but actually contribute, is quite interesting. The contrast between the two women is obvious – Celie sees people (babies) as they are born into the world, while Rose seems them just after they depart … these are the first and last stages. There is really only one misstep here – involving Muriel the pig – but most of the movie is exceptionally well written and acted. Ms. Ireland’s Rose will surely make most viewers quite uncomfortable – especially with her method for gathering fetuses for research.

Playing God or trying to outwit nature and biology is typically a losing battle. The film has bits of Frankenstein, PET SEMETARY, Chucky from the Child’s Play franchise, as well as HP Lovecraft’s RE-ANIMATOR. As the two women begin to share traits previously only visible in the other, the film harkens back to the old adage – just because we can do something doesn’t mean we should – only with a big twist from a unique point-of-view as a final shot. It’s a dark movie that certainly isn’t for everyone, but here’s hoping Laura Moss’s film finds a midnight movie audience.

Opens August 18, 2023

WATCH THE TRAILER

1 Comment | Horror, Thriller | Tagged: , , , , | Permalink
Posted by David Ferguson

COCAINE BEAR (2023)

February 23, 2023

Greetings again from the darkness. Dorothy Gale from Kansas may have been worried about ‘Lions and Tigers and Bears”, but even with a wicked witch and flying monkeys chasing her, she never faced anything as fierce as Cocaine Bear! The story is inspired by true events in 1985 when a plane load of cocaine was inadvertently dropped over a national forest in Georgia. Screenwriter Jimmy Warden takes that premise and imagines what would happen if a ferocious bear had ingested mass quantities of the drug and then rampaged while on the ensuing high. Elizabeth Banks, known mostly for her acting (THE HUNGER GAMES), adds this to her growing list of directorial outings (CHARLIE’S ANGELS, PITCH PERFECT 2), and her latest is sure to find a place in cinematic lore.

The film opens with a reenactment of the plane and parachute mishap that caused the drugs to dump into the forest. A crazed Matthew Rhys (“The Americans”) bonks his head on the skydiving exit, setting the stage for our bear to discover the scattered drug bricks. Of course, as we know from so many movies, TV shows, and national news reports, when a drug delivery goes sideways, bears aren’t the only ones on the hunt. A local drug dealer played by Ray Liotta sends his son (Alden Ehrenreich, SOLO: A STAR WARS STORY, 2018) and henchman (O’Shea Jackson, son of Ice Cube) to retrieve the misplaced shipment … all while a detective (Isiah Whitlock Jr) is on their trail.

Looking-for-love Park Ranger Liz (the always great Margot Martindale) envisions a romantic hike with the Park inspector she fancies (Jesse Tyler Ferguson), but her plans are spoiled when a frantic mom (Keri Russell, “The Americans”) shows up looking for her missing daughter Dee Dee (Brooklynn Prince, THE FLORIDA PROJECT, 2017) and her child’s friend Henry (Christian Convery, “Sweet Tooth”), who skipped school to explore the park. While all this is occurring, there is also a band of thugs wreaking havoc on park visitors, one of which (Aaron Holliday) gets looped in with the drug dealers. Once EMS workers (Scott Seiss and Kahyun Kim) show up, peak bear intensity is reached.

Now all of this may sound somewhat normal for a movie set up, but nothing prepares you for a rampaging bear desperately seeking that next hit of cocaine. I don’t have the words to express just how ‘off the rails’ this thing goes (in a riotous and fun way). What I can tell you is that it’s the ultimate crowd-pleaser, and certainly the most effective movie I’ve ever watched featuring a drug-fueled apex predator. I saw this in a crowded theater and the shared laughter and audience-reactions definitely added to the entertainment experience. Key elements have been omitted here because this is one of the wildest rides I’ve ever had in a movie theater … and my hope is that many other fun-seekers will agree. Not only is there humor, adventure, action, and violence, but there are also some brilliant ‘little touches’ that elevate the story (a cute dog, a double-cross, a broken heart, etc).

For almost fifty years, THE ROCKY HORROR PICTURE SHOW (1975) has ruled the Midnight Movie circuit. There have been a few contenders along the way (THE ROOM, THE WARRIORS, EVIL DEAD), but this Elizabeth Banks movie may finally be the one that reignites the late night movie crowd with this raucous, thrilling trip as a coked-up bear (a bear that looks fantastic) runs amok through a national forest, desperate for the next hit. On a side note, this was the final film for Ray Liotta before he passed away in 2022. With a legacy of memorable characters in SOMETHING WILD, GOODFELLAS, and FIELD OF DREAMS, Liotta’s final scene is quite a gut punch. COCAINE BEAR is a “hard R-rating” and not advisable for the 7- and 8-year-old kids brought along by their parents at the screening I attended.

Opens in theaters on February 23, 2023

WATCH THE TRAILER

2 Comments | Comedy, Fantasy, Horror, Thriller | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

CONSECRATION (2022)

February 9, 2023

Greetings again from the darkness. Horror films and religion are a match made in heaven … so to speak. The linking of demonic possession and religious artifacts pre-dates cinema, and yet has long been a key element on the big screen. The effect of the cross on Dracula is one example, and of course, the priest visiting young Regan in THE EXORCIST is one for the ages. So many other examples exist that entire books have been written on the topic. It’s because of this history that we quickly accept the setting and groundwork of this latest from writer-director Christopher Smith (TRIANGLE, 2009) and co-writer Laurie Cook.

Optometrist Grace (Jena Malone) lives alone with her cat when she is notified that her brother (Steffan Cennydd), a priest, is dead. Supposedly he killed a senior priest before committing suicide. Grace is immediately suspicious of the story and decides to conduct her own investigation. She travels to the convent, located on the edge of an oceanside cliff in a remote area of Scotland, where she discusses the case with Detective Harris (Thoren Ferguson). They both have serious doubts that Mother Superior’s (Janet Suzman) chronicle of events is accurate.

Father Romero (Danny Huston) arrives on assignment from the Vatican in order to re-consecrate the convent, and to do so, he must ensure that the truth in the case is disclosed. Adding an element is Grace’s admission to being “indifferent” towards God, which of course, makes her a target of the nuns, including a creepy “peek-a-boo” nun played by Elidih Fisher.

The initial set up with Grace and her arrival are extremely well done, and Ms. Malone proves yet again why she has long been a favorite. The good vs evil stage is set, and then filmmaker Smith begins the twists and misdirection. Flashbacks to Grace’s childhood are a bit heavy-handed and used to spell out a bit too much, and some of these are simply too obvious and generate a few too many eye-rolls. Mr. Huston is always solid in whatever supporting role he plays, but fans of Jena Malone will likely be somewhat disappointed in a movie that doesn’t take full advantage of her presence. Regardless of that, the Scotland countryside is shown in its full glory and that’s quite a sight. Just don’t expect as much from a horror movie that’s just trying too hard.

In theaters beginning February 10, 2023

WATCH THE TRAILER

3 Comments | Horror | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

M3GAN (2023)

January 5, 2023

Greetings again from the darkness. Dolls are the new Clowns in horror. Okay, that’s not actually true since there is a long history of creepy dolls coming alive. Do you remember “The Twilight Zone” 1963 episode “Living Doll” featuring Talking Tina (voiced by the late, great June Foray, known for Rocket J “Rocky” Squirrel, Cindy Lou Who, Granny in the Warner Bros cartoons)? More recently we have experienced Chucky in CHILD’S PLAY (1988) and ANNABELLE (2014), and in a much less frightening style, the many dolls and playthings in TOY STORY (1995). This new generation is brought to us by director Gerard Johnstone (HOUSEBOUND, 2014) and the writing team behind MALIGNANT (2021), Akela Cooper and James Wan. Of course, new generation means high-tech, so this one injects the Artificial Intelligence from Alex Garland’s EX MACHINA (2014).

The tone is set from the beginning as we open on a “Saturday Night Live” type parody of TV advertising for a product PurRpetual Pet, furry critters that talk and poop while being controlled from an app (like everything else these days), and are guaranteed to outlive their owner, thereby eliminating grief. The manufacturer is Funki Toy Company, where Gemma (Allison Williams, GET OUT, 2017, and the daughter of national news anchor Brian Williams) is the head of the robotics department. Gemma’s workaholic lifestyle and commitment to career is rocked when she must take guardianship of her eight-year-old orphaned niece, Cady (Violet McGraw, “The Haunting of Hill House”). Having no clue how to parent or even relate to a child, Gemma fires up her advanced prototype, M3GAN (Model 3 Generation Android), a lifelike synthetic, learn-on-the go robot meant to bond with one person … and in this case, parent Cady in a way that allows Gemma to stay focused on work. And yes, things don’t go according to plan.

As a caution, the first half hour (after the fake TV ad) is a bit dull; however, the pacing and entertainment value jump significantly once M3GAN comes home with Gemma and Cady. Sure, it’s kinda campy, and even funny at times, but M3GAN’s look and mannerisms are sufficiently creepy, even if her subtle eye movements and facial gestures are much more fun than her over-the-top protection of Cady. Amie Donald and Jenna Davis combine to deliver M3GAN’s physical movements and vocals, respectively. Even with it’s too-obvious jabs at corporate greed and parenting via tech, the film is likely to be a hit with teenagers, especially once it hits streaming platforms. Grown-ups aren’t likely to find it as appealing, although most every movie lover will admit this one trumps the annual tradition of lousy horror releases in January.

Opens in theaters on January 6, 2023

WATCH THE TRAILER

1 Comment | Horror, Sci-Fi | Tagged: , , , , , , | Permalink
Posted by David Ferguson

BONES AND ALL (2022)

December 15, 2022

Greetings again from the darkness. Given the onslaught of Zombie movies over this past decade, the release of a film about first love between two fine young cannibals barely raises an eyebrow in regards to subject matter. However, when the film is directed by Luca Guadagnino, the man behind such films as CALL ME BY YOUR NAME (2017) and I AM LOVE (2007), well the interest level is quickly piqued, as we know the approach will be one that’s unique. David Kajganich, who collaborated with Guadagnino on SUSPIRIA (2018) and A BiGGER SPLASH (2015), adapted this screenplay from the 2016 novel by Camille DeAngelis.

Maren (a terrific Taylor Russell, WAVES, 2019) lives in a Virginia trailer park with her father (Andre Holland). He’s extremely protective of her and even locks her in the bedroom at night. The one time she sneaks out to meet some friends at a sleepover, her gruesome actions clue us in to the reason dad worries so much. Soon after, dad deserts Maren, leaving only some cash, her birth certificate, and a cassette tape he recorded detailing all he knows about her past and her rare disorder (a need to feed on human flesh). We get to listen to the cassette right along with Maren, which gives us the background we need to follow along.

This quickly turns into an ‘on the road’ movie as she begins the search for her birth mother. Traveling by bus, and shooting through her funds pretty quickly, Maren heads through Maryland and on to Ohio. Along the way, she crosses paths with two who prove crucial to the story. Sully (played by Oscar winner Mark Rylance, BRIDGE OF SPIES, 2015) is an eccentric oddity of a man with a soft-spoken manner who excels at twisting a phrase. Sully explains what it means to be an “eater” … how their heightened sense of smell allows them to identify others, and his own rule of “never eat an eater”, a rule Maren later discovers isn’t a true industry standard. The first Sully sequence is difficult to watch, yet Guadagnino finds a way to film this that minimizes the visible gore without losing any impact on viewers … or Maren. Sully also shares that he carries trophies of his victims, yet another creepy aspect of this full-scale creepy dude.

Maren’s next key ‘meet’ is Lee (Timothee Chalamet, a Guadagnino returnee from CALL ME BY YOUR NAME). Chalamet plays right into his strength as a low-key performer. This character just happens to kill people and eat them. It should be noted that this is a biological need for these characters … in fact, they have a conversation about being “nice.” Lee and Maren fall for each other much the same as any other young lovers fall for each other. It’s just that their dates often involve ingesting human flesh and blood. Lee’s only real personality seems to be his obsession with 1980’s rock, and he gets to cut loose on KISS’s “Lick it Up”.

The impressive supporting cast includes Chloe Sevigny, Michael Stuhlbarg, David Gordon Green, Sean Bridgers, and Jessica Harper. The road trip continues through Kentucky (where we see a Chia Pet at Lee’s sister’s house), Iowa, Minnesota (Maren’s roots), and Nebraska. A trip to the sanitarium brings unfortunate closer for one of the characters, and it should be stressed that these are teen cannibals, not zombies. These two lovebirds do not possess the giant egos of Mickey and Mallory in NATURAL BORN KILLERS (1994). Director Guadagnino has remarkably produced a love story that springs from these most disgusting traits and urges, and he has done so with the unorthodox screen presence of his three lead actors.

WATCH THE TRAILER

1 Comment | Drama, Horror | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

NANNY (2022)

December 2, 2022

Greetings again from the darkness. The first feature film from writer-director Nikyatu Jusu is a supernatural psychological thriller that may or may not belong in the horror genre. It’s filled with original concepts, innovative camera shots, and a truly powerful lead performance. Despite all it has going for it, the film never quite gels for us, instead creating a bit of confusion as to whether it was trying to make a point or not.

Anna Diop (US, 2019) stars as Aisha. She seizes the role from her first scene and never relinquishes control. Aisha is an immigrant from Senegal who has come to the United States for a better life. She left her son behind in the home country until she can send for him. Aisha is educated and overqualified for the domestic help job she takes for a couple in a swanky Manhattan apartment. However, she’s committed to doing what she must to reunite with her son Lamine, whom she sees on FaceTime. Rose (Rose Spector) is the young girl she is hired to look after, and her parents are Amy (Michelle Monaghan), an anxiety-filled working mom trying to ascend the corporate ladder, and Adam (Morgan Spector), a photojournalist who thinks he can relate to Aisha’s background. Amy and Adam have a strained relationship, and neither seems keen to be a parent to Rose.

We witness Aisha’s ease with Rose, as well as the tension she has with Amy and Adam who seem to take advantage of her in every possible way – including slow payment, cheating her on hours worked, last minute schedule changes, and even invading her personal space. All of this builds in Aisha to the point where her dreams/nightmares/daydreams become a real issue. Water is featured heavily, and we initially relate this to her feeling like she is drowning in the frustrating situation. However soon African folklore enters with spiders and mermaids, and the visions become more alarming. We realize the water has more significance.

The use of color is startling. Aisha’s workplace (the apartment) is washed out gray with cold stone surfaces, while her personal time features vibrant primary colors and music. A sweet romance with Malik (Sinqua Walls), the doorman, provides Aisha with hope. Unfortunately, the psychological character study that has been building through most of the film turns to mostly horror in the final act. The film excels, as does Ms. Diop, when the stress and tension and frustrations of the real world are in the forefront. Still, despite the often bumpy storylines, Aisha’s character and the visuals in the film provide high expectations for Nikyatu Jusu as a filmmaker, and announces Anna Diop as a true leading actor.

Opens on December 2, 2022

WATCH THE TRAILER

2 Comments | Drama, Horror | Tagged: , , , , , | Permalink
Posted by David Ferguson

VIOLENT NIGHT (2022)

November 30, 2022

Greetings again from the darkness. HO-HO-HO! Who is ready for the best ever Santa slasher movie? Admittedly, it’s a narrow sub-genre and anyone that knows me or reads my reviews, knows full well that this is not the type of movie I typically recommend. However, it’s the season for charity and director Tommy Wirkola (HANSEL & GRETEL: WITCH HUNTERS, 2013 – sequel in the works) and co-writers Pat Casey and John Miller (the screenwriters behind the “Sonic the Hedgehog” films) have gifted us an extremely violent and often very funny Christmas present, replete with a sledgehammer-slinging Santa Claus.

We first meet an inebriated Santa (“I’m on a break”) at a local pub, where he explains to a mall Santa why he has become so disenchanted with the job … greedy, self-centered kids who only want more video games. The booze numbs Santa’s disgust as he heads off on his sleigh … and Wirkola delivers the first shocking moment as Santa’s barf keys us into the type of twisted tale we are about to experience. David Harbour (best known for “Stranger Things” and HELLBOY, 2019) is absolutely all-in for this far-from-glamorous portrait of jolly ol’ Saint Nick. On his rounds, Santa raids household liquor stashes while chomping on cookies and eschewing skim milk. He’s a full-blown slob, yet still holds a soft spot for “nice” kids, while having little mercy for the “naughty” among us.

Most of the story takes place at the Lightstone family compound, where one-percenter Gertrude (CHRISTMAS VACATION alum Beverly D’Angelo) is the foul-mouthed matriarch ruling over her entitled and unlikable family consisting of daughter Alva (Edi Patterson) and her airhead-actor husband Morgan (Cam Gigandet) and their poser teenage son Bert (Alexander Elliot). Also present for the festive evening are Gertrude’s son Jason (Alex Hassell), his estranged wife Linda (Alexis Louder) and their precious 7-year-old daughter Trudy (Leah Brady). Santa arrives at the Lightstone mansion not long before a team of mercenaries, led by Mr Scrooge (John Leguizamo), storm the place and take the family members hostage. Their mission is to break into the family vault and abscond with $300 million in cash.

What follows is a demented mash-up of DIE HARD (1989), HOME ALONE (1990), BAD SANTA (2003), and THOR (2011). Deadly weapons used here include your expected firearms, but also a finely-honed candy cane, an icicle, a skating shoe, and a Christmas tree star, among other holiday items. Most prominent is the sledgehammer wielded by Santa, and the flashback to his pre-Santa days for explanation. The violent action is plentiful, and it’s well-balanced with countless lines of comedy. Surprisingly, there is a story nestled in amongst the mayhem, and the heart of it revolves around the bond between Santa and young Trudy. She’s a true believer in him and that overrides his uncertainty about the job, and inspires him to stick around for the fight. Santa can’t explain the mystique of Christmas “magic”, but he does know an 1100 year marriage has its ups and downs.

Obviously, this is not one for the kiddos (it’s a hard R-rating), and they should be shielded from this Yuletide yuck. Director Wirkola has delivered an instant holiday classic for those seeking the bizarro world flicks contrasting to the more respectable family fare of IT’S A WONDERFUL LIFE and A CHRISTMAS STORY. Who would have ever thought that Festivus might be the safer holiday?

Opens in theaters on December 2, 2022

WATCH THE TRAILER

1 Comment | Action, Comedy, Fantasy, Horror | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

BLONDE (2022)

September 28, 2022

Greetings again from the darkness. For those who have studied Marilyn Monroe’s personal and professional life, writer-director Andrew Dominik’s (first feature film since KILLING THEM SOFTLY, 2012) interpretative adaptation of the 2000 novel by Joyce Carol Oates may send them into the early stages of shock. In fact, regardless of one’s level of knowledge of the details of Marilyn’s background, shock and bewilderment are likely reactions. It should be made clear for all viewers that it’s a fictionalized account of her life, not a true biography. One should also know that this is cinematic artistic mastery to complement an incredibly in-depth and revolutionary performance from Ana de Armas (KNIVES OUT, 2019, NO TIME TO DIE, 2021).

At times, the film is surreal, while at others, downright hallucinatory. It’s certainly never boring. However, it’s a disturbing beatdown and a grueling watch for a single sitting at close to three hours long. The film begins in 1933 with a young Norma Jeane (Lily Fisher) living in poverty and misery with her single mom Gladys (a terrific Julianne Nicholson). Mom has obvious mental issues and would much prefer Norma Jeane not be around. It’s here where the ‘Daddy issues’ take hold – issues that stick with the girl for the remainder of her life. After being rejected by her father, her mother, and the friendly neighbors, Norma Jeane ends up in an orphanage. A montage takes us through her teenage modeling years, where we see the beginnings of her being taken advantage of and treated as a commodity.

There is an extended sequence involving the threesome of Marilyn and the sons of Hollywood legends Charlie Chaplin and Edward G Robinson (Xavier Samuel, Evan Williams, respectively), and a vicious rape scene with a studio head “Mr. Z” (hmmm). Marilyn’s first pregnancy leads to an abortion, which is the first of a few tragedies she will experience – and director Dominik finds an entirely new (and bizarre) method of filming these occurrences. The Joe DiMaggio (Bobby Cannavale) and Arthur Miller (Oscar winner Adrien Brody) marriages are noted, yet the men go unnamed, instead referred to as “former athlete” and “playwright” … as if somehow that will trick us.

Of course, all of these relationships are right in line with her “Daddy issues” … Marilyn even goes so far as to call these men “Daddy”, in hopes that one will finally give her the love and acceptance she so craves. One of the more uncomfortable scenes (and that’s saying something) involves her tryst with JFK (also unnamed), played by Caspar Phillipson, whose uncanny resemblance to the former President has resulted in his casting for the role in multiple projects. It’s likely this White House moment, replete with Marilyn’s inner voice, is responsible for the film’s NC-17 rating.

Dominik and cinematographer Chase Irvin recreate some of the most memorable film moments from Marilyn’s career … including the subway vent scene from THE SEVEN YEAR ITCH. After capturing that film magic, the sequence seems to drag on with leering onlookers and what proved to be the final straw with DiMaggio. A recurring feature involves Marilyn receiving and reading letters from the father she’s never met – including promises of meeting “soon.” The payoff for this is disappointing for us and for her.

Perhaps the main point of Dominik’s movie is the enormous gulf and psychological contrast between Norma Jeane, the eternally-scarred young girl, and Marilyn Monroe, the iconic bombshell she created for public consumption. There is a sadness about her most of the time, even when she flips that switch to become Marilyn – the familiar sultress adored by so many. Toby Huss plays Whitey, a version of real-life Allan Snyder, who was Marilyn’s long-time make-up artist and confidant. Her famous diary gets a mention, and we see the price she paid for taking drugs to calm anxiety while dealing with the crushing weight of fame.

Ana de Armas delivers a performance for the ages. Of course, the scrutiny she will face playing one of the most famous women of all-time will be senselessly nitpicky, yet from an artistic standpoint, her work is supreme. Costume Designer Jennifer Johnson somehow manages to nail the different stages, films, and moods (of both the film and its subject). Is this exploiting the woman who made a career out of being exploited? Or is it simply telling a story? Norma Jeane was a fragile creature constantly victimized as she desperately searched for love. Has the filmmaker continued that abuse with this vision? From a moviemaking aspect, it’s’ a thing of beauty. From a human perspective, it’s torturous to watch. If you are in need of a ‘feel-good’ movie, keep searching. On the other hand, if you are in the mood for the work of a cinematic visionary and one of the best acting performances of the year, settle in.

Opens on Netflix September 28, 2022

WATCH THE TRAILER

2 Comments | Drama, Fantasy, Horror | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

BARBARIAN (2022)

September 9, 2022

Greetings again from the darkness. It’s a dark, stormy night. If that’s not scary enough, Tess is in Detroit. She hops out of her car and dashes to the front door only to find the key is missing from the lockbox. Her Airbnb has been double-booked and a confused and sleepy man answers the door. When Tess agrees to ‘come in’, we veterans of the horror genre know exactly where this movie is headed. The only problem with our theory is that writer-director Zach Cregger has made it his mission to mess with our heads – and the genre – by confounding us at every turn.

Georgina Campbell (“Broadchurch”) plays Tess and Bill Skarsgard (Pennywise in IT, 2017) is Keith, the settled Airbnb tenant. The two actors are superb during their awkward encounter, as Tess comes across as an intelligent and cautious woman, fully aware of the red flags in this situation. Keith is a bit shy, yet polite and accommodating – and also aware of what might make Tess uncomfortable. But Keith looks exactly like the guy who played Pennywise, so Skarsgard’s look results in the perfect contrast with this character’s demeanor … keeping us viewers (and Tess) on our toes.  

It’s really the structure of the storytelling that gives this one a creative punch. Cregger serves up 3 different perspectives and then tries to wrap things up in a final act. I actually found all three puzzle pieces well done and interesting, leaving only the wrap-up a bit lacking. In addition to Tess and Keith, we get Justin Long as a cocky actor named AJ cruising along the California coast in his convertible, singing along at full pitch. A phone call abruptly shifts the tone and soon AJ is on a flight leading him to the front porch of a rental property he owns in Detroit. Yep, the same Airbnb Keith and Tess double-booked. Thirdly, there is a flashback to well-kept homes with perfectly manicured lawns. Right again … the same house a few decades earlier before blight took over the neighborhood. It’s in this stage where we note the homeowner (played by Richard Brake) follows a young woman home from the store and gains entrance under false pretenses.

If this seems like a lot to tie into one horror film, that’s because it is. We’d like to know more about Tess. We welcome AJ’s natural sarcasm, and Brake’s early years could have been the creepiest of the bunch. Cregger excels at atmospheric tension and disorienting camera angles, especially in the always dreaded dank basement with hidden hallways and secret rooms. He’s also clever with his misdirection and inclusion of contemporary issues like immediate ramifications of accusations, and the defensive mode that women must maintain when deciding to accept a cup of tea. I certainly enjoyed the jolting cuts from one storyline to the next. However, I will admit to feeling frustration that Tess was set up as such an intelligent person, only to make multiple decisions that force us to suspend disbelief … a trait of far too many horror films.

Opens in theaters on September 9, 2022

WATCH THE TRAILER

1 Comment | Horror, Thriller | Tagged: , , , , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »