A GIRL WALKS HOME ALONE AT NIGHT (2014)

January 4, 2015

 

a girl walks home Greetings again from the darkness. This is my third “first feature” from a writer/director this week, but there endeth any similarities. Ana Lily Amirpour presents the first ever Iranian romantic vampire thriller that blends the styles of Spaghetti Westerns, graphic novels and 1950’s rebel flicks, while making a social statement regarding Muslim women.

This festival favorite is an expanded version of Ms. Amirpour’s 2011 short film of the same title, and the use of black and white, combined with cinematographer Lyle Vincent’s extraordinary photography, delivers a beautifully stark dream-like atmosphere that lends itself well to the sparse dialogue approach.

Despite minimal conversation, we quickly recognize Saeed (Dominic Rains) as the ultra-arrogant drug dealer and bullying pimp, Arash (Arash Marandi) as the hard-working dutiful nice guy who sees himself as a would-be James Dean, Hossein (Marshall Manash) as the drug-addicted dad who burdens his son, and Atti (Mozhan Marno) as the aging, powerless prostitute with little hope. There is even the street boy (Milad Eghbali) who sees all and says little … and is the target of the film’s most terrifying scene (and maybe one of the most terrifying bloodless scenes of any horror film).

What really stands out about this low-budget gem is the seamless and effective mixing of genres. In addition to the “vampire” moments, there are a couple of the most quietly erotic scenes that I can recall (including an ear-piercing), and even a quite humorous scene with an under-the-influence Arash mesmerized by a lamp post while wearing a Dracula costume and being observed by a real vampire.

The vampire is played perfectly by Sheila Vand, whose intoxicating eyes and subtle facial gestures convey all whether she is feeding her appetite, being gently seduced by Arash, or slowly coasting on her skateboard. Her only time to unleash pent-up emotions is the previously mentioned scene when she warns “Be a good boy”. Otherwise, she is the lonesome vampire in search of connection who periodically weeds out the bad men – simultaneously improving society and empowering women.

It’s an odd production as the characters speak Farsi, but filming took place outside Bakersfield, California in a locale that fits the story town’s name, Bad City. Any influence of Iranian culture is only evident through interpretation and the excellent cast. The beautiful camera work is complemented by an outstanding and unusual soundtrack … a combination that proves Ms. Amirpour’s eye and feel for storytelling. The minimal dialogue approach is successful thanks to the atmospheric style and the talents of the cast (many of whom will be familiar to American TV and film audiences). It’s an exciting first feature and has many anxiously awaiting the next project from Ana Lily Amirpour.

**NOTE: In the 2011 short film, the vampire was played by Nazanin Boniadi, whom you might recognize as Fara from “Homeland”

watch the trailer:

 

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Posted by David Ferguson

THE GAMBLER (2014)

December 18, 2014

 

 

gambler Greetings again from the darkness. “I’m all in!” That’s a gambling phrase of which even the most risk-averse amongst us recognizes. When Blackjack addict Jim Bennett (played by Mark Wahlberg) goes all in, which he does every time, it’s more proof that he is “the kind of guy that likes to lose” … a description offered by one of the mobsters and loan sharks who lend him money.

Director Rupert Wyatt (Rise of the Planet of the Apes, 2011) and screenwriter William Monahan (The Departed) deliver a remake of the very cool 1974 film of the same title starring James Caan and written by James Toback. Wahlberg is spot on as the self-destructive gambler who, rather than live for the thrill of winning, seems intent on pushing the envelope of misery and turmoil. His character manages to go seriously in debt to the Koreans who run the underground gambling establishments, as well as ruthless gangster Michael Kenneth Williams (“Boardwalk Empire”), and a philosophical mobster (a bald John Goodman) doing his best Jabba the Hut impersonation.  These are three guys most of us would avoid at all costs.

Unfortunately, it’s a bit more challenging to accept Wahlberg as the rebellious writing prodigy with a privileged background, who articulates in a motor-mouthed rapid-fire onslaught of derisive observations meant to prove how he so despises mediocrity. It’s obvious Wahlberg is “all in” for this role, but it’s difficult not to compare to the more nuanced performance of Caan forty years ago.

Brie Larson (so great in Short Term 12) plays the bright student in Wahlberg’s class, but her role is so limited we are left to only imagine the heights of her talent. Anthony Kelley plays Lamar, a college basketball player ripe for Wahlberg’s world, and Andre Braugher has a blink-and-you’ll-miss-it scene as the college dean. Richard Schiff offers up some comic relief as a pawn broker making Wahlberg’s misery just a tad worse. The great George Kennedy plays Wahlberg’s dying grandfather in the film’s opening scene, and he is the first to provide warning on the mess his grandson has created.

Jessica Lange does a wonderful job as Wahlberg’s estranged mother who is filled with both scorn and sadness at the state of her son, and offers up one last bag of cash in an attempt to allow him to begin anew. The support work is strong across the board, but it’s Goodman who stands out, both with dialogue and a physical presence that deserves some type of award for personal courage and lack of inhibition. His monologue on “F.U. money” is worth the price of admission, though you may request a refund after seeing him shirtless in the sauna.

There is a distinctive style to the film, though at times it comes across as a Scorcese wannabe. From a soundtrack perspective, the diversity of music ranges from classical to folk to big band, with some of the lyrics acting as commentary on the story. The film is pretty entertaining as you watch, but leaves an emptiness once it’s over. With so much that works, it’s a shame it all disappears so quickly … just like money on a Blackjack table.

SEE THIS MOVIE IF: you need a lesson on “F.U. Money” OR you need proof that a shirtless movie star is not always a pleasant thing

SKIP THIS MOVIE IF: you are seeking gambling tips OR your ears burn when exposed to profanity

watch the trailer:

 

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Posted by David Ferguson

THE BABADOOK (2014)

December 7, 2014

babadook Greetings again from the darkness. There is nothing more frightening than the thoughts that occur within the recesses of our own mind. And therein lies the problem with so many “horror” movies. We may squirm and cover our eyes while watching the latest slasher film, but to stick with us as real horror, a film must tap into those internal, psychological fears that we each carry. This first feature film from writer/director Jennifer Kent does that so effectively that I am hesitant to write much more than … go see this one (but of course, I will).

Ms. Kent has fully developed her award winning short film Monster from 2005. With a limited budget of around $2 million, she has figured out a way to utilize many horror staples: a misfit child, the family dog, an old house with creaky floors and doors, a musty basement, old reliables like under the bed and in the closet, open windows, and the always effective knocks on the door. Combine these touches with an incredibly creepy and dramatically graphically illustrated children’s book, and terrific characters in the mom and her young son, and all the elements are in place for a suspenseful and terrifying film that is a throwback to the good old days.

It’s easy to spot the influences of such classics as William Friedkin’s The Exorcist (1973), Stanley Kubrick’s The Shining (1980), and Wes Craven’s A Nightmare on Elm Street (1984), but Ms. Kent has her own style with the camera and expertly creates an atmosphere of widely disparate mood swings grounded in believable characters. Essie Davis (The Matrix Reloaded and The Matrix Revolutions) delivers an extraordinary performance as Amelia, whose husband died en route to the hospital as she gave birth to their son. Noah Wiseman plays Samuel, the now 7 year old boy who has behavioral issues, fears the monster under his bed, and recognizes the resentment his mom feels towards him as a constant reminder of the death that occurred on the day of his birth. Wiseman looks like a cross between Elijah Wood in Witness and Danny in The Shining … only he is much more energetic and animated than either of those characters.

The suspense builds as Amelia’s lack of sleep progressively wears her down, as her job and parenting responsibilities rob her of any down time or relaxation. She can’t even get through a solo release in bed without her frightened son barging in for security. The dynamic between mother, son and dead husband/father elevate this to a level of psychological thrills that we don’t often get on screen. There are so many superb moments to “enjoy”. The amount of blood present is minimal, especially in comparison to modern day slashers. It’s much more about how grief and stress can affect us in sinister ways. In addition to the influences already listed, there is also a tip of the cap to pioneer Georges Mêlies and his use of magic in the early days of film. Babadook may be an anagram for “a bad book”, but it’s also now synonymous with a really good horror movie!

SEE THIS MOVIE IF: you are a true horror film fanatic

SKIP THIS MOVIE IF: you already sleep with the lights on

watch the trailer:

 

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Posted by David Ferguson

THE HUNGER GAMES: MOCKINGJAY – PART 1 (2014)

November 27, 2014

mockingjay Greetings again from the darkness. I’m now even further removed from the target demographics than for the first two Hunger Games movies. Regardless, I have read all 3 books from Suzanne Collins’ trilogy and have seen all 3 movies based on her books. Oh, wait. There will be FOUR movies, not three, from her source material. Hello Lionsgate profits! By definition, The Hunger Games: Mockingjay Part 1 is a warm-up act … it’s setting the stage for the finale which will be released in one year.

So for this one we get a Hunger Games movie with no Hunger Games. In fact, there is very little combat action at all. Instead, we are witness to the strategic planning and “selling” of a war (think Wag the Dog), replete with short promo videos featuring Katniss (Jennifer Lawrence) as the Mockingjay … the rallying symbol of the rebels. There is a terrific scene featuring four great actors: Jennifer Lawrence, Julianne Moore (as President Coin), Jeffrey Wright (as Beetee) and the late Philip Seymour Hoffman (as Plutarch). Four great actors in harmony elevating a movie based on YA novels. Pretty cool.

With no actual Hunger Games, the color palette of the film is almost entirely grays and browns. Even Julianne Moore’s famous red tresses are toned down to a streaked gray. The bleak look reminds of the Metropolis (1927) set, and also makes President Snow’s (Donald Sutherland) vivid white wardrobe and beard stand in contrast to rest. Mr. Sutherland has another juicy scene flashing his devilish grin and twinkle. He’s another example of the perfect casting, which extends to Elizabeth Banks (Effie), Woody Harrelson (Haymitch), Stanley Tucci, and Mahershala Ali (as Boggs). You should expect much less Josh Hutcherson (Peeta) this time, but a little more Gale (Liam Hemsworth).

Jennifer Lawrence proves again that her recurring role as Katniss is underrated from an acting perspective. She is now best known as an Oscar winner, but that doesn’t affect the sincerity, emotion and tenacity that she exhibits here.

This ending of Part 1 feels a bit awkward, but the break comes at the right time considering how the book is written. If you are a fan of the franchise, just accept that you will be buying a ticket for this move as well as next year’s finale.

**NOTE: Fans of Face Off will pick up a nod to that film

**NOTE: Philip Seymour Hoffman passed away with less than two weeks remaining in the filming schedule. He will appear in the finale, but his last few scenes were re-written to account for his absence. I will say it again next year, but his death leaves such a void for us movie lovers.

watch the trailer:

 

 

 

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Posted by David Ferguson

INTERSTELLAR (2014)

November 16, 2014

interstellar Greetings again from the darkness. There are probably three distinct groups that view this as a “must see” movie. First, there are the hardcore science lovers – especially those dedicated to space and time. Next would be the core group of Sci-Fi aficionados (those who quote and debate the specifics of 2001: A Space Odyssey, Blade Runner, The Matrix, etc). And finally, those cinephiles who anxiously await the next ground-breaking film of director Christopher Nolan, whose experimental and pioneering methods are quite unique in today’s Hollywood.

Given that I would be laughed out of the first two groups – exposed as less than a neophyte, you may assume that my discussion of this film will not be steeped in scientific or astrophysical theorem. Instead, this will provide my reaction to what has been one of my two most anticipated films of the year (Birdman being the other).

Simply stated, the look of this film is stunning and breath-taking. Its theatrical release comes in many formats, and I chose 70mm. This made for an incredibly rich look with probably the best sound mix I have ever heard. The physical sets were remarkable and as varied as the scene settings: a farm house, a NASA bunker, multiple spacecrafts, and numerous planets. Beyond that, we experienced the effects of blackholes, wormholes and the tesseract. Mr. Nolan’s long time cinematographer and collaborator Wally Pfister was off directing his own film (Transcendence), so the very talented Hoyt Van Hoytema joined the team and contributed sterling camera work, including the first ever handheld IMAX shots. Top this off with Hans Zimmer’s complimentary (though sometimes manipulative) score, and Mr. Nolan has produced a technical marvel of which known adjectives lack justice.

Take note of the exceptional cast led by the reigning Oscar winner Matthew McConaughey (Dallas Buyer’s Club), and other Oscar winners and nominees Michael Caine, Anne Hathaway, Jessica Chastain, Matt Damon, John Lithgow, Casey Affleck, and Ellen Burstyn. Beyond these, we also have David Oyelowo, Wes Bentley, William Devane, Topher Grace, David Gyasi, Collette Wolfe, Timothy Chalamet, and an exceptionally fine performance from Mackenzie Foy (who will forever be remembered as the “Twilight” child of Kristen Stewart and Robert Pattinson).

On the downside, I found myself shocked at some of the dubious and distracting dialogue. At times, the conversations were contradictory and even seemed out of place for the situation, character and movie. In particular, the entire Matt Damon sequence and the Anne Hathaway monologue on “love” both struck me as disjointed and awkward. These and other minor annoyances can’t be discussed here without noting key plot points, so that’s where we will leave it. However, it must be mentioned that the words of Dylan Thomas are so oft repeated, that the phrase “Do not go gently into that good night” can now be officially considered fighting words.

The works of noted Theoretical Physicist Kip Thorne were the inspiration for the story, and even Astrophysicist Neil deGrasse Tyson has come out in support of much of the science in the film. Be prepared for brain strain on topics such as space-time continuum (Einstein’s Relativity of Time), gravity, and the aforementioned wormholes, blackholes and tesseracts. The blight depicted in the first hour draws its look and even some closed circuit interviews directly from Ken Burns’ documentary The Dust Bowl (2012). Beyond all of the science and lessons of human arrogance and survival, I found the story to be focused on loss … loss of home, loss of loved ones, loss of hope … and balanced by the remarkable human survival instinct. Christopher Nolan deserves much respect for addressing these human emotions and desires with the overwhelming vastness of space, and doing so in a time when Hollywood producers would much rather financially back the next superhero or even a sequel to a 20 year old comedy.

**NOTE: (Could be considered a  SPOILER)  If I were sending a crew into space on a dangerous mission to save the species, and my Plan B was to have this group start a new community on a new planet, I would certainly send more than one female on the mission.

SEE THIS MOVIE IF: scientific brain strain is your favorite form of entertainment OR you need proof that Gravity was mere fluff in the realm of space film

SKIP THIS MOVIE IF: your idea of time-continuum is hitting the snooze button on your alarm clock

watch the trailer:

 

 

 

 

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Posted by David Ferguson

THE LOOKALIKE (2014)

November 2, 2014

lookalike Greetings again from the darkness. Familiar faces are everywhere in this crime thriller from husband and wife filmmakers Richard Gray (director) and Michele Davis-Gray (writer). The familiar faces make the most of a story with no shortage of characters or sub-plots, though sometimes the movie tries a bit too hard to be gritty and hard-edged.

Jerry O’Connell plays Joe Mulligan, a former basketball star turned club owner and drug dealer. Joe is dealing drugs to pay off his dead dad’s debt to loan shark Luis Guzman, all while keeping his dream of hosting his own cooking show on the Food Network. See, Joe is mostly a nice guy caught up in an ugly world. This world includes his brother Holt (Justin Long) who may not be the straight-laced guy he first appears as, his drug boss Bobby (John Corbett), Bobby’s henchman Frank (Steven Bauer), and William Spinks (John Savage) as the powerful guy who demands a set-up in exchange for a big pay day.

The set-up is on track until one of the freakiest fatal accidents strikes Sadie Hill, the object of Spinks’ attraction. Desperate for the money, the bumbling drug dummies, decide to find a substitute. Enter Joe’s customer and Holt’s squeeze as the titular lookalike. Gillian Jacobs (TV’s “Community”) as Lacey does a nice job making us believe she is just desperate enough to agree to the job. Yes, desperation is a trait shared by most every character in the movie … even the detective played by the always reliable Gena Gershon. The final character of note is Mila (Scottie Thompson), who plays the “girl walks into a bar” role and proceeds to muddy the water in this big plan.  Both Ms. Jacobs and Ms. Thompson flash the ability necessary for more ambitious projects.

Slow-motion and cheesy music negatively impact some of the dramatic moments and the sex scenes … especially an otherwise effective cross-cut between O’Connell and Long as they seduce Thompson and Jacobs, respectively. Still, for a rainy day mindless crime thriller that won’t require much investment, this one is satisfactory and offers a chance to catch up with some of our most familiar character actors.

**NOTE: If you don’t recognize Jerry O’Connell’s name, you might remember him as a child actor … he played Vern in Stand By Me (1986)

watch the trailer:

 

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Posted by David Ferguson

NIGHTCRAWLER (2014)

November 1, 2014

nightcrawler Greetings again from the darkness. Many of us still catch ourselves asking “Why is this news?” while watching the local newscasts. We ask this despite knowing sensationalist journalism is the way of the world, and writer/director Dan Gilroy reminds us (in a rare comedy-thriller) … if it bleeds, it leads.

Jake Gyllenhaal continues his progression as one of the most fascinating actors working today. Here he plays Lou Bloom, a fast-talking, self-help studying, ultra-charming sociopath, with creepy bug eyes (thanks to a 20-25 lb weight loss) and an even creepier grin. Mr Gyllenhaal nails the role in a way that reminds of Travis Bickle of Taxi Driver (Robert DeNiro was 33 at the time – the same age as Jake now).

Three other movies came to mind while watching this: Network (the lack of a conscience approach to ratings), Drive (the stylistic camera work and loner lead character), and Body Double (a fascinating Brian DePalma film from years ago). Rene Russo is the veteran news woman who encourages and enables the Bloom character to use his “good eye” to pursue the money shots … defined as anything that strikes fear into the suburban world.

Gyllenhaal is all in for his role as Bloom. Nightcrawling is the label given to stringers (private cameramen) who compete for the video that will lead the newscasts. Bloom’s google-based training has turned him into a Tony Robbins type who blows through dialogue at a speed every bit as fast as he drives his red Dodge Challenger to the next tragedy. Bloom is the epitome of charm in the wrong hands. Think Ted Bundy with a camera. While Bundy actually committed the murders, Bloom blurs the line between recorder of history and influencing the criminal action. He also delivers one of the first on screen ‘chasing a car chase’ scenes.

This is Dan Gilroy’s directorial debut, though he has written over films, including The Bourne Legacy, which was directed by his brother Tony. Dan also wrote my of my favorite rarely seen films entitled The Fall (2006). Dan Gilroy is married to Rene Russo, and her calm, yet equally sleazy, presence works well with the quirky, in-your-face Gyllenhaal character. Cinematographer Robert Elswit (known for his work with Paul Thomas Anderson) beautifully captures the nighttime energy of Los Angeles, as well as the brutal and savage crime scenes.

Gyllenhaal is the real deal here, and somehow makes this frightening monster believable as a guy who could walk amongst us every day (or night). Early on in the film, his character is asking for a job and spouts off a line that includes a bit about being “raised in the self-esteem movement so popular in schools“. It’s our first glimpse of his psychosis which is also grounded in reality.

SEE THIS MOVIE IF: you want to see the extremely rare comedy-thriller OR you want to see Jake Gyllenhaal’s wildest performance yet

SKIP THIS MOVIE IF: the actual nightly news is creepy enough for you … no need to see how it could be even worse

watch the trailer:

 

 

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Posted by David Ferguson

CATCH HELL (2014)

October 28, 2014

catch hell Greetings again from the darkness. Ryan Phillippe has hit the big Four-O, so it makes sense that he would want to explore the other side of the camera with writing, directing, and producing. He’s had a pretty successful acting career given what could be termed a minimal lack of range and a quiet screen presence. His feature film directorial debut (Direct-To-Video) utilizes a script he co-wrote with Joe Gossett, capitalizing on Phillippe’s lot in Hollywood right now … the once promising star looking to recapture the magic with a “game-changer”.

The film opens with a dramatic shot of actor Reagan Pearce’s (RP … get it?) stunning mansion. We see him catch a flight to Shreveport, Louisiana and take a meeting with a slightly spastic director and blow-hard producer. He decides to stick with the project in an effort to re-establish his career … he’s just out of rehab (of course). The next morning, things go really badly as Reagan is kidnapped by a couple of Louisiana hillbillies and locked up in a swamp cabin.

Brutal torture scenes follow and we soon enough learn that one of his captors (Ian Barford) is seeking revenge for Reagan’s dalliance with his wife on the set of a movie. The plan is to destroy Reagan’s reputation and then kill him once he is hated by all. The script attempts some Hollywood satire and makes some obvious commentary on the whole tabloid and celebrity world, but mostly it comes off as a bit self-indulgent for Mr. Phillippe.

There are some flashes of interesting moments, mostly involving Stephen Grush as the second hillbilly with homosexual overtures towards Reagan. Unfortunately, the film does not take advantage of the colorful swamp setting and instead takes place almost entirely within the run down cabin. You will note dashes of Deliverance, Black Snake Moan, and Misery, but this one isn’t at that level. Instead it comes off like a bucket list item for Phillippe … director/writer/producer/star of his own film.

watch the trailer:

 

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Posted by David Ferguson

WHIPLASH (2014)

October 26, 2014

whiplash Greetings again from the darkness. The pursuit of greatness is not always pretty. No matter if your dream is athletics, dancing, music or some other; you can be sure hard work and sacrifice will be part of your routine. You will likely have a mentor, teacher or coach whose job is to cultivate your skills while pushing you to new limits. This film questions whether the best approach is intimidation or society’s current preferred method of nurturing.

Miles Teller plays Andrew, a first year student at an elite Manhattan music conservatory. Andrew dreams of being a great jazz drummer in the vein of Buddy Rich. When offered a rare shot at the top jazz orchestra, Andrew quickly discovers the conductor is a breed unlike anything he has ever encountered. The best movie comparison I can offer for JK Simmons’ portrayal of Terence Fletcher is R Lee Ermey’s Drill Instructor in Full Metal Jacket. This is no warm-hearted Mr Holland’s Opus. Fletcher bullies, intimidates, humiliates and uses every imaginable form of verbal abuse to push his musicians, and especially young Andrew, to reach for greater heights.

Andrew and Fletcher go head to head through the entire movie, with Fletcher’s mental torment turning this into a psychological thriller … albeit with tremendous music. We witness Andrew shut out all pieces of a personal life, and even take on some of Fletcher’s less desirable traits. Andrew’s diner break-up with his girlfriend (Melissa Benoist) is much shorter, but just as cold as the infamous opening scene in The Social Network. At a small dinner party, Andrew loses some of the sweetness he inherited from his dad (Paul Reiser), and unloads some Fletcherisms on some unsuspecting family friends.

Writer/Director Damien Chazelle has turned his Sundance award-winning short film into a fascinatingly brutal message movie that begs for discussion and debate. The open-ended approach is brilliant, though I found myself initially upset at the missing clean wrap that Hollywood so often provides. What price greatness? Is comeuppance a reward? Are mentors cruel to be kind? For the past few years, I have been proclaiming that Miles Teller (The Spectacular Now) is the next John Cusack. Perhaps that bar is too low. Teller just gets better with each film. His relentless energy draws us in, and we find ourselves in his corner … even though this time, he’s not the greatest guy himself. Still, as strong as Teller is, the film is owned by JK Simmons. Most think of him as the dad in Juno, or the ever-present insurance spokesman on TV, but he previously flashed his bad side as the white supremacist in “Oz“. Even that, doesn’t prepare us for Simmons’ powerhouse performance … just enough humanity to heighten his psychological torturing of musicians.

You should see this one for Simmons’ performance. Or see it for the up-and-coming Teller. Enjoy the terrific music, especially Duke Ellington’s “Caravan”. See it for the talking points about teachers, society and personal greatness. See it for any or all these reasons – just don’t tell director Damien Chazelle “good job“.

SEE THIS MOVIE IF: you want to see JK Simmons in a likely contender for the Best Supporting Actor Oscar OR you have been waiting for someone to prove a drum solo can actually be worthy of your attention

SKIP THIS MOVIE IF: you have no interest in exploring what is involved in attaining greatness, regardless of the talent or skill

watch the trailer:

 

 

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Posted by David Ferguson

STONEHEARST ASYLUM (2014)

October 23, 2014

stonehearst Greetings again from the darkness. A surefire indication that a movie is a must-see for me are the words “based on a story by Edgar Allan Poe” … no matter how loosely. Then, set the film in a creepy turn of the 20th century insane asylum, and cast Ben Kingsley, Michael Caine and Brendan Gleeson, and consider me exceptionally excited.

From the opening moments, there is a certain nostalgic or throwback feel.It recalls the “B” movie feel of so many from the 40’s and 50’s that I grew up watching on late night TV. Imagining the production in Black & White rather than color, and picturing Vincent Price as one of the leads, probably give this one more credit than it earns. Despite the stellar cast – also featuring Kate Beckinsale, Jim Sturgess, David Thewlis, and Sinead Cusack – it doesn’t manage to generate any real suspense or feeling of danger.

Director Brad Anderson works mostly in television, but has kicked out some films of interest along the way. These include Session 9, Transsiberian, The Call, and especially The Machinist. Here, he has an exceptionally deep and talented cast, yet manages to waste Mr. Caine and Mr. Gleeson with minor roles. Even Ms. Beckinsale is treated as simple eye candy with a stunning wardrobe that defies logic, given the circumstances.

Three characters that deliver some fun are Sophie Kennedy Clark as Millie (the nurse), David Thewlis as the comically named Mickey Finn, and of course Sir Ben Kingsley as Silas Lamb. Kingsley is one of the few actors who can walk the fine line between elegance and madness, and leave us wondering (even if we really know). He thrives on scenery-chewing roles and this one definitely qualifies.

The script avoids any real insight or statement on the cruel treatment of the mentally afflicted from the pre-psychoanalysis days brought on shortly thereafter by Freud. Allowing the inmates to run the asylum does make it clear that insanity comes in many forms with differing degrees. In fact, I would challenge viewers to name one truly sane person in this film. Loosely based on Poe’s short story “The System of Doctor Tarr and Professor Fether”, what the film lacks in tension and terror (it’s not Shutter Island), it mostly makes up for in production design and nostalgia.

SEE THIS MOVIE IF: a throwback to the asylum movies of the 40’s and 50’s brings you a warm nostalgic feeling

SKIP THIS MOVIE IF:  you prefer not to see electro-shock therapy administered to Michael Caine

watch the trailer:

 

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Posted by David Ferguson

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