BAD HOMBRES (2024)

January 25, 2024

Greetings again from the darkness. January releases are always a bit of a gamble – not just for filmmakers, but also for viewers. A few gems are often buried in the indie dump, so an open mind is especially beneficial and necessary this time of year. Landing somewhere in between the hidden gems and the muck is this B-movie crime thriller from writer-director John Stalberg Jr, and his co-writers Rex New and Nick Turner.

Like so many immigrants to the United States, Felix (Diego Tinoco) is a bright-eyed man, desperate to work and save enough money to relocate his family from Ecuador. At a local convenience store one morning, Donnie (Luke Hemsworth) offers a job (digging a hole in the desert) to Felix and another day-laborer named Alfonso (Hemky Madera, “Queen of the South”). While Felix seems eager and friendly, Alfonso is grumpy and hardened, but it’s Donnie and his cohort who turn out to be psychopaths and criminals. Things turn violent with a blast of gunfire and a pickax to the chest. Felix and Alfonso find themselves knee deep in a botched drug deal and are forced to become partners in order to survive.

Alfonso’s secret past as ‘God Killer’ works to their advantage, and soon enough he has called in a favor from a skittish scumbag (Thomas Jane) who runs a junk lot with a car crusher. He also has a contact for a local veterinarian (Nick Cassavetes) who is on-call for, um, non-pet medical emergencies. On their tail is a fixer (Tyrese Gibson) who works for the “gringos” on one side of the drug deal gone wrong. Working to the film’s advantage is that the actors are all fully engaged and never distract from a situation that most of us can’t exactly relate to (thank goodness).

Felix has a dream of bringing his family to the states and opening a restaurant that features his specialty: chicken with pumpkin. While I will likely never try his signature dish, I found this little movie surprisingly easy to watch – despite the violence and low budget (and inconsistencies with Hemsworth’s arm).

Opening in select theaters and VOD on January 26, 2024

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Posted by David Ferguson

THE TEACHER’S LOUNGE (2023, Germany)

January 24, 2024

Greetings again from the darkness. The intensity and stress of everyday life and of everyday people are on full display in this film from writer-director Iler Catak and co-writer Johannes Duncker. They have brilliantly crafted a terrific suspense thriller from the most unexpected setting and group of characters … a junior high school and the faculty and students.

Teacher Carla Nowak (Leone Benesch, THE WHITE RIBBON, “Babylon Berlin”) is new to the school, originally hailing from Poland. She’s the type of teacher who motivates students by having them think creatively and from different perspectives. We can immediately tell she’s as idealistic as she is passionate about her profession. When one of her students is accused of stealing money, she’s at odds with school principal Dr Bohm (Anne-Kathrin Gummich) on the interrogation of students, as well as the conference with the accused student’s parents.

It turns out there is quite an epidemic of theft and dishonesty at the school, and it extends to the titular teachers’ lounge where Carla herself witnesses an occurrence. Carla decides to set a trap using her laptop’s camera and her unattended wallet. When the camera ‘catches’ the sleeve of an unusual blouse print, Carla confronts the ‘obvious’ culprit, school administrator Ms. Kuhn (Eva Lobau), who adamantly denies the accusation. Further complicating matters, Carla shows the video to Dr Bohm, who promptly suspends Ms. Kuhn, who also happens to be the mother of Carla’s favorite student, Oskar (Leonard Stettnisch).

Carla’s best intentions seem to backfire at every turn. She believes in right and wrong, and also in forgiveness and second chances (especially for kids). Her anxiety heightens at each misstep, whether by her, the administration, or students. Soon, even Oskar is lashing out and threatening her, despite Carla’s attempt to shield him. Many find Carla’s use of the laptop camera more offensive than the actual theft, and the student newspaper journalists seize on this opportunity to incite rebellion and independence.

Much of what we witness on screen is the result of actions taken out of our sightline – we are left to make assumptions right alongside Carla. Film Editor Gesa Jager deserves special recognition for keeping us just a bit off balance. Emptying the teacher’s coffee fund, cheating on a test, defying the truth … all of these (and more) actions are used by filmmaker Catak in delivering a snapshot of a society where we no longer trust one another. Morality, integrity, misplaced concern, racism, classism … these all play a role here in delivering the message. Leone Benesch is exceptional in the lead role, and Eva Lobau goes full throttle in her attempts to show she was wronged. It’s a Rubik’s Cube that serves up our final message, as well as providing some hope that good intentions do sometimes pay off. Yesterday, it was announced that the film has been Oscar nominated for Best International Feature Film. A well-deserved honor.

Opens in theaters on January 26, 2024

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Posted by David Ferguson

CONCRETE UTOPIA (2023, S Korea)

December 6, 2023

Greetings again from the darkness. Dropping ordinary people into extraordinary circumstances is sure to generate some interesting cinematic results, and that’s what writer-director Tae-Hwa Eom and co-writer Lee Shin-ji do in South Korea’s official submission to this year’s Academy Award for Best International Feature Film. The film opens with a devastatingly powerful earthquake in 2020 Seoul.

When the dust settles, the Hwang Gung Apartment building is still standing. This is in stark contrast to the surrounding rubble as far as the eye can see. The city lies in ruins, at least in this section of the heart of town. Initially things go as you’d hope with neighbors helping neighbors and families re-grouping and embracing. However, with temperatures dropping and other shelter impossible to find, the residents of the Hwang Gung Apartments become concerned about the influx of ‘outsiders’. As everyone becomes anxious about resources and supplies, the building residents begin to organize, and have soon voted to evict the outsiders, while naming one man, Yeong-tak (Lee Byung-hun) as the Delegate (leader) of their cause. This, after he is seen courageously sacrificing his own safety to put out a fire in an apartment.

The initial neighborly courtesies transition to self-preservation and protection of family. Much of the story focuses on one young couple, Min-sung (Park Seo-jun) and his wife, altruistic nurse Myung-hwa (Park Bo-young), who shows concern about human nature exposing the dark side for many of the fellow tenants. The apocalyptic or dystopian environment brings out the worst of many who seem unwilling to consider the proverbial ‘shoe on the other foot’. The residents organize into factions: anti-crime, rations, medical, maintenance, and waste management. The organization provides not just a way to occupy minds and keep residents alive, but also an ‘us against them’ mentality.

When Hye-won (Park Ji-hu), a Hwang Gung resident who was not there when the quake hit, makes her way back home, the tone shifts and the organization is exposed. She brings information about the Delegate, implying that he may not be the hero they presume him to be. This segment brings some flashbacks to just before the quake hit, allowing context that helps us understand more. Her arrival makes the third act even more emotional and frantic.

The politics of South Korea living spaces is touched upon in the opening, but director Eom is much more focused on exploring human nature … those ordinary folks in an extraordinary situation. Desperation leads to irrational thought and survival mode overrides all logic. Normal people become more militant, more unforgiving, and less charitable. What the apartment residents did not consider is that those “outsiders” (or “roaches”, as they are called) become even more desperate and their aggressiveness is certain to rise along with their will to survive.

Those living in South Korea will surely have an appreciation for the political aspects of the film, and everyone will recognize the warning signs of human nature when things go sideways – as they seem to quite frequently these days. Whether it’s political commentary or a precautionary tale, filmmaker Eom makes the points effectively.

Opening in NYC and LA on December 8, 2023 and nationwide on December 15, 2023

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Posted by David Ferguson

SALTBURN (2023)

November 21, 2023

Greetings again from the darkness. Emerald Fennell won an Oscar for her original screenplay of her dark and divisive debut feature film, PROMISING YOUNG WOMAN (2020). She’s back as writer-director of her second feature film, and it’s every bit as dark, and even more scathing in its takedown of the rich and entitled. We are also treated to yet another awkwardly disturbed character for the growing resume of Barry Keoghan.

Oliver Quick (Keoghan) is a newly arrived student of the Class of 2006 at Oxford, and it’s clear from the first moment that he doesn’t really fit in, whether it’s his clothes, not smoking, his uneasiness with his tutor, or his social ineptness. He becomes transfixed on the BMOC, Felix Catton (Jacob Elordi, fresh off his turn as Elvis in PRISCILLA). Felix is tall, handsome, charming, and rich. Life comes easy for him, and students are drawn to him – both male and female. He’s a modern-day aristocrat, and one day Oliver helps him out of a jam. This leads to a bonding, or more like worlds colliding. The first act is devoted to the development of this unexpected friendship, and leads to Felix inviting Oliver to spend the summer at his family estate … Saltburn.

Saltburn is nothing short of a magnificent castle. Felix’s eccentric family includes Farleigh (Archie Madekwe, GRAN TURISMO), an adopted “cousin” fellow Oxfor student who sees all but would never blow this gig; Venetia (Alison Oliver), the total mess of a daughter and sister; Poor Dear Pamela (Carey Mulligan), the total mess of a houseguest who has overstayed her welcome; Sir James Catton (Richard E Grant), the childlike father; and Espeth Catton (Rosamund Pike), the former model drama queen passive-aggressive mother. It’s a motley crew that puts ‘The Royal Tenenbaums’ to shame for entitlement.

As the summer progresses, we see Oliver in action as he weasels his way into the good graces of some, while creating leverage over others. His non-descript looks, quiet demeanor, and background story lead some to protect him at the same time others distrust him. As viewers, it’s obvious to us that something isn’t right with Oliver, yet director Fennell and Keoghan’s performance keeps us hopeful that things won’t become too skewed. Those hopes are dashed once we see Keoghan’s first bathtub scene (and subsequent disturbing moments), and Fennell serves up multiple references to his mouth in letting us know it’s not to be trusted.

The third act goes full dark in a deliciously wicked manner with Fennell and Oscar winning cinematographer Linus Sandgren (LA LA LAND) creating an Old World style within a contemporary world. The film is perfectly cast with Elordi quite magnetic as Felix, the not-so-obscure object of Oliver’s desire. Madekwe is spot on as the turf-protecting Farleigh, and Grant and Pike make the perfectly mismatched couple of privilege. Alison Oliver delivers the film’s best scene with her bathtub monologue, while Keoghan nails the creepy Oliver (in line with his roles in THE BANSHEES OF INISHERIN, THE KILLING OF A SACRED DEER, and THE BATMAN. He has become the go-to psychopath. He even combines humor and horror for his happy naked castle dance in this film that has THE TALENTED MR RIPLEY (1999) as its most obvious comparison. Ms. Fennell strikes another blow against the entitled elite, although we do wish she hadn’t spelled out everything to end the film … a bit of mystique would have worked.

Opening in theaters on November 22, 2023

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Posted by David Ferguson

THE MARSH KING’S DAUGHTER (2023)

November 3, 2023

Greetings again from the darkness. Karen Dionne’s 2017 bestselling novel is the source of this film from director Neil Burger (THE ILLUSIONIST, 2006), and it has been adapted for the screen by co-writers Elle Smith and Mark L Smith (THE REVENANT, 2015). Having not read the book, I am unable to offer a comparison, however, it’s probable that the film moves at a faster pace and that the book fills in much detail that the two-hour runtime is forced to skip over. Typically, neither of this would result in an improvement, yet the performances are strong enough to generate enough tension and suspense to satisfy most viewers (if not the book’s fans).

Opening with some very cool shots through the marshlands, the story takes us deep in the forest as a father (Ben Mendelsohn) teaches survival skills to his 10-year-old daughter, Helena, played by Brooklynn Prince who was so memorable in THE FLORIDA PROJECT (2017). One of the lessons ends with the father proclaiming, “You must always protect your family.” Yes, it’s about as obvious as foreshadowing can get. There is a level of creepiness to the off-the-grid cabin living of Jacob, his daughter Helena, and Helena’s mother (Caren Pistorius, SLOW WEST), and once we realize the situation, it leaves us wishing we had experienced a bit more of the misery and fear that will ultimately determine the future of these three people (plus some others). In other words, the film shoots through this first act a bit too quickly.

We then flash forward twenty or so years, and find a grown-up Helena (Daisy Ridley) married to Stephen (Garrett Hedlund, MUDBOUND) living a comfortable suburban life as they raise their young daughter Marigold (Joey Carson). Helena has chosen not to tell Stephen her past, and that secret comes crashing down when her father Jacob (known as The Marsh King) escapes from prison and comes looking for her. Father and daughter reunite at the old cabin in the woods, and things go a bit bonkers; however, that earlier foreshadowing comes into play, and Helena finds herself utilizing those early daddy lessons against that same daddy.

Daisy Ridley has the physicality required to pull off this role and her resemblance to young Brooklynn Prince is uncanny. Mendelsohn is, as always, a menacing presence using subtle movements and that remarkable voice. A supporting nod goes to Gil Birmingham (HELL OR HIGH WATER, 2016) for a key role as well. At its best, the film (and I assume the book as well) captures the sometimes remarkable contrast between childhood perspective and that of a grownup. We can only hope that for most folks, it’s not similar to that of Helena.

Opening in theaters on November 3, 2023

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Posted by David Ferguson

THE KILLER (2023)

October 27, 2023

Greetings again from the darkness. There is a reason I choose not to interview directors, writers, actors, or anyone else involved with the movies I watch and review. It’s because I prefer to evaluate based on what we see on screen rather than whether it’s the product of someone likable or not, quick witted or not, or passionate about their work or not. Anytime I start to waver on this approach, I’m quickly reminded why the decision was made. David Fincher is unquestionably one of the finest filmmakers working today. His work includes such films as SEVEN (1995), THE GAME (1997), FIGHT CLUB (1999), PANIC ROOM (2002), ZODIAC (2007), THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011), GONE GIRL (2014), and MANK (2020). Despite this remarkable resume of successful films, each new one deserves to be judged on its own … there is no extra credit for past brilliance.

The all-too-brief and remarkably cool opening credit sequence sets the stage for a film that looks absolutely marvelous. This leads us to an extended opening sequence where we learn about our titular cold-blooded assassin played by Michael Fassbender. It’s through his redundant narration that we learn about his meticulous and detail-oriented approach to a job that has made him a very wealthy man. He listens to various songs by The Smiths, does yoga in the dark, and repeats his mantras to keep himself centered and focused on the job at hand. After all, he cautions us that this job is only for those who can handle boredom – as if committing cold-blooded murder is somehow a more natural trait than handling down time on the job.

Getting to know the quirks and nature of this hitman is actually the highlight of the movie, because he botches this job in the worst possible manner, and then must step outside his norm to handle this ‘new’ development. When he discovers that his partner has been seriously wounded as fallout for his blown job, the Killer conveniently drops his ‘nothing personal’ mantra and proceeds to pursue very personal revenge.

SEVEN screenwriter Andrew Kevin Walker has adapted the graphic novel written by Alexis Nolent and illustrated by Luc Jacamon, and Fincher is clearly having fun with the material. It’s not accurate to call this a dark comedy, but there are some comedic elements included to lighten things up a bit. Most of these struck me as a bit lame: shots at our societal dependence on name brands (Amazon, WeWork, Starbucks, etc), the Killer’s disguise as a ‘German tourist’, and the endless string of 1970’s sitcom names used in his travels (think “The Odd Couple”, “Happy Days”, and even “The Partridge Family”).

To ensure no viewer is left behind, the film is divided into six chapters highlighted by the geographic location and the reason for being there: Paris – the Target, Dominican Republic – the hangout, New Orleans – the lawyer, Florida – the brute, New York – the expert, and Chicago – the client. Each of these chapters involves a piece of the revenge puzzle, and include fine actors Charles Parnell, Tilda Swinton, and Arliss Howard. Ms. Swinton’s segment offers the most, but her presence is over much too soon. It’s the mano-y-mano fight with the brute that is the weakest, since the fight is so over-the-top that neither would walk away … yet Killer departs with only a scratch over his eye.

While most of the story seems too familiar and kind of ludicrous, the film itself is a work of art. Fassbender perfectly captures the icy killer, and Oscar winning cinematographer Erik Messerschmidt (MANK, 2020) delivers in the multitude of locales, as well as the action shots. Two-time Oscar winners Trent Reznor and Atticus Ross handle the score of this film that will undoubtedly be regarded more highly by most other critics than by me, since a line like WWJWBD simply falls flat in my mind.

Opens in theaters on October 27, 2023 and on Netflix beginning November 10

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Posted by David Ferguson

TOTALLY KILLER (2023)

October 5, 2023

Fantastic Fest 2023

Greetings again from the darkness. All Hallows’ Eve approaches, so we know to expect the latest from Blumhouse Productions. What we didn’t expect was a rare blend of comedy, horror, science fiction, and time-travel wrapped in 1980’s nostalgia. Director Nahnatchka Khan (“Fresh Off the Boat” creator) and a trio of co-writers, David Matalon, Sasha Perl-Raver, and Jen D’Angelo (HOCUS POCUS 2, 2022), deliver a film that pays tribute to many that have come before, most notably BACK TO THE FUTURE (1985) and HALLOWEEN (1978). Or maybe it’s HOT TUB TIME MACHINE (2010) and SCREAM (1996). Either way, it’s a good ride as we poke fun at the culture of 1987.

Jamie (Kiernan Shipka, “Mad Men”) is a teenager fed up with her overprotective mom (Julie Bowen, “Modern Family”). However, this mom has history on her side when it comes to being protective. It’s Halloween night, and thirty-five years ago, three girls in North Vernon, all friends of hers, were stabbed sixteen times. These days, the most popular Halloween costume in Vernon is that of the ‘Sweet Sixteen Killer” … all black attire and a creepy blonde mask (one that seems like we should recognize, but I didn’t).

Of course, it’s this year that the killer returns to claim another victim. While being pursued by the masked killer, Jamie heads to the rundown amusement park where the school science fair is set up. In my day, most science projects were done with a poster board and colored pens. Times have changed, and Jamie’s smart friend Lauren (Troy Leigh-Anne Johnson) has transformed a photo booth into a time travel machine. Although it hasn’t previously worked, the killer’s knife plunging into the control panel sends Jamie back to 1987, where she meets her high school aged mother (Olivia Holt) and tries to prevent the original tragedy from ever occurring.

It’s at this point that the nostalgia kicks in. Most would agree the 1980’s was not a pretty time, and it’s even more cringe-inducing now. Pam is in a ‘Mean Girls’ type group called The Mollys (because they worship 80’s icon Molly Ringwald), and there are cracks about the music, the clothes, and cocaine. But the best part is seeing how Jamie is aghast at the insensitivity and lack of political correctness in the era. Security is so lax, she easily passes as a Canadian exchange student, and spends an inordinate amount time telling people they shouldn’t say or do something that was commonplace in the 80’s and outlawed these days.

The expected wise cracks counterbalance the violent murders, and for the most part, the film works just fine as an entertaining and fun trip down memory lane. As a bonus, it gives Kiernan Shipka a lead role that she can build upon.

Available on Prime Video beginning October 6, 2023

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Posted by David Ferguson

VINDICTA (2023)

October 5, 2023

Greetings again from the darkness. Sometimes low budget horror movies work, and sometimes they don’t. As a general guideline, the less complicated they are, the better the chance of successful entertainment. Director Sean McNamara (THE KING’S DAUGHTER, 2022) is one of the more prolific directors you’ll find. His work includes TV series, videos, short films, and feature films. He currently has 15 projects in the hopper. Sean is a busy man.

With a script by Ian Neligh and Steven Paul, this film offers moments of hope, but mostly it’s too ambitious … a rare criticism these days. Trying to tackle too many story lines creates a mess in the exact place a decent little genre film could have been born. Elena Kampouris (MY BIG FAT GREEK WEDDING 2 & 3) stars as Lou, a rookie paramedic just out of training. Fire Chief Rick (Sean Astin, THE LORD OF THE RINGS franchise) reluctantly assigns her to a first ride in the middle of riots, protests, and fires in a rough part of Seattle.

In addition to the mass chaos in the city, there is a masked killer on the loose – one who thrives on vicious and violent attacks. Suspicions arise when the same building burns that burned five years earlier, killing a mother and son. Fortunately, Lou is not a typical newbie. She possesses fighting skills and is fluent in Latin and Mandarin. Latin comes in quite handy since the killer scrawls his messages in Latin, leaving Lou to assist Detective Russo (Travis Nelson) with clues in the case.

In addition to her skills, Lou is also the idealistic daughter of retired cop played by Jeremy Piven (“Entourage”). The two are so close she even has a bobblehead of him on her car dash. Lou still blames her 9-year-old self for not saving her mother’s life, no matter how many times people remind her she was just a kid. Perhaps you are starting to sense the issues with the film, and I have yet to mention the corruption and greed at the heart of the killer’s mission of vengeance. One nice touch is the mask … it’s Michelangelo’s David, and it’s plenty creepy, even if most of the characters here don’t come across as real people. Elena Kampouris is to be commended for giving her all to the role, but the writers and the film likely would have benefited from the KISS approach,

Opening in select theaters and on digital beginning October 6, 2023

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Posted by David Ferguson

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.

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Posted by David Ferguson

THE ORIGIN OF EVIL (2023, France)

September 22, 2023

Greetings again from the darkness. Dysfunctional families are common fodder in films for the simple reason that most of us can relate … or at least walk away being grateful that ours isn’t THAT bad. I do trust (and hope) that your family bears little resemblance to the Dumontet clan at the center of this film from writer-director Sebastien Marnier and co-writer Fanny Burdino. This is a story filled with deceit and greed and conniving folks who make any of the reality TV housewives seem like Mother Teresa.

This is a tricky film to discuss while attempting to not spoil anything, so understand some of this is vague by design. Laure Calamy takes the lead as a line worker at an anchovy packaging plant. Her lesbian lover (Suzanne Clement) is incarcerated, and the money problems are piling up. She reaches out to the Dumontets to see if patriarch Serge (Jacques Weber) will accept his long-lost daughter, Stefane, back into the family. Jacques agrees, and soon she is on a boat to visit the ultra-rich Serge, who lives in a mansion on an island in the south of France.

As it turns out, Serge is the least of her worries. His wife Louise (Dominique Blanc) is an eccentric and colorful shopaholic or spendaholic who takes each day as a challenge to buy more items online and through TV shows. Daughter George (Doria Tillier) is a taskmaster who runs the family business and has no time for the newly-discovered sister. There is also George’s teenage daughter (Celeste Brunnquell) who mostly broods and looks forward to the day she can escape. Lastly, we have Agnes (Veronique Ruggia), the longtime housekeeper who is also not in favor of adding one more plate to the dinner table.

Director Marnier presents us a cast of nutjob characters, each who carries a secret and is working part of a self-serving scheme. Back-stabbing seems to be a shared family trait, and at times (2 times precisely) it spirals into murder. An extensive use of split screen allows Marnier to convey the duplicitous and conniving happenings. The accompanying music often makes use of a pipe organ – a sound rarely heard in movies that aren’t 1940’s horror films. Yes, the film is heavy on camp, but it’s also heavy on heavy, making the comedic moments even more effective.

Dominique Blanc is wonderful in her role, yet it’s Laure Calamy whose performance truly stands out and makes the story work. The set decoration is unlike anything we’ve seen before (taxidermy and VHS tapes are front and center), and the film acts as yet another skewering of the rich (at least it’s not rich Americans this time). Fans of Claude Chabrol will appreciate the homage, and most of us cringe at the unstable personalities in this dysfunctional family and its affiliates. It’s unclear how best to label this – comedy, mystery, suspense – but regardless of the label, there is a bit of fun in watching the entitled get a taste of comeuppance.

Opens in select theaters and On Demand beginning September 22, 2023

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Posted by David Ferguson

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