OLD (2021)

July 23, 2021

Greetings again from the darkness. THE SIXTH SENSE (1999) and UNBREAKABLE (2000) created a movie bond with filmmaker M Night Shyamalan that will always exist. In other words, I continue to go into each of his projects with hopeful expectations of another classic. Of course, some have been pretty good (SPLIT, 2016), while others are barely watchable (THE LAST AIRBENDER, 2010). His latest lands somewhere in the middle, but does feature a stunning beach setting (Dominican Republic) – one whose tropical beauty hides a sinister reality.

The film’s synopsis is captured in the trailer: tourists experience a mystifying and terrifying phenomenon while on a day trip to a gorgeous secluded beach. The director adapted the film from the 2010 graphic novel “Sandcastle”, written by Pierre-Oscar Levy and Frederick Peeters. Shyamalan specializes in one thing: big and creative ideas. He is a risk-taking filmmaker, but one not always focused on execution, coherence, or details. Especially awkward here is the dialogue. None of these characters talk like real people. Lending to the awkwardness is the attention given to each character’s name and occupation … except for the kids, where age is the significant data.

Due to the nature of the story (and the effects of the beach), the cast is significantly larger than the number of characters. We ride along with one family as they first approach the luxury resort. Insurance actuary Guy (Gael Garcia Bernal) and his wife, museum curator Prisca (Vicky Krieps) are vacationing with their 11 year old daughter Maddox (Alexa Swinton) and 6 year old son Trent (Nolan River). The couple clearly have a strained relationship and appear headed for a break-up. Encouraged by the resort manager to spend the day at a secret remote beach, they are joined by Charles (Rufus Sewell), a surgeon, his calcium-deficient trophy wife Chrystal (Abbey Lee), their young daughter Kara, and the doctor’s elderly mother Agnes (Kathleen Chalfant). Another couple is there as well, nurse Jarin (Ken Leung) and his wife Patricia (Nikki Amuka-Bird), a psychologist. Already at the beach when they arrive is rap star Mid-sized Sedan (Aaron Pierre), replete with bloody nose and the corpse of the woman who accompanied him.

It’s best not to go into specifics about the progression of things for these folks on the beach, but it can be noted that they frantically try to find a way back to the resort. When all attempts prove unsuccessful, that ridiculous dialogue fills in many of the gaps for us, though you should know the science doesn’t hold up … think of it as fantasy instead. As their day at the beach moves forward, other actors take over: Alex Wolff and Thomasin McKenzie are teenage Trent and Maddox, Eliza Scanlen is Kara, and later, Emun Elliott and Embeth Davidtz become Trent and Maddox. It becomes frustrating for viewers as the professions are emphasized: Guy spouts statistics at every turn, Prisca discloses she’s not a pathologist, and Patricia attempts to get everyone to bring their feelings to group. Ugh.

Despite the many missteps and the overall mess of characterizations, Shyamalan (who also appears as the driver who drops them at the beach) does serve up a creative idea – one that will likely get viewers questioning their own mortality and how best to spend time. Mental illness is addressed in a crude manner with Rufus Sewell (a fine actor) bearing the brunt of a poor script, while physical afflictions and the effects of age come off a bit better. The strange looking woman serving up custom cocktails at the resort is Francesca Eastwood (Clint’s daughter), and Shyamalan’s patented plot twist ending does make sense and even has a contemporary feel to it.

Opening in theaters on July 23, 2021

WATCH THE TRAILER


TELL IT TO THE BEES (2019)

May 2, 2019

 Greetings again from the darkness. Secrets and lies become a tangled web of messiness that impacts lives and relationships in this story adapted from Fiona Shaw’s 2009 novel. Annabel Jankel (known for her music videos and as a creator of Max Headroom) directs the script from sisters Henrietta and Jessica Ashworth, and we learn that this rural community in 1952 Scotland is filled with judgmental and close-minded folks unable to accept that some don’t live and love according to society’s general rules of the time.

Holliday Grainger (“The Borgias”) stars as Lydia, mother to young Charlie (Gregor Selkirk), and the two have recently been abandoned by husband -father Robert (Emun Elliott). Charlie is a sensitive boy – in touch with nature, and observant to his mother’s emotional strains. After a schoolyard scuffle, Charlie is treated by the town’s new doctor, Dr. Markham (Anna Paquin, “True Blood”), who not only treats his bruises, but also teaches him about the bees and hives in her garden. She lets him know that telling your secrets to the bees keeps them from flying away.

Dr. Markham has returned to the community where she grew up, and the rumors of her teenage years have not faded. Her father recently passed and she has returned to her roots to take his place as the local doctor. When Lydia gets sacked at the factory where she works (by Kate Dickie’s Pam, her spinster sister-in-law/supervisor), Dr. Markham hires Lydia as a housekeeper and invites her and Charlie to move into the house left to her by her father.

“This town is too small for secrets” is not simply a line of dialogue, but easily could have been the title of the films. As Charlie tells his secrets to the bees, Lydia and Dr. Markham grow closer … creating confusion for Charlie, challenges for the two women, and disgust within the community. Robert is a brut of a man, and threatens Lydia in every way a simple man might. There is also a subplot around Lydia’s younger sister-in-law Annie (Lauren Lyle), who is pregnant from a secretive interracial relationship. What follows is a vicious response from the close-minded folks previously mentioned.

An older Charlie is our narrator, and most of the story is told from his point of view. Secrets kept by children are contrasted by those of adults, and it’s clear that both cause harm. The first part of the movie is beautifully filmed, though the story structure wobbles a bit in the second half. There are many fascinating close-ups of bees and hives, although a mystical/supernatural sequence is difficult to buy. Excellent acting is on display throughout, especially by young Gregor Selkirk and Ms. Grainger, whose face the camera loves. The film is quite tastefully done, and focused as much on the small-minded town folks reaction as the blossoming relationship between the two leads. A stronger third act would have elevated the film, though the first half hour is well done.

watch the trailer: