THE LITTLE STRANGER (2018)

August 31, 2018

 Greetings again from the darkness. Director Lenny Abrahamson’s follow up to his stellar film ROOM (Oscar nominated for Best Picture and Best Director) is based on Sarah Waters graphic novel, and adapted for the screen by Lucinda Coxon (THE DANISH GIRL). Very early on, the film succeeds in giving viewers that “I have a bad feeling” sensation … usually a very good sign for films in this genre.

The always excellent Domhnall Gleeson stars as Faraday, the local town doctor called out to check on the lone remaining housekeeper at Hundreds Hall. For a couple hundred years, it’s been the Ayres family home, and though, in its past, a glorious fixture among Britain’s elite, the home, grounds and family themselves are all now little more than a distant memory of their once great selves. When he was a mere lad, Faraday’s mum had served on staff, and his memories of the grand palace are jolted by the sight of its current dilapidated state.

The Ayres family now consists of Charlotte Rampling as the matriarch who has yet to move past the death of her beloved daughter Susan so many years ago; Will Poulter as Roderick, the son who was disfigured and maimed during the war; and Ruth Wilson as surviving daughter Caroline, who seems to have surrendered any semblance of life in order to care for her mother, brother, and home … each in various stages of ill-repair.

This is a strange family who mostly keep to themselves, well, except for Faraday who seems drawn to the family … or is it the house? Even his romantic interest in Caroline could be seen as an excuse to regularly return to the house. His flashbacks to childhood and a festival held on the estate grounds provide glimpses of his connection, but with Gleeson’s mostly reserved façade, we never really know what’s going on in his head.

Part haunted house, part ghost story, and part psychological thriller; however, it’s really not fully any of these. There seems to be a missing link – something for us to grab hold of as viewers. The film is wonderfully cloaked in dread and looks fabulous – replete with ominous music and a creepy old mansion. Unfortunately those things are accompanied by the slowest build up in cinematic history. “A snail’s pace” is too kind as a description. The film is very well acted, but horror films and thrillers need more than atmosphere, otherwise frustration sets in with the viewer. There is little doubt this played much better on the pages of Ms. Waters’ book.

watch the trailer:

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Posted by David Ferguson

ROOM (2015)

October 24, 2015

room Greetings again from the darkness. Tragically, stories of women being held captive have become all too common in this sometimes frightening world in which we live. Emma Donoghue had the high profile, real life situations of Jaycee Dugard, Elisabeth Fritzl and Amanda Berry (Ariel Castro) to draw from for her terrific novel upon which this film is based. While not easy for anyone (especially parents) to watch, it’s a well made movie with outstanding performances … including a career-changer from Brie Larson.

Director Lenny Abrahamson (Frank, a critical favorite from last year) takes us inside the world – or more accurately – the walls where Ma (Brie Larson) and her just turning 5 year old son Jack (Jacob Tremblay) live. Seven years ago, Larson’s character was abducted while walking home from school, and since then she has given birth to Jack, and the two have been held captive in a small shed with only a skylight connecting to the outer spaces of life. The captor … known as Old Nick (Sean Bridgers) … periodically brings them supplies, while also regularly visiting to satisfy his more base needs with Ma.

For the first half of the film, we as viewers are held prisoners right along with Ma and Jack. We see what a patient and wonderful mother she is as she strives to provide some semblance of hope for her son, though in a nearly hopeless situation. When Jack turns 5, Ma begins to explain the outside world to him, as she knows they must try to escape in order for her son to have any semblance of a normal life. During this time, we are in awe of this 10 x 10 environment and how it is every bit the nightmare we have imagined while reading the articles and seeing the reports on real life ordeals.

The second half of the film is equally fascinating, as we watch young Jack and his sense of wonder and caution at discovering the real world. We also see the psychological trauma that Ma experiences after staying strong for so long. Assimilating into society brings different challenges for both Ma and Jack, plus those of her mother (Joan Allen), her father (William H Macy) and her mom’s new beau (Tom McCamus). The film doesn’t shy away from their reactions, though some are easier to stomach than others.

Providing any more details would soften the impact of the film, and this is one that is meant to be felt – even if it’s a true kick in the gut. The film is well cast and well acted, and young Jacob Tremblay captures our hearts quickly and joins the short list of child actors who go far beyond “cute” and into profound. Brie Larson exploded onto the acting scene in Short Term 12, one of my favorite movies of 2013; but it’s here where she steps into the elite level of actresses. She brings a tenacity and emotional strength that leaves us never doubting whether she has “her strong”.

watch the trailer:

 

 

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Posted by David Ferguson

FRANK (2014)

August 31, 2014

frank Greetings again from the darkness. Most movies fit pretty easily into a genre: drama, comedy, action, etc. This latest from film festival favorite Lenny Abrahamson is tough to classify. It begins with silly and funny inner-dialogue from an aspiring musician/songwriter (Domhnall Gleeson), transitions into a dark dramady with complex characters and dialogue, and finishes as a bleak statement on mental illness and the music business.

That’s more than I would typically disclose, but some have described the film as an outright comedy and I find that unconcsionable. If you are expecting a laugh riot, you will not only be disappointed, but are likely to miss the unique perspective provided.

The screenplay is written by The Men Who Stare at Goats collaborators Jon Ronson and Peter Straughan. Clearly inspired by the late British comedian and musician Chris Sievey (and his character Frank Sidebottom), Mr. Ronson’s work with Mr. Sievey is the driving force. It’s also the reason Gleeson’s character is emphasized over Michael Fassbender‘s titular character who dons the paper mache head for the bulk of the movie. This script decision probably keeps the film from reaching greatness.

The exceptional and attention-grabbing first 15 minutes set up a movie that dissolves into an exploration of the creative process within mental illness … Franks states numerous times that he has a certificate (certifiable). There is also an ongoing battle between art and commerce, as waged by Maggie Gyllenhaal‘s character and that of Gleeson. Social Media power is on full display as this avant-garde performance art band gathers a huge following prior to ever really producing any music.

Fassbender is somehow exceptional in his “masked” performance, and it’s very interesting to see Ms. Gyllenhaal in a different type role. Gleeson lacks the charisma to carry the film, but the supporting cast of Scoot McNairy (who I think should have played the Gleeson role), Francois Civil, Carla Azar (Autolux drummer) and Tess Harper all deliver and prevent the film from drooping.

Without seeing Frank’s facial expressions, we witness his transformation from mystic/guru to an unstable and socially uncomfortable dude striving for likability, but unsure what the term really means. Must artists suffer for their art? Why does society latch onto the newest social media gimmick? What is creative success and why are so many afraid of it? The film begs these and other unanswerable questions. Certainly interesting, but definitely not 90 minutes of laughter.

SEE THIS MOVIE IF: you have always had a secret desire to be a rock star wearing a giant paper mache head at all times (and who hasn’t?) OR you have an interest in the role of creativity in treating mental illness.

SKIP THIS MOVIE IF:  you are expecting some gimmicky comedy like Ted … though this one is funnier than Howard the Duck.

watch the trailer:

 

 

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Posted by David Ferguson