THE CRITIC (2024)

September 12, 2024

Greetings again from the darkness. After the lukewarm reception at last year’s Toronto Film Festival, and complaints about the ending, director Anand Tucker (SHOPGIRL 2005, HILLARY AND JACKIE 1998) called the cast back for re-shoots. Oscar nominated writer Patrick Marber (NOTES ON A SCANDAL, 2006) adapted the 2015 novel, “Curtain Call”, by Anthony Quinn (a former film critic, not related to the two-time Oscar winner with the same name). Although I can’t comment on the original version, this one provides a bit of entertainment.

The famous saying, “Everyone is a critic”, holds true because everyone has an opinion (reminding us of yet another famous saying). However, this story takes place during a much different time. We are transported back to 1936 London where we find Jimmy Erskine (two-time Oscar nominee Sir Ian McKellen) is the powerful and feared theater critic for “The Daily Chronicle”. He’s arrogant and brusque, and super-talented with the twisting of words and turning of phrases. His reviews are eagerly awaited and can make or break a show or career – sometimes in a humiliating manner.

Erskine flaunts his ego like the cashmere scarf around his neck. He claims, for critics, “only the greats are remembered”, and he fully intends to be remembered. When the proprietor of the paper suddenly passes away, his stuffy son David Brooke (the always dependable Mark Strong) likes the idea of moving on from the old ways and creating a more contemporary publication. With 40 years of loyalty, Erskine is spared, despite his continued bashing of Brooke’s favorite stage actor, Nina Land (Gemma Arterton, TAMARA DREWE, 2010). Two things of consequence soon occur. First, Nina confronts Erskine to his face (a rare occurrence). Secondly, Erskine is fired after a public incident exposes the dark secrets of his life.

These two events lead Erskine to invoke a savage scheme of manipulation and deadly blackmail in hopes of regaining his job. This plan entices Nina to cut a deal with the proverbial devil. The film features a strong supporting cast, though most are unfortunately not given enough to do. Nina’s supportive mother is played by the always terrific Lesley Manville (Oscar nominated for PHANTOM THREAD, 2016); Alfred Enoch (the “Harry Potter” franchise) plays Tom Turner, Erskine’s live-in secretary; Nina’s lover Stephen is played by Ben Barnes (who has been off doing TV and music since 2014); Ramola Garai plays Stephen’s wife, while Beau Gadsdon and Claire Skinner also appear.

This is pre-WWII London and director Tucker offers nods to the times regarding homosexuality and racism, and even throws in a jab at fascism when Erskine bellows, “fascists come and go, but theater is forever.” Tucker also “treats” us to quite a sight: Sir Ian in the bathtub. This is certainly a story about ego and power, but also one of morality. Does talent afford privilege? Of course it did then, as it does now. But no amount of talent or ego should quash the good in people.

Opening in theaters on September 13, 2024

WATCH THE TRAILER

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Posted by David Ferguson

AMULET (2020)

July 24, 2020

 Greetings again from the darkness. Horror films tend to serve up relatively simple plot points so that viewers are controlled by emotions rather than deep thinking. The exceptions typically use multiple story lines and atmosphere to build up suspense that often ends with a twist or surprise ending. You might recognize Ramola Garai as an actress from SUFFRAGETTE (2015) or the TV series “The Hour”, and this is her first feature film as writer-director. She definitely chose the latter plot path, and the result is likely a film that will be divisive amongst the horror crowd.

Tomaz (Alec Secereanu, GOD’S OWN COUNTRY) is a former soldier with such a horrid case of PTSD that he must bind his own hands when he sleeps. He’s now homeless and adrift, merely surviving day-to-day. We see flashbacks to his time as a soldier working a checkpoint deep in the forest. The war is never identified, but one day he decides to help a frantic woman (Angelika Papoulia) rather than shoot her (as we assume his orders dictate). This story and their time together pop up periodically through the movie to the point where we start to believe we have an understanding of Tomaz’s background.

While squatting with other homeless folks, the building where they sleep catches fire, and soon after Tomaz is taken in by Sister Claire (Imelda Staunton), a caring nun who gives him a purpose – helping out a woman who is dealing with a sick, elderly mother. Magda (Carla Juri, BLADE RUNNER 2049 seems withdrawn and initially not particularly happy that Tomaz is living in her house. And, oh my, that house. Dilapidated is too kind as a description. So in addition to a bed, and Magda’s cooking, Tomaz begins repairing the house. And while you may have your own renovation stories to tell, did you ever pull an albino bat out of the toilet? Tomaz has.

Magda does not allow Tomaz to see her mother. He (and we) only hear the confrontations and see the bite marks on Magda’s arms. Clearly something is amiss. The flashbacks to Tomaz as a soldier with Miriam make for a stark contrast between the forest and Magda’s creepy house. It’s in the forest where Tomaz finds the titular amulet buried. If you’ve always thought of an amulet as a good luck charm, your definition will likely change.

It’s interesting to watch the shifts in the relationship between Tomaz and Magda, culminating with a night out dancing, where she reminds us a bit of Elaine Benis at the company party … although Magda’s is a pure emotional release, rather than a comedic effect. As you might expect, the film is at its best when Imelda Staunton is on screen. Unfortunately, these moments are too rare. The “old school” gothic graphics for the opening credits do make for a terrific stage-setter. While Magda’s locked-away mother provides some mystery, the tension of the story never really matches the creepy atmosphere of the house. Ms. Garai includes some excellent moments of horror images, but the deliberately slow pace doesn’t deliver a satisfying payoff.

Available OnDemand July 24, 2020

watch the trailer:

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Posted by David Ferguson