My Ratings:
Story 1.25 : Direction 1.00 : Pace 1.00 : Acting 1.25 : Entertaining 1.25
Total 5.75 out of 10.00.
It would appear I'm having a Britt Ekland and Mark Lester month. Last week I watched Ekland in Endless Night, and last night I watched Lester in Whoever Slew Auntie Roo? So how good are they together?
Not bad, but not that great either. Though this is a better movie than Endless Night it comes nowhere near Auntie Roo.
What the writers give us is the story of a little boy, Marcus. After his mother died in an accident, they send him to an English Boarding School. He is subsequently suspended for lewd drawings and questionable behaviour. Upon returning to his Father, who he calls Paul, and his new girlfriend, Elise, we get the feeling that things are not what they seem with Marcus. He is controlling and manipulative and likes to play with people and their emotions to see how they will react. With, his writer father away from home a lot, he attaches himself to Elise. Making her the target for his experiments.
The thing is, he doesn't go far enough. It could have strengthened the story and film had Marcus been painted a tad blacker in character. Especially after the strip scene which clearly puts him in control of Elise. Elise's character also needed enhancing. Her change in character needed a more thorough documentation. As for the Father, Paul... Well, I've never liked fathers who wanted their kids calling them by their names. Adults need to show authority and capability to their kids. Give them somebody to look up to and rely on. Paul is just Paul to Marcus, who has little to no respect for him... unless it serves him to. As the story is chiefly character-driven, I found the characters wanting.
The direction could have done with a swift kick as well. There's nothing too special or memorable in the film, except for the strip for information scene. Director James Kelly opts not to show Elise naked and uses Marcus' head to cover her essentials. Which made me giggle a little as we'd seen her naked in previous scenes with Paul. But this play with camera angles and obstacles is the only innovative shot in the film. Kelly could also have used a couple of changes in tempo, especially in the scene where Elise is rifling through Marcus' things. We know Marcus is coming back... will he catch her? This should have been a tense sequence for the audience, however, since Kelly keeps it all at one pace it lacks the power it required.
There's one bright light, though. The three main cast members are all excellent in their portrayals. Lester does exceedingly well as Marcus. He gets the cocky, belligerent, know-it-all down pat. Hardy Kruger, as Paul, is good at being self-centred; he only listens when he wants to, and if he thinks you're wrong, then you're wrong. There's no give in this guy. Ekland does a decent concerned, wanna-be parent, and lover. She knows something's not right. But she's less convincing as a drunk and a homicidal depressive - though this could be down to the writing as both these scenes feel "bolted on" to add interest.
This is not quite a Giallo film. There are elements there, but the storyline isn't sinuous enough. Therefore, I would only recommend this to lovers of psychological thrillers and general thrillers. It is worth one watch, though I won't be returning to this movie for a good while... if ever.
Speed on over to my Killer Thriller Chillers and The Game Is Afoot to see where I ranked this movie. You may even find something to help you through the Lockdown in these tragic times.
Take Care and Stay Well.
It would appear I'm having a Britt Ekland and Mark Lester month. Last week I watched Ekland in Endless Night, and last night I watched Lester in Whoever Slew Auntie Roo? So how good are they together?
Not bad, but not that great either. Though this is a better movie than Endless Night it comes nowhere near Auntie Roo.
What the writers give us is the story of a little boy, Marcus. After his mother died in an accident, they send him to an English Boarding School. He is subsequently suspended for lewd drawings and questionable behaviour. Upon returning to his Father, who he calls Paul, and his new girlfriend, Elise, we get the feeling that things are not what they seem with Marcus. He is controlling and manipulative and likes to play with people and their emotions to see how they will react. With, his writer father away from home a lot, he attaches himself to Elise. Making her the target for his experiments.
The thing is, he doesn't go far enough. It could have strengthened the story and film had Marcus been painted a tad blacker in character. Especially after the strip scene which clearly puts him in control of Elise. Elise's character also needed enhancing. Her change in character needed a more thorough documentation. As for the Father, Paul... Well, I've never liked fathers who wanted their kids calling them by their names. Adults need to show authority and capability to their kids. Give them somebody to look up to and rely on. Paul is just Paul to Marcus, who has little to no respect for him... unless it serves him to. As the story is chiefly character-driven, I found the characters wanting.
The direction could have done with a swift kick as well. There's nothing too special or memorable in the film, except for the strip for information scene. Director James Kelly opts not to show Elise naked and uses Marcus' head to cover her essentials. Which made me giggle a little as we'd seen her naked in previous scenes with Paul. But this play with camera angles and obstacles is the only innovative shot in the film. Kelly could also have used a couple of changes in tempo, especially in the scene where Elise is rifling through Marcus' things. We know Marcus is coming back... will he catch her? This should have been a tense sequence for the audience, however, since Kelly keeps it all at one pace it lacks the power it required.
There's one bright light, though. The three main cast members are all excellent in their portrayals. Lester does exceedingly well as Marcus. He gets the cocky, belligerent, know-it-all down pat. Hardy Kruger, as Paul, is good at being self-centred; he only listens when he wants to, and if he thinks you're wrong, then you're wrong. There's no give in this guy. Ekland does a decent concerned, wanna-be parent, and lover. She knows something's not right. But she's less convincing as a drunk and a homicidal depressive - though this could be down to the writing as both these scenes feel "bolted on" to add interest.
This is not quite a Giallo film. There are elements there, but the storyline isn't sinuous enough. Therefore, I would only recommend this to lovers of psychological thrillers and general thrillers. It is worth one watch, though I won't be returning to this movie for a good while... if ever.
Speed on over to my Killer Thriller Chillers and The Game Is Afoot to see where I ranked this movie. You may even find something to help you through the Lockdown in these tragic times.
Take Care and Stay Well.