Change Your Image
adj-699-887746
Reviews
The Conjuring (2013)
Perhaps the best Horror Film of the decade
I was a little doubtful at first--I was so-so impressed with a few recent horror films that attempted to bring the unbelievable into everyday reality with camera-shake and cheap lens filters, and didn't expect much more from this film. However, I was curious to see what James Wan (Saw, Insidious, Dead Silence) was up to here.
Set in the seventies, the main characters are believable and serious right from the start. Some bad, dark things happen in this world and Ed and Lorraine Warren are among those who work to keep such things at bay and out of the daylight. They go about their profession in a matter-of-fact way--you can plainly see their stoic acceptance of a rather frightening reality--and they appear almost battle-worn right from the beginning and do so with a convincing depth. Vera Farmiga just has that 'believable face'--her moments here are engrossing and was obviously an excellent casting choice for her role.
I was reminded of the chilling scene in the Exorcist that revealed, not only the Vatican's real-life belief and acknowledgment of demonic possession, but in the elaborate rituals that are part of the church's practice today, lending a level of credibility to the girl's possession by a really nasty, hateful demon, and thus a real chilling feel to the film.
Lili Taylor also adds that 'everyday mom' persona and does so with her usual depth, again making the events here seem more real. Her acting in 'The Haunting' essentially stole the show, and she doesn't disappoint here either and, again, was a great casting choice.
Supporting cast are all above par and Wan seems to get the most out of each and every one.
Apart from one or two minuscule blips in the SFX--like a body flung through the air just a wee bit too slowly on the wire--everything seemed to gel quite well and was isometrically believable.
I know I am enjoying a film when I start sucking on the lemon slice at the bottom of my jumbo ice-tea.
If you enjoy the genre and like the more intellectually satisfying and less blood & gore type of film, this one's for you.
I give it an "8" because no one has ever made a "10" yet and a "9" is likely impossible since Kubric passed away (though we Live in Hope).
.
Exploding Sun (2013)
Worthy of ridicule
I'm sorry--I'm sure the film and set crews enjoyed having yet another gig to keep them employed, but you have to ask yourself--why would anyone assemble such a decent selection of actors around a script with a plot so asinine it actually inspires contempt? The absurd premise behind the plot, coupled with a meandering, vacuous script makes one instantly think of the sheer waste of opportunity in engaging in such a project and then turning it into such a sad, disappointing mess.
The producers here need to stay away from any further dabbling in 'sci-fi', since they obviously aimed for a genre and it's devoted demographic that they know absolutely nothing about.
An absolute waste of talent, time and money, and a real pity...
.
The Canyons (2013)
Whoa boy...
I went to see this primarily in the hope that I would see some glimmer of earnest, hard-won acting ability and artistic craft not evident in the trailer.
Conclusion: The producers should pull this immediately, rewrite it and re-release it as a documentary about a gaggle of studio sycophants in search of, and failing to find, legitimacy as writers, actors and directors. Just the attempt of such could be considered somewhat professionally redeeming.
I won't dump on Ms. Lohan here--there's obviously already enough self-loathing in that husk of a human to out-gun every critic who's ever mumbled her name in vain.
I wrestled between the Evil Me and the Good Me as to whether I should vote this *film* a "1" or a "2". The Good Me won out--I give it an honest "1" for just plain 'awful'.
.
Riddle (2013)
A moody, enjoyable film from start to finish.
When I first read the rather daunting reviews here, I was a little iffy about watching it, but I decided to take the plunge. What I discovered was a little gem--an atmospherically dark, moody, journey that builds in suspense to a rather thrilling climax.
I think the pace was good though perhaps just a wee bit too slow for some. Coming off of another film where the action sequences hit you virtually non-stop roller-coaster fashion, it might even seem sluggish, but to me this was more than offset by the visually attractive elements of the film, some great camera work, and some very worthy acting.
Some have stated that they found the story-line vague, but I didn't at all--if you follow the dialog, it is obvious what is happening, and the end is rather thrilling. I would have preferred that the character of the "disheveled man" (read 'Mad Doctor' and also *secret* someone else in the film) had been better developed, but it seems the writers wanted our lack of knowledge about him through the body of the film to be held as more of a surprise--a part that was both eerily and excellently portrayed by Jack Erdie.
I've always enjoyed Bill Sadler's work--he's another Scotty Glenn in that he's such a flexible, utilitarian actor--though his cameo here was too short.
I think it's now in vogue for people to dis Val Kilmer--he's getting older and fatter--but he lends his weight (seriously--no pun intended) to his part and is at least credible (as always). My only wince during the film was when, after a burst of threatening anger, he suddenly, calmly, admonishes his daughter and her friends for being together, warns them not to do it again, then drives off business-as-usual, when any other Sheriff/father would have been far more aggressive and not so instantly calmed.
The big surprise for me was the excellent work by virtually all the supporting actors--character development was as good as their screen-time allowed, but the actors had both depth and presence in every scene. I think this one fact really made the movie for me. Perhaps it was, in some cases, the dearth of dialog which, a la Alan Parker/Kubric-style, helps to build suspense and add depth. I think they are all responsible, in working with such a script, for delivering a solid movie experience. I simply cannot find fault in any of the acting--all were on beat throughout.
Elisabeth Harnois also gave a credible and professional performance in the lead role--at least as good as other actors with her age and experience--I had no problems at all in believing in her character, or anyone else's in this film. What I thought might be an awkward moment in the scene transition from her brother's disappearance to her crying in the parking lot explained itself away when we recognize her dilemma--'what should she do next'? I think the directors were on queue and were consistent and seemed intent on getting as much from a scene as budget allowed, yet there were no long, wasteful scenes or gratuitous landscape pans often seen in other films of this budget range to 'not waste the camera rental fee'--every scene seemed to transition well, and at an apparent purposefully suspenseful pace. The backdrops in Riddle were fabulously 'decaying middle America' and I found myself wanting to see lots more of them in play.
Lastly, I must say that the film score, while apparently purposefully unobtrusive, was too much so. Many scenes seemed wanting for music that just wasn't there at all. My bailiwick, a better, more sinister-sounding, more energetic and engrossing score would have added so much more depth to the slow-beat pacing of the dialog and many of the scenes.
While many film goers (and reviewers) seem to have embraced a more black & white style of critique of the movies they see (it's either a 'Taxi Driver' or a 'Plan 9'), there is a universe of film in between--and much of it is worthy. Riddle is certainly up there in both effort and craftsmanship, and I hope the cast and crew, the producers, directors and writers, will bring us more and better in the future.
I rate this film as a 7--a good, solid, entertaining movie.
.
The Facility (2012)
Competent acting, semi-professional direction--wasted.
There are many British films that center around a group trapped in some dire situation wherein the directors rely on the talent and script/story line rather than special FX or exotic locale/scenery to craft a gripping yarn.
Nicolas Roeg's incredible BBC-produced film, "Two Deaths" comes to mind. Written by Stephen Dobyns and adapted by Dobyns and Alan Scott, I consider it to be the quintessential British drama and an example of the power of a great script, conscientious, detailed direction and powerful, penetrating delivery by great actors--all occurring in a single room.
For 'The Facility', we have yet another British writer-director who seems intent on crafting such a typically British, Roeg-like, limited-set drama while lacking the skill in either capacity to make it work.
Granted, the cast doesn't have a Braga or a Malahide or a Gambon, but the cast is clearly talented--the acting is generally sincere and studied, insofar as the hideous script allows them to be.
With all of the low budget and/or Film School Project escapades released these days that have 'writer-directors', one would think the lesson learned would be that one is actually doing oneself a great disservice by trying to do both--someone who has skill and potential in directing is stuck with a horrible script, or vice versa.
Ian Clark, Writer-Director of 'The Facility' seems like he might eventually have a career as a director--generally his 'timing' is good--but how can we really tell? A competent director can often take a lousy screenplay and make it shine, but that hasn't happened here.
That said, there were 'moments', but, while avoiding any spoilers, the film is predictable, shallow and ultimately wanting and unsatisfying.
If I were to advise Mr. Clark, I would suggest he concentrate on directing, while searching through the no doubt thousands of excellent screenplays out there for some meaty material he can sink his teeth into, and forget about writing. Although every writer dreams of directing his/her own creation, it virtually never works well, and this is yet another case in point.
.