Lights Out (2016)

An alternative to saving on your power bill

By: JWBM

As a child, what do you do if your mother is just a tad bit strange? The kind that has a tall, dark friend, talks to herself, and says it all with a charming, nothing's-wrong smile. Well, you've got your older sister to protect you. She grew up in the same household—and might be more towards the normal side—but is still not all the way caught up with the rest of society to be the best of role models.

"Lights Out" introduces you to a creature of sorts that thrives in the dark. Let in even a shred of light, and she disappears. Though that doesn't stop her from lingering on the edges of the shadows till just the right moment. In turn, the filmmakers use this to create more jump and scare theatrics than one can count on their razor sharp talons.

There's a dark family secret that threatens to tear everyone apart. Whether they had anything normal at any point, it's hard to say. This leads to an overcasting theme of trust issues: either between son to Mom, from Mom to Dad, from daughter to Mom, or from girlfriend to boyfriend. Plus the dark. Hard to trust that anymore after what they've seen, or felt with searing pain.

The writing attempted to go for a natural progression to feel out the characters. Though it has tendency to be noticeably restrained by sprinkling crumbs of the story throughout. It's to the point of not flowing smoothly from scene to scene and stretching itself out. Then at some point, the meat of it just falls into the lap of the daughter with all of the secrets to the past in one convenient package. Guess it's just another way of cutting right to the chase instead of the age ol' horror trope of a homeless person popping out of nowhere to shed light on all of the mysterious things afoot.

The vengeful, dark-past of a villain, Diana, seems interesting in the way they keep her half-in, half-out of the spotlight. However, the same can't be said about the other characters. The daughter has the looks, but doesn't come across as adept or adjusted to anything in particular to have her stand out. The boy is a token piece to play out some childhood fears, and feels more there to create drama between the Mom and daughter. The boyfriend says all of the right things at the right time to win the daughter over. Subtract his character and you're not missing much, except for maybe emotional support and a cool leather jacket. The story attempts to take on mental health issues, but then ends up not saying much if anything at all about them besides using it and an out of place antique looking house to act as a catalyst.

"Lights Out" isn't a bad film. Though it feels like the pacing has issues shifting between its gears without puttering from time to time. It attempted to do all of the right, little tricks, but didn't come together with a reasonable amount of fluidity. The writing feels somewhat formulaic without actually overcoming that with something that would stand out: such as an outstanding concept after the more intriguing short film with the same name; being more than an excuse to make you superficially jump; or actually being concerned with its own drama, than just being something to fill in the spaces between to show the more alluring villain. Even that is not enough to overall save this.

Rating: 5.5/10

Director: David F. Sandberg
Actors: Maria Bello, Teresa Palmer, Gabriel Bateman, Alexander DiPersia
Info: IMDB
Trailer: Youtube

Let's Scare Jessica to Death

Hippies, Ghouls, Poison, and Apples

By: Zach Castedo

Rich with gothic atmosphere and ambiguity, 1971’s Let’s Scare Jessica to Death is essential viewing for fans of eerie slow-burn horror. The film is a dread-soaked study of subjective reality through the eyes of an emotionally damaged woman. We are introduced to Jessica (Zohra Lampert) who has just finished a six-month stay at a psychiatric hospital.  Lampert creates one of the most sympathetic and fragile protagonists in horror cinema. Haunted, hunched, and barely clinging to her sanity, Jessica hopes to find peace and healing at her new home in the countryside. 

 

Jessica, her husband Duncan and their mellow pal Woody arrive at their own private Eden: a lush apple orchard surrounding a gothic farmhouse shrouded in fog.  From the opening scenes director John D. Hancock populates the film with powerful symbols of death: the black hearse the trio cruise into town in, Jessica’s morbid gravestone rubbings, and Duncan’s giant coffin-like black case. The film ties together the inevitability of death and the seeming inevitability of Jessica’s return to madness. 

Lampert plays Jessica with such hopeful, but vulnerable optimism. She is child-like and is often wearing a desperate smile as she struggles to maintain a persona of normalcy. The first fissure in her idyllic new life arrives in the form of the wandering hippie girl Emily. With her cold pale skin, eerie eyes, and red hair, Emily becomes a sort of unearthly shadow version of Jessica. She is easy going, confident, and seductive while Jessica feels inferior and is plagued with self-doubt. Emily is the lovely snake that infects their newfound paradise with poison. 

 As the film unfolds we are given strange threads of story that combine with Jessica’s increased paranoia and hallucinatory state of mind. Is their old farmhouse home to dark spirits? Is their guest Emily some kind of sinister undead being? The nearby town appears to be populated solely by ghoulish, leering old men with weird wounds on their flesh.  Are they simply small town folk who like to give hippies a hard time, or are they a horde of soul-hungry ghouls--possibly slaves to the queen demon Emily? As an audience, we know that Jessica has already suffered a horrific mental breakdown in the recent past, which adds an intriguing layer of ambiguity and doubt to all that she experiences. The ensuing ghostly events may be the beginnings of another spiral downward into psychosis.

This is a film of rich visuals with vibrant costume colors contrasting against the aging neutrals of the interiors and the lush greens of the countryside. The actors look like real people: natural, imperfect, human--often with a sheen of sweat on their faces.  Many striking compositions punctuate the film, such as the opening shot of a silhouetted Jessica adrift in the rowboat in a pond of blazing orange and pink, or the carefully framed slow zoom shot of Mr. Dorker as he fishes. Jessica wears, and is often surrounded by, cool colors of purple and blue: her shirt, skirt, robe, and the memorable patterns of her bedroom pillows. Emily wears a bright red shirt throughout the film creating a visual link between her, the red apples, and the bright red tractor, which spreads poison around the farm. Emily, the seducing serpent, bewitches both Duncan and Woody while also creating scenes of sexual tension between her and Jessica. 

Much of the film is about desperate and failed attempts at human connection. It’s painful to watch Jessica’s relationship with Duncan become further strained as the movie progresses. Woody is left cold by his initial attempts at wooing Emily. Lampert is raw and deeply human in a scene where Jessica and Duncan lie in bed, their efforts to connect disintegrate horribly, leaving Jessica wailing in anguish. Brief moments of happiness seem denied to Jessica: she tries to eat an apple from one of her trees, but Duncan yells and stops her: “What are you doing? That’s poison!” At one point Emily seduces Woody when he comes back from a pesticide run. “I really should wash this stuff off” he says. Emily takes his hand and seems to suck the poison off of his skin, savoring it, before burying her teeth into his neck. 

Further crafting the unique texture of the film is the masterful use of sound. The music alternates between gentle, wandering guitar riffs and the pulsing menace of monstrous synths. Jessica seems to be followed by a bleak howl of wind whenever she wanders alone. Perhaps more than any film I have experienced, the use of voice over is a key part of the uncanny spell this film casts. Flashes of Jessica’s internal monologue become the strange poetry of her descent into self-doubt, suspicion, and terror. An otherworldly female voice invades her mind, ensuring her that there is no escape. Jessica holds a plate of meat oozing with red juices and the voice flashes through her mind: “It’s blood Jessica…”

The film is peppered with strange and memorable moments, which you won’t typically see in 21^st century horror. The foursome bathe in the lake, soaping and massaging each other, seeming to be free and happy, but darkness and tension looms beneath the surface. Emily tells a tale about a giant, monstrous cake that oozes into people’s windows and devours them like The Blob. Jessica spends a lingering moment gazing at a colorful antique lamp which the shop owner informs her is called ‘Flowers of Evil’. “How can something so beautiful be evil?” Jessica asks. This same question could refer to Emily, or her new home. The unearthly voice torments her: “I won’t go away Jessica…I’m in your blood”.

This is an abstract film of hazy, poetic logic. Nothing is spelled out, only suggested. How does Jessica—or, we, the audience--separate the supernatural from the machinations of the human mind? The film shows us that our minds are the source of all the phenomena we experience. Jessica’s unraveling psyche could make any evil possible. She ends the film broken, hopeless…adrift in a small rowboat…adrift in her mind. Maybe she is going insane; maybe she is the victim of dark supernatural forces. 

Is there any difference?

Cure (1997)

Who are we really?

By: JWBM

Day to day we see people make mistakes. Their thought process at that moment was off for any number of reasons. Sometimes the advice or suggestions of others comes to mind before we make our next action. What if there comes a time when said suggestion goes against all moral and common-sense judgment, yet you feel compelled to do it anyway? As we often find out, doing something is often easier than dealing with the repercussions. Though if it's grave enough—such as murder—we'll have to live with that short moment for the rest of our lives.

Detectives are baffled. A series of killings are springing up around town that look eerily similar, except for the fact that the person wielding the weapon of choice is different each time. Meanwhile, one of the most unassuming villains blends into crowds in broad daylight and leaves behind little trace. How do you stop a killer who's not your typical killer? Detective Takabe heads up the investigation to put the pieces together and attempts to make sense of something that might never make sense to the general public. Meanwhile his wife suffers from memory problems and possibly other psychological issues. The amount of stress on this man's plate is palpable. Due to his professional position and his unwritten cultural code, emotional outbursts are kept to when he can't take it anymore.

The story dabbles with the deep rooted causes for committing heinous acts, building tension between our day-to-day interactions with each other, along with mental health issues. It's simple in premise, but ultimately relatable. Other films might just use psychology and an overly dark looking mental health hospital as a backdrop to strike fear into the viewer. However, "Cure" takes on all of the mentioned with a different approach than your typical crime-thriller bordering on horror. This is by definition a slow burn. It's reminiscent of a throw back to the early '70s—minus the nostalgic sideburns and splash of colors—but before everything got all fast paced and went straight for the jugular. The director, Kiyoshi Kurosawa, has a knack for letting the camera sit and the viewer to ponder about the entire set, story, and characters' interactions. That includes mundane, everyday things that are often overlooked, but now spark memories of terror. As a result, the pacing is hypnotic. It starts out innocent enough, but after a period you may not notice that its influence goes from soothing, to an itch, to alarming pain.

This feels more show than tell at times. They leave you with enough for some explanations and possible angles, though it tends to play out more naturally. For instance, in everyday life we don't always get to see or hear behind every wall or door. Instead we go by the tone of the situation and feel things out. Even the score mostly goes for eerie, droning sounds that linger or grow in intensity in the background. It also includes some less common upbeat music when the atmosphere isn't walking with its head down in the shadows.

This is a film of patience. I can imagine it's not going to be for everyone, or even every situation when considering throwing on a movie. "Cure" presents an intriguing concept, and it delivers when the moment calls for it, that's for sure. Though it's like watching a pass to the touchdown zone in super slow motion. You've had enough time to know that the guy about to catch the ball has mismatched socks on, and the grass he's standing on might need a touch of fertilizer to maintain its bright green hue. The more time that gets stacked on, the more the story grows on you. It makes you that much more involved, and it makes your brain turn over several times to ponder the implications of the situation. By the time it builds up to its climax, this simple tale turns to paramount importance. Not to mention has a tendency to stick with you afterwards.


Rating: 8/10

Director: Kiyoshi Kurosawa
Actors: Koji Yakusho, Masato Hagiwara
Info: IMDB
Trailer: Youtube

Truth or Dare (2018)

Choices: there's only two that matter these days

By: JWBM

Spring break, Mexico: friends, beaches, drinking, sex, and a game of truth or dare at a local abandoned church. How could that go wrong? Soon enough, this group of pals and lovers with a penchant for booze and free time find out how serious this little game will be.

One of the most important aspects of any horror movie is its setup. It's like a comedian that doesn't get you to laugh in the first few minutes, how well do you think the rest of the experience is going to end up? "Truth or Dare" is a perfect example of a film that grazes over this key element in order to try and pick up the pieces later. This not only throws off the pacing, but it never fully recovers. It's like expecting to have the audience cheer for you at the end of the race, but starting out with your shoes untied. The story is far-fetched enough to begin with, though give this better direction and the audience might be right there with you to believe this supernatural force is attempting to make this group of adult-age friends play a deadly game of truth or dare. Instead it feels borderline silly, with odd CGI grins from the villains to put the final nail in the coffin.

The tone of the film is all over the place. It feels pieced together at times and somewhat erratic for where you're going to be taken. One moment they're attempting drama, to a forced scare, to some drum-roll worthy joke all in one scene. It makes all of this bickering between the two best friends over a guy not only abrupt, but nauseating to listen to. The plot at some point explains itself and then re-explains itself in simpler terms at a later point. Didn't we already have that conversation? As if they wanted to make sure your wavering attention span is still with them. Then this turns amateur, 21st century Scooby-Doo, where they must search out clues on Google and Facebook after their friends start dying left and right. Makes this feel like a simple TV movie, and not something you'd see on the big screen. It's like the writers weren't quite sure how to piece it all together. That or went back and attempted to edit the story by trying to appease everyone at the same time, while not actually appeasing anyone that well.

There are worse horror movies out there. This isn't the bottom of the barrel. But "Truth or Dare" is still mostly a waste of time. There are moments where the filmmakers catch your interest with a certain set up, plot point, or at another moment where one of the actors is giving this their best. But they are few and far between.

Rating: 4/10

Recommended instead: "Get Out," and "It Follows"

Director: Jeff Wadlow ("Never Back Down," "Kick-ass 2")
Actors: Lucy Hale, Violett Beane, Tyler Posey
Info: IMDB
Trailer: Youtube


And a bonus, things I learned from "Truth or Dare": 

7. You can easily just drove over to Mexico and back again.
6. Pretty young 20-somethings have ample time to do ample sleuthing.
5. It's never a bad time to say a joke or two.
4. Always pick truth.
3. Whenever a plot is re-explained, it's the editor's way of knowing their pacing is messed up.
2. Never go from drinking at a safe public place to a non-safe abandoned church, unless you're a licensed exorcist.
1. Alcohol is a catalyst for bad choices.

It Follows (2014)

A persistent, unshakable strangeness afoot

By: JWBM

Dreams have been written about since man first learned to jot down his first words. We try to interpret them, and even attempt to use them as motivation or inspiration. Some bring about good feelings, while others bring about bad when they warp our day-to-day reality. We always have that option to reset and wake up. What happens, though, when something in your life feels so strange it resembles a dream even when you open your eyes? You lay your head down, you wake up, and that odd sensation persists to the point of actually losing sleep. Or is it never actually waking up?

This film is incredibly ambiguous and also incredibly simple by design. It's not outright said, but it essentially feels like a rough outline of a nightmare of sorts. Though not as vague in premise as "Eraserhead," but also not as complex as "Nightmare Detective" concerning dreams. It shares characteristics of "The Broken" with its sense of paranoia and uncanniness. In a nutshell, a pretty, young woman is lured into having a curse overshadow her like a dark rain cloud that never goes away. It only drifts closer and closer—like a slow, inevitable shuffle—and eventually unleashes its fury with little to no warning or coverage in sight.

"It Follows" is chock full of atmosphere—and then some. Where it lacks the kind of enriching
dialogue and layer upon layer of story of other films, it makes up for in ambiance of the actual cool but creepy kind. You'll get treated with an abundance of these gorgeous wide-angle shots, to this feeling-the-moment style of soundtrack that uses anything from jarring sounds, to soothing electronic rhythms. The sets have a share of things purposely laid about from bygone years over anything outright from 2014. The way the villains are introduced—with some can't-shake-that-horrific-image-from-memory visuals—not only evokes terror for the character, but it seems to resonate to the viewer, too. With everything combined, the tone is effective enough to get under your skin and possibly end up in a dream or three of your own.

This isn't a thinking man's movie, but rather a tale that breathes more icy breath than it does enlightening words. It's subtle in how it plays on your senses in the moment-to-moment. It has a narrow vision, but a steadfast purpose; it slowly hooks you in to the point of everything else beginning to seem too far away to see or grasp onto. The tick-tock of the wall clock goes away, outside traffic ceases, and you're left with this growing, unexplainable presence all around you that keeps sucking you in to its strangeness. The experience is like having your senses kidnapped, then returned in a more horrible state than they were left in.

'I knew I had a few screws loose before, but my brain was a little less warped than that.'

There's violence at times, but "It Follows" isn't a blood filled movie. It's horror that plays on your nerves with a dash of paranoia thrown in for good measure. What's great about this setup, is normal, everyday things can't always protect you or make you feel safe. Such as sex, daylight, the police, being surrounded by friends, or even in the comfort of your own living room watching the tube on the ol' couch. The film takes relatable features, then inverts them into a weird, out-of-body experience. I've got to tip my hat to the filmmakers for their patience at setting their pacing up just right--or, oh so wrong, oh so wrong.

This didn't exactly re-invent the wheel. There's bits and pieces of past horror influences all over the place here. Though the mechanics of it are pieced together so well that it deserves a watch or two over some original pieces that tried and didn't live up to their own formula. It's tried and true and delivers the goods that the horror genre demands. Actually, some of the details are kept to a more hazy and round-about way, which I think works best here. It keeps the surface at a consistent atmospheric level, than having to hold the audience's hand for every minute detail, or even jeopardizing the flow with too many twists and turns. Next time you hear the scrape of feet too close, or see someone familiar that doesn't look all together there, you can thank "It Follows." That's their plainly wrapped, inconspicuous gift to you that may have a surprise waiting...

Rating: 8/10

Director: David Robert Mitchell
Actors: Maika Monroe, Keir Gilchrist, Lili Sepe
Info: IMDB
Trailer: Youtube

Happy Death Day (2017)

Nobody likes Mondays

By: JWBM

This is a tale about a normal day that turns deadly for a young, carefree college gal. For anyone else, they would be resting peacefully in the afterlife with an extra hole or two in their previous body. Though there comes the catch. She gets a reset: body back to normal; mind not the same. From there on out, that day—that initially started out like any other mundane Monday—turns into a battle to escape this recurring daymare.

"Happy Death Day" is not set up to be grab-my-heart scary, but instead plays out as fun and energetic. It's like a gateway film for someone who doesn't outright like the kind of horror that keeps you up at night, but doesn't mind a safe mix of mystery and suspense to take the reins. The film has a tendency to flirt with different tones throughout, whether that be light jokes, horseplay, or even venturing to light drama about reconciling. It's not a comedy like "Shaun of the Dead," but it's also not in league with balls-to-the-wall horror such as "Martyrs." It finds its home somewhere in a comfortable, don't-worry-about-the doors-being-unlocked middle ground. It's a well-packed feature that dabbles in the heres and theres without overly concentrating or being outright outstanding in either.

When this isn't being a homage to late '90s slashers with an emotionless, unwavering killer on the
loose with a memorable mask, the other side of this horror tale is a mystery. It uses the backdrop of "Groundhog Day" to replay clues to pick up on. This will make some repeating moments instantly annoying, while others—that are initially overlooked—turn out to be significant pieces to the story. It gives an element of attention to the film that would have otherwise just been a pretty girl being chased by a homely killer. The lead character, Tree—played by Jessica Rothe—does a decent job at carrying the many emotional shifts and turns this film takes the viewer through. She starts out as self-centered and unlikable—from signature eye rolls and sarcasm—to growing and adapting to the experience. It's very much a reactionary movie. One of those root-for-the-character films: the kind you could talk over and yell at the screen with a few rowdy friends.

"Happy Death Day" is an amusing, shameless movie that may get watched once and lost to the yesteryear. But that's the point. This is a slick Hollywood horror film that has all of the bells and whistles without bringing anything necessarily new to the table. The locations and shots are mostly on point. There's no grit or outright savage moments like you'd see in a typical pulse-pounding slasher. One scene easily and gracefully flows to the next. The movie is mostly safe, and you can count on it to be consistent throughout. There's a glaring formula, yes, but a formula that feels tight and worked through. If you're looking for something new that's more playful than it is challenging, this might be up your alley.

Rating: 6.5/10

Director: Christopher Landon ("Scouts Guide to the Zombie Apocalypse")
Actors: Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews
Info: IMDB
Trailer: Youtube

Death Sentence (2007)

Nothing more ferocious than a father with rage

By: JWBM

What we build up in this world is a fragile balance. We set up safe-guards, and make it our constant goal to maintain what we have built up for ourselves. As flesh and blood we are vulnerable. When we let our guard down, we're capable of being free and happy, but at the same time we leave ourselves open to danger and potential physical or emotional harm. When we're overly cautious, mistrusting or paranoid, we stand a better chance at being protected, but at the same time we are just existing till the next moment.

Being a loose adaptation to the second book of "Death Wish"—yep, the one made into a film with Charles Bronson all those years ago—the story and pacing doesn't waste much time breaking into it. I guess, the filmmakers—James Wan of "Saw" infamy—realized you've had years and years of sequels and similar spin-offs in the meantime to not trick you into thinking this is a new concept. What happens to this man's son is senseless and tragic no doubt, though the story doesn't dwell for long after said incident. Its main intention from the get-go is to break into some energetic action sequences where one seems to top the next. Kevin Bacon—playing the enraged father—doesn't get a chance to express a full range of drama, but gets down and dirty for a share of dynamic, high-octane scenes. What makes them unique is their sense of putting you in the moment. For instance, after years of getting spoiled with Hong Kong action flicks where the camera doesn't blink, the choreography is more important than the dialogue, and the actors don't shy away from a few bruised knees and broken arms, I get tired of seeing pieced together shots of other films with a gazillion takes. I'm looking squarely at you "Bourne Identity." Especially when the budget is through the roof.

"Death Sentence" is more a simple tale of revenge than going for the more complex, the-law-can't-help me route. It's essentially the emotional progression of grief turned to anger turned to blind rage. It's relatable in that it's what happens when we sit around and can't listen to anymore of our own thoughts and must seek out some kind of external answers through action. What happens after is purely cinematic, of course. Though what the character finds from this progression opens up a door to another shadowy world full of further grave possibilities that he may not have bargained for. Can the average man prepare himself for that compared to gang members that are practically born into it? Or police that are mentally and physically trained for it? He is a tad bit angry, which might help.

The story of "Death Sentence" is somewhat formulaic and straightforward. If you had more time to think during this white-knuckle, hair-blowing-everywhere ride, you might be bothered that the filmmakers just used the set up to get the gears greased with blood, while not actually outright saying anything profound on the subject after this many years. But don't let that stop you from checking this out though. It works in other ways. It delivers the goods either fast enough or stylish enough to set aside the thinking cap for another film that moves at a snail's pace. It's one of those tales where you need to suspend your disbelief from time to time. I mean, guy goes from behind-the-desk warrior to knife-in-teeth commando in no time. Police are practically no where to be found when needed and are always conveniently showing up after the fact. These are also your stereotypical bad guys, except that they look cool on screen with their knack for neat outfits and sweet rides. John Goodman plays a kingpin of sorts, who's health looks like it's on its last leg. He's an unlikable guy whose sole motivation is moola, and lots of it.

Could this kinda thing happen in its entirety? Probably not anytime soon. But it's at least entertaining till the last guy falls and someone has to clean up the mess.

Rating: 7/10

Director: James Wan (Saw, Dead Silence)
Actors: Kevin Bacon, Kelly Preston, John Goodman
Info: IMDB
Trailer: Youtube

The Road (2009)

We're more than the things we surround ourselves with

By: JWBM

In essence, our life can be broken down into a series of moments and stages. The situation now is just a state of time. It can define us, it can strengthen or weaken us; that, or it may even enlighten us, depending on what we're capable of, or how much power we have to persevere. The transitions from one stage into the next are the most challenging aspects we go through. One moment we have both hands free to kiss our loved ones, while at other times we have both hands behind our back and a splinter in our eye to see fully ahead.

In everyday life we are surrounded by other people and opportunities. The sun rises and sets, we can get jobs, and go to the supermarkets on the way home. When something upsets that balance, we must battle our minds still stuck in the previous stage to move ahead. Now, imagine you're in the worst of the worst situation that anyone will ever experience. The World as we know it is slowly crumbling. You look outside and uncertainty for humanity is on the horizon. Who do you turn to? How do you put one worn and unstable foot in front of the other? There's no crutch out there that will fully balance out your next journey. But here we are to live out our next—or last—days.

Over the years, I've seen my fair share of post-apocalyptic films. Even hung around with buddies and talked about how neat the what-ifs would be. "Dawn of the Dead," for instance, made abandoned buildings, brain eaters, and broken dreams kinda cool. It was scary and intense at moments, but you were free, you could shoot off guns, and life was a strange, new adventure. Once the credits finished, you could go back to normal. "Mad Max" had the awesome rides, plus the outfits you could never get away with wearing—well, that is until things turn into a free-for-all. You could be a hero, or join a gang. Both equally cool.

"The Road," however struck me in a different way during and after. It's genuinely bleak, it's nearly hopeless, it's not something you want to happen, even in playful thoughts at the back of your mind. It plays out more in a, "Wow, so that's what it would really be like?" kinda way. You want to vigorously shake the filmmakers and original author by the shoulders and ask them why they took this genre to this extreme. The movie does have some other qualities to it—more grave and serious thoughts to ponder on versus the typical backbone of an entertaining experience.

The premise is simple: a man and his boy hit the roads. Their hazy plan is to head south to get away from the cold, search for food and shelter along the way, and carry a bullet or two just in case they encounter someone who's not one of the "good guys." Hard to tell these days. This takes place when shit has hit the fan, and then trucks with reenforcement shit have shown up to pile it on more. There's also crazed lunatics that are saying screw the fan and just throwing it everywhere. But, guess, what? Who cares anymore? Who's to stop them? It's the equivalent of taking your average family and making them a seasoned homeless person for life with shopping cart and all. The only people left are those that are willing to do just about anything to survive. Anyone who's comfort level, such as the my-food-is-too-cold crowd, did not make it. Anyone who hesitates or puts their guard down for even a few seconds, did not make it, or will not make it for long.

Where the film excels, is it does a great job at self-reflection of what you have and where you're going. It's not outright said, but I couldn't help but feel that way. It's an odd experience watching it unravel as you look around and have adequate shelter, food/water, and security. Take it all away and what's left to fight for? Most of the story is about as depressing as a once happy family dog on its last leg, that just gets worse and worse, and you watch with pity and helplessness as all of the good memories start to fade and are replaced with the present deterioration. The man—as he's plainly called—still reminds the boy, "We have to just keep carrying the fire... The fire inside you."

This is humanity at its darkest hour: from loneliness, depression, murder, suicide, to cannibalism. It's not for the faint of heart. Though sometimes it takes some ugliness to see and appreciate the light. "The Road" has a certain dark poetry to it: from the actors that breathe life into these beaten down characters to the point of seeing them as none other than—Mortensen, as the Man, replaces the dimple-chin charm with a bearded, broken man in tatters—to the cinematography, which expertly shows settings that were once full of people and purpose, but are now just a series of lifeless machinery and wasting away material things. As humans we're more than the things we surround ourselves with. Some of us give up, others take the easy route, but the film—as dark as it is—seems to inspire a sense of near impossible challenge that few other stories come close to.

Rating: 9/10

Directed by: John Hillcoat (The Proposition)
Starring: Viggo Mortensen, Charlize Theron, Kodi Smit-McPhee
Info: IMDB
Trailer: Youtube

Prisoners (2013)

When the unthinkable happens to your flesh and blood

By: JWBM

Years back I used to stay up late to watch "Cold Case Files" and other similar shows about finding a killer after a real-life senseless act. It was never a good idea. The stories often stuck with you, even into the next day. A characteristic trait of these tales, is the search for the truth is often a pull and tug into different directions. Sometimes one path leads to a dead end, other times it leads to the right path—one with a resolution of sorts that is never easy, and one that often doesn't make it any better or make sense to someone with a conscience. Detectives and personnel look as if they're just doing their job compared to the distraught, all-tears loved ones. But after studying and dealing with so many horrific cases, some professionals come to the realization that emotions can blind us; can make us obsessive; can make us convinced about something that may or may not be there. Another thing that rings true, is emotions can bring us together, but also tear us apart in as little time as it took for said act to happen.

It's every parent's worst nightmare. The room is too quiet. You call out your child's name. Silence. You look everywhere. Nothing. It's tragedy in its purist form. All of those plans, dreams, and aspirations are frozen in time. Adults are sprinkled with choices and have ample opportunity to unlock different pathways throughout their lifetime. When something happens to our own flesh and blood—a little one no less—it can bring about deep emotions that would tear just about anyone apart. That is with the exception of a certain breed of predator. Someone whom you will never understand; someone whom you will never firmly step into their shoes. How do you find a monster? Become one yourself? To toss away reason, and replace it with a hurried, fractured logic that makes sense in the now but may be full of regret later. To fully do so, would be to transform oneself and toss away the remaining humanity inside of yourself and replace it with a determination that's as black as the corrupted soul that took said innocent one. Do you have it in you? Should you have it in you?

Two girls during low-key Thanksgiving festivities end up missing with few clues to go on. Dad goes into full protective mode to find them; mom goes full comatose from all the unanswered hows and whys swirling in her head; detective turns over every stone to find them. You've seen this type of drama-thriller before. An exceptional, callous thing happens, a few creepy scenes occur to get under your skin, and eventually the final revelation and resolution of it all is wrapped up into another fava-beans-and-Chianti package. Well, not exactly here. "Prisoners" feels less slick, more moment by moment, more centered on resonating emotions than surface thrills, and more like the characters could be your neighbors and this your neighborhood. It's still gripping and engaging, though it still doesn't feel like your typical cinematic experience for the first half in how it lays one brick at a time to build its story. Take the music for instance. It's all about those menacing tones, than it is about creating a soundtrack to hum on a road-trip. It's like the director wanted to explore complex human emotions to stick with the viewer over just a focus on being aesthetically pleasing.

Another mode to this film that I thought was brilliant is how the characters are tied together with a common theme. When something out of the ordinary happens to us as humans, there are many that attempt to hide their bruised egos. We become afraid to ask for just a simple thing: Help. A share of problems would be solved if we swallowed our pride and reached out to ask for a hand. Especially to someone whom we should ask for help. It's a strange but common set of circumstances that I feel the writer nailed with this story. It's finely layered in how it's done—enough that it didn't hit me till after the fact when I was piecing it all together. I haven't seen too many other films that weave it into their story as well as this did.

As much as "Prisoners" delved into and examined the emotional turmoil of this event, it also wrapped up its loose ends in a rather quick dust of the hands. The movie does have some heartfelt soul to walk away with though. It's not an easy watch—some portions are downright uncomfortable—but it's acted and portrayed well for this harrowing subject not everyone wants to outright talk about. I mean, unless you're John Walsh, or someone like me who wants to examine the more challenging things of this strange and sometimes cruel world.

Rating: 8.5/10

Director: Denis Villeneuve (Maelstrom, Polytechnique, Incendies)
Starring: Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard
Info: IMDB
Trailer: Youtube

A History of Violence (2005)

Protecting the American Dream

By: JWBM

How much time can go by until the realization sets in that you don't really know someone? Most of us are on our best behavior due to following similar routines and habits. It isn't until a situation falls outside of a person's comfort zone that you notice something unusual that may have been hiding there all along. Getting to know how someone acts is knowing their routines; knowing how someone reacts is knowing the inner person.

Stories such as "Deliverance," for instance, dealt not just with the wild perils of nature, but about bringing out a side of ourselves that we never knew was there if not for a dire set of circumstances that tested our limits and boundaries. "A History of Violence," as the namesake suggests, is an evolution of our complex behavior as human beings with an everyday man who's established the perfect family life for himself—right down to the locally owned diner, and station wagon—until that's threatened to be taken away when backed into a corner. Other movies have scraped the surface of our protective nature as an excuse to get the action going—though this film slowly digs its claws in with more of a subtle look at our subdued primal instincts in the modern day. We're used to seeing animals act out what's natural without batting an eye, but what happens when those things called rules, laws, and safe-guards are taken away from a small town family living the simple life?

The tone has a dark and violent side when it calls for it, though the pacing is played out with more of
a slow burn than a non-stop visceral attack on the senses. For instance, the opening scene is a continuous shot that reminds me of some of Takeshi Kitano films, in how the camera rolls uncut and we're left to read the what-just-happened, what's-gonna-happen on our characters' faces. The story gives a simple build up, and then some layers are intertwined for character development concerning the growing tension amongst this howdy-good-morning family from small town middle of nowhere. This leaves room for the characters to naturally react to the situations at hand without seeming rushed or cut and dry as just a buffer for a John McClane-like action moment. It's not always what's said, compared to how it's portrayed in the face and body language. Mortensen does an authentic job at fleshing out Tom Stall: a man caught between his past and protecting his family in the now. The line "Then we deal with it" about sums up his mild-mannered, spring-to-action demeanor.

This takes a closer look at violence no doubt, though it's also a tale dealing with undercurrents of change, bond, and growth. What makes "A History of Violence" rewatchable, is the filmmaking is more along the lines of a timeless piece—having neither trendy music, catch-phrases, or shameless, I-remember-that advertisements. Cronenberg has a particular directorial style to his films. A knack for conjuring up the surreal and making it seem real when played out in front of your eyes. This is still more rooted in reality over, say, "eXitenZ" of a few years earlier. He's both at the far end of the spectrum of reserved and then effectively point-blank at other times. It can make the experience easy to chew at times, and then hard to swallow at others. What's remarkable is how he can take a basic story about a basic family, and still make it a memorable experience to walk away with.

Rating: 8.5/10

Director: David Cronenberg (Videodrome, Crash, eXistenZ)
Starring: Viggo Mortensen, Maria Bello, Ed Harris
Info: IMDB
Trailer: Youtube

Trivia: Reported to be the last film to be printed on VHS by a major studio (on March, 14th 2006).

The Ninth Gate (1999)

Everyone's trying to get their hands on Satan's autograph

By: JWBM

Adapted from Spain's Arturo Perez-Reverte's historically abound novel "The Club Dumas," the film version is a chapter-by-chapter evolving experience in itself. It gives a taste of how far occult literature extends back for the past couple hundred years, and turns what was once heresy into a modern world of wealthy, shadowy characters shamelessly sipping on expensive bottles of human vice. A place where Latin is alive and woodcuts smell of freshly inked templates; dusty areas start to shimmer, strangers in the back shift to the forefront; quiet libraries ring alarm bells, and exquisite vacation spots for foreigners now cause them to requestion their next travel plans.

A collector of rare books commits suicide only a day after he sells his most prized piece. A wheeler and dealer, Dean Corso, gets hired by another book collector exclusively of the dark arts named Boris Balkan, who has since acquired "The Nine Gates of the Kingdom of Shadows," and wants him to varify its authenticity to the only other two known in the world. The man who authored them back in 1666 was burned at the stake for his blasphemous spoutings. Now in 1999, strange and tragic things start to happen surrounding those who come into its leather-bound, pentagram decorated path. The lingering question: Is it the cause and effect of the books or the unscrupulous people themselves? Or both?

"The Ninth Gate," from director Roman Polanski--"Rosemary's Baby"--presents a tried and true style of move-making that relies on basic but worked through mechanics to deliver the goods. From the gradual build up that gets more and more involved, to the slowly creeping camera angles, antique furnished sets, and who could forget good ol' distinctive orchestras to solidify the tone around it. The experience feels like stepping out of your door and into a more traditional European lifestyle over, say, a Hollywood affair with modern and trendy aspects of the year it came out. Compare this to a string of the millennia-approaching, end-of-times films back then, and you can see a noticeable difference of which ones aged.

There are some twists and turns to give this momentum and make it a memorable experience. However, a share of it has a purposeful simplicity to give room for believability when something outstanding does happen. In order to break into the idea of black magic cults and Lucifer supposedly being a low-key author, there is also a dry and somewhat playful tongue-in-cheek sense of humor sprinkled about. Depp's role, as Corso, is less eccentric than past films and stays closer to an everyday type of shady businessman. With the help of a tentative partner, Corso ends up from one accented person and scenic country to the next. You can imagine the book has passed hands for hundreds of years, yet it's a perfect way to enact survival-of-the-most-evilest in the current day world by enlisting the most greedy, back-stabbing people amongst us that are capable of taking it solely for their own gain. From lusty gold diggers to sign-the-dotted-line-or-die capitalists, the tale makes everyone who gets in its path a victim of their own lust and desires.

"The Ninth Gate" will make one glance at formerly uneventful places in a darker light: a secretive-like atmosphere that is cloaked in enough shadows that the general person is oblivious as to what lurks around them. It also has a certain amount of mystery that gives room to unlock Easter eggs and hidden theories on additional viewings from not outright handing everything over to the viewer. The story and concept itself is intriguing  enough to anticipate what comes next, though underneath, the momentum is guided by an unphysical, somewhat unlikeable book swindler; you get reactions and mundane habits similar to an everyday person who could be your neighbor Bob if not for a sly characteristic and a penchant for a shoulder bag. It's logical why it's set up that way on paper, though watching the experience play out isn't always thoroughly compelling. It's still a well-done and an esteemed film for its cumulative qualities, though hoping for more layers--such as all the musings and step-by-step thoughts in the book version--from the lead on further viewings comes to a stand still at points.

In one respect, the next secluded mansion, not to mention the next time you pass by an antique book store, there will be a little reminder as to what it conceals rather than the usual yawning words and stiff aristocrats. Something that should be left alone or pursued? Well, I guess that choice is up to you and how far you are willing to push your luck to be just a little bit closer to the world below. If not by you, there's always another that will stop at nothing.

Rating: 7.5/10

Director: Roman Polanski (Chinatown, The Tenant, Death and the Maiden)
Stars: Johnny Depp, Frank Langella, Emmanuelle Seigner)
Info: IMDB

Trailer: Youtube link

Circle (2015)

Exploring that ingrained sense to exist

By: JWBM

Survival. We've explored this deep rooted human sense in countless entities: from real life encounters; to dramatic tellings of battling nature, and overcoming illness and disease; to just plain entertaining showcases of dressed down younglings fleeing from a homicidal maniac in the woods over a recurring theme song.

Where the spokes of life turn to a different rotation is when someone--or someones--are put into a manipulated game where they must survive in a me-or-you set of circumstances. Unlike, say, "Cube" or "The Running Man," the participants here can't use their feet, solve complex equations or even use hulking muscle to get away--all they can do is use their senses and speak to find out about their surroundings and each other to hopefully come to an understanding, resolution, or just plain save their own skin. As you can imagine, it quickly turns into a bunch of vicious, talking animals in an imaginary cage trying to use the person beneath them to escape to the top, while others are attempting to adhere to a strict moral code to save their sense of humanity and dignity.

Every two minutes--in movie time of course--a buzzer sounds and someone drops to a resonating thud. With the amount of people in one room and little prior knowledge of what's going on it sounds like a chaotic mess, though the filmmakers seem to take a minimalistic approach to balance a specific focus. For instance, a large chunk is dedicated to portraying a tug-of-war with a moral sense and a primal one. It's far reaching, yes, though there's nothing here that is too complex to throw on and get confused by. It feels more like a dramatic stage play than it does a thriller, or, say, a typical survival horror film. There's no nifty camera angles, elaborate sets to explore or explosions a foot. While this does sound sparse, the movie does have its merits and manages to set out in what it attempted to do without too many hiccups.

"Circle" manages to ask some questions and answer a few themselves, though leaves the bulk of them to the viewer to ponder on. Essentially surprises are reduced to who gets taken out/doesn't get taken out, and some hidden truths with participants. In a sense, it makes you wonder what you may have done the same or differently if put in the same shoes. "Circle" attempts to straddle being part entertainment and part psychological/philosophical. Though the movie is leaning more towards the former and isn't something that will peel back layer upon layer each time you put it on. However, it's still worth at least a watch for a bored Thursday night movie with friends over to break the ice and bounce your own theories off each other while it's running. I can see the film also having the potential to be an excellent debate starter. And, who knows, you may learn a thing or two about each other...

Rating: 6/10

Movie info: IMDB

Trailer: Youtube link