Darke Reviews | Flatliners (2017)

It’s generally not a good sign for a movie when I don’t have any Thursday night screenings available, so alas the review comes tonight a few hours after the last show. Obviously I have seen the original a couple of times when it first came out and on VHS. It was beautifully atmospheric and though it came out in 1990 it still was riding that wave of 80’s that will mark it forever. I can’t say I have any particular fondness for it one way or another, I thought it was good and had a lot of stars of the day headlining it. Obviously I was curious when this one started dropping trailers a few weeks ago. I thought they were interesting and there’s always a glimmer of hope for a remake. So I threw on one of my favourite shirts, not realizing the irony and headed off to the theatre.

Oh the irony

You get what anyone gets. You get a lifetime

So should they have resuscitated this film or left it for dead?

The story credit here goes to Peter Filardi, original writer of the 1990 film as well as The Craft. Which largely means this was brought to you by the writer of Source Code, which was interesting in concept if not execution, Ben Ripley has the screenplay credit. I cannot say if Filardi had any work on this one or not, but the core story he wrote remains intact with names changed to protect the innocent and the guilty. In the 80’s and 90’s we didn’t expect a lot of our sci fi or horror films, not really. As an audience we’ve come to expect more because we have literally seen it all before. Which makes Ripley’s choices on script so problematic for me.

Flatliners has at least a half dozen different ideas, concepts, and notes of interest. Every last one of them is dropped in favor of keeping the beats of the original. With almost 30 years of separation between films and some seriously interesting plot threads introduced the movie fails to embrace those more interesting ideas and instead treads the already worn path to mediocrity. With so many advances in science and medical technology since then and the story premise presented by the characters it could have been explored. The reactions and results could have been explored. A characters existence in the story could have been explored. New consequences, new risks could and should have been taken. The movie took one, but it was the safest to take.

With remakes, and some sequels, writers can be condemned for violating the source material. Deviating too far from it. Conversely they can be criticized for not doing something new or original. What gets missed is the middle ground. You can be faithful to the original story, original concept, and original ideas; but also tell something new and explore new ideas separated by the times in production. From 1951 to 1982 – 30 years right? Compare The Thing/The Thing from Another World. The concepts are the same. There’s beats that are the same but these are vastly different films and both are applauded for what they did. The same could be said for The Fly (28 years), Dracula (1930s, 70s, 90s), Nosferatu (50 years). Outside of this genre, we have 3:10 to Yuma, Thomas Crown Affair, The Seven Samurai to Magnificent Seven, Oceans Eleven, True Grit. These films are all proof that you can tell the near exact same story and improve on it or at least make it different enough to be fresh without losing the heart of the material itself.

Flatliners, like most remakes in this decade, plays it safe. It stays in the lines and takes very few risks. As I said, it does take one or two, but they aren’t entirely successful. One I feel was a studio add to “amp the tension” but just looks ridiculous because I know they don’t have the fortitude to see it through.

This leaves me disappointed as a whole. Neils Arden Oplev (The Girl with the Dragon Tatoo) is capable of more. The shots are pretty. The acting is sufficient, but there’s nothing new or unpredictable in those shots. Just adding to how safe and milquetoast the movie ends up being. Again I think he may have had some hamstringing from the studio on this, as well as being saddled with a PG-13 rating. Who do they think is going to see this? Go for the R and commit.

The acting is fine, by the by. Ellen Page is always a joy, even with a joyless character like Courtney. She has enough charisma to make the character likable as she convinces others to join her crusade. Diego Luna and Nina Dobrev have wonderful chemistry and are probably two of the most heartfelt performances in the movie. James Norton, largely known for his work across the pond and the voice of Dragon Age Inquistions Cole, turns a character that I should have hated and gives him something to work with. Kiersey Clemons rounds out our medical students with poor judgement. She has a decent body of TV work and will be the Iris West to Barry Allen in the upcoming DCEU films. She, like the others was cast well and holds her own. There’s absolutely no fault on acting here.

The fault lies with script and production. We’ve talked about how safe the script is. The remainder of the production isn’t nearly as risky, probably to keep that rating.

TL;DR?

Flatliners should have had a DNR signed if this was going to be the result. This is a bland, mediocre film that does nothing particularly new or interesting with the original story to warrant it’s existence. It tries to introduce stuff, but drops it a hot ten minutes later. I think at some stage of the production someone suffered partial amnesia to forget so many things; especially in a film about being haunted by the past.

Which I guess comes to the final statement on the movie. When you consider the subject is guilt over past sins, the weight of them on you and how they can kill you – I think that’s what happened here. No one involved had either the power or ability to say no. No one had the power to go could we do better. So they didn’t try and because of that – this movie will die.

Should you see it?

No. Its not badly shot or badly acted. It’s just irritatingly droll.

Huh?

I wanted more from this movie only because it kept showing me it was capable of it. It kept showing me things that were far more interesting than the final result and those things were never actually explored.

Ok so you aren’t seeing it again. How about buy?

Newp. There’s nothing here for me to both trying to remember.

So you hate it?

Not really. Just disappointed by the wasted potential.

So what’s next?

Image result for origami unicorn blade runner

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Darke Reviews | Kingsman : The Golden Circle (2017)

I have not seen the movie. I no longer plan to see the movie.

Everyone close to me knows I avoid all other reviews, review sites, production blogs, insider blogs, etc. prior to a movies release. I base everything on my reviews from the trailer to screen only. I do not want to taint my review by production nightmares or amazing productions and horrible final products. I base them on what you promise me via trailer and what I receive when I put down my $11. So when the person closest to me in the world goes: “Hey this article ( https://www.themarysue.com/taron-egerton-kingsman2-scene/ )  has spoilers. I won’t be seeing this or any Matthew Vaughn movies”, an hour or two before I go see the movie; it causes me to take note.

So I read the article. I am both happy and sad I did. I can tell from other reviews I have watched between now and this writing that the overall product is a solid Ok to Good, but at least three have brought up a scene in question without getting into the details found in the article from TheMarySue. I was deeply conflicted for a bit.

The scene/issue: In attempt to plant a bug to track someone Eggsy has to seduce a woman and insert the object into her via her vagina. The shot is done as a point of view following his hand.  The actor who played Eggsy was actually uncomfortable performing the scene (and did not in the end).

Can I tolerate overt, unnecessary sexism in a film that uses it as a punchline for all of 30 seconds?

I mean I have watched plenty of things that are gratuitously sexist. Piranha 3D and 3DD come to mind right out of the gate. I have watched my share of movies with consenting (and even not consenting) adults having sex in them or women in lingerie having sex (Atomic Blonde , The Hunger ). So why does this bother me more than those?

If you are still with me reading this, lets start with Piranha. The sexism there probably kept more than a few women out of the theatres, including me. I have watched them since and realized that while yes it is still sexist that sexism is also the joke and the victim of the joke as well. It is so ridiculously over the top and consistent about it. It is just on the right side of lampoon. There are more than a few people who will enjoy the overt perversion of the film, but they are as much part of the joke as well. The title of the second one even plays into that, even as it earned derision from many. In the case of the Piranha movies they go in with the knowledge, intent, and desire to be comedy horror and the overt sexism is a literal constant part of both narratives. That constant is what makes it different.

Alright so what about films like Atomic Blonde and The Hunger. *sigh* Admittedly this one is a touch harder with these two mentions. Let’s address the Hunger. As a lesbian vampire film you can tell it was filmed by a guy. That said the act itself is treated well, and the seduction and succumbing to it is a functional and necessary part of the narrative with the associated consequences as part of it. Atomic Blonde is slightly different in that regard, but only slightly. It treats the bisexuality of the characters and the act slightly better; while still generally being filmed for the male gaze. Both sequences have a high degree of intimacy and passion that ultimately serve the characters and narrative rather than detract from it. They are naturalistic within the story and it would change the film and characters in a significant way if they were absent.

So why is this different? Because it is unnecessary. Like the Princess Tilde scene from Kingsman – what did it actually serve? Did you *need* to see the scene? Would it have worked had Eggsy closed the door with her smiling on the bed and Merlin looking over and going “Oh my”? Yeah. It would. The problem here with a POV shot of the hand sliding down her stomach and into her panties and then her? It adds to a pattern.

Vaughn is outright juvenile and sexist. He is a shock jock (DJ) like old Howard Stern. He does it because he can and wants to be bold and edgy. He’s a 15 year old with $90 million dollar budgets. Let me clarify.

The Tilde scene was on it’s own? It caused a minor murmur. Some folks didn’t like it, but that was it. Didn’t really hit the radar in reviews or news. Now add this scene with Poppy Delevinge’s character Clara. Most reviews I am coming across are bringing it up with a “why was this needed?” – more on that in a sec. Two isn’t a pattern yet. There’s more. Let’s look at Hit Girl in Kick Ass. I like the movie, love the character, but he has her drop the “C” word just to shock people. Then there’s the teen sex scene, true the actors were 20 and 23 at the time but they were playing high school kids. I am not against teens having sex, not even remotely, I am wondering why it needed to be filmed? There’s the treatment of Roxy in the first film – you know the one who actually became a Kingsman? True the narrative is about Eggsy and Harry, but you lessen the one of two named significant female besides his mother; who is not treated particularly well either, by leaving her off screen for much of the action?

My final point on the why was this needed for the Clara scene? If a script writer gives this scene to you as a director and producer you have the absolute right to change the scene and change how its filmed. You can keep it from being exploitative if you feel you need to include it. This fails here as Vaughn is writer, director, and producer. He wrote the McGuffin for the intent to write this scene and shock. He picked how it would be filmed. It literally only exists in this format to allow him to film it as such. The McGuffin could have worked any number of ways that didn’t require *this*. Yet here we are.

Where does that leave us?

I cannot in good conscience see this movie. I cannot in good conscience recommend it.

If this scene as described doesn’t bother you and you can enjoy the rest of the movie without this being a detractor – props to you. I am not going to judge people who don’t have an issue with it. I hope those that see this truly enjoy it and this doesn’t take away from it.

It would for me enough to taint the rest of the experience. Enough to taint how I think of his other movies, which I enjoy as well.

I’ve drawn a line in the sand for white washing and I have to here for this absolutely unnecessary sexist filming.

Is there anything else you are drawing a line in the sand for in the near future?

Trigger warning for pedophilia on this topic so I am using my spoiler roll over text to discuss. If you wish to see just highlight from here:

Yes. Jeepers Creepers 3. When the first two came out the internet wasn’t nearly as powerful as it is now. Information about people and their misdeeds not nearly as prevalent. I had no idea the director Victor Salva was a convicted pedophile. Not only committing the crime but filming it as well. I cannot support his works now that I know. Do I still enjoy JC/JC2? Yes – for what they are. You can enjoy something still after you find problematic issues with those who made it. It does not mean, however, you have to continue supporting them once you know.

This includes Polanski. I had no idea of his background at first. I know the victim wants the story to die so she can keep moving on. This is does not equate to absolution. Do I like the Ninth Gate? Sure. Can I continue to support him? No. Which means not adding some of his older works to my collection such as the Fearless Vampire Killers to avoid giving him any form of residuals. 

As a reviewer, topics like these do cause conflict. I have an objective role to perform in the watching of film and media and writing about it. I also have my subjective beliefs and values. I have to be true to myself and not support things I find problematic.

I hope you all understand and can join me for the next review.

Darke Reviews | American Assassin (2017)

I seriously am starting to wonder if people don’t realize they should shut the frak up when a movie is going. There are a whopping 18 people in the theatre which can house 9 times that easy. Old couple in front of me, wife keeps talking to the husband. Two women at the end of the row to my right I had to look across the 6 seats separating us to tell them their voice carries. Three rows behind me, there’s another elderly gentlemen explaining the movie and all the trailers to whomever he is with in stage whispers. This did not start off my movie going experience tonight on the right foot. It’s been a rather stressful time of late and I was hoping for a nice quiet theatre and a mediocre action movie to forget the world for awhile. Which movie? A lot never heard of it, but here’s the trailer:

I suppose the real question now is

Did I forget the world or should the world forget this movie?

In traditional Vampire Princess fashion, I have not read the book by Vince Flynn. The trailer tells me it is a #1 NYT Best Seller. Ok. Sure. So per usual I have no point of reference and get to judge this as a movie. The first thing worth noticing is the early September slot. If August is were movies go to die by the studios, September is where they are buried, and we do not speak of what happens with January movies. It is just…just ..no we do not speak of it.

Seriously the timing of the movie is an indicator of a studios faith. The movie immediately violates my three writer rule, bringing in the work of Marshall Herskovitz (Last Samurai, Great Wall) and Edward Zwick (same credits), Michael Finch (November Man, Predators), and finally Stephen Schiff (The Americans – tv series, True Crime, Lolita). With no research on this whatsoever, my guess is we have Michael Finch adapting another spy novel with passing success like his last work, possibly working with Stephen Schiff who has done some very good things, based on word of mouth, for the Americans series. Herskovitz and Zwick are brought in either before or after Schiff for additional work. My parsing on this is based on the fact the story is fairly solid, but has some leaps of logic only a spy novel can bring, with a final act McGuffin that strains credulity. The characters are only inches away from being mere shadows of a character rather than something more. The character arcs and subplots exist, but the movie doesn’t seem to know what to do with them to tie the bow or tacitly confirm that there is an arc. You can read a lot into a few of the characters motivations once all the pieces are together, but you will doubt if the movie did it on purpose or not.

Beyond the base structure, the movie is your standard spy thriller from the point of inception of a new asset. It dips its toes into xXx territory with the recruitment of a civilian into the life who handles himself as well as multi year trained military. This is part of the movies internal logic you must accept, once you do, the ride is passable. If you can’t accept it you will have issues.

Director Michael Cuesta (TV only, some Dexter, some Homeland) doesn’t do anything new or inventive. That may be to his credit as I don’t think the movie could survive on more. He keeps the camera work and the direction simple. There are of course, unfortunately, quick cuts during some of the hand to hand fight sequences which detracts from the actors weight in the moments but I don’t know if he had a say in that or not. If so shame. If not, well still shame. He doesn’t give me a lot to discuss except for his execution of act three which mostly comes down to ideas bigger than your budget and capabilities. It’s just a solid…huh.

The actors on the other hand own this movie. The camera or the script do them no real favors, with one scene giving Sanaa Lathan’s (AVP, Blade) Irene Kennedy and Dylan O’Brien’s (Teen Wolf, Maze Runner) Mitch Rapp get a full 180 camera flip with each line of dialogue rather than a single medium shot to show them sitting across the table from each other. If you didn’t know better they wouldn’t have had to be in the same room. Thankfully, both of them command what the camera gives them and turn out very strong performances. Unlike Maze Runner though O’Brien doesn’t need to carry the movie on his all too adept shoulders. He gets Lathan and most importantly gets Michael Keaton. We all had the joy of seeing him in Spider-man Homecoming this year as our bad guy. Once again he gets to be a heavy, but on the side of subjective good.  You do not doubt who he is or his character for a moment. His relationship with O’Brien and their on screen presence, physical and charisma, are what drive this movie forward more than the plot. It makes me feel like I am watching a ‘sanctioned’ version of the Mechanic (Bronson version tyvm) and this is a good thing.  Taylor Kitsch (John Carter, Battleship, Wolverine) is in this. He doesn’t do badly.  He doesn’t get enough screen time to really break the curse that his been his career thus far. The last actor to absolutely make their presence known is Shiva Negar as Annika. She reminds me of how Sofia Boutella stole the screen (and our hearts) in Kingsman. She had physicality, charisma of her own and with her co stars, and sold her arc well. I would like to see more of her here in the states.

TL;DR?

This is pleasant pop corn fare. American Assassin spends just the right amount of time on its tap dance of being more than mediocre but not quite being something I could call “Good”. It’s solid, it had me invested. It avoid’s a ‘Murica F*** yeah trope I thought it would hit, but doesn’t get too preachy on the other side. Design or accident I can’t tell. The actors are solid, the story is passable. American Assassin won’t change anyone’s cinematic going world, it won’t win any awards; but it does maintain a very modern approach to the spy genre.

It definitely deserves better than it is getting in the box office, but who could have expected IT to dominate. I think of movies like Columbiana, Hanna, 3 Days to Kill, and it deserves better than these got. Though it could be argued those movies are what killed this genre. It ranks up there with Point of No Return / La Femme Nikita, and the Mechanic with a touch of greats such as Spy Game.

American Assassin could have been better, but I promise you it could have been far far worse than it was. It stays within the guardrails and though it tries once or twice to be more it doesn’t do damage to the genre in it’s effort.

I enjoyed my time with it and at the end of the night isn’t that what movies like this are for? Enjoyment.

Should you see it?

If you were curious yes. I think you will get your monies worth. I think I did.

Will you see it again?

Truth be told, not in theatres, but that is mostly due to other things coming out and limitations of budget and time.

Are you going to buy it?

Yeah I think I am

What’s coming this week we should look for?

Kingsman: The Golden Circle.

Predictions?

A rushed sequel for a movie far better than anyone could have anticipated? If Kingsman was Smokin’ Aces, I think Golden Circle will fare better than the others sequel; but I am not sure it will resonate nearly as well. I am hoping I am wrong though and I fall out of my chair laughing again.

Darke Reviews | It (2017)

It’s been 27 years since I read Stephen Kings IT. No joke. It was freshman year in high school and me and my friend Darrin were reading and sharing our King stories and favourites. I bet if/when he reads this post he will remember the days we both would go – “Late last night and the night before.” It’s also one of the few times I had read a book before the film, when we were unexpectedly graced with the TV Mini series in November 18, 1990. The mini series gave more than a few people coulrophobia (fear of clowns), but looking back its hard to see why when you remove the nostalgia glasses. Don’t get me wrong, I love the mini series but it doesn’t really hold up all that well across the board now as Nostalgia Critic pointed out deftly a few years ago. Parts yes were really well done, but very made for TV and very PG. Here we go with a theatrical release and an R Rating (I hope)

Should IT have stayed in hibernation?

So to be very clear I have little recollection of the book, aside from one or two things. This will be judged as the movie itself. I won’t be comparing it to the 1990 version either as these are incredibly separate beasts; which while there’s a nod or two here and there are structurally, tonally, and behaviorally different films. Make no mistake this is not the IT you grew up with. The beast evolved with the times.

Now as I understand it, considering I try to avoid insider info now, the core screenplay was by Cary Fukunaga, writer of Sin Nombre and Beasts of No Nation. It had additional work done by Chase Palmer (no relevant credits I could find) and Gary Dauberman (Annabelle and Annabelle: Creation). As I can’t remember the source material sufficiently I can’t speak to its adaptation. Things I do remember such as the house on Neibolt Street, made it into the film and were quite well done. What struck me most is how well they balanced the horror, the dialogue, and the humor in the film. There were times people laughed, people shrieked (yes shrieked), and even applauded during the 2 hour run time. I even triggered the applause during one scene; which moved like the wave in a stadium. The movie was resonating with people of all ages in the crowd from the teens to the elderly. I question the logic of the person who brought the 10 year old though. The writing was solid through and through with tension building, release, and even breaks to laugh at well timed and well placed humor. It is not flawless however, as there does seem to be some loss of fidelity to the Losers club. Mike, and Stanley don’t feel as fully formed as they could be. I think Mike suffers the most from this as some of his arc from the 90’s was moved to Ben. You do get a sense of who he is, but it isn’t remotely the same level as what Bill, Bev, or Ben get. You do get your Losers club, but they aren’t 100% realized.

That could potentially fall to material on the editing room floor or decisions made by director Andy Muschietti (Mama). This is one of the few failings of the film. It could be script, could be director, could be editors. Muschietti nailed it otherwise. His vision for the camera with director of photography Chung-hoon Chung (Old Boy – the original, The Handmaiden) were nothing less than inspired to me. Dutch angles used appropriately but not overused. All of the basic shot types are used with precision. Not once did I feel “oh this should be been done as an over the shoulder” or “too close for no reason. go to a wide here.” The blend of diagetic and non diagetic sounds, music used within the material the characters can hear vs music for the audience, worked well especially during the opening credits. What impressed me most is the methods in which tension was built. The jump scares are few and far between yet the movie twists that emotional rubber band to its breaking point a number of times. Those familiar with the previous work will expect beats that never come and get a handful that make you question how much they are changing. All of this to the movies credit.

None of it would work without the kids though. Jaden Lieberher (Book of Henry, Midnight Special) has a lot of weight on his 14 year old shoulders as Bill. He delivers. He has the chops to be the charismatic leader of the Losers, so desperately searching for his little brother when everyone else tells him no. Jeremy Ray Taylor (bit roles in Ant-Man and 42) is our new kid Ben. His fear of Henry, his isolation, and his feelings are shown well through action as much as dialogue. Sophia Lillis, as Beverly Marsh, turns it up to 11 in her performance. The 15 year old actress is both strong and vulnerable. Bev is the rock for the group and Lillis shows the range of the character well. Stranger Things alum Finn Wolfhard (Mike Wheeler from ST) is our mouth Richie Tozier. This is a thousand times different than the Seth Green performance from 1990 and quite honestly superior in every way. Jack Dylan Grazer, another 14 year old, plays our Eddie Kaspbrak.  This kid has star power, quite possibly the “weakest” of the Losers, he doesnt let that stop him and its hard to turn your eyes to focus elsewhere when he speaks. Sadly, as mentioned before Chosen Jacobs (Mike Hanlon) and Wyatt Olef (Stanley Uris) don’t get nearly enough to do. They sell their fear. They are part of the Losers no doubt. You just don’t have as strong as a sense of them due to the flaws above, but the actors did their absolute best.

On a more technical standpoint, the movie really nails the 1980’s in the vein of the aforementioned Stranger Things. Its the end of the 80’s but rather than overload us with toys, phrases, pop culture, and pure nostalgia of the time they use it as set dressing for atmosphere. There are little things here and there that hit those points, but they aren’t a focus and the movie is all the richer for it. I looked to my friend Tony who I saw it with tonight (thanks to his screener tickets) a few times and went “I remember doing that.” That’s how you hit 80’s. It was perfect. Additionally there’s a cute little time table through the film told via the marquee on the movie theatre. Not a spoiler, just if you want to know “specific dates” that’s how you can tell. Beyond the 80’s the movie needed to be tension filled through sets, lighting, and make up. It was. If anything the flaws that exist are minor. There’s incredible attention to detail on Pennywise…oh wait I didn’t mention him in the actors.

Bill Skarsgård has given our favourite clown new life. Having watched him in Atomic Blonde (twice now) I was surprised how much I lost him to the character. That is a very good sign. He does some interesting things with his voice, face, and body language that aid in making this Pennywise absolute nightmare fuel. I was asked if he was better than Curry. Short answer is yes. Long answer: Its a different character with a different movie that comes from the same source material.  The choices in the technicals surrounding him (Costume, Make up, FX) only add to make him one of the most terrifying characters I have seen in awhile.

TL:DR?

IT may be the scariest movie I have seen in a very long time. This is horror done right. This is King done right. This should be in the top 5 list of any King movie list. It ranks with Carrie, The Shining, and even Shawshank. While it isn’t a perfect movie, it is extraordinarily well made, trope avoiding, and drenched with atmosphere (and blood during one scene). It has gore, but doesn’t overdo it instead letting the starkness of it offset the performance by the kids. The Losers club are performed in their A game and feel totally natural.

IT comes with my highest recommendation and while summer 2017 may have been the most disappointing for Hollywood in 25 years – this movie is surely a sign of what can happen when you treat a property with respect. Wonder Woman, Logan both show this as well. I hope Hollywood takes note of what worked so well from casting, to direction, to script, to film style. This movie works.

Should you see it?

If you have a fear of clowns or horror movies in general? No. Otherwise – Yes

Do you plan to see it again?

Yes. Absolutely.

Buying it?

Without a doubt.

Ok, but did it scare you the Vampire Princess?

Yes. It’s a pleasant feeling I had long since forgotten in movies.

Parting thoughts?

The 90’s one will have a soft spot in my heart. This is just well done and I can’t wait for the sequel.

Wait….sequel?

*grin*