Month: January 2020

RhythmSection

Darke Reviews | The Rhythm Section (2020)

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An interesting trailer. Noted girl crush Blake Lively. The Sleigh Bells covering Lead Belly “In the Pines” aka “Where did you Sleep last night” with a modern pulsing beat. I admit I was hooked from shot one. I wasn’t quite sure what I was going to get from it.

Sure, it looks to be a pulse pounding action thriller like a Jason Bourne movie. Perhaps something like American Assassin a few years ago? Barbara Broccoli is a producer and the Broccoli estate *IS* the James Bond film franchise.

So what’s under the surface?

Begin as we often do with written by, screenplay, and executive produced by Mark Burnell. Burnell is taking his novels to the big screen in a way few authors actually do with direct script control making the movie *his*. The film is based on his own book series around our central character Stephanie Patrick (Lively). An truly ordinary woman on a path of self-destruction after her family is tragically killed in a plane crash. When Stephanie discovers that the crash was not an accident, she enters a dark, complex world to seek revenge on those responsible and find her own redemption. This is not a super woman, she has no special set of skills, nothing that makes her more than an above average college student consumed by her grief after the loss of her family. A line in the movie calls her a cliche, which to some extent she is. She’s so wholly been destroyed by her depression and guilt she’s at the bottom when the story begins. I am torn on this portrayal, but it’s only part of the movie. The rest is a spiral and its hard to tell if its up or down for her as she enters the world of espionage.

If anything, this is not Bourne, Bond, or even Atomic Blonde. This is La Femme Nikita without the glitz and glamour. It reminded me of both the original Nikita (1990) and Point of No Return (1993), watching as a true nobody gets deeper and deeper into a world she isn’t ready for by any stretch of the imagination. Some of the feel comes from director Reed Morano (The Handmaid’s Tale, I Think we’re alone now) and her knowledge of how to get intensity with both camera and actor. Morano has over 50 credits as a cinematogrpaher since 1999 and it shows with her choices to use natural(ish) lighting in more than few scenes, how to use her angles, and fish eyes to maximum effort through the movie, even as it slowly transitions to stable and clean as the movie progresses. It’s hard not to feel in the moment when the camera operator is in the passenger seat of a car during a chase sequence with constant pans and very clever cuts between driver, the road, and what chases the driver. Much like last nights Gretel & Hansel distortion is the name of the game and the game is played well here.

Blake Lively is absolutely amazing in this. I missed Gossip Girl with her, not my thing, but she came to my attention with Green Lantern and her strong desire to play Star Sapphire in the sequel that will never happen. Her first truly memorable turn was in the supernatural romance Age of Adeline (which I owe a review to), then The Shallows where she has to carry a movie alone. A Simple Favor was damn near perfection from her, and the contrasts in camera work and director are clear between the two. Some might say her performance is flat, but I would argue that as subdued and relying on more body language than dialogue. There is a lot going on there. I’d love to talk more about Jude Law or Sterling K Brown in this, but in a movie of spy vs spy….where they are the spies and the support for our star I wish to reveal nothing. They are fantastic actors and do their jobs and do it well.

TL;DR

I didn’t expect La Femme Nikita. I expected American Assassin. I am pleased in my disappointment. This is a well paced, well shot, well acted spy thriller with a fully developed lead character. While I am aware that there are more books in the series the movies doesn’t end on an obvious cliffhanger or stinger for a sequel. Bold move from the filmmakers and I support it. I can’t say there’s a deeper message to the movie, I can’t even say it’s not cliche in its own ways checking off tropes left and right as it does.

What I can say it was gritty in the right ways. This felt, for Hollywood, what a raw amateur with some training from a competent teacher might look like. There’s nuance and weight to it. Is it realistic? Of course not. That wouldn’t be entertaining. It is however entertaining and delivers on promises it didn’t know it made. It also delivered on good fight choreography in a way that you may not even notice at first, but there’s a oner hidden in the movie and I was pleased to realize it AFTER the fact.

So should I see it?

In the drought that is January for movies? Yes. If the genre you like is portrayed here – then yes. Even at full price. I think even the big screen helps with the camera work.

Would you see it again?

Yes. Yes I would.

Buying it?

Without a doubt.

So whats with the title?

It’s related to some in movie dialogue comparing your own pulse and breathing to parts of a band. It’s weird yes, but it works in context. It’s also the novel title so that’s a thing.

 

Darke Reviews | Gretel & Hansel (2020)

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I had secretly been asking for this of any power that be that would listen. While I am still awaiting a new vampire renaissance, I still have enough material coming out of various and often dubious quality. I watch as the zombie era desiccates as it should after a time. I see the Werewolves still awaiting their due, I am sure it will come at some point. The one I have been missing for some time and longing for in the dark was The Witches. I am not sure what happened with them after a brief surge in the 80’s. The Craft and Practical Magic did what they could, but alas it was not enough.  I am not talking a movie that is vaguely about Witches (sorry Blair Witch) either, I am talking about movies definitively about the Hollywood and Fairy Tale witch. Perhaps my timelines are blurring a bit where the space between is not as noticed, but since 2016 we have the superlative VVitch, then we had the rise of The Chilling Adventures of Sabrina  now in its 3rd season; and now in the beginning of 2020 we get Gretel & Hansel. I could be hopeful in believing this, but I will take what I can as this is a painfully under served genre.

NOTE: The genre with few exceptions has little to nothing to do with any actual practicing witches. These films should never been conflated with any sense of realism so my term of Hollywood and Fairy Tale witches is important to consider.

With that out of the way should you fall under Gretel’s spell?

The movie was written by Rob Hayes in his first long form and theatrical turn. He has some shorts credited as well as some TV, but this is that first foray into the bigger machine. From a story perspective it is at its simplest a fairy tale with a modern storyteller. Gretel and Hansel are left to their own devices in a time not quite defined, but clearly intended to be 1600-1700’s. In an attempt to find food, shelter, and perhaps a permanent home they end up off the path and in the care of Holda and within her house in the woods. Holda has much to offer both of the children, but all things have a price. Who will pay it and how steep will it be?

You know how from time to time two movies come along that make you think the script was shopped around and while one studio officially turned it down they then had someone else write something similar? Dante’s Peak and Volcano. Armageddon and Deep Impact. Normally that happens in the same year, this happened three years apart. This attempts to invoke the VVitch and could very well be a distant cousin to that film as the ties are close. Perhaps too close? I don’t mind it as much because the stories themselves are different and the temptations offered are more or less real to each other. I suppose my confusion with this one is – what is the message Hayes is trying to tell?

The visual style and direction of Ozgood “Oz” Perkins started as an actor in a variety of films from different genre’s before taking the directors chair in 2015 with The Blackcoats Daughter. It’s clear to me he has seen the VVitch, but has also seen The Neon Demon. There is a real love here shown for Giallo style movies and high art, style over substance film making. Clear intent is made with distorted focuses, abnormal perspectives, colour palettes both muted and vibrant, and a synthwave soundtrack (by Robin “Rob” Coudert) straight from a Nicolas Winding Refn movie. There is a very real pulse from the music that drives the movie as much as the actors do with it’s own dissonant chords that aren’t done by sharp notes across the strings. The entire aesthetic leaves you just enough off balance that with the stilted dialogue and harsh performances a viewer begins to question dream, reality, or both? Sadly, the questions are answered by modernism. The veritable green curtain is pulled too far and we don’t get to savor some of the key moments because the final cut of the movie was perhaps too direct.

Now I mentioned above harsh acting. This is not bad acting. Quite the contrary, Sophia Lillis (IT, Nancy Drew) has a lot to do here as Gretel. She has to be controlled and controlling. She has to go to what is trying to be unnatural dialogue from that mysterious period and on top of that still be someone we wish to see victorious – however that victory may look. Samuel Leakey, roughly age 8, doesn’t have an easy time of it either. Equally challenging dialogue and a need to be both childish and quiet isn’t easy. The amazing Alice Krige (Star Trek: First Contact, Silent Hill) was made to be the Witch o the Wood. Her presence and experience clearly helped here with both young actors and also bringing a level of menace from moment one that cannot be denied. These performances were harsh but its by design and good acting that they succeeded.

TL;DR

I found Gretel & Hansel a satisfying film. It was the film I was looking for and hoped it would be from the trailer. I also know this will not be everyone’s cup of tea. There is severe style over substance here despite this quote from (Ozgood) Perkins:

“It’s awfully faithful to the original story. It’s got really only three principal characters: Hansel, Gretel, and the Witch. We tried to find a way to make it more of a coming of age story. I wanted Gretel to be somewhat older than Hansel, so it didn’t feel like two twelve-year-olds – rather a sixteen-year-old and an eight-year-old. There was more of a feeling like Gretel having to take Hansel around everywhere she goes, and how that can impede one’s own evolution, how our attachments and the things that we love can sometimes get in the way of our growth.”[Ew.com]

This theme is spelled out too much. The underlying currents within the movie are at odds with one another, despite the metaphor for puberty and finding ones own place in the world. Maybe they intended to leave it to discussion, but with a movie like this I don’t advise it. It will leave most audiences going “ok and?” where they should be going “ok more..”

I want more of this and more like it. I haven’t felt the way I did on the drive home in some time and the charge I felt was good. It only comes when a genre movie hits me right and this one did, but I promise it will miss the mark for most.

Should I see it then?

If this looked of interest to you? Yes. If you enjoy Witch movies ala Hollywood? Yes. Want atmosphere for days and some rather nice visuals? Onward to the Matinee you go.

Would you watch it again?

In theatres? Perhaps with friends who would wander into the woods and wish to stay.

That was cryptic. Are you going to buy it?

Yes.  Yes I am. My shelf of magic movies is too small and this will go nicely.

Were you scared? I mean this looks to be a horror movie.

No. It was far too tame to scare me or disturb me. Others might find some aspects a bit more on the squeamish side. Thematically it’s more dark fantasy than horror to me, but much like with the cold I am hard to impress. I’d love to get some time with the director and discuss with him the authorial intent.

All in all this was a satisfactory outing for me, but won’t do it for far too many to be considered a success story. There are too few jumps and oohs and ahs, and that message just leaves everything too murky despite its visual appeal.

 

 

Darke Reviews | Dolittle (2020)

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I think as a child I knew *of* Dr. Dolittle, but I really cannot remember anything with the character itself. I mean I know I knew the Rex Harrison movie from 1967, which apparently was written by the lyrcisist (Leslie Bricusse) for one my favourite musicals ever and Willy Wonka and the Chocolate Factory (the good one). I don’t think I ever read, and I know they were never read to me,  the original stories from the 1920’s, but the concept of people talking to animals was always tied to this character “Doctor Dolittle”. We are not discussing the 1998 Eddie Murphy movie or its four sequels. Ever.  That said, the concept of this character does seem pretty eternal and I don’t think there’s a child alive, or child at heart, who didn’t wonder about talking to animals. So when this trailer dropped, I was curious to say the least.

So should you go on a journey?

As mentioned, this character is based on a series of shorts by Hugh Lofting in the 1920’s and this particular iteration has a screenstory credit, and three screenplay credits. Usually a dangerous thing. The screenstory is by Thomas Shepherd, in his first cinematic body of work, and I don’t know the character or stories well enough to tell how his work is there. Two of the other credits go to Doug Mand and Dan Gregor (How I Met your Mother), who based on that shows success have a knack for comedy bits. Then we have our third screenplay credit, which is also our director, Stephen Gaghan, who worked on films like Traffic, Abandon, and Syriana. Clearly an obvious choice for a children’s movie about a man who talks to animals. Yet it worked. If you were to ask me to get technical, the movie is both rushed and slow in its script and pacing. It feels as if it rushes to get to the moment of wonder – and there are many – and then languishes between them before you are given the next. Despite it’s “period-ish” set pieces and existence, the dialogue from many in the cast is rather modern and may date the movie some in coming years. I have a feeling these were more adlibs than actual script. I hope they were anyway.

What amazed me most wasn’t the animals or even the adventure, but the setup. In an opening reminiscent of UP we are introduced to the character and his past deeds for Queen, Country, and Animals alike. THEN the movie begins. A fetch quest to get the McGuffin, to do the thing, against impossible odds, and enemies abound. A heroes journey that you see one beginning and the bottom of another. The movie checks most of the fantasy boxes and is proud of itself in doing so. It does have a right to be. True, its a mixed bag of characterizations and odd choices, but the emotional core of the movie never falters and I will take what is offered.

Characters themselves? The actors behind them. So bloody many. You have Robert Downey Jr. acting his heart out and reminding us he can be so much more than a man in a suit of iron. Sure everyone else I am about to list is fine, but RDJ and the accent he affects have to carry the movie. We count ourselves lucky he can do it and then some. I want to re-title this character “The Anti Toxic Masuclinity Hero” because it’s there and he does it so well. Michael Sheen is a hoot as the blatantly cartoonish Dr. Blair Müdfly, with the umlaut. I always like this man when he is having fun and it appears the direction he was given was to have fun. Then we have the last of our live actors of significance, with Harry Collett as Stubbins who does his best to shine with RDJ and the voice cast and doesn’t do too shabby a job. This isn’t to say he’s successful really, because the voice cast of animals of like a who’s who of personalities, with Emma Thompson (Brave, Harry Potter), Rami Malek (Bohemian Rhapsody, Mr. Robot) , John Cena (Bumblebee) , Kumail Nanjiani (Stuber, Silicon Valley), Octavia Spence (The Help, Hidden Figures), Tom Holland (Spider-Man), Craig Robinson (Hot Tub Time Machine), Ralph Fiennes (Harry Potter, Schindlers List), Selena Gomez (Spring Breakers, Hotel Transylvania), Marion Cotilliard (Dark Knight Rises, Inception), and more. If I was having to say this outloud on my new Youtube channel, I’d be out of breath. It is awesome that we have all these talented actors in this movie, but they are all vying for their moment and thankfully it works out mostly. This is part of what I am sure other reviewers will complain about. This is a very busy movie with characters and it doesn’t work to the movies credit as much as it could or should. It almost, almost detracts for me, but what keeps that from happening is its, to use modern meme language, Pure.

Technically it’s fine. The CG work on the animals works well enough and is A grade, but still CGI. It’s so present though you forget about it and just see another character. I will also give technical props for what I can only see as a jab at 2019 Lion King and emotionless lion cubs. I looked to the member of my Dark Court with me tonight and we both giggled when the little lion cub emoted better than all the animals in that other movie combined. The editing is…a choice. It’s not something I was particularly fond of and again will be a detractor for many.

TL;DR?

The trailer grabbed my attention and I don’t want to say the trailer lied, but it did – a bit. It showed something a bit more dramatic and intense then what was actually delivered. This is truly the first family movie of the year. I mentioned in the full review how the movie felt pure, or genuine and it does. Whether it is or not is another story, but this doesn’t feel like a cash grab. I couldn’t help but feel good watching this movie. I laughed quite a bit and that felt good too.

So I suppose this isn’t just the first family movie of the year, but the first movie that makes you feel good watching it. It’s a sense of escapism at its best, where for just over 90 minutes you are transported to a world where we can talk to animals if we listen and we can solve problems without hurting people. Surprising coming from the Vampire Princess, but even I like to feel good from time to time and don’t need everything to be explosions and darkness. This movie is a very strong response to Toxic Masculinity and we need that. Need it more than ever.

Should I see it then?

Yeah I think you should. Take the partner, take the kids, take other people’s kids. People you know sheesh! This is a good little romp for really all ages.

Would you see it again then?

As always, you buying.

Unlikely, but I will assume you are buying it?

Yes. Yes I am. This is one of those soft movies I can put on when the spoons run out and I can’t even muscle the knives. This is The Great British Bake Off of movies. This is going to be a helluva year and having this in my collection will give me a bit of good to watch from time to time come May.

But is it good?

Ok trying to pin me down I see. I don’t necessarily think so. I do think it hit my Three Writer Rule, I think the adlibs were clear, I do think its a bit slap dash with the editing. Not everything enjoyable has to be good. This isn’t going to be a guilty pleasure, this just is fun and warm. Its comfort food. I think it, without seeing the other here, will be a better film than Bad Boys 3. No I won’t be seeing Bad Boys 3, it just didn’t look good and the humor looked as if it should have died with the franchise a seventeen years ago.

Alright, so January. Bad releases normally…got anything else coming?

I love Mackenzie Davis, but I am not sold on The Turning, so unlikely something next week.

The following week you may get two movies with The Rhythm Section and Gretel & Hansel.

 

Underwater 2020 Poster

Darke Reviews | Underwater (2020)

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Feels like it’s been forever. Granted it has been two full weeks since I wrote a review, I also didn’t give you my friends my best and worst of 2019…might still get around to that. Usually around this time in the review, especially one early in the year, I will remind you that January is one of two things, a dump slot or Oscar bait. 1917 was released limited prior to this week so it could be the Oscar bait, literally nothing came out last week and this week we get a comedy I don’t imagine many will see and this bit of film that did not get a lot of promotion as near as I can tell. Granted, I have ad blockers, and pay for YouTubeRed so I don’t get commercials, but I truly don’t believe many know about this movie. Sadly I had to see it alone, as my two thirds of my Dark Court aren’t for horror and the other third did not think this was for them.

So is this a dump slot movie?

To me yes, in so much as that the studio wasn’t sure what to do with it or how to market it.

Example: The trailer

 

I Really don’t expect the average studio to look at some finished projects and know what they have and don’t have, especially on something like this; and this movie being a 20th century fox property prior to the buy out makes it more of a “well lets drop it and see if we can make something” move from the Mouse House. That said, you have a story by Brian Duffield (The Babysitter, Insurgent), with screenplay credit also going to Duffield. Adam Cozad (Legend of Tarzan), also receives a screenplay credit. I like what they do here. This is not a dialogue rich movie, but it is a dialogue appropriate one. What do I mean by that? Well despite most trends where this could have been exposition heavy to explain this thing or that thing or THAT thing, they don’t do it. Sure there’s some exposition, but it’s just enough to let you hear it and either follow along or don’t. The rest of the dialogue, with the exception of one character who I will get to in a bit, all feels natural given the circumstances and very directional to the story driving it, or the characters forward in a refreshingly honest way. The movie this reminds me most of, and I have a feeling this is Duffield coming through, is Alien. Imagine that crew, but underwater. The staging is different, the threat is different, but its that feel of character that is there and I was honestly riveted.

Credit has to go to director William Eubank (The Signal) for that as well. He makes beautiful use of Production designer Naaman Marshall’s (Art Director: The Dark Knight, PD: Don’t Breathe) work to create a both infinitely huge and claustrophobic space. The terms and conditions of being that far down are set up early and the movie reminds you of them frequently enough to make you worry, but not frequently enough to make you go “get on with it.” The Darkness and the depth of being nearly seven miles down on the Ocean floor have their own weight and menace to them, as much as open space did in well.. Space. To paraphrase, from a cheesy, but albeit really enjoyable movie, The Core – “Space, space is easy. There’s nothing there. When you go down, you have tons and tons of pressure.” That, in this case is both figurative and literal.

While not a cast of one, like Moon, the cast is small, with only 7 credited characters. Kristen Stewart gets top billing as Norah, a mechanical engineer on the deep mining rig and carries much of the movie on adept shoulders.  This is not, nor are any of them, a deep character, but that means in a film like this the work is even harder. Stewart not only has to make you care about her characters fate, but that of the others, and doesn’t get a lot of dialogue to do it. This relies on her abilities as an actress to use body language and expression; you know that thing everyone picks on her about, to sell the movie and she does. Jessica Henwick (Nymeria Sand on Game of Thrones, and Colleen Wing on The Defenders), plays Emily a research assistant in the wrong place at the wrong time and here again has to deliver and I find that she does. French Actor Vincent Cassel (Black Swan, Brotherhood of the Wolf) as the Captain brings weight to the movie, while John Gallagher Jr. (Peppermint, 10 Cloverfield Lane) brings some humanity. I am really starting to like this actor. The one stand out however, is TJ Miller. He adds nothing to the movie other than wasting the oxygen of the rest of the cast and crew. He could, and should, have been replaced with most any other comedic actor if they wanted levity in the film and it would likely have improved things. But can’t win them all I guess.

I would spend another few hundred words here raving on the production design of the movie, instead I shall be concise. I love the production design. Literally everything about it. That is all.

TL;DR?

This movie is hard to market, which is sad, because I haven’t had this good a time with a movie like this in a very long time. I am trying to remember the last time a movie made me feel tense and looking at the screen for something, anything that seemed out of sorts. They don’t play with jump scares or high shrieking notes, they actually just build tension and dread. When the characters get to breathe, so do you. I came out of this movie excited for what I saw and what it delivered. It was surprisingly satisfying end to end.

This is a dump slot movie in that I also don’t know when else it could be released and do well enough for “Top men” at the studios. It’s not avante garde enough for the major awards circuits or indie circuits, but would never be a blockbuster either. So it’s in a weird limbo, but feels right there too.

I also mentioned Alien before. This movie is possibly the most Alien that has Alien’d since Aliens and there’s no xenomorph. The deep sea suits look both futuristic, yet lived in and rugged, but also reminiscent of those on the Nostromo. The tight corrodors, the cables, the pressing threat of death all evoke more feelings like Alien did than the last four movies combined. I suppose that is setting a high bar for the movie to draw that comparison but its what I was feeling as I watched it.

Should I see it?

If the trailer seemed curious to you, yes.  While not as “huge” as Space, the movie benefits from a big screen viewing.

 

Would you see it again?

Yes. Even at full price.

Buying it then I guess?

Yes, yes I am. Hopefully I can work the Dark Court up to it at the Manor.

Alien huh?

I know. I know. Underwater won’t win any awards, it doesn’t change the status quo of film, it doesn’t particularly do anything groundbreaking, and sadly will go overlooked by most. It is a solid little near future tension packed film. The characters felt real enough and Stewart carries well. When people say “we made the lead like Ripley”, this is what that SHOULD look like, vs….well every other time they claim that. Thankfully here, no one claimed it, but they did earn it.

What’s next?

Why Doolittle of course!