This film’s protagonist is definitely not a “typical teen” dealing with the pains of becoming an adult.
I decided to revisit writer-director Kelly Fremon Craig’s 2016 film The Edge of Seventeen, since it appeared on Netflix earlier this year. My review of The Edge of Seventeen is one of my most popular, for reasons I don’t fully understand. Then again, I think I missed the point of this movie as well, since it has near-universally high ratings from both critics and audiences, and I thought it was eye-rollingly cliche and annoying.
What I suspect draws people to my review is my theory that the main character, Nadine, is suffering from borderline personality disorder. It seems fairly obvious, and I wonder whether this was intentional. Since writing my review, I’ve received feedback from readers who are familiar with BPD and share my suspicions.
In case you haven’t seen the film, The Edge of Seventeen is about an awkward teenage girl, Nadine Byrd (Hailee Steinfeld), who experiences a crisis when her best friend, Krista (Haley Lu Richardson), starts dating her brother, Darian (Blake Jenner). Her relationship with her mother, Mona (Kyra Sedgwick), deteriorates as Nadine vents her frustration on friends, family, and even her cynical history teacher, Mr. Bruner (Woody Harrelson). The cloud has a silver lining when she meets a similarly awkward young man, Erwin (Hayden Szeto).
I’ve read several interviews with writer-director Kelly Fremon Craig in which she explains her film is about authentically capturing teenage angst and relationships (I’ll explain why this doesn’t hold water later), but I suspect there’s something she’s not telling us.
Continue reading “The Edge of Seventeen Revisited”
A gang of bicycle-riding teen boys try to track down a neighborhood serial killer in this suburban Gothic send up to 1980s horror.
Written by Matt Leslie and Stephen J. Smith and directed by a trio known for their 1980s-style films, casual viewers will undoubtedly accuse Summer of 84 (2018) of ripping off the Netflix series Stranger Things, but it is far more subtle in its nostalgia and grounded in reality. There are no supernatural elements here, only the real-life horror inflicted by unassuming suburban dwellers like John Wayne Gacy and William Bonin.
The year is 1984, and a serial killer stalks the fictional county of Cape May, Oregon. Fifteen-year-old Davey Armstrong (Graham Verchere), an avid follower of conspiracy theories and reader of the Weekly World News, becomes convinced his neighbor, police officer Wayne Mackey (Rich Sommer), is the “Cape May Slayer” after seeing a photo on the back of a milk carton of a missing boy he previously noticed inside Mackey’s house.
He enlists the help of his skeptical friends, Dale “Woody” Woodworth (Caleb Emery), Curtis Farraday (Cory Gruter-Andrew), and Tommy “Eats” Eaton (Judah Lewis) to spy on Mackey. They follow him on his nightly jog to a storage unit, where they find several suspicious items, including the missing boy’s bloodstained shirt. Davey presents their evidence to his parents (played by Jason Gray-Stanford and Shauna Johannesen), but his plan backfires when they become angry and force him to apologize to Mackey.
Davey’s friend and former babysitter, Nikki Kaszuba (Tiera Skovbye), also tries to convince Davey to abandon his pursuit, but after several strange interactions with Mackey, Davey convinces his friends to give him one last chance to prove Mackey is the killer. I won’t spoil the ending, but it is sickeningly real and terrifying. Summer of 84 pulls no punches when it comes to delivering an emotionally impactful climax.
Summer of 84‘s undercurrent of child abductions and neighborhood pedophiles is uncomfortably familiar to anyone who grew up during the 1980s. The only thing missing is a creepy white van and rumors of Satanic cults. High profile cases of missing kids in the late 1970s and early ’80s led to the “Stranger Danger” panic, and the use of milk cartons to spread photos of missing children. Before the Internet, a photo on a milk carton was the most assured way of reaching every home in America.
Continue reading “Summer of 84: A Suburb Can be a Dangerous Place”
Two teen girls set social media on fire by kidnapping and unleashing a pet serial killer. Will they—or their friendship—survive this newfound notoriety?
Written and directed by Tyler MacIntyre with contributions by Chris Lee Hill, Tragedy Girls (2017) is a fresh, contemporary take on the genre. MacIntyre and Hill also collaborated on several other projects, including the horror-comedy Patchwork (2015), and the film undoubtedly benefited from their rapport.
Sadie Cunningham (Brianna Hildebrand) and McKayla Hooper (Alexandra Shipp) are high school cheerleaders who run an unpopular true crime blog. They hatch a plan to kidnap local serial killer Lowell (Kevin Durand) and convince him to work together. He refuses, so Sadie and McKayla opt for plan B: commit sensational murders and blame them on Lowell, all while increasing their readership with exclusive inside information on the crimes.
The plan goes awry when Lowell convinces McKayla that Sadie wants to take all the fame and notoriety for herself. He eventually escapes and tracks Sadie to her friend Jordan’s house. Jordan (Jack Quaid) is son of Sheriff Welch (Timothy V. Murphy). He has a crush on Sadie but suspects McKayla is really the serial killer. Lowell stabs Jordan, but Sadie wakes Sheriff Welch and he chases Lowell off.
The girls’ rift deepens as Sadie and Jordan fall in love and McKayla continues her life of crime with Lowell. I won’t spoil the ending, but Tragedy Girls concludes with a fiery prom night that will make anyone sensitive to the topic of school violence cringe. The film’s ending reinforces the notion that attractive, popular girls are perceived as incapable of being vicious killers.
Tragedy Girls tries to upend the traditional horror movie trope of male killers attacking female victims. Here, the killers are teen girls and their victims are predominantly men. Coupled with the relationship between two best friends, it’s stylistically similar to films like Jennifer’s Body (2009) and Ginger Snaps (2000), but without the supernatural elements. However, it shares with Ingrid Goes West (2017) the theme of social media triggering insanity.
Continue reading “Tragedy Girls: A Fresh, Trendy Take on the Horror Genre”
Based on a graphic novel of the same name by Derf (John) Backderf, My Friend Dahmer (2017) traces infamous Wisconsin serial killer and cannibal Jeffrey Dahmer’s high school years, as chronicled by a former friend. Written and directed by Marc Meyers, this moody and hauntingly subtle film won best picture at Austin Fantastic Fest. Despite competent performances by its cast, My Friend Dahmer fails to leave a lasting impression. It lacked an over-all plot, and the poorly-mixed sound was barely audible.
Jeffrey Dahmer committed his first murder three weeks after graduating high school. As a teen, he coped with his parents’ failing marriage with alcohol abuse and acting out at school, and developed a fascination with death. He went on to kill sixteen people, preying mostly on young gay men in Milwaukee. He dismembered and ate some of his victims. He was finally caught in 1991, and a fellow inmate murdered him three years later.
Out of what I assume is a strict adherence to the source material, the film never goes below the surface or attempts to explain why Dahmer became a monster or what could have been done to stop him. It subtly hints at his aberrant sexuality without confronting it. What remains is a stark depiction of events without drama, tension, or conflict.
Ross Lynch gives an admirable performance as the wannabe serial killer (although the movie doesn’t give him much to do). This is certainly a departure from his other roles in Disney films and TV shows like Austin & Ally (2011-2016). His brooding, deadpan performance couldn’t contrast more with his usual upbeat, teen heartthrob characters. Such a dramatic acting range bodes well for his future career in film, and I’m looking forward to seeing him in more dramatic roles.
Continue reading “My Friend Dahmer: Am I Missing the Point?”
A young woman feels called to become a Catholic nun during the tumultuous period of Vatican II in Novitiate (2017). Written and directed by Margaret Betts, Novitiate is an intimate portrayal of the personal struggle and sacrifices these women made to pursue a religious calling, while others felt abandoned by the institution that gave their lives meaning. This was Margaret Betts’ first feature film, and is a genuine and heartfelt effort with outstanding performances by its cast.
The film opens in 1954. Though non-religious, Nora Harris (Julianne Nicholson) takes her young daughter Cathleen to church. Her marriage is falling apart and her abusive husband leaves. Later, religious sisters visit their home and offer Cathleen a scholarship to attend a newly-opened Catholic school, where she feels the presence of God. At 17, Cathleen (Margaret Qualley) believes she has been called to become a nun and enters a convent as a postulant, over her mother’s objections.
At the Order of the Sisters of Blessed Rose, Cathleen befriends her fellow postulants, Sissy (Maddie Hasson), Emily (Liana Liberato), Evelyn (Morgan Saylor), and others, and meets Reverend Mother (Melissa Leo), a stern headmistress. As the girls progress towards becoming novitiates, Reverend Mother becomes alarmed with the reforms of the Second Vatican Council. She believes the changes will destroy their way of life, and tries to resist them despite warnings from Archbishop McCarthy (Denis O’Hare).
Things get complicated when Cathleen feels an awakening sexuality, to which she responds by starving herself. This drives her into the arms of a newcomer, Sister Emanuel (Rebecca Dayan). Also starved for physical affection, the two share a forbidden moment of tenderness. Meanwhile, Reverend Mother grows despondent as she is powerless to stop Vatican II from liberalizing their religious order, undermining her authority and resulting in a mass exodus of nuns.
Continue reading “Novitiate: An Intimate Portrayal of Cloistered Nuns During Vatican II”
In Super Dark Times (2017), a teen must come to grips with his increasingly psychotic friend in this harrowing and tense coming-of-age thriller. Written by Ben Collins and Luke Piotrowski, and directed by Kevin Phillips, this indie film’s competency highlights why Hollywood is failing. Younger, more creative filmmakers are using technology and innovation to craft solid, beautifully-rendered films that put big-budget studios to shame.
Director Kevin Phillips is mostly known for his short film cinematography, and he’s spent the past twelve years honing his craft. Nearly every scene in this film is beautiful, but it’s not another example of “style over substance.” The movie is structurally sound, competently written, and the dialogue is believable. It reminds me of films from the ’80s and early ’90s, which tried to ground fantastic or extreme situations in reality.
As Super Dark Times opens, a buck has accidentally crashed into a high school and severely injured itself. Two police officers clear the scene and put it down. This dramatic and brutal scene sets the tone for the rest of the film. Enter four acquaintances, childhood friends Zach (Owen Campbell) and Josh (Charlie Tahan), Daryl (Max Talisman), and an 8th-grader named Charlie (Sawyer Barth). Zach and Josh both have a crush on classmate Allison (Elizabeth Cappuccino), but she eventually chooses Zach.
The kids discover a bag of marijuana and a samurai sword in Josh’s brother’s bedroom and take it to a park to mess around. Josh and Daryl get into an argument and Josh accidentally stabs him in the neck, killing him. The teens hide Daryl’s body in the woods and try to forget about the crime, but Josh’s increasingly erratic behavior stokes Zach’s guilt and paranoia. The film’s sickening climax is disturbing and difficult to watch, but the entire film has you on edge from start to finish.
Continue reading “Super Dark Times: A Harrowing and Tense Coming-of-Age Thriller”
Seven pre-teen outcasts overcome their fears to confront a shape-shifting creature that takes the form of Pennywise the Dancing Clown and awakens every 27 years to feed on children in It (2017), the latest film adaptation of Stephen King’s 1986 novel of the same name.
Written by Chase Palmer and Cary Fukunaga and directed by Andy Muschietti, It was filmed on a budget of $35 million and grossed over $117 million in its opening weekend. It revives classic American horror by delivering more than just jump scares. It was genuinely scary, but also at times heartfelt, funny, and sincere.
It‘s success is even more surprising given its director’s lack of experience. Andy Muschietti, an Argentine screenwriter, has only directed one other full-length feature. To entrust the long-anticipated reboot of one of Stephen King’s most iconic horror tales to an inexperienced director is, well, incredible. That he actually pulled off making It into a blockbuster will ensure a long career. It‘s opening box office earnings completely eclipse The Sixth Sense‘s and that film made director M. Night Shyamalan a household name.
I’m not a Stephen King fan and I don’t get the fascination with clowns. I never read the novel or saw the 1990 TV mini series staring Tim Curry, so I came to the theater without any preconceptions aside from bits and pieces of things I’ve heard about It over the years. Like most Stephen King novels, the horror element is a vehicle for exploring other issues, issues related to family, coming of age, bullying, confronting mortality, etc., all of which appear in this story.
Continue reading “IT: Classic Horror Reborn”