A woman torments her wheelchair-bound daughter from beyond the grave with VHS tapes in this voodoo-themed supernatural thriller. Written by Robert Ben Garant and directed by Kevin Greutert, Jessabelle (2014) keeps you guessing until the end, but an engaging mystery and attractive lead isn’t enough to save this mediocre horror film from Blumhouse Productions.
Tragedy strikes pregnant Jessabelle “Jessie” Laurent (Sarah Snook) when her fiancé Mark is killed in a car accident, which also causes her to miscarry and become paralyzed from the waist down. Now wheelchair-bound, she returns home to Louisiana to live with her father, Leon (David Andrews). For some reason Leon has kept her mother, Kate’s (Joelle Carter) old bedroom sealed and reopens it for Jessie. Neither Jessie nor their housekeeper seem to think this is odd.
Jessie, who believes her mother died of a brain tumor, discovers tapes her mother recorded as a message for her eighteenth birthday. This instigates several disturbing encounters with a dark-haired phantom (Amber Stevens West). Leon tries to destroy the tapes but ends up burning to death. At his funeral, Jessie reunites with her childhood sweetheart, Preston Sanders (Mark Webber).
Together, Jessie and Preston investigate the strange events and their connection to a local voodoo church. They discover a baby’s skeleton buried in the bayou with the same name and birth date as Jessie. The local sheriff (Chris Ellis) discovers the child’s origin too late to save Jessie, who is attacked by the ghost of Kate and a voodoo priest named Moses (Vaughn Wilson). I won’t spoil the ending, but it’s a crazy plot twist that might have been interesting if it was developed a bit more.
A young girl’s isolation at a Catholic boarding school in Upstate New York leads to increasingly disturbing behavior, while a psych-ward escapee drifts closer, in the nail-biting supernatural thriller, The Blackcoat’s Daughter (2015). Originally titled February, writer/director Oz Perkins intended this film to be a meditation on loneliness. He crafted a creepy and disturbing tale that has all the elements of a good horror movie.
The film is essentially divided into two stories that progressively come together in a surprise ending. In the first, a freshman girl named Kat (Kiernan Shipka) is staying at her Catholic boarding school over winter break because her parents have failed to pick her up. Rose (Lucy Boynton), a senior, told her parents the wrong date to buy time so she could find out whether she was pregnant. They are watched by two nuns. Rose receives several phone calls from a mysterious voice she calls “Dad,” and her behavior becomes more disturbing with each phone call.
In the second story, a man named Bill (James Remar) picks up a young hitchhiker named Joan (Emma Roberts) over the objections of his wife, Linda (Lauren Holly). It’s implied Joan escaped from a hospital, but Bill believes she reminds him of his daughter, Rose, who was brutally murdered several years earlier. Bill and Linda are traveling to their daughter’s former school to lay flowers. Bill tries to emotionally connect with Joan, believing God brought them together. Joan replies that she doesn’t believe in God.
**Spoilers** At the school, Kat brutally murders Rose and the nuns, decapitates them, and offers them up to Satan in a macabre ritual in the boiler room. A police officer confronts her and fires a shot. Later, in the hospital, a priest exorcises the demon from Kat, and she sees a shadowy figure disappear. In the present, Joan (now revealed to be a grown-up Kat) kills both Bill and Holly, steals their car, and completes her journey back to the boiler room, only to find it unlit and silent.
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.
A wounded Union soldier is sheltered at a girls’ boarding school in rural Virginia during the American Civil War, igniting pent-up passions and jealousy in this pale imitation of the 1971 Clint Eastwood classic, itself based on the 1966 Southern Gothic novel A Painted Devil by Thomas P. Cullinan. The Beguiled (2017), written and directed by Sofia Coppola, is a remake no one asked for, visually beautiful but emotionally monochrome.
John McBurney (Colin Farrell) is a corporal in the 66th New York and wounded in the leg while fighting somewhere in Virginia in the summer of 1864. He stumbles through the wilderness and collapses. Amy (Oona Laurence), a young student at the nearby Miss Martha Farnsworth’s Seminary for Young Ladies, discovers him and takes him back to the neglected school.
Miss Martha (Nicole Kidman) stitches Corporal McBurney’s wound and allows him to stay long enough to recover. Meanwhile, he attracts the attention of the other young ladies of the house, Alicia (Elle Fanning), Jane (Angourie Rice), Marie (Addison Riecke), Emily (Emma Howard), and especially their teacher, Edwina Morrow (Kirsten Dunst).
McBurney is passive but emotionally manipulative. He pledges his love for Edwina, but after catching him in flagrante delicto with Alicia, she accidentally pushes him down the stairs, which opens his wound and breaks his leg. Miss Martha amputates his limb below the knee to prevent infection. McBurney flies into a rage when he sees what she has done, gratuitously injures Amy’s pet turtle, and terrorizes the girls with a revolver.
A disgruntled middle manager’s insurance scheme unravels in an idyllic 1950s suburb in Suburbicon (2017). Gardner Lodge (Matt Damon) is a middle-aged man with a disabled wife, Rose (Julianne Moore), and a young son, Nicky (Noah Jupe). Their world is shattered when two thugs (Glenn Fleshler and Michael D. Cohen) seemingly break into their home and murder Rose with an overdose of chloroform.
In the wake of the tragedy, Rose’s sister, Margaret (also played by Julianne Moore), moves in with Gardner and Nicky, over the objections of her brother, Mitch (Gary Basaraba). Meanwhile, an African American family, Mr. and Mrs. Mayers (Leith M. Burke and Karimah Westbrook) and their son Andy (Tony Espinosa), move into the all-white community. This ignites a controversy that forms the backdrop for the film.
Suburbicon was written by the Coen brothers and directed by George Clooney (who revised the screenplay). Joel and Ethan Coen originally wrote the script in 1986. Their effort at finding whatever was laying around for their next film payed off by finishing 9th at the box office on its opening weekend. Suburbicon is Matt Damon’s lowest performing film and it has a current rating of 26 percent on Rotten Tomatoes.
Suburbicon is modeled after Levittown, New York, a planned community built by William Levitt between 1947 and 1951 and the nation’s first modern suburb. Levitt, who was Jewish, believed whites would not want to live in Levittown alongside black neighbors, so the original rental agreement excluded non-Caucasians. Levittown remains 88.9 percent white.
In Suburbicon, white mobs subject the Mayers family to 24-hour harassment, culminating in torching their car and hanging a Confederate battle flag in their broken window. Nicky and Andy, however, form a bond, suggesting a more tolerant future.
Greed and obsession collide in Gold (2016), a gritty morality tale set in 1980s Nevada, Wall Street, and Indonesia. Matthew McConaughey plays Kenny Wells, a prospector desperate for a lucky break. He teams up with geologist Michael Acosta (Edgar Ramírez), and together they descend into the uncharted jungles of Indonesia hoping to find one big score. This poorly-advertised film almost escaped my notice, until I saw it playing at my local theater. I’m glad I took a chance on it. Gold is a solid film and surprisingly entertaining. Matthew McConaughey disappears into the role, achieving absolute rock bottom in body and spirit.
Gold is loosely based on a true story. In 1995, a small Canadian mining company called Bre-X, owned by David Walsh, claimed to find a massive gold deposit deep in the Indonesian jungle on the Island of Borneo, near the Busang River. Filipino geologist Michael de Guzman and John Felderhof convinced Walsh to invest $80,000 to purchase and develop the gold mine.
In 1997, Bre-X collapsed and its shares became worthless in one of the biggest stock scandals in Canadian history. On March 19, 1997, de Guzman committed suicide by jumping from a helicopter in Busang, Indonesia. An independent investigation of core samples from the mine determined de Guzman had been “salting” the samples with gold flakes, some from his own wedding ring. Walsh died of a brain aneurysm in the Bahamas in 1998, and in 2007, Felderhof was acquitted of securities charges. The scandal cost investors an estimated $3 billion.
Gold follows Nevada prospector Kenny Wells, who inherited his father’s company, Washoe Mining, in the early 1980s. Stress-induced alcoholism caused by the economic downturn leads him to sell the last of his jewelry and fly to Indonesia to meet geologist Michael Acosta. There he endures hardship and survives malaria. When he emerges from the illness, Acosta tells him he made what might be the largest gold discovery in history.
Patriots Day follows fictional Boston police sergeant Tommy Saunders (Mark Wahlberg) as he helps track down brothers Dzhokhar and Tamerlan Tsarnaev, who detonated two bombs at the 2013 Boston Marathon. The tragedy occurred at 2:49 p.m. local time on April 15, 2013. Massachusetts celebrates Patriots’ Day on April 15 to commemorate the anniversary of Lexington and Concord, the first battles of the Revolutionary War. It’s estimated around 500,000 spectators attend the marathon. The bombs, made from pressure cookers, detonated 12 seconds apart, killing three and wounding approximately 264.
The film opens the night before the marathon, establishing a backstory for Sergeant Tommy Saunders. He is a well-meaning cop who got into a fight and has to pull guard duty at the marathon finish line before he can assume his regular duties. From there, we are shown snapshots of characters as they get up and start their day, but it is unclear how most of them will tie into the plot. We see future bombers Dzhokhar and Tamerlan Tsarnaev, his wife and daughter, at their apartment. Their morning is not typical, as one watches a video of masked terrorists demonstrating how to construct a pressure cooker bomb.
The terror, gut-wrenching shock, and confusion of the bombing is dramatically portrayed, as is the following manhunt. We see both law enforcement and the Tsarnaev brothers as they head for a fiery confrontation in the Boston suburb of Watertown. Moments of humor break up the dramatic, heart-racing scenes. During the final shootout with the Tsarnaev brothers, a man tosses a sledgehammer from his porch at police officers crouched behind the fence. “Give ’em hell!” he shouts, as if the crude melee weapon will do anything against the terrorists’ guns and homemade bombs.
It is meant to show defiance and resiliency in the face of terror, and Patriots Day is full of such crowd-pleasing moments, but how accurately does the film depict these events?
Miss Sloane (2016) stars Jessica Chastain as a high strung, pill-popping Washington DC lobbyist who takes on the Gun Lobby in this dead-on-arrival political thriller. Elizabeth Sloane is the most sought after and formidable lobbyist in Washington, D.C., but when her firm agrees to take on an effort to convince women to support the 2nd Amendment, she has a change of heart and joins a lobbying firm fighting for gun control.
According to IMDB.com, Miss Sloane had a budget of $18 million and made an embarrassing $59,797 in its opening weekend. As of December 14, the movie had grossed $2.6 million. Ouch. All indications point to a decent film. Good pacing, unexpected plot twists, solid acting–so what went wrong? Well, audiences don’t really want to sit through a 132 minute commercial for gun control.
Let’s start there. It’s not surprising a political thriller would have a political message, but this film wears its bias on its sleeve. It is replete with left wing stereotypes of conservatives, who it portrays as elderly white men enthralled to the gun lobby. When confronted with a plan to create a pro-gun women’s group, Miss Sloane is flabbergasted, unable to believe any woman would support an originalist view of the 2nd Amendment. (Oops, those groups already exist, WAGC and AFA to name two.) Through Miss Sloane’s later exposition, the audience is actually treated to a point-by-point refutation of arguments against gun control, making you feel like you’re attending a lecture rather than watching a movie.