Two hundred years after Henry Frankenstein strung “a dozen used parts from eight different corpses” together and brought them to life with a bolt of electricity and the cry of, “Look! It’s moving. It’s alive. It’s alive…” the creature is back for a new adventure based on the graphic novel called “I, Frankenstein” by Kevin Grevioux.
This time around his green parlor and neck bolts are gone, replaced by a chin cleft Igor could hide in and scars lining his unusually fit body. He’s a tormented soul, or rather, it is his lack of a soul that torments him. “I care not for the world of men,” he says, “I go my own way.”
For hundreds of years instead of terrifying villagers Dr. Frankenstein’s creature, now dubbed Adam (Aaron Eckhart) has hidden himself in the most remote places where he thought no human, demon or Gargoyle could find him. But he was wrong.
It seems a legion of 666 fiends, led by a demon prince named Naberius (Bill Nighy) are desperate to find Adam so they can learn the secret of reanimating corpses. Naberius plans on inserting demon souls into dead bodies to create an unstoppable army and “unravel the mortal coil of life.”
On the other side are the Gargoyles, commanded by Leonore (Miranda Otto), an archangel determined to help Adam find his humanity and save the human race.
An unholy mix of religion, martial arts (Adam has some slick Bruce Lee moves) and Mary Shelley, “I, Frankenstein” should have been called “Aye, yi, yi, Frankenstein.”
There is some cool gothic Gargoyle imagery on display and a variety of posh English accents to class to the joint, but it seems only Nighy realizes that this would have played better as a campy comedy.
In amongst the over earing narration, dropped storylines—for instance, a bride for Adam is mentioned and then never mentioned again—and shots of Adam peering around corners, every now and again someone will say, “I think your boss is a demon prince.”
Mel Brooks would have known how to stage that line. For all its atmosphere—i.e.: darkly shot scenes—“I, Frankenstein” would have been a lot more fun if it embraced its silly side just as Adam must embrace his humanity. With humanity comes a sense of humor, right? Not in this case. The movie plays like a satire of bad horror movies that forgot it was a satire.
Last year ago a documentary called “West of Memphis” detailed the gruesome murders of three children, the subsequent trial of teenagers Jessie Misskelley Jr, Damien Echols and Jason Baldwin, the court case that found them guilty and, finally, the evidence that suggested otherwise.
It was an in-depth look at a case that had already inspired three documentaries in the Paradise Lost series and a number of books.
Now comes “Devil’s Knot,” director Atom Egoyan’s dramatization of the events leading up to the murders and the “Satanic panic” that fuelled the hysteria surrounding the subsequent trial.
The movie’s first twenty minutes captures the easy-going pace of life in West Memphis, Arkansas. It’s into this dreamy setting that Pam Hobbs (Reese Witherspoon) sends her young son off to play with a friend. She never sees her son alive again. After a massive search the boy and two others are found, hogtied and naked at the bottom of a stream, ominously called Devil’s Creek.
Blame for the deaths falls to three teens—Misskelley Jr (Kristopher Higgins), Echols (James Hamrick) and Baldwin (Seth Meriwether)—outsiders, heavy metal fans and suspected Satanists.
“You don’t look like that when you’re a normal person,” says Pam, taking in Damien’s all black attire and detached demeanor.
The case, ripe with flimsy evidence, attracts the attention of investigator Ron Lax (Colin Firth) who senses that the teens are being railroaded because they are different. “A town loses three of its children,” he says, “and then sacrifices three more in the name of revenge.”
The rest of the story is well documented. The three are found guilty and serve eighteen years until the three were offered an Alford Plea, a little used petition that sees them released from prison on the proviso that they plead guilty to the crime.
In the past the story has usually been told from the point of view of the “killers” and their supporters. “Devil’s Knot” focuses on the Hobbs family—including stepfather Terry, who, it is suggested may have been involved in the killing—and the private investigator. It’s a slightly different take on the tale, although the details are familiar from the other retellings of the story.
The connect-the-dots procedural is buoyed by some top-flight performances. As Vicki Hutcherson, a woman tempted by Echols’ charisma, Mireille Enos is a live wire and Witherspoon deftly captures the grief of a mother and the skepticism of someone who is not buying into her town’s lynch mob mentality.
“Devil’s Knot” does a good job of telling a fascinating, if somewhat familiar story. Fans of the “Paradise Lost” and “West of Memphis” movies won’t find much new information here, but Egoyan has stripped away the clinical nature of the documentary to reveal the personalities behind the headlines.
Thomas Hayden Church is a former sitcom star best known as the lovably dim-witted mechanic Lowell Mather on the show “Wings” before making the leap to big screen stardom as a comedic sidekick to Paul Giamatti in the Oscar winning wine movie “Sideways.”
His latest film, “Whitewash,” sees him leave the comedy behind to take on a darkly psychological role that pits him against the snowy backdrop of Northern Quebec.
In the film’s opening moments we witness the event that shapes the remainder of Bruce’s (Church) life. A wild, drunken ride on a bulldozer through town leaves a man (Marc Labreche) dead. Panicked, Bruce hides the body in a snow bank and hightails it for the deep woods in an effort to avoid the police and clear his head.
The cold rugged wilderness provides a backdrop for Bruce as he pieces together the events of the past few days and flashbacks on exactly how he wound up in this situation.
There are moments of dark humor here as Bruce struggles to survive, physically and mentally, but the tone of the film is bleak. It starts with an accidental murder and never strays far from the primal necessities of Bruce’s life.
Church is in virtually every scene and delivers an extraordinary, minimalist performance. He doesn’t appear to be doing much, but subtly rides the lines between sanity and insanity, between absurdity and logic, leaving the viewer off balance as the film veers between the present and flashbacks. It’s Church’s performance that adds colour to “Whitewash’s” bleak story and ice white surroundings.
The dynamic between Labreche’s character Paul and Bruce fuels the story, building slowly to the film’s climax.
“Whitewash” is quietly suspenseful, melancholic that won’t be to everyone’s taste, but is an elegantly told story of redemption and survival.
“Devil’s Due,” a new horror film that gives “Rosemary’s Baby” an unwanted found footage update wasn’t screened for the press. Living up to his motto–“I see bad movies so you don’t have to.”–Richard saw it on Saturday afternoon. Here’s his twitter review (click on the pictures to enlarge).
From IMDB: After a mysterious, lost night on their honeymoon, a newlywed couple finds themselves dealing with an earlier-than-planned pregnancy. While recording everything for posterity, the husband begins to notice odd behavior in his wife that they initially write off to nerves, but, as the months pass, it becomes evident that the dark changes to her body and mind have a much more sinister origin.
“Jack Ryan: Shadow Recruit” is nothing fancy… and it’s also nothing Clancy.
As the first of the Ryan movies not based on a Tom Clancy novel it feels generic. There is the usual spy story intrigue, exotic locations and tense scenes but what the movie doesn’t have is the ear for dialogue of the other films in the series. When you have a senior CIA agent muttering the line, “This is geopolitics, not couple’s therapy,” it’s hard to know whether this is a satire of spy films or just badly written.
As played by Chris Pine (taking over from Alec Baldwin, Harrison Ford and Ben Affleck) CIA field agent Ryan discovers evidence of an upcoming terrorist attack. Leaving his jealous girlfriend (Kiera Knightley) behind, he is sent to Moscow to continue the investigation by Intelligence boss Agent Harper (Kevin Costner).
Dodging bullets and bad guys, he encounters Viktor Cherevin (Kenneth Branagh, who also sits in the director’s chair) an evil businessman with a plot to destabilize the global economy and create the “second Great Depression” in the United States.
Remember when Kenneth Branagh used to make movies like “Henry V” and “Hamlet”? I do too, which makes me feel a little empty inside when I watch something like “Shadow Recruit.”
This is a case of a director with no affinity for the material. It’s almost as if this was pieced together by people who had seen a lot of spy movies, but didn’t really understand them.
Like Branagh’s “Thor” movie, the action is muddled and so frenetically edited it’s often hard to see through the flashes of light on the screen to see who is punching who. A little clarity in those sequences would have gone a long way to make up for the ridiculous dialogue and under developed characters.
Branagh plays Cherevin with all the nuance of a Bond villain. He’s ruthless, flamboyantly accented and super smart. Smart enough to bring down the global economy but not smart enough, apparently, to see through Chris Pine’s terrible drunk act near the climax of the film.
Knightley is the movie’s third headliner, but you have to wonder why she would accept a role that gives her little to do except complain and go all moon faced over Ryan.
Then there’s Pine, who heroically anchors the “Star Trek” series but comes off here as a little too bland to play an international man of mystery.
“Jack Ryan: Shadow Recruit” is the first Ryan movie after a twelve-year break. It wasn’t worth the wait.
“The Nut Job” is chock full of the standard animated fare. There’s cute furry animals, a not-so-scary-villain, some slapstick and messages for kids about sharing and teamwork.
Unfortunately there’s also a noisy, nutty story that left me feeling like an assaulted peanut.
Think that was a bad peanut pun? Wait till you see this movie. Or not.
“The Nut Job” begins on a downer note. The animals of Liberty Park don’t have enough food for the winter and the selfish actions of Surly Squirrel (voiced by Will Arnett) has pretty much guaranteed they’ll starve once the weather turns cold.
Raccoon (Liam Neeson), the park patriarch banishes Surly but soon the mischievous rodent involves the park’s citizens—wannabe hero Greyson (Brendan Fraser) and sexy squirrel Andie (Katherine Heigl)—in a dangerous scheme that will either save them or kill them—robbing a nut store owned by some Damon Runyonesque mobsters.
“The Nut Job” is an original story that feels Frankensteined together from other, better kid’s movies. Echoes of “Ice Age” style slapstick and “Ratatouille” situations and even “Animal Farm” ethos reverberate throughout. I’ll give the filmmakers credit for adding in the gangster twist and some jazzy music but it’s the characters themselves that really disappoint.
To give you an idea of the amount of thought put into the characters, let’s start with their names. Neeson’s raccoon character is inventively named Raccoon, the rat sidekick is Buddy (Robert Tinkler) and the surly squirrel is, of course, called Surly.
Different names wouldn’t have made this a better movie, but the literal names display a lack of inventiveness that permeates the entire film. The animation is fine, but the rest—the story, the voice work, the action—feels as uninspired as peanut butter without jam.
There is very little joy, almond or otherwise, in “The Nut Job.”
An elegant period piece about Charles Dickens and his mistress, starring and directed by Ralph Fiennes, comes with great expectations, most of which, unfortunately are not met.
When “The Invisible Woman” begins Charles Dickens (Fiennes) is the Justin Bieber of his day. He’s fabulously famous and wealthy thanks to his best selling books and stage appearances.
Married with children, his life becomes a tale of two women when a seventeen-year-old actress named Nelly Ternan (Felicity Jones) is cast in one of his plays. Infatuated with the young woman the “David Copperfield” author begins a long-running, but secret affair with her that lasted until his death.
Younger viewers might wonder why Lord Voldemort is traipsing around London in a top hat and spats but the range of his performance will strike older viewers, familiar with Fiennes’s brooding work. His physical resemblance to the writer is remarkable, but it is the arc of the character, from charismatic celebrity to love sick puppy to Victorian rascal that really impresses.
Ditto the work of Joanna Scanlan as the long-suffering Catherine Dickens. She’s the mother of Dickens’s children, and a good and loyal person who becomes one of the invisible women in the author’s life as he falls deeper in love with Nelly. She hands in a wonderfully sympathetic performance rich with pathos and sadness.
Too bad these two stand-out performances are wrapped around a terribly dull film. With none of the crackle of Fiennes’s last directorial work “Coriolanus,” it’s a wealth of period details and sure handed direction but it plays like a tedious episode of “Masterpiece Theatre” broadcast by the BBC, which in this case would stand for Boring British Channel.
The story of a life-changing love affair is presented almost completely without passion and bookended by a sidebar of Nellie as an adult, still pining for her lost lover. Or, as it is presented in the film, staring off into the distance. As a viewer you hope the Ghost of Dickens Past will appear to snap out of her endless funk.
Ultimately “The Invisible Woman” could have used a little more TMZ and a little less BBC.
Canada’s entry for the Best Foreign Film at this year’s Oscars, Gabrielle is the touching story of the title character (Gabrielle Marion-Rivard), a young woman with developmental disabilities who falls in love with Martin (Alexandre Landry), a singer in her choir. Unfortunately his mother doesn’t approve and pulls Martin from the group in an attempt to end their relationship. In return Gabrielle takes control of her life for the first time. This thought provoking French language film is a tender tearjerker, but undeniably soul-stirring. Marion-Rivard, in her debut performance, is riveting and lovable; a character you can’t help but root for.
“Lone Survivor” provides further proof that war is, indeed, hell.
The battle scene that takes up much of the film’s running time is a Hieronymus Bosch style glimpse into the very heart of battle. Grisly and gory, it is about pushing the limits of endurance as far as possible.
But “Lone Survivor” isn’t simply a shoot ‘em up.
Between the bullets is a complex story about morality and the men who put themselves in harm’s way.
The film is based on the real-life SEAL Team 10’s Operation Red Wings, a failed 2005—the movie’s title in itself is a spoiler—War in Afghanistan mission to locate, capture (or eliminate) Taliban leader Ahmad Shah (Yousuf Azami).
The carefully planned operation goes wrong almost as soon as the team—SO2 Marcus Luttrell (Mark Wahlberg), LT Michael P. Murphy (Taylor Kitsch), SO2 Danny Dietz (Emile Hirsch) and SO2 Matthew Axelson (Ben Foster)—touch ground in the Kush Mountains. Their job is hindered by faulty a communication radio, but the mission is undone when they are discovered by an older man and two boys.
The commandoes make the decision to let the four unarmed shepherds go, but their kindness comes back to haunt them when shortly afterwards a Taliban army descends on their position and they are hopelessly outnumbered.
There’s no gunfire in the first hour of “Lone Survivor.” The time is spent getting to know the characters, their situation and absorbing the gravity of the mission at hand. Then, sixty minutes in, it turns into a bullet ballet. But it is those opening minutes that make the payoff of the last hour so potent.
Without getting to know the brotherhood the characters share we won’t buy in later on when their bond and training are the only things that will decide their fate.
The acting is uniformly good. Walhberg is understated but undeniably powerful as the Luttrell. His character is the glue that holds the movie together, and he delivers.
As the sharp-tongued and direct Axelson Ben Foster is, well, Ben Foster. He’s one of the best actors working today and his portrayal is passionate, patriotic but grounded in truth. It takes some doing to deliver a line like, “Did they really shoot me in the ******* head?” with any measure of believability, but Foster manages.
Perhaps the biggest surprise is Taylor Kitsch. He had a bad couple of years after becoming a small screen star on “Friday Night Lights.” The promise of a big screen career seemed to evaporate in the trifecta of failure—big budget flops “John Carter,” “Battleship,” “Savages”—but here he finds his groove and reminds us of the charisma that made him a name in the first place.
“Lone Survivor” is a visceral experience. Not since “Saving Private Ryan” has a battle scene been so effectively rendered but at its core it isn’t a propaganda film or a slice of patriotism; instead it’s a stark reminder of the camaraderie of soldiers in the field.
