Five years ago, in my review of “Cars 2,” the animated adventure of anthropomorphic race car Lightning McQueen, I wrote, “The first “Cars” film was my least favourite Pixar film—until now.” With the release of “Cars 3” I have to revise that statement.
Pixar are the American masters of animation, the gold standard. In films like “Toy Story,” “Finding Nemo,” “WALL-E” and “Up,” to name a handful, they are wizards, able to weave a story out of pixels and terabytes about toys and other inanimate objects that make us care about them for the ninety minutes we’re in the theatre.
For me the “Cars” movies have always been the sore thumbs of the Pixar IMDB page. Wildly successful, they appeal to kids who enjoy the colourful characters, fast paced action and corny jokes, but there’s not enough under the hood. They have always struck me as fuel injected visuals with little depth in the story department.
“Cars 3” is no different.
“Cars 3’s” story sees champion racer Lightning McQueen (voice of Owen Wilson) in the “living legend” phase of his career. An old school racer in a changing world his dominance of the track is challenged by hotshot Jackson Storm (Armie Hammer), the fastest car on the circuit since McQueen. “Champ here has been a role model of mine for years,” says Jackson, “trash talking and I mean a LOT of years.” To stay in the game McQueen adopts Jackson’s new school training methods, wind tunnels, treadmills, virtual reality and a multi million-dollar race simulator, under the watchful eye of trainer Cruz Ramirez (Cristela Alonzo).
When the high-tech racing preparation doesn’t work the pair seek out old timey trainer Smokey (Chris Cooper) to help McQueen find his lost mojo. In doing so they reconnect with the memory of McQueen’s mentor, Doc Hudson (courtesy of unused audio recordings of the late Paul Newman from “Cars”). Old style know-how trumps hi tech—like Rocky training on sides of beef, McQueen dodges bales of hay to increase his dexterity—which seems an odd message for a movie featuring state-of-the-art animation.
Padded with flashbacks and musical numbers to flesh out its thin story “Cars 3” feels more like an excuse to sell merchandise—the original generated more than $5 billion in swag sales—than a fully realized film. There are good messages for kids about self confidence and never giving up and the animation is terrific but it lacks the emotional punch that made “WALL-E,” “Toy Story” and “Up” so potent.
“Cars 3” brings much of what you expect from Pixar but seems to have left its heart at the junkyard. That’s not likely to affect audience reaction. The “Cars” movies have found permanent parking spots in many a family’s Blu Ray machine but for my money they belong on the used car lot.
The worst part of writing reviews is regurgitating the synopsis. Perhaps that’s one of the reason I liked “Free Fire,” the new shoot-em-up from director Ben Wheatley, so much. His follow-up to the psycho sci fi movie “High Rise” can be described with an economy of words: Ten bad people meet, a grudge emerges, bullet fly. The End.
For those craving more detail, the story begins at a rundown warehouse in Boston with Irish Republican Army out-of-towners Chris (Cillian Murphy) and Frank (Michael Smiley) and their henchmen Bernie (Enzo Cilenti) and Stevo (Sam Riley) buying thirty rifles from Vernon (Sharlto Copley). Vernon’s team includes Martin (Babou Ceesay), Gordon (Noah Taylor) and Harry (Jack Reynor). Bringing them together are Justine (Brie Larson) and Ord (Armie Hammer) fixers who stand to make mucho bucks.
The deal goes south, however, when a beef erupts between Stevo and Harry. Words, then punches and finally bullets are exchanged as the situation spins out of control. Soon it’s every man or woman for himself or herself as everyone exchanges bullets and barbs.
The gun battle makes up the bulk of the film but this is no average bullet ballet. Wheatley and co-writer Amy Jump carefully calibrate the action, mixing gunfire with sharp dialogue and plenty of irreverent, dark humour. Their best trick is keeping it real. When people get shot in “Free Fire” they don’t shake it off like most action movie characters. Instead they shriek, whine, wince and in pain, putting the strong silent type clichés of most first person shooters in the rear view mirror. As the situation grows more desperate so do the characters as they struggle to stay alive long enough to grab the elusive suitcase filled with cash, settle old scores and trade schoolyard taunts.
It’s hard not to see echoes of “Reservoir Dogs” in “Free Fire.” The warehouse setting and sketchy characters suggest Tarantino but Wheatley has done something else here. He’s packed away all pretension, all sentiment and focussed on making a down-‘n-dirty but wildly entertaining b-movie.
Out of Sundance “The Birth of a Nation,” a biopic of slave, preacher and revolutionary Nat Turner written, directed and starring Nate Parker, was being touted as an Oscar contender. It set a record as the biggest distribution deal ever made at the Sundance Film Festival and won rapturous reviews.
Then the news broke that Parker was accused of raping a drunk, unconscious 18-year-old Penn State University student in 1999, orchestrated campaign of harassment and that although he was cleared in a 2001 trial, the alleged victim was so traumatized by the incident that she went on to commit suicide in 2012 at the age of 30.
Word around Tinsel Town is that these revelations have torpedoed any Oscar hope the film might have had, but the question is, will Nat Turner’s tale prove more potent than Parker’s own story?
From a young age Nat Turner (Parker) is told he is a child of God, someone with purpose. Growing up on the Turner plantation, he is taught to read but nonetheless is sent to work as a field hand. As a young man the seeds of his discontent are sewn when he is sold to unscrupulous plantation owners, sent out to teach the godly value of servitude to his fellow slaves. “Slaves submit yourself to your masters,” he preaches. His words make his owner rich and lift some broken spirits, but soon the hypocrisy of his proselytizing seeps in after a series of unspeakable events. He witnesses rape, brutality and after he baptizes a white man he is whipped to within an inch of his life. Beaten but not broken, he decides to fight back just as David, Goliath and Sampson did. Where he was once a spiritual leader he is now a rebellion chief. “With the help of our father we will cut the head off the serpent!”
It took Parker seven years to bring “The Birth of a Nation” to the screen and his passion is writ large on every frame. He has made an audacious film, a brash epic that borrows its name from D. W. Griffith’s racist 1915 blockbuster.
It is Turner hero’s moral journey from slave to rebellion leader. It’s a coming-of-rage story that spares few details. We are shown the casual cruelty that turned Turner from a peace-loving preacher to a man pushed to violence. On screen Parker is at the center of the action, appearing in almost every scene and bearing the emotional brunt of the narrative. He is the story’s engine and with an understated, powerful performance he keeps us along for the ride.
It’s the filmmaking that falls short. There are moments of singular imagery—a slow tracking shot of bodies hanging form a tree set to Nina Simone’s “Strange Fruit” is unsettling and unforgettable—but Parker has paced the film at a deliberate, monotonous tempo that doesn’t do the story any favours. It feels like a missed opportunity to not build tension, to not allow the remarkable story to lead the way.
Turner was a remarkable man, whose actions led directly and indirectly to the Civil War. Parker fails to fully place the man into historical perspective and by doing so ignores dramatic opportunities.
“The Birth of a Nation” is an important story of a man in an inhuman world. Parker treats the material and the man respectfully but could have used more urgency.
Richard’s “Canada AM” interview with “Man from UNCLE” stars Henry Cavill and Army Hammer. They discuss their characters, accents and starting with a “blank canvas.”
Claridge’s Hotel in London is the kind of place you might expect a secret agent to call home. An unassuming entranceway leads into an opulent lobby with lots of quiet corners perfect for clandestine meetings. It’s the kind of place where Napoleon Solo and Illya Kuryakin could do highly classified business over a martini, shaken or stirred. So, it’s appropriate I’m meeting Henry Cavill and Army Hammer here. They’re the stars of the Man from U.N.C.L.E. reboot and the latest actors, after Robert Vaughn and David McCallum, to play super spies Solo and Kuriatkin.
The TV show, which was equal parts camp and classic action, ran from 1964 to 68, made stars of its leads and established high-flying spy cool for a generation of television watchers. Cavill, who plays the suave Solo, however, says he has never seen the show.
“I prefer to operate as a blank canvas,” says Cavill, who will next be seen as the Man of Steel in Batman v Superman: Dawn of Justice. “If you’re trying to make something your own you’re concentrating on the wrong thing. You should be concentrating on the story and evolving the story with your fellow actors and or director. That’s what we did.”
His co-star Hammer referred to the show to partially to craft his portrayal of the hothead KGB spy Kuryakin and partially “out of motivation of fear.”
“If I do this movie and someone asked me about the show I wanted to have an answer to give them,” he says. “I basically spent the weekend binge watching the whole show.”
He says the new movie incorporates elements of the original show, “so people who grew up with that will love and appreciate it but it is also a completely fresh take on it. That’s what we were going for, to make everybody happy.”
Like many spies (and actors who have played spies) before them, both utilized accents and costumes to disguise themselves and disappear into their roles.
Cavill, notes that the bespoke Saville Road suits he wore were the “final pieces of the puzzle” in creating the character. “The accent informs the way you physically interact with everybody and the suit the contains that.”
Hammer learned his accent listening to “old recordings of native Russian speakers trying to speak English, or barely speaking English and picking up little bits of both. At a certain point with the accent, I’d say after a week or two, it feels natural. You’re not spending your time making sure your words sound laboured. It starts to flow out as an accent.”
How to describe “The Man from U.N.C.L.E.” to someone who wasn’t alive during the TV show’s mid-sixties heyday? How about James Bond with jokes? Or a less funny “Get Smart”? Perhaps as a Bizarro World CIA show that once saw the heroes prevent a stink bomb attack on Hollywood?
It was all those things and had two of the coolest character names in television history, Napoleon Solo and Illya Kuryakin, played by Robert Vaughn and David McCallum.
The new Guy Ritchie film, his first in four years, aims to grab the freewheeling spirit of the original show without dropping a stink bomb in theatres.
Set in 1963, it’s the origin story of the United Network Command for Law and Enforcement, the super secret spy organization who recruit CIA agent Solo (Henry Cavill) and KGB agent Kuryakin (Armie Hammer). They’re an odd couple, enemies from the opposite sides of the justice system. Solo is suave and unflappable, Kuryakin is a hothead with a sensitive side who lets his fists do the talking.
“Don’t kill your partner on your first day,” they’re warned by their superiors.
Their mission is to infiltrate and dismantle a cartel of baddies who plan on selling nuclear weapons and technology to the highest bidder. The key to cracking the case is Gaby Teller (Alicia Vikander), the estranged daughter of Hitler’s favourite rocket scientist. The trio set off on an assignment that will take them to exotic locations, confront glamorous villains and see the establishment of the fashionable crime fighting organization United Network Command for Law and Enforcement.
The “Man from U.N.C.L.E.” reboot is ripe with double-entendres, spy lingo, Solo’s off the cuff attitude—“Damn, I left my jacket in there,” he says when a room bursts into flames killing its occupant—and cool 1960s clothes. Ritchie and cast get all that stuff right. Cavill and Vikander look as though they have stepped out of a time machine from the Cold War especially to take on these roles, but what is missing, by and large, is the wild action we expect from our spy movies.
“U.N.C.L.E.” opens with a chase scene, complete with stunts and gunfire but it doesn’t have the spark we associate with Ritchie’s work. His frenetic whiplash editing is missing in favour of a much more subdued feel. Even Kuryakin mostly beats up people off screen. Perhaps it’s a new kind of anti-action cinema that tries to put the focus on the characters instead of the fireworks.
There is an inspired sequence that puts the action in the background while Solo enjoys wine and a sandwich and watches the carnage from the safety of a stolen truck. It’s stylish, funny and hints at the tone Ritchie was trying to achieve in the rest of the movie.
On the upside, it captures 60s cool with perfectly curated clothes and set decoration. Cavill glides through this, more Roger Moore than Sean Connery, nailing the arch delivery of a 60s super spy. Hammer lays it on thick with the Russian accent but pulls off the less showy role. If Ritchie was to have Frankensteined an actress for the role of Gaby in the mould of 1960s starlets, he could not have topped Vikander as a picture perfect representation of mid-century cool. She looks like she was born to wear the oversized sunglasses and Mary Quaint frocks but she isn’t simply the romantic interest. (SPOILER ALERT) With an ending that sets up a sequel don’t be surprised if there is a “Girl from U.N.C.L.E.” in theatres soon.
“The Man from U.N.C.L.E.” is a treat for the eyes—it looks fantastic—but will not keep you on the edge of your seat. To paraphrase head of U.N.C.L.E., Mr. Waverly (Hugh Grant), “for a special agent [movie] you aren’t having a very special day are you?”
Richard interviews “Man from UNCLE” stars Alicia Vikander and Elizabeth Debicki on 60s fashion and playing strong characters in a male dominated genre.
1. Admission: Tina Fey is Portia Nathan, a mildly compulsive Princeton admissions officer—they jokingly call her their “golden retriever” because of her record of recruiting a-plus students—who leads a quiet, ordered life with professor Mark (Michael Sheen). They share a love of poetry, hatred of kids and not much else. Her well ordered life is thrown into disarray when John Pressman (Rudd), a free-spirited former classmate and now teacher at an alternative school, introduces her to Jeremiah Balakian (Nat Wolff), a brilliant young man who may be the child she gave up for adoption seventeen years ago. “Admission” is familiar enough to not jar the sensibilities of undemanding rom com fans, but there is more here than immediately meets the eye.
2. The Bling Ring: Based on actual events, “The Bling Ring” centers around a group of narcissistic Los Angeles area teenagers, Rebecca (Katie Chang), Marc (Israel Broussard), Nicki (Emma Watson), Sam (Taissa Fermiga) and Chloe (Claire Julien).
Their modus operandi? They track the comings and goings of their favorite celebs on via internet. While one-named millennial stars like Paris, Lindsay, Megan or Audrina are out on the town or out of town completely, the Ring “go shopping,” breaking into their homes and help themselves to jewels, designer clothes and loose cash. More than that, they live vicariously through the lives of the rich and famous folks they’re burgling.
“The Bling Ring” plays like a “Law & Order” episode of “The Hills.” The crime spree is device that keeps the story moving forward, but the fascinating thing is the portrait of these self-absorbed kids who aspire to hosting reality shows or becoming a “lifestyle brand” as a career. They want fame and money, but are so tied up with the idea of fame and money they are blind to virtually everything else.
“The Bling Ring” is a fascinating art-house glimpse of fame found, just not the fame the thieving teens sought. They are the robbers TMZ made famous, a group of kids who redefined narcissism in an already narcissistic town.
3. The East: Britt Marling stars as corporate spy Jane Owen, code name Sarah. Her latest job involves going deep undercover to infiltrate a shadowy group of eco-terrorists called The East. The collective—think real life activists Anonymous—run by the charismatic anarchist Benji (Alexander Skarsgård), is on the eve of their biggest demonstration yet, an act of sabotage that will make headlines and make a very public statement of their anti-corporate stance.
Sarah is accepted by the group, save for the truculent Izzy (Ellen Page), and begins to develop Stockholm syndrome. Or does she?
It’s a morally complex movie, with Sarah at the center of the ethical hurricane as she starts to question her role as both a spy and a would-be member of the radical group. She weighs the morality of both sides and… well, go see the movie.
“The East” deliberately paints shades of grey into the story, allowing for good and bad, evil and sympathetic characters on both sides. It may be too nuanced for folks who like their spy stories to take sides, but Sarah, as the source of the plot’s push-and-pull, is too complex a creation to play it straight. Marling brings strength and fighting spirit to Sarah in a performance that could finally make her a star.
4. The Iceman: Based on “The Iceman: The True Story of a Cold-Blooded Killer” by crime writer Anthony Bruno the movie begins on Kuklinski’s first date with his wife to be Deborah (Winona Ryder). He’s quiet and reserved, but charming and she is won over by his charisma. They marry, have kids and lead a normal life. At least at home. Deborah had no idea her mild mannered husband was an expert assassin, who paid for the kid’s private school and her jewels by slicing throats, shooting and choking the enemies of his boss Roy DeMeo (Ray Liotta).
Kuklinski was dubbed the Iceman for two reasons. When he was arrested police found a stash of bodies he had frozen to obscure time of death and because of his icy demeanor. It’s a role Shannon was born to play. From certain angles he looks like an everyman, the kind of guy who goes home at night to his wife and two kids. From other angles he’s menacing, the kind of guy you don’t want to meet in a dark alley.
Shannon is cooler than Mr. Freeze as the title character in “The Iceman,” and he’s joined by Chris Evans in a career making performance as a ice cream truck driving killer, Liotta in mobster mode—between Shannon and Liotta it’s a showdown of the steely stares—the welcome return of Wynonna Ryder and David Schwimmer playing against type as a slimy mafia enforcer.
5. The Last Stand: Near the beginning of the movie the head lawman of the sleepy border town of Summerton Junction, Sheriff Ray Owens (Arnold Schwarzenegger), says, “Should be a quiet weekend.” Of course whenever Arnold, or any eighties action star says, “Should be a quiet weekend,” you know all hell is about to break loose. And break loose it does.
In a parallel story ruthless drug lord Gabriel Cortez (Eduardo Noriega) stages an elaborate escape and heads for the Mexican border, which just happens to lie outside Arnold’s… er… Owens’s town. As Cortez speeds toward the border he has a quick cell phone call with Owens. “Do you wanna play?,” he yells. “Let’s play!” And play they do… with big guns.
Schwarzenegger is moving noticeably slower these days—How are you Sheriff? “Old,” he says.—but his comic timing is still there and no one else can battle through this kind of cheesefest and emerge with his action cred intact.
“The Last Stand” is not a movie to be taken seriously, but it wasn’t made to be taken seriously. Why else would cult director Jee-woon Kim cast Johnny Knoxville?
6. The Lone Ranger: Set against a backdrop of corruption during the building of the railway’s westward expansion through Native American territory, this is the origin story of how attorney John Reid (Armie Hammer), a law and order man who doesn’t believe in vengeance, met Tonto (Johnny Depp) and became the Wild West’s masked crusader.
The unlikely pair are brought together by their mutual enmity toward Butch Cavendish (William Fichtner), a cannibalistic outlaw who Reid wants to bring to justice and Tonto wants dead. That pursuit uncovers massive corruption during the building of the railway’s westward expansion through Native American territory beginning with a conspiracy to start a war between the US Calvary and the Comanche Nation.
“The Lone Ranger” is state of the art nouveau Western, complete with circling vultures, unspoiled landscapes, gruff, unshaven men and even a beer drinking horse. Surprisingly nimble footed for a two-and-a-half hour epic, it is unexpectedly funny but more violent than your typical summer tent pole flick.
7. Pacific Rim: Director Guillermo Del Toro has made an end-of-the-world scenario fun.
In the world he creates in “Pacific Rim” the planet is threatened with destruction by Kaijus, colossal beasts with an appetite for destruction. Coming to our world through a breach in a portal beneath the Pacific Ocean, the earth is losing the war against these beasts. The main of line of defense, giant robots called Jaegers—operated by pilots who mind meld with the metal behemoths; the deeper the connection, the better they fight—are being decommissioned in favor of a giant wall. “Kaijus are evolving,” says one military man, “and we’re losing Jaegers faster than we can build them.”
In the months before the machines are made obsolete a driven colonel, Stacker Pentecost (Idris Alba), assembles a crack team of Jaeger pilots—including burned out former pilot Raleigh Becket (Charlie “Sons of Anarchy” Hunnam) and talented but untested trainee Mako Mori (Rinko Kikuchi) to launch one last attack to close the portal and save the planet.
Del Toro has supersized a Godzilla story, adding in 50s b-movie tropes with state of the art sci fi to create something fresh. It’s a thrill ride from the beginning, a giant action movie that doesn’t just rely on a cool premise.
In other words, “Battleship” this ain’t.
8. Pain and Gain: Near the beginning a voiceover says, “Unfortunately, this is based on a true story.” It’s the real-life tale of three Miami-based body builders (Mark Wahlberg, Dwayne Johnson, and Anthony Mackie) chasing the American Dream. Pumped up and steroid crazy they abduct a prominent local businessman (Tony Shalhoub). They beat and torture the self-made millionaire until he signs over all his wealth—houses, cars, boats and money. The story eventually becomes so outlandish Bay flashes up a graphic in the last half hour reminding us that this is “still a true story.”
This is a seriously weird movie. It’s Bay working with a tiny—for him—budget of just $26 million. The guy has made commercials that cost more than that, but has delivered the darkest comedy—imagine if the Coen Brothers did gruesome slapstick—to come down the pike in a while.
9. Rush: When we first meet Niki Lauda (Daniel Brühl) and James Hunt (Chris Hemsworth) they are third stringers, talented Formula 3 drivers desperate for a chance to move up to the big show. Lauda makes a financial deal that lands him on Team Ferrari while Hunt uses tenacity, charm and a touch of desperation to grab a spot with the McLaren team.
Bad blood flows between the two, stemming back to an incident when Hunt edged Lauda off the track the first time they faced off against one another. That rivalry spills over from the track as the two engage in name-calling and spar in the press.
In the 1976 season Lauda seems unstoppable, a sure bet to reclaim his World Champion title. Then tragedy strikes as Lauda is badly burned in a fiery crash. During his recuperation Hunt rises in the ranks, leading to a showdown, just 50 days after Lauda’s accident, for the World Championship at the Japan Grand Prix.
“Rush” is more than “Rocky” on four wheels, it’s an exhilarating, stylish film with pedal-to-the-metal verve.
10. The Sapphires: The year is 1968. Dave Lovelace is an English (Chris O’Dowd) piano player with a love for Otis Redding and booze. While hosting a talent show in remote Australia hosting he discovers three sisters, Cynthia (Miranda Tapsekll), Gail (Deborah Mailman), Julie (Jessica Mauboy), with amazing voices but a tired country and western style repertoire. Adding cousin Kay (Shari Sebbens) as background singer and dance captain, he molds them into the Australian Supremes and gets them their first gigs—in Vietnam singing for the troops.
“The Sapphires” is a feel good movie that succeeds despite the cliché story. It’s based—one imagines very loosely based—on a true story, but make no mistake, this is a Hollywood-ized (filtered through an Australian sensibility) version of the tale.
Authenticity aside, it’s the performances and the music that make “The Sapphires” worth a look. We first noticed O’Dowd on this side of the Atlantic as the charming love interest in “Bridesmaids.” He brings it again in “The Sapphires,” mixing roguish appeal with bang on comic timing.
“The Sapphires” is a slight, but entertaining take on the effect of music to change people’s lives.
11. The To Do List: High school valedictorian Brandy Klark (Aubrey Plaza) is an overachiever. She’s the publisher of her own magazine, Women With a Y, a straight A student with a full scholarship to Georgetown University and has a Perfect Attendance certificate proudly hanging on her wall.
She’s also a virgin, a status she hopes to change soon with the help of Rusty Waters (Scott Porter), a college surfer stud with a perfect smile. Attacking her new project with the gusto that won her accolades in school, she gets the advice of friends and family (Christopher Mintz-Plasse, Alia Shawkat, Sarah Steele and Rachel Bilson) and makes up a “to do” list, applying the same zeal that made her a mathlete to losing her virginity.
Telling the story from a female point of view is a nice turnaround from the usual boycentric sex comedy story.
“The To Do List” is endearingly off-kilter, a different take on the “Porky’s” style of sexual coming-of-age stories usually that are usually headlined by the male members of the cast. I wish it was a bit shorter—did they really need 100 minutes to tell this story?—and a bit funnier, but for anyone who came of age just as The New Kids on the Block were calling it quits (for the first time) there is much to enjoy here.
12. Warm Bodies: Nicholas Hoult plays R (pronounced “arrgghhgghh”), an existential zombie who wants more out of life… or death, or whatever it is you call his current state. “Why can’t I connect with people?” he wonders in the narration. “Why is my posture so bad? Of yeah, I’m dead.” There’s been a plague of some sort which has left him and most of the population hungry for brains, while the sole human survivors live behind a giant wall.
Zombies and humans alike are terrified of the Bonies—evolved zombies who’ll eat anything with a heartbeat. “So will I,” says R, “but at least I’m conflicted about it.”
On a feeding trip R encounters a team of humans on the search for supplies. One zombie attack later he has eaten the brains of Perry (Dave Franco). When he gets a glimpse of Perry’s girlfriend Julie (Teresa Palmer) he loses his appetite. Perry’s memories come flooding into R’s zombie brain and he begins to feel something he hasn’t felt for a long time—human emotions.
It’s “Walking Dead” meets “Romeo and Juliet” with a twist—it just might be that love and hope can still set hearts a flutter, even ones that haven’t beaten in a while.
Any movie with the line, “I know it’s really hard to meet guys now… in the apocalypse and everything,” is OK by me.
13. You’re Next: On the occasion of their parents 35th wedding anniversary the Davidson kids and assorted wives, girl and boy friends gather at a remote Tudor mansion—is there any other type in these kinds of movies?—to enjoy dinner and one another, but instead end up in a fight for their lives. Only one of the guests, Erin (Sharni Vinson), has the know-how to protect herself, but will it be enough?
It’s hard to discuss “You’re Next,” which had its world premiere at the 2011 Toronto International Film Festival Midnight Madness program, without giving away a major plot twist, but I will say there is a Manson Family aspect to the story that really creeped me out. That plus the anxiety-inducing John Carpenter style score throbbing in the background and the “moist” sound effects accompanying the wet work. It’s all effective but it is the idea behind the movie that is truly disturbing.
There is a rawness to the filmmaking—and let’s just say that there are no future Meryl Streeps in the cast—that although there is very little actual gore, is chilling.
I don’t know what it says about my mental make-up, but I really liked “You’re Next.” It’s disturbing, violent and without any redeeming social value, but I enjoyed sitting in the theatre with my hands over my eyes, afraid of what I might see next. I’m not usually a fan of head trauma, but from what I saw as I peeked through my fingers, it works well.
