Posts Tagged ‘Blair Underwood’

LONGLEGS: 4 STARS. “AS SERIAL KILLERS GO, Jame Gumb has nothing on this guy.”

SYNOPSIS: In “Longlegs,” a new psychological horror film starring Maika Munroe and Nicolas Cage, and now playing in theatres, FBI Agent Lee Harker is assigned to a decades-old case of a serial killer who targets entire families. The case turns personal as she uncovers evidence of the occult.

CAST: Maika Monroe, Nicolas Cage, Alicia Witt, Blair Underwood, Kiernan Shipka. Directed by Osgood Perkins (son of “Psycho” star Anthony Perkins and photographer and actress Berry Berenson).

REVIEW More unsettling than scary, “Longlegs” is both thematically and visually dark. There’s not a lot of cracks to let the light in. As the mystery at the heart of this occult thriller unfolds, the action happens mostly at night or in darkened rooms, lending a heavy air of foreboding to every frame of this strange film.

Adding to the film’s otherworldly vibe is Maika Monroe as Lee Harker, the FBI agent assigned to Longlegs’ case. She is Clarice Starling with a carefully defined introspective side; a sixth sense that helps to unravel her cases. “It’s like something tapping me on the shoulder,” he says, “telling me where to look.” Analytical in the extreme, Munroe, in a quiet performance, allows us to see the gears turning in her head as the clues begin to add up. Her process gives Harker a brooding demeanor that perfectly matches the film’s tense, subdued tone.

On the other end of the scale is Cage as the titular serial killer. His unhinged, chaotic work makes his other gonzo performances in movies like “The Wicker Man,” “Face/Off” and “Vampire Kiss” seem positively understated by comparison. Jame Gumb has nothing on this guy. It’s an over-the-top display and individual mileage may vary, but his Tiny Tim inflection, creepy rendition of “Happy Birthday” and repulsive leer will not soon be forgotten.

Despite Cage’s larger-than-life-and-death performance, “Longlegs” values restraint. Other than a quick flash of decomposing bodies, a gallon or two of blood and a handful of jump scares, Perkins is more interested in burrowing into your subconscious with a nightmarish story that unfolds in the dark corners of Harker’s mind. The story’s psychological underpinnings are where the true horror lies. where the discomfort comes from.

By the time the end credits roll, you’ll leave the theatre unnerved, even after they turn on the lights.

ORIGIN: 3 ½ STARS. “it mixes the emotional with the academic.”

Ambitious, audacious and just a little messy, “Origin,” the new film from director Ava DuVernay, now playing in theatres, is a study of the caste system told through the lens of a writer played by Aunjanue Ellis-Taylor. Part biography, part intellectual journey, it mixes the emotional with the academic.

Ellis-Taylor is bestselling author Isabel Wilkerson, who, in real life is the first woman of African-American heritage to win the Pulitzer Prize in journalism. Happily married to Brett (Jon Bernthal), she is considering taking some time off writing and lecturing to look after her aging and ailing mother.

But tragedy and her restless intellectual curiosity push her into exploring how the unspoken caste system has shaped America, and how people are still classified to this day by a pecking order of human classifications. To that end she travels the world and history, making stops in the American South, Berlin, and India to study which groups of people have power, and which do not.

Based on Wilkerson life and the writing of the book “Caste: The Origins of Our Discontents,” “Origin” is narrative film that feels stuck between two worlds. The blend of Wilkerson’s biography, mixed with dramatic re-creations of the historical events that feed into her research, is a mix of personal and the political, but it seems as if the film is trying to decide if it is a narrative or a documentary.

Still, the choppy presentation is chock full of thought-provoking ideas. DuVernay, who also wrote the script, crafts a unique movie about connectivity, one that isn’t afraid to swing for the fences. As the film skips through world history and Wilkerson’s life, a portrait of systemic subjugation eventually comes into focus, against a backdrop of personal loss. The film’s two prongs don’t feel like a natural fit, but Ellis-Taylor’s rock-solid performance anchors the film, providing a bridge between the emotional and intellectual.

“Origin” is an interesting movie, one that bristles with the spirit of discovery, but sometimes gets allows lucidity to get lost in its execution.