Posts Tagged ‘William Fichtner’

CTVNEWS.CA: THE CROUSE REVIEW LOOKS AT “12 STRONG” & MORE!

A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at the new Chris Hemsworth war flick “12 Horses,” Christian Bale’s period piece “Hostiles,” and the Gerard Butler’s cop drama “Den of Thieves.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS FOR JANUARY 19.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the new Chris Hemsworth war flick “12 Horses,” Christian Bale’s period piece “Hostiles,”  Gerard Butler’s cop drama “Den of Thieves” and Jessica Rothe in “Forever My Girl.”

Watch the whole thing HERE!

 

 

Metro: War drama 12 Strong depicts modern combat on horseback.

By Richard Crouse – Metro Canada

“It’s nice to know there are still some heroes out there making sacrifices so I can go play dress up,” says Geoff Stults, “and I loved playing dress up on this one.”

Stults co-stars with Chris Hemsworth, Michael Shannon and Michael Peña in 12 Strong, the tale of one of the most successful missions in military history. In just three weeks, 12 Green Berets, with the help of Gen. Abdul Rashid Dostum of Afghanistan’s Northern Alliance, battled the Taliban to take back the occupied city of Mazar-i-Sharif.

Based on Doug Stanton’s non-fiction book Horse Soldiers, 12 Strong is both conventional and unconventional in its approach. Structured like a traditional war film, it’s also the first time in memory we’ve seen modern warfare on horseback on the big screen. Once in Afghanistan, the Green Berets discover the best method of transport through the rocky and treacherous terrain is on the back of a horse.

“I grew up part-time in Colorado so I grew up with trail rides,” Stults says. “Certainly hadn’t been on a horse in years. The first day of getting on this horse was interesting.

“The wranglers would throw marks on the ground and we would have to ride up and stop and hit our marks-ish. The good news is the horses were trained better than the actors were trained. They knew what they were doing but they’re temperamental animals. Sometimes they didn’t want to stand there on a weird angle, on a weird hill, for 10 takes in a row while the actors got their lines right. Harder than riding was getting the horses to stay still. Between takes, just to keep the horses chill, we’d be moving them around.”

As the first American soldiers to take on the Taliban on their home turf after 9-11, the soldiers portrayed in 12 Strong endured impossible odds, outgunned and outnumbered 5,000 to 1.

“These guys were already in service and said, ‘What are we going to do to make sure nothing like this ever happens again?’ It’s a story about 12 guys who were willing to make what could have been the ultimate sacrifice.”

Stults is quick to mention that the movie is not only an American story.

“9-11 happened on American soil,” he says, “this is an American skewing story but it wasn’t an isolated American experience. It changed all our lives.

“It is also about the people of Afghanistan and their heroics. This couldn’t have happened without them and Gen. Dostum’s partnership. These people have been occupied, oppressed, dealing with the Taliban coming in and out of their villages.”

12 STRONG: 3 ½ STARS. “both conventional and unconventional.”

“12 Strong” tells the tale of one of the most successful missions in military history. In just three weeks twelve Green Berets with the help of General Abdul Rashid Dostum of the Northern Alliance battled the Taliban and inhospitable terrain to take back the occupied city of Mazar-i-Sharif.

Chris Hemsworth leaves the mighty hammer of Thor on Planet Asgard to play the earth bound hero and Green Beret Captain Mitch Nelson. On leave when 9/11 happened he immediately reported for duty, asking that his team be reinstated to fight the Taliban. “You break his team up,” says Chief Warrant Officer Cal Spencer (Michael Shannon), “and you cut the head off your most venomous snake.” Named Task Force Dagger, they are shipped off to Afghanistan with orders to team with Northern Alliance General Abdul Rashid Dostum (Navid Negahban). Outgunned and outnumbered 5000 to 1 this uneasy partnership must endure impossible odds to defeat the Taliban on their own turf.

Based on Doug Stanton’s non-fiction book “Horse Soldiers,” “12 Strong” is both conventional and unconventional in its approach. Structured like a traditional war film, it’s also the first time (to my memory) we’ve seen modern warfare on horseback on the big screen. Once in Afghanistan the Green Berets discover the best method of transport through the rocky and treacherous terrain is on the back of a horse. In a clash of old and new, the cavalry battle tanks and rocket launchers and it makes for some striking images.

Like so many war flicks before it, in it’s opening minutes we see Nelson, Spencer and Sergeant First Class Sam Diller (Michael Peña) with their loving families before they are sent to battle. It’s standard shorthand to create empathy for the characters. They are family men driven by a sense of duty to their country. All well and good. We’ve seen it before but actors like Hemsworth, Shannon and Peña rise above the cliché to bring some heartfelt moments to those scenes. But what about the other nine guys in the troupe? We never learn much about them and, as a result, they are just bodies on a screen instead of fully rounded characters.

Having said that, for every war cliché—“Let’s get this war started,” howls Nelson at one point—there is another scene that offers insight into the difficult and confounding task the men have ahead of them. There is much talk of the struggle of fighting an ideological war against people who believe their great reward is in the afterlife. “There’s no playbook for this mission,” says Nelson. “We have to make it up as we go along.” As the first American soldiers to take on the Taliban after 9/11 they face a steep learning curve, finally coming to understand that this will be a war of small victories with no clear endpoint. They may win the battle but still need to fight the war. The confounding nature of this situation will be familiar to anyone who has followed the news coverage of the war in real time but is concisely summed up by Dostum. “There are no right choices here. This is Afghanistan. The grave of many empires.”

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY JUNE 24, 2016.

Screen Shot 2016-06-24 at 4.03.28 PMRichard and CP24 anchor Nneka Elliot talk about the weekend’s three big releases, “Independence Say: Resurgence,” with Jeff Goldblum, “The Shallows”with Blake Lively and “Free State of Jones” with Matthew McConaughey.

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL REVIEWS “Independence Day” & More for JUNE 24.

Screen Shot 2016-06-24 at 12.05.34 PMRichard sits in on the CTV NewsChannel to talk about the big releases in theatres, including “Independence Say: Resurgence,” with Jeff Goldblum, “The Shallows”with Blake Lively, “Free State of Jones” with Matthew McConaughey and the weird and wonderful “The Neon Demon.”

Watch the whole thing HERE!

Metro In Focus: Superheroes Save Your World… Again and Again and Again.

Screen Shot 2016-06-20 at 9.07.30 AM

By Richard Crouse – Metro In Focus

In today’s world it’s not enough to simply be a hero. Now you must be a superhero. Unlike the old days when square-jawed movie stars rescued damsels in distress or battled cold-hearted landlords, today’s champions won’t get out of bed for anything less than the threat of complete world annihilation. Liberating a cat from a tree or performing the Heimlich Maneuver is considered HeroLite™, the work of lesser lifesavers.

Today it’s all about averting the apocalypse. In Captain America: Civil War the idea of how to police and ultimately save the world is at the heart of the action and X-Men: Apocalypse’s bad guy has grandiose plans to “cleanse mankind and create a new world order.”

This weekend the heroes of Independence Day: Resurgence join Mystique, Quicksilver, Leonardo, Raphael, Michelangelo, Donatello, Captain America and legendary do-gooders Batman and Superman in some good, old fashioned world saving.

The twenty-years-in-the-making sequel to Will Smith’s mega-hit sees aliens from outside the Solar System attack our planet. It’s life and death on a planetary scale, a premise that has become increasingly popular in recent years.

It’s not a surprise the stories are getting larger and louder. Audiences want a big bang for their buck and Hollywood is pleased to oblige with high stakes situations that provide frenetic action and happy endings (unless, of course you’re rooting for the bad guy). These days Hollywood also looks to overseas markets for mega-revenue and presenting globe-spanning stories helps to attract crowds in other countries.

Business aside, why have audiences embraced world-on-the-brink movies?

Films, says Dr. Norman Holland, Marston-Milbauer Eminent Scholar Emeritus at the University of Florida, work on different parts of your brain.

“The parts that turn off are the parts that plan action because you’re not going to act on what you see on the screen in front of you,” he says. “You turn off the systems that plan, that look ahead that evaluate futures. That explains the phenomenon of the willing suspension of disbelief. You accept the most improbable things, like Stars Wars or Spider-Man or whatever. At the same time the lower centres of your brain are generating emotions like mad in response to what you’re seeing. This is the peculiar phenomenon that you can feel and care about these people on the screen while at the same time knowing they are nothing but a fiction.”

In other words, it’s what legendary purveyor of thrills Alfred Hitchcock said. “People like to be scared when they feel safe.”

We live in unsettling and troubled times and going to the movies can provide an escape. In these heroic tales good almost always wins out, a comforting antidote to the nightly news where stories often don’t have happy endings. It makes us feel good, but, as Dr. Holland notes, it’s also restful.

“As you know they are redesigning movie theatres with recliner chairs so you can sleep through the movie,” he says. “Yes, it is relaxing. This is the part of your brain that worries, that plans for the future, that is concerned about the state of your body. All that shuts down. It’s restful, no question.”

Going to the movies is restful? Good for us? Seems like in our busy, stressful world it’s the films that are the heroes, not the characters.

INDEPENDENCE DAY: RESURGENCE: 1 STAR. “bigger but not better.”

Screen Shot 2016-06-20 at 9.08.21 AM“That is definitely bigger than the last one,” says David Levinson (Jeff Goldblum).

He’s talking about the alien spaceship that puts our planet in peril in “Independence Day: Resurgence,” the twenty-years-in-the-making sequel to Will Smith’s 90s mega-hit, but he could also be talking about the movie itself. It’s certainly bigger and louder than the original, but is it better?

In the two decades since the first invasion the world has become a better place. “Our survival is only possible when we stand together,” says President Lanford (Sela Ward). The White House has been rebuilt, a woman is President and countries now work together. There’s a military installation on the moon and using the ET technology salvaged from the downed spaceships they have safe guarded the planet from another attack.

Or so almost everyone thought.

Ex-President Whitmore (Bill Pullman) is plagued by bad dreams—or are they premonitions?—of another extra-terrestrial incursion and it turns out he’s right. A distress signal from the first wave of space invaders triggered another assault, this time with bigger, badder aliens from deep, deep, deep space.

“Make them pay,” says ex-first daughter Patricia Whitmore (Maika Monroe) to her boyfriend, warrior pilot Jake (Liam Hemsworth). “I’m not going out there to make friends,” he says. Look out aliens! Cue the computer generated carnage.

At their best big special effects movies like this should fill the viewer with wonder. Large-scale spectacle, like the world on the verge of collapse, should fill us with shock and awe but in “Independence Day: Resurgence” we have to settle for an unsettling sense of déjà vu. It’s a movie that exists as an excuse to showcase the special effects in a cynical attempt to recycle an idea that worked well enough the first time. Not only have we seen virtually everything here in the original film, we’ve seen similar images in every end-of-the-world movie from the last twenty years. Here they are bigger and louder, but not better.

Ditto the dialogue. It feels like a first draft to the original movie, updated for a new cast. Goldblum is always a welcome presence but he’s saddled with terrible, trite words and he gets most of the good lines. It’s the kind of movie were people ask questions instead of saying anything interesting. “How the hell did we miss this?” “What’s going on?” Or the classic, “What the…??!!,” delivered with mouth agape. It’s less a script than a series of catchphrases and questions cobbled together and sounds like it was all run through the Blandizer® before being handed over to the actors.

It’s the kind of movie where you root for the aliens, hoping they make quick work of humanity because that would be less painful than sitting through one more minute of this mess. You don’t watch “Independence Day: Resurgence,” you subject yourself to it because even though it could be the end of humanity there’s no real humanity here, just empty heroics.

The most alien thing about the movie is the presence of Lars Von Trier’s favourite actress Charlotte Gainsbourg. If anyone in the movie noticed she was there I’m sure they would say, “What the hell is she doing here?” Cashing a paycheque I imagine.

I really hated “Independence Day: Resurgence.” It’s a popcorn flick but this popcorn stale. “Independence Day”? More like “Groundhog Day.” We’ve seen it before and better.

THIRTEEN REALLY GOOD MOVIES RICHARD THINKS YOU DIDN’T GO SEE IN 2013

Screen Shot 2013-12-30 at 12.31.58 PM1. 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.