Episode 242: The Martian

In this week’s episode we discuss one of our favorite films (based on one of our favorite books) and dig into what makes this science-heavy space survival story so entertaining while also being so emotionally provocative.

The Martian Spoiler Review – 0:15:17

The Connecting Point – 1:11:18

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Rating: PG-13 / Running Time: 1 hour and 34 minutes

“The Turning” is a film that leaves much to the imagination in its confusing and jumbled mess of a horror adaptation. Based on the novel “The Turn of the Screw” by Henry James, we follow a woman named Kate (Mackenzie Davis) who gets a job watching over a couple of children who lost their parents to a tragic car accident. As she becomes comfortable with her new live-in arrangements, she starts to notice something is off with these two kids and the gigantic mansion they reside in. Strange noises, frightening nightmares, and visions of a ghastly looking ghost put her mind and body into panic mode. Once she hears stories of the mysterious deaths that have befallen previous employers of the estate, she immediately fears that her life is in grave danger and that these kids are not so innocent after all.

Brooklynn Prince is such a gem in this film with her boundless energy and cute sassiness she brings to her character. She is turning into a young prodigy to watch over the next five to ten years. Finn Wolfhard displays the angst and darkness that subsides underneath the exterior weird vibe of this haunted setting. He and Prince represent the only shining hallmarks of the film. The character of Kate suffers from a lack of layers that would have helped the audience connect to her intense plight. There is nothing to really point out who she is as a character except that her dad died and her mother currently stays in a mental institution; none of this backstory allows an insight into her wants, needs, or desires which makes her story all the more unfulfilling. Ultimately, the cast is talented but gets the short end of the stick due to an abomination of a screenplay setting the blueprint.

If a story is structured well, it starts the viewer off with a general premise that is easy to follow while traveling through a series of events that will be capped off with a climax. This film decides to do it the hard way and produce a narrative that lacks consistency and relies cheap scare tactics and a confusing ending. Just when I thought I was seeing another generic haunted house film, the last 20 minutes stray far away from the original premise and result in a non-ending without resolution. We don’t get answers to questions such as: Are the kids operating under the control of spirits, is the main character going crazy, or is another entity responsible for the prevalence of terror surrounding the property? It is like a person starts to drink a glass of water that tastes like water until the last couple of gulps start to taste like vodka. A poor attempt at an ambiguous ending plays off like the writers of the film had written themselves into a corner and could not find the way out. This adaption of the novel got ahead of itself trying to put on a modern twist while lacking an ambitious vision. There is no jolt of excitement present in the moments that are supposed to live up to the horror name, every “scary” scene is nothing more than ghosts appearing out of nowhere or characters responding to strange noises all around the house. The film’s direction and editing are a step below average, as well, characterized by stuck in the mud pacing and no style to separate itself from any other run of the mill “haunting” film.

I caught the vibe of “The Conjuring” when the trailer of this film debuted and sure enough, I spotted out the familiar played-out tropes those films have used ad nauseam. No good times are to be had with this film and now it finds itself fading into the populated graveyard of mediocre January films. “The Turning” doesn’t know what it wants to accomplish as a horror experience and then expects the audience to put all the pieces together.

Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Terminator: Dark Fate

In an effort to wipe out Judgment Day completely, thus erasing the events of “Terminator 3: Rise of the Machines” and the extremely mediocre two sequels that came after it, “Terminator: Dark Fate” presents a different future for the inhabitants of Earth to avoid – one in which a cyberwarfare program called Legion has become self-aware, waged war on the world, and is close to wiping out all of humanity. Oh, you’ve heard this one before? Therein lies the primary problem with “Dark Fate.” Instead of using this fresh slate opportunity to tell a new and exciting story, the film’s six collaborating writers instead chose to tell the same one as we’ve been seeing in this series since it began, with some slight variations in which characters play what roles in the fight, of course. I’ll concede that there is commentary to be made here, and it’s even ever so briefly touched on by the film in a few scenes about fate vs. free will; but from an entertainment standpoint, seeing the same old cycle of flashy new Terminator model comes back to kill would-be-savior of the world and is resisted by strong-willed humans is more tired than wired.

This new sequel isn’t without its strengths, though. The choice to have Linda Hamilton reprise her role as the famous Sarah Connor turned out so much better than I’d expected. The super cool 63-year old fits perfectly back into character and gives a phenomenal performance full of pathos, badassery, and snarky comedy. She is a weathered soul who takes no shit from anyone and serves as a great contrast to the equally headstrong but inexperienced augmented human Grace (Mackenzie Davis), who was sent back to protect Dani (Natalia Reyes) for reasons that are entirely predictable. Davis and Reyes certainly seem committed, but the writing does them no favors, leaving the vast majority of the zingers to Hamilton and an eventual appearance by the franchise-making star himself, Arnold Schwarzenegger. Reprising his role as the famous T-800, Schwarzenegger briefly provides a chance for the film to touch on the idea of Terminators gaining a conscience. It’s not too deep, but Arnold makes you care. Like Hamilton, the character still fits like a glove and his chemistry with her is off the charts, delivering some of the film’s very best dialogue.

It would probably be forgivable that this entry’s story is nothing unique if the action kicked ass on par with the franchise’s best. But alas, though certainly fine to watch at the moment, there is nothing memorable here. The new Terminator’s design is creative, and it’s fun to see the exoskeleton separate itself from the body to become two independently acting wholes, but no logical explanation is given on how this is accomplished and considering the writing that may be for the better. Director Tim Miller also over-uses slow motion, bringing it into nearly every action sequence at some point, and outside of the new Rev 9 Terminator splitting in two the film’s CGI is only serviceable at best while noticeably laughable at its worst.

Fans hoping that James Cameron’s involvement as Producer would lead to “Terminator: Dark Fate” returning the franchise to the greatness of its first two entries are unfortunately bound to be disappointed. Perhaps if he’d directed, this same old song and dance might have been elevated, but Miller is no Cameron, and “Dark Fate” is no “Judgment Day”. It is, however, entertaining. Full of explosively average action, with a predictable spin on a familiar narrative and a genuinely great return to an iconic character by Linda Hamilton, “Terminator: Dark Fate” may not offer anything remotely as emotionally powerful and memorable as the finale of “Rise of the Machines”, but it is easily the second-best Terminator 3 movie in the franchise.


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Now Available: July 31, 2018

Welcome to Now Available, where we’ll give you a quick review of a film we didn’t cover when it was released in theaters that’s releasing for home viewing this week, along with a list of everything else and where you can see our coverage on it. 

When Marlo (Charlize Theron) is given the gift of a night nanny by her brother Craig (Mark Duplass), the mother of three, including a newborn and a special needs child, is reluctant to accept the help. Through Craig’s prodding, she relents and hires Tully (Mackenzie Davis) to take care of her infant daughter through the night so that she can receive some much needed rest. Tully’s influence soon bleeds out into the whole family as her youthful spirit and zest for life energizes Marlo and rubs off on her husband and kids.

Boasting stand-out performances by Theron and Mackenzie, Jason Reitman’s Tully is a return to form for the director, who’s feature filmography had stalled out a bit after 2013’s lukewarm melodrama Labor Day and 2014’s god-awful Men, Women and Children. Here he’s teamed up with writer Diablo Cody, with whom he’s made two of his best films in Juno and Young Adult, which also starred Theron. I have five kids, so I’ve been through this time of life several times and I can say that Reitman and Cody absolutely nail the tone here in all facets of the story. There comes a point when you bring a newborn home from the hospital where life is just rough and it’s hard to see past the messy house, the cranky kids who feel neglected and the baby who needs constant care to a day where life can be normal again. Tully lets its audience sit in that moment like new parents have to and it’s really quite impressive. We see from the opening shots, a tender scene where she lovingly runs a soft brush over the skin of her son to help calm him before bed, that Marlo is a good and caring mother, but she’s utterly exhausted and the deep post-partum depression she’s experiencing isn’t helping matters either. Her husband Drew (Ron Washington) means well, but he doesn’t know how to give his wife the relief that she needs. It’s a scenario that’s highly relatable to a vast majority of married couples and that Reitman is able to make it feel real rather than manufactured is a testament to his talent as a filmmaker. In Marlo, Theron gives one of the best performances of her career. Showing an unrivaled commitment to the role, she gained 50 lbs for the part, she completely disappears into the struggling mother, treading water and gasping for air while holding very little hope for a lifeline. Mackenzie Davis is wide-eyed and full of life as Tully. Her wisdom would sound so naive, but she delivers it with such sincerity and love. It’s really quite a good film and it’s one of my favorites of the year.

With a solid script by Diablo Cody and stand-out performances by Charlize Theron and Mackenzie Davis, Jason Reitman’s Tully is a must see. It deserves to be mentioned with his best and hopefully signals a return to form for the director.

Buy It, Rent It, Wait for Netflix or Skip It?

Rent It!

Also available this week:

Overboard- If you like the original Kurt Russell/Goldie Hawn comedy, I recommend that you watch that one again. This remake that sees the roles reversed when Anna Faris tricks amnesiac Eugenio Derbez into believing he’s her husband is a totally laugh-less 105 minutes that would’ve been better spent doing literally anything else.

Other New Releases:The Miracle Season, Final Portrait, Dark Crimes, Kings

Jeremy Calcara is a contributing member of the Feelin’ Film team. Follow him on Facebook and Twitter to be notified when new content is posted.