MOVIE REVIEW: The Hunt

Rating: R / Runtime: 1 hour and 29 minutes

Political satire, when done correctly, can be very effective in showing the volatile and idiotic manner of government, serving as a form of humor that calls attention to itself but does the duty of sparking compelling thoughts in your mind about the state of democracy. Humor is a subjective phenomenon just as the opinions floating in your brain are; the same joke can cause different reactions based on how it vibes with the person’s idea of what’s funny and what’s not. If “The Hunt” is an exercise of satire, then it’s better off labeling itself a spoof film because it plays down its impact with self-referential humor akin to the “Scary Movie” series of the 2000s. Adding nothing to the current political discord between Democrats and Republicans, the blood and guts raining down from the mayhem-infused violence do nothing to cover up the woeful writing and flimsy cheapness of its execution. The fierce performance of Betty Gilpin doesn’t carry the imposing muscles needed to carry this feature out of the dungeons of disappointment,

Damon Lindelof and Nick Cuse, the two men who lit up last year with the greatness of HBO’s “Watchmen”, stand as the architects of this new thriller. A group of Republican loyalists find themselves fighting for their lives in a location filled with secluded woods and Democrats with an itch for hunting down so-called “Deplorables”. This sadistic game takes a sudden turn when a woman named Crystal (Betty Gilpin) becomes the predator instead of the prey. Laying down a can of you know what, Crystal fights back against the dire onslaught of progressives while uncovering the blueprint for this event labeled as “Manorgate” which has been widely circulated as a theory on online forums and social media accounts. The twisted discourse of favoritism politics wears its mask loud and proud but yet doesn’t do anything noteworthy to warrant all of its controversy.

From the onset, this story immediately comes off as anything other than the butt of its own joke. Some moments engage with dialogue that feels lifted from a comment section underneath the tweet of any political figure or pundit. Terms such as “snowflakes”, “rednecks”, “crisis actors” and disposable monologues are used and represent a lack of cleverness and reek of a style reminiscent of a tone-deaf social media user that wants to sound smart but comes off painfully lacking in awareness. Was the research of this film done by siphoning from the wide and jumbled world of social media apps? The narrative doesn’t know what direction it wants to go, opting for a misshaped “equal opportunity” offender angle that aims to disarm any harsh labels this film may receive from either side of the political arena. Does the film want to make fun of the vast conspiracy theories and stereotypes the parties lob at each other or the right’s fear of a scenario involving the left attacking them draped in some legitimacy? Maybe “The Hunt ” wants to make fun of both sides trying to be the high and mighty winner of an unwinnable dispute, but the film makes it very hard to figure out what the purpose entails. For a misguided and clunky screenplay to come from Lindelof is the most shocking piece to take away from this trainwreck.

Violence is as vicious and full-frontal as the MPAA allows it to be with limbs, guts, heads, and eyeballs being taken down or disintegrated with bullets, blunt objects, and any weapon that can be found usable. On par with a Jason Vorhees gorefest, this is the primal center of human conflict with a slapstick comic book aesthetic. Some of the CGI can be iffy but these passages of mainstream action aspirations do add some jolt and curiosity. Director Craig Zobel’s manner of using so many quick cuts and erroneous angles that leave the audience missing out on the impact of hits and final fatalities is a bummer to watch on the big screen. If there was one thing that could conjure me to give this film a watch recommendation, it would have been the selling point of action sequences. Sadly, that is far from the final results.

Shock and disbelief serve as my final words for this fail of a satire. All of the anticipation and excitement has been for naught because the resulting film is a frustrating disappointment that is baffling by the fact of having writers and actors with trustworthy track records behind the helm. “The Hunt ” will be forgettable once the uproar about its subject matter cools down and what will stand in my memory is how much of a farce it makes of itself trying to lend an opinion to the American political climate.

Rating:


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.

Episode 219: The Invisible Man

This week we’re discussing director/writer Leigh Whannell’s sci-fi/horror modern remake of a Universal Pictures Classic Monster movie. With a stunning performance by Elisabeth Moss, incredible visuals and sound, and a plot that fits perfectly in our current times, this intense perspective-switching story is ripe for a conversation about trauma, abuse, and how to relate to those who’ve experienced them.

The Invisible Man – 0:02:41

The Connecting Point – 1:05:45

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MOVIE REVIEW: The Invisible Man (2020)

Rating: R / Runtime: 1 hour and 50 minutes

Going back to its original roots as a novel by H.G. Wells and one of the original Universal Pictures Classic Monster Movies, the story of “The Invisible Man” involved a man whose experiments make him unseeable and eventually lead to a descent into madness and violence. For this modern reboot of the film franchise, writer/director Leigh Whannell brings the character crashing into the #MeToo era by centering this story on not The Invisible Man himself, but rather his primary victim. Whereas previous entries have been all about how a person deals with the effects of a strange new ability, Whannell’s film focuses on the perspective of those who suffer from a maniac’s abuse of power and control.

The film opens with an absolutely stunning night-time sequence of Cecilia Kass (Elisabeth Moss) suspensefully escaping the gorgeous, isolated home she shares with her brilliant, extremely wealthy, Optics scientist partner Adrien (Oliver Jackson-Cohen). Right from the start, Whannell lays out the kind of experience this film is meant to be, relying on skillful precision in cinematography by Stefan Duscio and a powerful, terrifying score by Benjamin Wallfisch to always keep the audience intensely on edge. Cecilia is a woman who we immediately understand is the victim of awful and frequent abuses. She is clearly terrified and we hold our breath while silently praying she gets away from a man we literally know nothing about yet. And this is merely the beginning.

After living in fear for a few weeks, Cecilia learns that her ex has committed suicide, and she is free to begin healing from the horrible domestic and sexual abuse we learn he committed. But she doesn’t really believe it, and it isn’t long before mysterious things begin happening, signaling to her that someone, or something, is stalking her from outside her view. It should come as no surprise to anyone that’s seen much of Moss’ filmography that the actress is as good as they come, and her performance here ranks among the best she’s ever given. For most of the film, she is in a growing state of panic, slowly losing her sanity, and displaying every emotion one could possibly imagine a victim of these evil crimes might experience. Her ability to convey fear, distrust, and deep deep pain via facial expressions and voice inflection is incredibly impressive and also extremely difficult to watch. 

Despite support and assistance from loved ones like her sister, a childhood friend who is conveniently now a police officer, and his teenage daughter, Cecilia struggles mightily when no one believes her claims that an invisible man is out to get her. The terror he eventually begins to reign on her is some of the best supernatural horror you’ll see. It’s minimalistic for so long in a way that makes the special effects extremely impactful when they do happen, and the same can be said for the film’s reserved use of physical violence. For most of the film, it’s emotional and psychological abuse that Cecilia faces the most, but you can always feel the intensity building to something. Eventually, there are a few spots where brief outbursts of bloody action occurs, often in rather shocking fashion. The film is never too gory, though, so viewers fearing an all-out slasher flick need not worry much. 

I can’t express enough just how wound tight “The Invisible Man” is from start to finish. This is a pressure cooker of a thriller where your body is constantly clinched as you are made to feel as if you know where this hidden assailant is at all times, just waiting for the moment when something extreme is going to happen. Sure, it’s got its share of jump scares, but most are effective and play very well with an excited audience, as does the action choreography, a continuation of the great work Whannell did in 2018’s “Upgrade”. Fight sequences with The Invisible Man are especially wonderfully crafted and very memorable.

“The Invisible Man” puts a new spin on a classic horror property with a sci-fi twist, plenty of surprises, and an all-too-real story from the perspective of someone who is tormented by her long-time domestic abuser. It is not always easy to watch, and trigger warnings definitely apply, but for those who can stomach the painful brilliance of Moss’ exceptional traumatic performance, catharsis and a genuinely unnerving but entertaining experience is to be had. Universal has finally figured out what a new line of monster movies can look like, with truly evil and unredeemable villainous fiends and social metaphors delivering a contemporary vision all their own. Let’s hope this is the start of a great franchise and not just a splendid flash in the pan.

Rating:


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.

A Criterion Adventure (2019)


SETTING THE STAGE


For film enthusiasts everywhere, especially those, myself included, who live for the underappreciated masters and the nooks and crannies of cinema history, November 29, 2018 was a dark day, the day FilmStruck died. FilmStruck had been the all-too-short-lived streaming home for the revered Criterion Collection and their streaming partners, notably Janus Films. FilmStruck had also recently partnered with Turner Classic Movies (TCM) to provide access to an abundance of classic American cinema. Altogether, in addition to offering a large selection of films released on the Criterion label, the service had also provided its subscriber base with a wealth of ever-shifting selections, both foreign and domestic, from across the many decades of film history.

FilmStruck ad post-TCM partnership

After having experienced the Criterion Collection in past years as merely happenstance as I explored various acclaimed films that happened to be on their discs, 2018 marked a shift of intentionality as I purposely began seeking out films associated with the label, especially once I finally made the decision to dive into FilmStruck. Fortunately, I’m a huge proponent of physical media, especially Blu-ray, and so that already represented the majority of my watching, but I quickly discovered many titles on the channel didn’t have Blu-ray releases. Nevertheless, come January 1, the start of my 2019 adventure with the label, discs were now pretty much my only source when it came to anything Criterion-related. That’s not to say I didn’t stop making astonishing, thrilling, and awe-inspiring discoveries on disc. In fact, the majority of my top 10 Criterion-related discoveries in 2019 were from discs in the Collection. But there’s a lot to be said for the convenience and depth of streaming.

Fortunately, the darkness and despair was short lived, as soon after FlimStruck closed, it came to light that Criterion itself would be providing a streaming service. Finally, after much anticipation, on April 8, the Criterion Channel launched, and I began to discover just how deep the rabbit hole would go. The channel’s extensive partnerships would enable them to provide an even more diverse array of films than FilmStruck had. Right off the bat, I experienced one of the new channel’s most ingenious means of helping its viewers to discover films we may never have otherwise seen. Curated collections. 

columbia noir
Criterion Channel home page on launch day

Day one, the first major collection was right there on top of the screen, Columbia Noir. If this was the launching point, a whole group of compelling Columbia Studios films, the vast majority of which had no Criterion ownership, along with a whole host of other films, in and out of the Collection, I knew I was in good hands.  So now, with a full arsenal of available Criterion Collection Blu-ray releases and Criterion Channel possibilities I was ready to dive into all sorts of new territory. By the end of 2019, I had experienced 134 of them for the very first time with representation from every decade from the 1920s through the 2010s. 

Here’s the full list of Criterion-related titles I watched in chronological order by release date.

 


CRITERION COLLECTIONS


I wish I could tell you about all the great films I watched throughout 2019, but instead I’ll have to stick to the highlights. Without going into detail, I am particularly happy with 3 box sets I began and will finish in 2020, not a bad film in the bunch and two genuine masterpieces–The Umbrellas of Cherbourg and Playtime. Those sets features the talents of filmmakers Jacques Demy, Jacques Tati, and the collaborations of Marlene Dietrich and her frequent director Josef Von Sternberg. Along the same lines, many of my channel experiences came via the aforementioned curated collections, which focus on either a specific filmmaker, actor, creative theme or a combination of those. The one and only collection I completed beginning to end, though not for lack of trying, was Pre-Code Barbara Stanwyck, in which she played a wide variety of characters, from a long-suffering mother to promiscuous lover to faith healer to a mail order bride fighting for the love of her husband. That last character is found in The Purchase Price, one of the least appreciated films in the collection that was in fact my favorite of the group. 

Rosalind Russell & John Boles in Craig’s Wife (1936), dir. Dorothy Arzner

There was plenty I enjoyed from the other collections I partook from, whether I saw many as in the launch day Columbia Noir collection or merely a couple as in the Fred and Ginger grouping that featured who else but Fred Astaire and Ginger Rogers, a pair that can’t help but put a smile on your face with their chemistry, dancing talent, and synchronicity. The noir set gave me the opportunity to finally discover Fritz Lang’s genre masterpiece The Big Heat as well as his also outstanding, though underrated Human Desire. I was additionally grateful for the opportunity to explore the contributions of women in early cinema through a trio of Dorothy Arzner films, one of the pioneering women directors, headlined by Craig’s Wife, as well as a pair of George Cukor films that put a spotlight on his complex, unforgettable heroines. Both The Women, which features the unique casting of 130 female speaking parts and not one male on camera, and A Woman’s Face made for rich and heartfelt viewing.

My other big push came at the very end of the year as I simultaneously gobbled down soon-to-be-expired entries from the Val Lewton and MGM Musicals collections wherein I found some fun, some thrills, and three new favorites, from an ultra dark classic horror mystery featuring Satan worshipers and suicide, to emotional romantic drama in musical form provided by the likes of Judy Garland and Gene Kelly, to a film of pure joy, silliness, and dreams of romance with the sunny Debbie Reynolds being pursued by the awkwardly charming Donald O’Connor. Those films are The 7th Victim, For Me and My Gal, and I Love Melvin, in that order.

Yasujirō Ozu

About mid-year, after having seeing there were a massive number of Yasujirō Ozu films on the channel, a master director I had discovered the previous year and whose work intrigued me, I was inspired to try something truly ambitious, my biggest film-watching project to date. I would begin a chronological deep dive through every Ozu film I could access. By year’s end, I had journeyed through his first 10 films, though a couple only exist in part. It’s been an immensely rewarding experience watching them in order to see the growth of his film-making skills, the types of stories he tells, and to see his style progress over time. In the few short years these first films have covered, I’ve been able to pick up on subtle shifts in direction such as his heavily Hollywood influenced beginnings to him starting to develop his own distinct style. My favorite of these early years, Tokyo Chorus, is a deeply emotional family drama where a man loses his job trying to stand up for a coworker, which throws his family into hardship. Those who look ahead know emotional family drama would become a mainstay in Ozu’s work.

 


TOP 10 CRITERION DISCOVERIES


Now we come to the main event, the best of the best, where I highlight my top 10 Criterion-related discoveries of 2019, plus an honorable mention. These were the films that grabbed the whole of my heart, mind, and spirit, showcasing complete package film making, from script to cinematography to acting to direction to music.

Note, these titles were extracted from my overall list of my top 20 first-time watches during 2019.


Honorable Mention:
La Jetée

Year: 1962
Director: Chris Marker
Genre: Short, Drama, Romance
Cast: Jean Négroni, Hélène Chatelain, Davos Hanich, Jacques Ledoux, André Heinrich, Jacques Branchu, Pierre Joffroy, Étienne Becker, Philbert von Lifchitz, Ligia Branice

A 28-minute genius work of art. The time travel plot, as mind bending as it is, is simply window dressing to the meditation on love, memory, and the attempt to attain the unattainable or regain what is forever lost that lies beneath. Rarely has so much been accomplished with so little. Through [almost] nothing but a set of still pictures and narration, Marker sets our imaginations alight, and we ourselves become captivated with this entrancing woman once frozen in a snapshot of memory.

Upon the prisoner’s re-entering the past, the juxtaposition of music and image creates a transportive experience that makes you want nothing but to rest in those peacetime moments indefinitely all the while knowing the apocalypse is just around the corner. Likewise when the time-traveling prisoner and the woman he was seeking are together. There is so much life in the still images that you can almost sense them moving but in the way that life moves when you’re sitting quietly with someone you adore simply adoring their presence, and time just fades away. And then comes a look. Just briefly, but one that you will never forget. But these moments are fleeting, and time in fact does go on and that moment is forever gone.

 


#10 – Arsenic and Old Lace

Year: 1944
Director: Frank Capra
Genre: Comedy, Crime, Thriller
Cast: Cary Grant, Priscilla Lane, Raymond Massey, Jack Carson, Edward Everett Horton Peter Lorre, James Gleason, Josephine Hull, Jean Adair, John Alexander, Grant Mitchell

Who knew a movie featuring serial killer sisters that’s directed by the guy who made such moving slices of melodrama like It’s A Wonderful Life and Mr. Smith Goes To Washington could be so freaking funny? Cary Grant kills it as the just-married and utterly flummoxed Mortimer Brewster who is simply trying to get ready for his honeymoon at his family home when he stumbles across a corpse upon which his aunts happily reveal to him that they’ve been killing lonely bachelors as a service to them. As if this wasn’t wild enough, Mortimer’s brother Teddy thinks he’s Teddy Roosevelt, and his other brother, Jonathan is himself a murderer on the run with his own dark intentions. But murder turns to farce as the comedy of errors and miscommunication pile up. The plot is beautifully orchestrated, but the sheer incredulity alone that Grant hilariously shows at the ever increasing madness around him is alone worth the price of admission.

 


#9 – Solaris

Year: 1972
Director: Andrei Tarkovsky
Genre: Drama, Mystery, Sci-fi
Cast: Donatas Banionis, Natalya Bondarchuk, Jüri Järvet, Anatoliy Solonitsyn, Nikolay Grinko, Vladislav Dvorzhetsky, Georgiy Teykh, Sos Sargsyan, Olga Barnet

Even more than the main character Kelvin (Donatas Banionis) and despite her not showing up for some time, Solaris thrives on Natalya Bondarchuk’s magnetic portrayal of Hari, Kelvin’s long-dead wife who has suddenly appeared again… and again… and again. Kelvin himself represents a relatable everyman, and it is through him we are transported from what remained of his life and relationships on Earth into a surreal, contemplative, and ever more disturbing experience on a nearly empty space station in growing disarray. The station is hovering over an alien ocean world full of fog and mystery. Through Kelvin, our attention is ever drawn to Hari, and it is the intimacy her present manifestation shares with him, an intimacy defined by their past relationship, through which Tarkovsky provides the core of his exploration into what it means to be human.

Clearly, human individuals are unique in a way that other creatures are not, a distinct nature that even a carbon copy cannot emulate, try as they might. Another side of our humanity is our attachment to one another, none more so than in that unifying relationship of marriage, where two become one flesh. The longing that comes from the loss of that relationship can be so intense that perhaps one would consider a carbon copy substitute, even knowing it’s not the same person?

 


#8 – The Life and Death of Colonel Blimp

Year: 1943
Director: Michael Powell, Emeric Pressburger
Genre: Drama, Romance, War
Cast: Roger Livesey, Deborah Kerr, Adolf Wohlbrück, Roland Culver, James McKechnie, Arthur Wontner, David Hutcheson, Ursula Jeans, John Laurie, Harry Welchman, Robert Harris

An epic rivaling the indomitable Lawrence of Arabia that gives flesh and meaning to what had seemed a mere caricature of a man. The viewer is faced with such human complexity in this study of the fictitious General Clive Candy (Roger Livesey) that he is himself forced to contemplate the whole of his own past, how it has affected his present, and what the impact will be on his future and the future of those who will come after him.

The depth and weight Powell and Pressburger were able to instill into the film is even more profound when one considers it having been made in wartime, when the fate of the world was yet unknown. They also demonstrate an attempt to understand the nature of that present war and how it came to be that all of Britain (and the world) was fighting for its very existence against the disastrous threat of Nazism. The acting is chock full of so many delightful subtleties and the dialogue is incredibly well written, detailed with emotion and color and memory. I also must give special attention to Deborah Kerr’s extraordinary multi-role performance, no doubt helped by the costuming and makeup talent.

 


#7 – The Umbrellas of Cherbourg

Year: 1964
Director: Jacques Demy
Genre: Drama, Musical, Romance
Cast: Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Mireille Perrey, Marc Michel, Ellen Farner, Jean Champion, Pierre Caden, Jean-Pierre Dorat, Bernard Fradet, Michel Benoist

Jacques Demy is a master manipulator of the heartstrings and intimately familiar with the intense passions and longing that come with young love. The Umbrellas of Cherbourg left me with bittersweet tears and a tight ball of conflicted emotions as sadness and joy fought against one another within my soul. But it’s not only emotions Demy demonstrates artistry over. The frame throughout explodes with bright, bold colors and he collaborates with composer Michel Legrand to provide a soul-stirring musical score with powerful songs. Though this is no Hollywood musical as every word of dialogue is sung, often in a subdued, melancholy manner due to the ever-present conflict even amidst joy, which plays in subtle ways against the colorful backdrops.

While Catherine Deneuve’s character Geneviève takes center stage through much of the film, every romantic relationship and desire, whether given short or significant attention, is fueled with earnest intention and truthfulness. There is absolutely nothing casual about any of the romance. But speaking of Deneuve, the pained longing and desperation expressed in her face and eyes broke me. Through her and Guy’s (Nino Castelnuovo) forced separation, we are made to feel the misery of the not knowing and the consequences of the impossible choices that life and our own actions force us to make when we’re desperate not to have to make them.

 


#6 – Wild Strawberries

Year: 1957
Director: Ingmar Bergman
Genre: Drama, Romance
Cast: Victor Sjöström, Bibi Andersson, Ingrid Thulin, Gunnar Björnstrand, Jullan Kindahl, Gunnar Sjöberg, Max von Sydow, Åke Fridell, Ann-Marie Wiman, Gunnel Broström

A deeply introspective tone makes Ingmar Bergman’s Wild Strawberries immensely relatable, despite the often surreal quality of the film and the vast age difference between 78-year old doctor and widower Isak Borg and the average viewer, especially when we discover he and his much younger estranged son Evald suffer from a similar darkness of the soul that has brought each to their own crisis point. Victor Sjöström plays Isak with such sensitivity that he makes us care about his inner turmoil all the while he’s showing himself to have become an insensitive and grumpy old man to those he should be closest to.

The film opens with a surreal nightmare, which sets Isak face to face with the immediacy of his mortality with vivid symbolism. This begins a literal and figurative journey, the former a shared road trip with his pregnant daughter-in-law battling her own demons and with those they pick up along the way, including a girl named Sara, played by Bibi Andersson, who reminds him of the Sara he thought he would marry as a young man (also played by Bibi Andersson). These encounters on his literal journey propel Isak into a deep inner journey of sentiment, regret, and hope that serves to change how he sees himself and the world around him.

 


#5 – The Big Heat

Year: 1953
Director: Fritz Lang
Genre: Crime, Film-Noir, Thriller
Cast: Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby, Lee Marvin, Jeanette Nolan, Peter Whitney, Willis Bouchey, Robert Burton, Adam Williams, Carolyn Jones

Never has so much tension been wrought out of a boiling pot of coffee and rarely does a final line land with such foreboding potency. WIth a screenplay written by actual former crime reporter Sydney Boehm, Fritz Lang’s The Big Heat unleashed upon the world one of the most brutal film noirs of the classic era. With no holds barred, Lang unhesitatingly reveals the world as a place that feels cold, hopeless, vicious, and full of infidelity. It’s a world populated by the mafia, dirty cops, and promiscuous women, and by making it clear that no one is safe, good or bad alike or anywhere in between, Lang establishes an environment loaded with tension, both for physical danger as well as moral compromise.

Glenn Ford is ideally cast as the good guy homicide detective Sergeant Bannion who starts out a positive well-intentioned family man but soon finds himself caught up in mob brutality while trying to solve a case. In his anger and frustration, the cracks in his good-guy persona quickly develop and he starts to look and more like the criminals he’s pursuing. Gloria Grahame is also outstanding as Debby Marsh, girlfriend to Vince Stone, second-in-command to the local mob boss. Despite the company she keeps, she demonstrates an awareness and intelligence and an appreciation of moral uprightness in Bannion when he stands up to a nightclub singer who Vince abuses. It seems to be the spark she needs to seek a way out of the only lifestyle she’s known. So while one character is on the descent, the other is rising up.

 


#4 – The Elephant Man

Year: 1980
Director: David Lynch
Genre: Biography, Drama
Cast: Anthony Hopkins, John Hurt, Anne Bancroft, John Gielgud, Wendy Hiller, Freddie Jones, Michael Elphick, Hannah Gordon, Helen Ryan, John Standing, Dexter Fletcher

Carrying on the torch of early 20th century filmmakers like Tod Browning (Freaks) who want to inspire us to care for those society has rejected and abused, David Lynch’s The Elephant Man eschews the distortion of surrealism for the distortion of humanity and a trumpets a desperate call for empathy and kindness. Lynch’s most important choice is to unmask John Merrick (the eponymous character’s real name) early on. The more he shows us John’s (John Hurt) intelligence, faith, ability to create and appreciate beauty, and his longing for human connection, the more monstrous those who would be cruel and take advantage of him appear. By the point he’s crying out that he’s a human being, not an animal, he’s the only one present who isn’t acting like one.

Hurt’s performance is one for the ages, both in physically presenting himself as this horribly disfigured man as well as from the soul that pours out of his eyes. Anthony Hopkins is likewise terrific as Dr. Treves. We sense his deep compassion for John and yet he’s hardly perfect as he comes to realize about himself. Despite his good intentions, he realizes he and his hospital staff are treating John with the same lack of humanity as John had endured in the circus. I loved seeing the pure care and affection that Mrs. Kendal (Anne Bancroft) had for John. She is wholly unaffected by his outward appearance, seeing straight into the soulful kindness and goodness of the man’s heart. And she’s proud to show him honor in public as well. What an inspiration!

 


#3 – Autumn Sonata

Year: 1978
Director: Ingmar Bergman
Genre: Drama, Music
Cast: Ingrid Bergman, Liv Ullmann, Lena Nyman, Halvar Björk, Marianne Aminoff, Arne Bang-Hansen, Gunnar Björnstrand, Erland Josephson, Linn Ullmann

After several previous attempts to fully appreciate the morally, philosophically, and artistically dense films of Ingmar Bergman, this one was the key to finally unlocking my ability to love one of them. I adore movies that make me feel, and let’s just say that if you ever wanted to know what the emotional equivalent of going 12 rounds with a prize fighter would be, my suggestion would be to watch the pulse-pounding bout herein between Bergman regular, Liv Ullmann and the incomparable Ingrid Bergman, who play a daughter and her estranged mother respectively. That daughter, named Eva, is the troubled wife of the village pastor, and her mother Charlotte is a highly accomplished and well-traveled pianist. Both have to face the disappointment and frustration that has come with choices that were long ago made, especially those due to Charlotte’s career pursuits.

If we’re honest, emotional baggage is always going to be a factor between mothers and their daughters. Ingmar takes advantage of this reality by heaping insult onto injury and creating deeply complex individuals whose fully fleshed out characters and rich histories bear scars that run incredibly deep. Reconciliation is the unstated desire, but as long-held secrets, selfish desires, and bottled up trauma are dredged up even the possibility of achieving that reconciliation is going to unleash all kinds of misery, frustration, rage, and despair. For 90 minutes, Ingrid and Liv are this mother daughter pair. With exacting performances that never once cross the line into overacting, they are taken to the limit as emotion pours out of each of them in a mesmerizing, soul-crushing plea for understanding and appreciation. By the end, the viewer feels as exhausted as the couple on the screen.

 


#2 – Barry Lyndon

Year: 1975
Director: Stanley Kubrick
Genre: Adventure, Drama, History
Cast: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Krüger, Diana Körner, Gay Hamilton, Frank Middlemass, Arthur O’Sullivan, Godfrey Quigley, Leonard Rossiter, Philip Stone

It amazes me how Kubrick could seemingly take any genre and make a masterpiece out of it. This is his take on a 1700s period film. The sumptuous beauty of the cinematography presents an experience akin to a relaxing stroll through a gallery of richly detailed paintings, complete with narration and a gorgeous classical music compositions, except in the rare moment when the calm is unceremoniously broken and even the camera is set loose in the ensuing chaos. In contrast to the beauty of the camerawork is the only sometimes sympathetic man at its center, Redmond Barry, played to subtle perfection by Ryan O’Neal.

Barry is repeatedly given opportunities to put his past bad choices behind him and start anew, often in even better shape than he was before, but he keeps failing to overcome the lusts that drive him leading him to spurn those opportunities. He finds pleasures for a time, but those pleasures, those choices to act evilly towards not only strangers but eventually even his own wife and stepchild come at a severe cost. The defining duel of the film is masterfully filmed with immaculate detail and taking what had been a mostly relaxing viewing up to that point and ever so slowly infusing ounce upon ounce of suspense, creating intense discomfort for the characters on screen and the viewer alike.

 


And my #1 favorite Criterion discovery of 2019 is…

 

Bicycle Thieves

Year: 1948
Director: Vittorio De Sica
Genre: Drama
Cast: Lamberto Maggiorani, Enzo Staiola, Lianella Carell, Gino Saltamerenda, Vittorio Antonucci, Giulio Chiari, Elena Altieri, Carlo Jachino, Michele Sakara, Fausto Guerzoni

Such a simple premise–a man’s search for his stolen bicycle through the streets of post World War II Rome, an ancient, endlessly fascinating city of contrasts. Shot on location (no sets) with only untrained actors (though you’d never know it), this prime example of Italian neorealist cinema blurs the line between fly-on-the-wall documentary and fictional narrative. Director Vittorio De Sica demonstrates how such an event that would seem a mere inconvenience to many feels like a life and death predicament to the impoverished Antonio Ricci and his family. Through Antonio’s desperate urgency, he being played by the remarkable Lamberto Maggiorani, a factory worker by trade, we understand that failure is not an option. He must recover his bike, or he won’t be able to work, and his family will starve. Along for the search comes his son Bruno played by Enzo Staiola, equally photogenic and adept at showing a range of emotion as he watches his father’s growing desperation.

De Sica expertly fuels our empathy for the Riccis right away as the film opens with a bit of tragic irony. Antonio, desperate for work is informed there’s a job available for him. The catch, he must have a bicycle. The irony is he had one and had to pawn it to put food on the table. His wife Maria (Lianella Carell) takes charge and decides they can live without their bedsheets and pawns them–because there’s nothing else of significance left to pawn–to get Antonio his bicycle back. With such a precious possession back in hand, we are in suspense every moment the bicycle is not under Antonio’s watchful eye. Later, at times as the needle-in-a-haystack search continues, we are further enlightened to Antonio’s miserable condition as he is surrounded by hordes of bicycles, the very thing he needs, but not one is his. We also see how Antonio’s desperate condition and the decisions it leads him to make affect young Bruno.


Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: Gretel & Hansel

Rating: PG-13 / Running Time: 1 hour and 27 minutes

Hansel and Gretel, a brother and sister, have been kicked out of their childhood home due to the lack of food and resources available. On their trek to find a permanent place of residence, they start to feel the pangs of hunger and hope starts to feel like a figment of the past. Out of nowhere, they find a house rich with edible treats, beds to lay their weary heads, and protection from the dark forces looking for any easy morsel of blood. An old woman, the owner of the house, would love nothing more than to have a couple of extra hands to help with chopping wood and doing the chores necessary for the upkeep of her residence. Over time, the sister starts to receive visions and nightmares of something sinister that she can’t shake; she fears that she and her brother have stumbled onto an evil force. The old woman, as per legend, is a conductor of dark sorcery who has been luring kids in order to have them as a main dinner course. It becomes a matter of life and death for these two children to defeat this evil force once and for all in order to stop her reign of terror.

“Gretel & Hansel” has style eeking out of every bit of its frightful atmosphere based on the well-known Brothers Grimm folk tale. In the early days of 2020, this art-house horror flick sets itself apart from the pack with piercing cinematography and minimalist but magnificent set design. Cinematographer Galo Olivares uses natural light to expose the fantastic beauty of shrouded woods and the interiors of German-inspired architecture, as well as a stunning use of differential focus to place the emphasis on characters in accordance to the scary world they are traversing. When the film goes really dark, the staging of silhouettes in the frame of wide angles is a creepy sight to watch. The color palette is not wide-ranging, using only three main colors (blue, red, and brown) but it feels accurate and authentic to the period setting of medieval folk tales. Director Oz Perkins follows the journey of two starving kids who end up befalling to the dark sorcery of a witch with stylish use of handheld, medium close-ups and using a 1.55:1 aspect ratio to call back to some of the earlier days of historical horror cinema. “Gretel & Hansel” has the aesthetics of an A24 horror film with a strong emphasis of style over substance.

Unless you are a big fan of the original tale, this film is a hard sell, offering nothing new when it comes down to the mechanics of the story. Problems exist like snail-like pacing and hard to comprehend use of Medieval Germanic language. The horrific moments are not jump-out-of-the-seat worthy and the fear factor becomes lessened by the end. Even with some elements reworked and changed from the source material, the general progression is very easy to follow; at the end of the day, what good is a story if it doesn’t give any compelling or memorable pieces that will stick in the membrane? The literary experience is much more superior while the film could have found better footing as a TV series or a short film. Technical design is the only calling card this film can tout as a major strength.

“Gretel & Hansel” stands head over heels versus other horror films in the month of January, but that isn’t saying much. If you want to be wowed by great technical design, illustrious cinematography, a futuristic inspired score, and some stand out shots, this will fulfill your cinematic sensibilities. If story and pacing are what you cherish, then save your money and wait for the Redbox rental. Most viewers are ultimately much better off just reading the book.


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.

Episode 213: Parasite

For our January Donor Pick, the Patrons chose Bong Joon-Ho’s international sensation for us to discuss. There’s no doubt that this film has taken the world by storm, and for very good reason, as it is a masterclass in filmmaking with layers upon layers to peel back all while enjoying and entertaining domestic thriller. We chat about the biggest takeaways we had from the film, though we likely don’t cover everything possible as this one will be mined for new details for years to come.

Parasite Review – 0:01:06

The Connecting Point – 1:06:37

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MOVIE REVIEW: A Fall from Grace

“A Fall from Grace” could be a descriptor for Tyler Perry’s career at the current moment. This particular film is a drama centered on a young unproven public defender who is trying to defend the innocence of a woman who admits to killing her husband in a fit of rage until she realizes that there is more to this jilted tale than just the actions of a scorned, heartbroken wife. Twists and surprises abound in an insidious manner, coming out of left field leaving the viewer confused and underwhelmed. The storytelling experience is nothing more than constant narration that points out events and moments, giving no room for the viewer to interpret anything for themselves. Perry is reliant on many flashbacks and chooses to use a jailhouse interview between the public defender and her client in order to flesh out the meat of the film, which speaks to the issues that are present in the screenplay. Tyler Perry needs to invest in a team of advisors to review and undo the bad habits he has developed in the writing room. It has become maddening and insanely frustrating to sit through narratives with no interesting characters and cheap soap opera drama. This film and others like it are only considered “drama” based on the genre but have no real dramatic weight that you expect. You could call “A Fall From Grace” a masterclass in inconsistent tonal structure and a lack of redeemable qualities. Perry also suffers from directional ineptitude, evident in his played out stories that do nothing but reuse the same conventional tropes his fans continue to eat up. Passion is lacking, especially in the laughable and cheap production design that had environments reeking of Dollar Tree inspiration. A moment does not exist in this film where the viewer actually believes they are living in a breathing and stimulating environment; it consists of thrown together moments of melodrama complete with a redundant reality television inspired musical score. There is no figment of entertainment value that shows itself to be apparent or earned. “A Fall From Grace” is the equivalent of a life sucking drain that wastes every minute of its existence.


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: Bad Boys For Life

Rating: R / Runtime: 2 hours and 3 minutes

An action film shouldn’t be compelled to live up to the heights of a “Die Hard” or the efficiency and marksmanship of a “John Wick” to be considered a blast at the cineplex. If an action film can deliver side-splitting humor, unbreakable chemistry between two characters, and flair that oozes its way into finely staged action set pieces, then you have a winning combination.  “Bad Boys” has been the standard of which buddy cop films have tried to emulate and walk in the same quality footsteps for the last 25 years. The new, and possibly final, entry in the trilogy carries on the same favorable hallmarks that will have longtime fans of the series sitting on cloud nine while also ingratiating newcomers who love stylish and intense blockbusters. Will and Martin remain the best one-two punch working in cinema hands down, and they enjoyed a deserved send off fit for living legends.

Mike Lowrey (Will Smith) and Marcus Burnett (Marcus Lawrence) are still ripping the beautiful and glossy streets of Miami even with Father Time having paid them a visit. Just when things seem set for these guys to ease their way into a life after law enforcement, Mike ends up on the wrong end of an almost successful assassination attempt that has him rethinking his legendary status within Miami PD as “Bulletproof Mike”; it gives him a sense of mortality that he hasn’t gotten a drastic taste of until now. Mike wants to forge on the scorched earth path of tracking down his shooter while Marcus wants to move on from the chaos of law enforcement and settle into being a newly minted grandpa who loves watching reality television. Eventually, the two best friends realize they will need each other more than ever if they want to take down this new vicious threat who has a bit of history with Mike and is looking for bloodthirsty vengeance.

Screenwriters Chris Bremner, Peter Craig, and Joe Carnahan display ambition in crafting a story that pays homage to the Bad Boys brand while also taking some new avenues in adding deep stakes to the festivities. The humor is at a high level, dividing its time between callbacks that die-hard fans will enjoy and the gold standard of back and forth banter that Will and Martin have down to a delicate science. There are serious moments centered on the passage of time, family, mortality, death, and the old adage of “every sin has a consequence”. One area of the story adds a new layer to the character of Mike Lowery and his hidden past that made him into what he is; no spoilers here, but the added dimension represents an emotional core that audiences will appreciate outside of the usual action film hijinks. We have the old guard of characters that will be familiar and a new set that adds something modern to keep the film from just being a retread of past ideas. Newcomers such as Vanessa Hudgens, Paola Núñez, Alexander Ludwig, and others do a serviceable job being more than just window dressing in the presence of Will and Martin. They aren’t fully developed but don’t become annoying either with their time on the screen. Kate del Castillo and Jacob Scipio carve out a place as brutal and intimidating antagonists who carry a clear purpose, and some might say justifiable reason, to carry out the mayhem and suffering they want to inflict on our main characters.

I will admit in my deepest thoughts of nostalgia that I did miss Michael Bay’s high-octane overindulgent action set pieces and the massive number of explosions out of nowhere this time around, but I have no problem with the restrained efforts from the directing duo of Adil El Arbi and Bilall Fallah. The action jumps off the screen with a certain bounce that is admirable in its use of careful quick edits and some one-take shots that are very well done. If there is any word that can describe the tone of the camera movement, it has flashy written all over it. Direct jump cuts, immediate whip pans, and handheld work will keep the viewer on the edge, creating an intensity akin to a volcano ready to explode. Hand to hand combat is strong and features some striking stunt choreography, although unfortunately, it is very easy to tell when the stuntmen are on screen apart from the actors.

If this is the end for the saga of “Bad Boys”, then it has a glorious and satisfying sendoff. This film is not an Oscar contender or even one that will stand the test of time to be known as a guilty pleasure, but it doesn’t have to be in order to show people a fun time. Will and Martin have the special kind of hard to find chemistry that is enough to compel anyone to buy a ticket, and it upholds the prestige set by its predecessors in the buddy cop genre. “We ride together, we die together, Bad Boys for life.”


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: Underwater

Underwater, no one can hear you scream!
(unless of course they have a mic in their dive suit helmet and you do too, and then you can definitely hear them scream but I digress)

 

It’s easier to just get the comparisons out of the way right off the bat. The hot take will be that “Underwater” is “Alien” at the bottom of the ocean. And, of course, there’s some truth to that, or people wouldn’t be saying it. Sure, “Underwater” follows a female primary protagonist, who is part of a crew trying to stay alive amidst the presence of mythical deadly creatures, but much of the film plays out a lot more straightforward than you might expect, instead resembling a traditional natural disaster escape movie.

Narratively, “Underwater” isn’t too deep (heh), and that’s perfectly alright. Director William Eubank makes a great choice utilizing the credits sequence to provide background information that normally would be delivered via boring, pace-slowing exposition. Instead, a collection of newspaper articles, scientific papers, and memos flashing behind the credits tell us that our setting is a drill site in the Mariana Trench, where the deepest drilling in history is taking place, and that reports of mysterious shadowy creatures have been made. Once inside Kepler Station, we meet Norah (Kristen Stewart), reflecting on the isolation and timelessness of life in the deep while brushing her teeth. Within minutes, though, a breach of the station hull occurs due to an earthquake and what follows is a 90-minute rush to rescue, survive, and escape. Along the way, Norah, a mechanical engineer, teams up with fellow survivors. They include a wise-cracking, Alice in Wonderland obsessed goof played by T.J. Miller (who surprisingly has a few jokes actually land), their calm and collected Captain (Vincent Cassell) of the station, and a few others. The Captain proposes a dangerous plan where they will don their deep-sea suits, descend, and then traverse the nearly 7-mile deep ocean floor to reach another station that still has working escape pods. They all know it’s insane, but they have no choice. What follows is a suspenseful group effort to stay alive; some do, some don’t. At times it definitely gets ridiculous and some of the more chaotic action is nearly incoherent in the dark watery setting, but mostly it’s a hell of a lot of fun, with the dialogue kept at a minimum and the propulsive intensity dialed up high throughout. Stewart is a capable lead and her considerable talent is on display, even when not really necessary. She carries an emotional weight for the crew that elevated the film for me, and she is also a part of the film’s most memorable monster moment.

The concept of “Underwater” certainly could have been presented in a longer, smarter, and more dramatically heavy film – one that isn’t so predictable, doesn’t play fast and loose with science, and gives a more thorough explanation about the creatures encountered. But that’s not this movie, and as I said in the beginning, that’s okay. What “Underwater” does is deliver a fast-paced, claustrophobic, action-thriller (backed by an excellent Marco Beltrami/Brandon Roberts score) that works perfectly fine without sea monster aliens even introduced, but that takes joy in leaning into its creature feature third act. It’s wild and at times silly, but I had a great time watching it and would gladly sit through it again when it releases on home video. Not every movie needs to have depth (heh again) to be entertaining, even if its title makes you think otherwise.

Rating:


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.

Episode 208: Die Hard

For December’s Donor Pick episode we tackle a Christmas classic and discuss what makes this action spectacular tower above the competition.

Die Hard Review – 0:00:57

The Connecting Point – 0:57:19

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