Thriller Archives - Page 23 of 68

MHHFF ’13: Big Bad Wolves

October 10, 20132013, Authors: Walter Chaw, Comedy, Crime, Film Festivals, Israel, Thriller

***/****
starring Tzahi Grad, Llor Ashkenazi, Rotem Keinan, Dov Glickman
written and directed by Aharon Keshales and Navot Papushado

by Walter Chaw A winning, stylish mixture of black humour, perversion, and character study, Aharon Keshales and Navot Papushado’s Big Bad Wolves presents a popular moral quandary in a way that would make Park Chan-wook proud. Indeed, it would fit comfortably in a conversation with that director’s “Vengeance Trilogy” as a companion piece in theme, even execution, to Sympathy for Lady Vengeance that finds a father and a rogue police officer brutally torturing an unassuming schoolteacher because they both suspect he’s responsible for the death of a little girl. With the question of guilt beside the point, the real thrust of the piece is the toll that some actions take on the soul, no matter why they’re undertaken. Crucially, it’s not a product of the United States or South Korea, two cultures married to a specific kind of morally relativistic nightmare that have produced films like this for years, but of an Israeli movie industry that marks this as only their second “horror” release. (The first, incidentally, was a product of this same writing-directing team: 2010’s Kalavet.) For an Israeli thriller to tackle the issue of the zero-sum game of rendition and torture without due process feels dangerous–particularly with the ancillary character of an Arab man on horseback who is wry, handsome, and utterly normal, nay, the only normal one in the entire film.

MHHFF ’13: We Are What We Are (2013)

October 8, 20132013, Authors: Walter Chaw, Drama, Film Festivals, Horror, Thriller

***½/****
starring Bill Sage, Ambyr Childers, Julia Garner, Michael Parks
screenplay by Nick Damici and Jim Mickle
directed by Jim Mickle

by Walter Chaw SPOILER WARNING IN EFFECT. It begins with a leaf falling into a river and a woman, confused and trembling, declaring to a shop owner that she’s fine but that the damp will sometimes get into her head. Jim Mickle’s smart, downcast We Are What We Are looks to Nature as not just insensate, savage, but also the first testament to a greater power. It locates the source of religion in the need to control Nature, more specifically to find meaning in the capricious-seeming meaninglessness of the universe. It implicates the ugliest, most selfish aspect of Nature in the founding of the United States, mining resonance in the idea of “Manifest Destiny”–in the process giving women a starring role: positions of real power in which they’re depended upon for their strength rather than exploited for some idea of their weakness. We Are What We Are enacts a matriarchal melodrama in that way; connecting the feminine aspect to Nature is nothing new, of course, but the picture does so in a way that feels true and is in its own way touching. It opens with a quote that seems Biblical (later, one of the characters will ask another, “Is that from the Bible?”–it’s not then, either), which serves the multifoliate purposes of establishing the mood of the piece, clarifying that religion is born in the breast of man, and establishing a woman as the artifactor of the Word. The woman with the damp in her head, a mother, falls into water and drowns–the first of several images of baptism in the picture, and one that predicts the flood imagery running throughout. Water suggests change, unearths things, washes them clean. It’s all heavy stuff, I know, yet the thrill of We Are What We Are is that it’s about all these things without being obviously about any of it.

MHHFF ’13: Cheap Thrills

October 7, 20132013, Authors: Walter Chaw, Comedy, Film Festivals, Horror, Thriller

***½/****
starring Pat Healy, Sara Paxton, Ethan Embry, David Koechner
screenplay by Trent Haaga & David Chirchirillo
directed by E.L. Katz

by Walter Chaw A lean, mean, pleasantly unpleasant little clockwork from first-time director E.L. Katz, Cheap Thrills feels and acts like the best kind of noir–the kind where you don’t like anyone very much. Reuniting Pat Healy and Sara Paxton from The Innkeepers (another movie that disproves the maxim that genre film is in trouble), this is a fairly stunning, if a bit on the nose, parable of our recessionary state, as car mechanic/aspiring writer Craig (Healy) is faced with the eviction of his young family from their tiny apartment and a layoff from his already-not-paying-enough job. Drinking his sorrows away at a bar, he runs into an old buddy, Vince (a fantastic Ethan Embry), and an odd couple, Colin (David Koechner) and Violet (Paxton), celebrating Violet’s birthday. Mysteriously wealthy, it seems that Colin is looking to solve the puzzle of what to get the impossibly pretty younger wife who has everything, and the answer is to stage a series of increasingly sadistic stunts between Craig and Vince for various bounties. $200 for saying something to the meth-addict at the bar to make her slap you; $500 if you hit the strip-club bouncer first. The stakes escalate, tensions rise, and it all ends with probably the single best expression of the current state of manhood in the lower-middle-class United States circa 2013.

Seconds (1966) [The Criterion Collection] – Blu-ray Disc

October 1, 2013****/****, 1960s, 2013, Authors: Walter Chaw, Blu-ray Disc, Directors: John Frankenheimer, Drama, FFC Must-Own, Horror, Sci-Fi, The Criterion Collection, Thriller

****/**** Image A Sound A Extras A+
starring Rock Hudson, John Randolph, Salome Jens, Frances Reid
screenplay by Lewis John Carlino, based on the novel by David Ely
directed by John Frankenheimer

by Walter Chaw SPOILER WARNING IN EFFECT. For the longest time I wanted to write a book about John Frankenheimer, the crux of which would be a closer look at the relationship, if there was one, between the declining quality of his work and the assassination of his buddy Bobby Kennedy. It would be a cultural study, see, this way to tie the death of the Sixties with a director who for me definitively speaks to the rises and valleys of that decade, and who paved the way for the despairing paranoia flicks of the 1970s. In the end, I was defeated by the prospect of dealing with Frankenheimer’s later films–not because they were all as bad as Prophecy (or that any of the others are near as bad as Prophecy, or that anything could be), but because many of them are really, really good in really, really difficult ways to quantify. Closer to the truth of his output post-RFK assassination is not that it’s terrible, but that it’s all Seconds again in some form or another: diaries of personal apocalypses and the constant threat of the dissolution of identity. Besides, I think there might be an entire book in 52 Pick-Up alone.

The Collection (2012) – Blu-ray Disc

September 30, 20132012, 2013, Action, Authors: Walter Chaw, Blu-ray Disc, Horror, Thriller

*/**** Image A+ Sound A Extras C
starring Josh Stewart, Emma Fitzpatrick, Lee Tergesen, Christopher McDonald
screenplay by Patrick Melton & Marcus Dunstan
directed by Marcus Dunstan

by Walter Chaw A cheap, loose remake of Aliens that substitutes rampaging hordes of xenomorphs with a gimp-masked kung-fu master, Marcus Dunstan’s stupid sequel to his stupid The Collector at least, this time around, doesn’t function as a lame, who-cares-if-it’s-intentional echo of Home Alone. No, this one vaguely recalls turn-of-the-century serial ghoul (and hotel owner) H.H. Holmes, who built a giant hotel for the express purpose of culling his guests for, among other things, medical skeletons and simple shits and giggles. Oh, who’m I kidding–the only thing The Collection reminds me of is that I have other things I should probably be doing…oh, and that Steve Beck’s Ghost Ship opens with a bunch of people getting bisected by a runaway cable. The Collection, incidentally, opens with everyone getting chewed up by a combine attached to a runaway cable at a nightclub. This leaves Elena (Emma Fitzpatrick, of interest for the short For Your Consideration, in which she absolutely nails Anne Hathaway’s Les Misérables performance) to be packed into a steamer trunk, because for all the things our bogey The Collector (Randall Archer) is, he’s also a Jazz-era ocean-liner passenger. The Collector promptly spirits her away to his horror hotel, the one he’s set up with boobytraps and galleries of pickled people parts (and tarantulas, of course, in case he needs to set them free to gross out girls and stuff), making it a terrible place to stay but still better than most Motel 6s. BAM! Take that, Motel 6.

TIFF ’13: Enemy

September 16, 20132013, Authors: Angelo Muredda, Canada, Directors: Denis Villeneuve, Film Festivals, Mystery, Thriller, TIFF

***/****
starring Jake Gyllenhaal, Mélanie Laurent, Sarah Gadon, Isabella Rossellini
screenplay by Javier Gullón, based on the novel The Double by José Saramago
directed by Denis Villeneuve

by Angelo Muredda If the interviews floating around online in the wake of his appearance at TIFF are any indication, Denis Villeneuve spent much of his time with press managing expectations about Enemy. Though it’s technically his English-language debut, as well as the first of two collaborations with Jake Gyllenhaal in a year’s time, Enemy isn’t slated to come out until sometime next spring, long after its bigger-budgeted, higher-pedigreed younger sibling, Prisoners. Judging from its deferred release and Villeneuve’s own comments that the film is an experimental project, a one-off to help him transition from the high-toned tragedy of Incendies to more classical Hollywood filmmaking, you’d think it was a dog, but in truth it’s probably the best thing he’s ever made–a modest little psycho-thriller based on José Saramago’s novel The Double, set in a jaundiced Toronto no one would want to hold a festival in.

TIFF ’13: Prisoners

September 9, 20132013, Authors: Angelo Muredda, Crime, Directors: Denis Villeneuve, Drama, Film Festivals, Thriller, TIFF

**½/****
starring starring Hugh Jackman, Jake Gyllenhaal, Viola Davis, Paul Dano
screenplay by Aaron Guzikowski
directed by Denis Villeneuve

by Angelo Muredda Denis Villeneuve comes to America with Prisoners, an alternately strange and gripping but finally self-immolating crime picture that earns the right to its austere silver Warner Bros. logo before it devolves into a Scooby-Doo mystery for sadists. Last seen beckoned to the heavens by a pre-Oscar-anointed Anne Hathaway, Hugh Jackman plunges right back into the shit here as Keller Dover, a suburban dad and mild-mannered carpenter who goes berserk when his daughter and her friend (the child of perennially underused Viola Davis and Terrence Howard) vanish after Thanksgiving dinner. The first suspect is Alex (Paul Dano), a creepy, developmentally delayed young man who roams through the neighbourhood in his RV. Though he’s arrested by crack detective Loki (nicely played by Jake Gyllenhaal, despite his character’s name and distressingly shoddy police work) and released when the investigators find nothing to pin him on, Alex is promptly recaptured by a raging Dover, who turns out to have his own torture venue for this very occasion, complete with room enough for a black box whose construction will put Dover’s woodworking skills to good use.

TIFF ’13: All Cheerleaders Die

September 7, 20132013, Authors: Bill Chambers, Comedy, Film Festivals, Horror, Thriller, TIFF

*½/**** written and directed by Lucky McKee & Chris Sivertson by Bill Chambers I suppose they've both been campy at times, but I think Lucky McKee and Chris Sivertson might be too grim for something like All Cheerleaders Die (or as the closing title card ominously puts it, "All Cheerleaders Die, Part One")--a title that at the least augurs fun schlock tinged with the alarmism of '50s hygiene cinema. After capturing the dubious--but funny--death of the head cheerleader on tape, standoffish Maddy (Caitlin Stasey) remodels herself as a Heather and earns a spot on the squad, much to the dismay…

Riddick (2013)

September 5, 20132013, Action, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

**½/****
starring Vin Diesel, Jordi Mollà, Matt Nable, Katee Sackhoff
written and directed by David Twohy

by Walter Chaw Maybe it was the anticipation, maybe it’s because it’s too much like the first film, Pitch Black, but David Twohy’s Riddick is merely fine for what it is, lacking the kind of loopy, operatic invention of the franchise’s middle course and contenting itself with being a bug hunt in the James Cameron sense of the word instead of exploring more of this universe. Not that there’s necessarily anything wrong with that, but I wanted to love this movie with all my heart, having declared to everyone’s exhaustion that of all the prestige movies prepping down the pike, this was the one I was waiting for. Turns out, the best science-fiction film of the last quarter of this year is Jonathan Glazer’s unbelievably good Under the Skin–not Gravity and, alas, not Riddick, either. To be fair, of the three, Glazer’s is the only one to deal with science-fiction as existentialism rather than as background and circus. More’s the pity, because Chronicles of Riddick, with its elementals and fringe religions, its funky spiritualism and its sense of fairy-tale hyperbole, is one of the genuinely great cult films of the last decade. If not for an ending to Riddick that promises Twohy’s ready for another swing at the plate if another ball is lobbed at him, I wouldn’t be in a very good mood at all.

Telluride ’13: Gravity

September 4, 20132013, Authors: Walter Chaw, Drama, Film Festivals, Sci-Fi, Telluride, Telluride 2013, Thriller

**½/****
starring Sandra Bullock, George Clooney
screenplay by Alfonso Cuarón & Jonás Cuarón
directed by Alfonso Cuarón

by Walter Chaw Alfonso Cuarón’s eagerly-anticipated, already-buzzy follow-up to the tremendous Children of Men is Gravity–a title that doesn’t reference the Ray Bradbury story “Kaleidoscope,” to which the film owes at least a little credit (in addition to the premise and theme, Gravity also lifts the character name “Stone”), or any real meat at the heart of the story. It’s not for lack of trying, as Cuarón and son/co-writer Jonás attempt, after the emotional tissue connecting the protags of Children of Men, to graft another lost-child drama onto a larger science-fiction conceit. What results is probably the most venue-dependant release of a year that includes Pacific Rim–if you can see it in IMAX 3D, you ought to: the biggest screen with the best sound. It’s possibly the first film since Avatar that actually works with the extra dimension, despite having been converted in post-production; at times while screening Gravity at the Werner Herzog Theater in Telluride, I felt a bit vertiginous. It’s an effect that no doubt had everything to do with the dual-projection and the custom-designed sound system by Meyers Sound. I talked to several techs from the company running around before the show, tweaking, testing, making sure that organs physically shifted during the presentation. My favourite story of the festival is how Cuarón, from the auditorium, instructed the booth to turn up the audio to just less than twice the “acceptable” volume.

TIFF ’13: Devil’s Knot

September 3, 20132013, Authors: Angelo Muredda, Canada, Crime, Directors: Atom Egoyan, Drama, Film Festivals, Thriller, TIFF

**/****
directed by Atom Egoyan

by Angelo Muredda Something is off in Devil’s Knot, the third film about the West Memphis Three in as many years, and it isn’t just the Satanic panic that turned a bereaved community against three wrongfully accused teenagers. Although its Tennessee setting takes him far from his usual haunt of Toronto, this material seemed like a slam dunk for Atom Egoyan, who’s done his best work in films about parents dwelling in the endless hangover of their children’s premature deaths. It’s a shame, then, that his new film feels like a wheel-spinning exercise rather than a deepening of old themes. Egoyan’s approach to this tapped-out story hits the dramatic and formal beats you’d expect from his filmography: here we get a child’s cryptic, disembodied voiceover about what he’s seen; there, a videotaped testimony that conceals more than it discloses. Ambiguity is the name of the game, just like in The Sweet Hereafter, where everything turns on young Sarah Polley’s poker face as she ushers the adults around her into the topsy-turvy world of the title.

Q: The Winged Serpent (1982) – Blu-ray Disc

August 26, 20131980s, 2013, Authors: Bryant Frazer, Blu-ray Disc, Comedy, Horror, Mystery, Scream/Shout! Factory, Thriller

Q
***/**** Image B- Sound B- Extras C
starring Michael Moriarty, Candy Clark, David Carradine, Richard Roundtree
written and directed by Larry Cohen

by Bryant Frazer Writer-director Larry Cohen makes exploitation look easy. His iconic Black Caesar was basically a remake of Little Caesar with a black cast; his mutant-baby flick It’s Alive amplified the generational rift created in families by the social revolutions of the 1960s and early-1970s to horror-movie proportions. Cohen is so commercially savvy that his screenwriting career has continued, in earnest, into the 21^st century, placing projects like Phone Booth, Cellular, and Captivity at the Venn-diagram intersection between high-concept appeal and low-budget execution. He also has an instinct for character, and it never served him better than it did in Q, which is the story of a little criminal in a big city as much as it’s the story of a huge feathered serpent lording over Manhattan. Q was set up quickly (in two days, to hear Cohen tell it), after Cohen was fired from an adaptation of Mickey Spillane’s I, the Jury, and it features a terrific cast (Michael Moriarty, David Carradine, and Richard Roundtree) improvising many of the scenes in a screenplay that was being written as the shoot progressed to take advantage of whatever New York locations Cohen was able to secure. The result isn’t quite a great monster movie, but it gets maybe 80 percent of the way there.

A Hijacking (2012)

August 16, 20132012, 2013, Authors: Angelo Muredda, Denmark, Drama, Theatrical, Thriller

Kapringen
***/****
starring Søren Malling, Pilou Asbæk, Dar Salim, Roland Møller
written and directed by Tobias Lindholm

by Angelo Muredda Finely-tuned but incurious about most of what falls outside its blinkered gaze, A Hijacking is about as good as this sort of stripped-down procedural filmmaking gets–Akira Kurosawa’s High and Low reconfigured for a telephonic showdown between Somali pirates and Danish shareholders. Only the second feature from Tobias Lindholm (who proves much more capable as a director than as the author of The Hunt‘s lazy allegorical punts about the concern-trolling parents of small-town Denmark), the film feels like the work of a yeoman who’s in no hurry to be recognized as a visual stylist unless the material should merit such flourishes. Annoying as that no-frills approach can be in countless austere imitations of the Dardennes and Michael Haneke, it’s more than welcome here in a film whose title might otherwise have ended with a gaudy exclamation mark.

Europa Report (2013)

August 13, 20132013, Authors: Walter Chaw, Horror, Pseudo-Documentary, Sci-Fi, Theatrical, Thriller

**/****
starring Christian Camargo, Anamaria Marinca, Michael Nyqvyst, Sharlto Copley
screenplay by Philip Gelatt
directed by Sebastián Cordero

by Walter Chaw Sebastián Cordero’s found-footage sci-fi flick Europa Report tells the tale of the first manned trip to the titular moon of Jupiter in search of some kind of lifeform lurking there beneath a thick layer of ice. Never mind that this is a premise Arthur C. Clarke’s 2010: Odyssey Two already explored to similar consequence, nor that Europa Report is essentially an intergalactic The Blair Witch Project: best to focus on an unfortunate framing story that dumbs down the proceedings, emotionally and intellectually, at the exact moment the picture appears to be gaining momentum. It’s all the more puzzling, given the existence of something so pandering and condescending, that the group apparently most enamoured with this movie is the scientific community, who I would have guessed would have taken more offense at being talked down to. Maybe they’re so beaten into submission by the idiotic things Damon Lindelof passes off as “science” that they’re willing to forgive Europa Report its more minor trespasses.

Elysium (2013)

August 5, 20132013, Action, Authors: Walter Chaw, Drama, Sci-Fi, Theatrical, Thriller

*½/****
starring Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga
written and directed by Neill Blomkamp

by Walter Chaw Lost in the hue and cry for meaning in film is the truism that having a message does not necessarily denote meaning. Case in point, District 9 helmer Neill Blomkamp’s left-wing screed Elysium, which feels, unpleasantly, like having lunch with Sean Penn and all the filthy, proselytizing, self-martyring glory that implies. It’s also like that lunch Indy forces Willie Scott to eat in Temple of Doom: Mmmm, condescending! It’s unashamedly pushing an agenda, and while it does a better job of that than Star Trek Into Darkness, it’s arguably more frustrating because so much of it demonstrates a bracing nerd-topia of tech wonders and genre references. Indeed, Elysium is the closest we’ve come to seeing a big-screen adaptation of Ursula K. Leguin’s astonishing The Dispossessed. Which is to say, not very close at all, but there you have it. A pity, then, that armed with so able an action star as Matt Damon, the movie finds itself at the end more comfortable in a double-feature with Promised Land than with The Bourne Identity. Damon’s at his best as a hero in the act of discovering his own potential, see–and absolute bollocks as political philosopher and activist. Times like these, I think Team America: World Police was right about him all along.

6 Souls (2013) + Dead Souls (2012) – Blu-ray Discs

July 25, 20132012, 2013, Authors: Walter Chaw, Blu-ray Disc, Horror, Mystery, Scream/Shout! Factory, Television, Thriller, Zombie

6 SOULS
Shelter
**/**** Image A Sound A
starring Julianne Moore, Jonathan Rhys-Meyers, Jeffreey DeMunn, Brooklyn Proulx
screenplay by Michael Cooney
directed by Marlind & Stein

DEAD SOULS
½*/**** Image C Sound B Extras C
starring Jesse James, Magda Apanowicz, Bill Moseley, Geraldine Hughes
screenplay by John Doolan
directed by Colin Theys

by Walter Chaw The best scene in the surprisingly-not-awful 6 Souls happens in a toothless hinterland, up yonder in them thar hills, ’round campfires and lean-tos and a wilderness of patchy facial hair, where forensic psychologist Cara (Julianne Moore) meets a Granny Holler Witch (Joyce Feurring), who is just indescribably awesome. She’s like a refugee from The Dark Crystal–the very incarnation of Aughra, blind but seeing through an albino familiar (Katiana Davis) as she performs psychic surgery, sucking up souls with her mouth and depositing them in a jar she calls “shelter.” Indeed, it’s such an awesome scene that it shows up how perfunctory the rest of Mans Marlind and Bjorn Stein’s 6 Souls is; how the idea of a demon jumping bodies (like The Evil Dead, yes, but more like Fallen) can look very much like an early-’90s mid-prestige thriller and therefore not anything interesting or special. A shame, as the talent assembled for the piece is exceptional–Moore, certainly, along with the always-fabulous Jeffrey DeMunn as Cara’s dad Dr. Harding. It’s his fault that Cara gets involved with psych-patient Adam (Jonathan Rhys Meyers), who, in the process of manifesting multiple bad-accent theatre personalities, also seems to be manifesting their physical traits (like paralysis, say, and bad acting, too). Turns out it ain’t science afflicting our man Adam, but you knew that already.

Would You Rather (2013) – Blu-ray Disc

July 23, 20132013, Authors: Bill Chambers, Blu-ray Disc, Horror, Thriller

½*/**** Image B+ Sound A- Extras D+
starring Brittany Snow, Jeffrey Combs, Jonny Coyne, Lawrence Gilliard Jr.
screenplay by Steffen Schlachtenhaufen
directed by David Guy Levy

by Bill Chambers Iris (Brittany Snow) is a demure blonde vegetarian with a brother named Raleigh (Logan Miller) who’s dying of cancer. These traits, the only things we ever really learn about her, add up to a plucky determination that preordains Iris to be the Final Girl, though it means her character arc hinges on a reversal of expectations that haven’t been well established. In any case, mysterious philanthropist Lambrick (Jeffrey Combs, magically transformed into Stuart Wilson from Lethal Weapon 3) spots potential in her and invites her to join the eponymous high-stakes parlour game in David Guy Levy’s Would You Rather. Iris is poor as shit, and even if she did get that hostess job she’s interviewing for in the opening scene, the money it pays is hardly cancer money, ergo, she takes the bait: the promise of the best, most expensive medical care for her brother should she emerge victorious at Lambrick’s next gathering. What she doesn’t know is that the alternative to winning isn’t as easy as losing.

Lifeforce (1985) [Collector’s Edition] – Blu-ray + DVD Combo Pack

July 22, 20131980s, 2013, Authors: Bryant Frazer, Blu-ray Disc, Directors: Tobe Hooper, DVD, Horror, Sci-Fi, Scream/Shout! Factory, Thriller, Vampire, Zombie

Lifeforce2

**/****Image B+ Sound B+ Extras B
starring Steve Railsback, Peter Firth, Frank Finlay, Mathilda May
screenplay by Dan O’Bannon & Don Jakoby, based on the novel The Space Vampires by Colin Wilson
directed by Tobe Hooper

by Bryant Frazer The early 1980s must have been a weird time to be Tobe Hooper. The Texas Chain Saw Massacre had made him one of the most notorious directors in the world, and Poltergeist vaulted him onto the A-list. He would have been on top of the world if not for an extended controversy over that film: Poltergeist was produced by Steven Spielberg, and there were widespread rumours that he actually directed it, too. Hooper denied it and Spielberg issued oddly-worded statements that permanently muddied the waters. Whatever the truth of their collaboration, the controversy was a blow to Hooper’s reputation. His Texas Chain Saw felt almost like outsider art–raw and twisted, it was the antithesis of the burnished Spielberg style. Poltergeist, on the other hand, was the very quintessence of a Steven Spielberg film, from its familiar suburban family in distress to its richly detailed mise en scène‎. If Hooper really did direct it, it doesn’t say much for his authorial voice that he left virtually no discernible fingerprints on the final product.

The Conjuring (2013)

July 19, 20132013, Authors: Walter Chaw, Horror, Theatrical, Thriller

**/****
starring Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
screenplay by Chad Hayes & Carey W. Hayes
directed by James Wan

by Walter Chaw Based on a true story in the same way that a pineapple is an apple, James Wan’s latest exercise in jump-scare theatre is the workmanlike haunted house/demonic possession flick The Conjuring. In it, the paranormal investigation team of Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren, co-authors of several books and shown as the film begins lecturing a small auditorium of people on the finer points of ghost-hunting, confront their Greatest Challenge Ever when they’re called to the modest New England farmhouse of the Perron family. It seems this was the former home of a WITCH! Can you fucking believe the luck? An evil witch lived in this house. Fuck. A witch. Motherfucker, am I right? You buy a house and you think that…anyway, it really sucks that a witch lived there. It all starts out innocently enough with the largely indistinguishable Perron girls getting jerked out of bed by an invisible whatever, then evolves into a game of hide and clap (which sounds venereal but isn’t, unless you’re doing it really wrong) that leads to mommy Carolyn (Lili Taylor) getting thrown down a flight of stairs into a creepy, boarded-up cellar™. That’s when daddy Roger (Ron Livingston) calls the Warrens… Well, he doesn’t, because he’s away on a week-long business trip, and he’s a skeptic of the Warrens, we learn after the fact… Um… He’s not a well-developed character, seeing as how Wan seems distracted by all the loud noises and crap leaping out at the camera.

To Have and Have Not (1944) + The Big Sleep (1945/6) – DVDs

July 8, 2013****/****, 1940s, 2013, Adventure, Authors: Walter Chaw, Crime, DVD, Mystery, Romance, Thriller, War

TO HAVE AND HAVE NOT
****/**** Image B- Sound B Extras C
starring Humphrey Bogart, Walter Brennan, Lauren Bacall, Dolores Moran
screenplay by Jules Furthman and William Faulkner, based on the novel by Ernest Hemingway
directed by Howard Hawks

THE BIG SLEEP
****/**** Image B Sound B Extras C+
starring Humphrey Bogart, Lauren Bacall, Martha Vickers, Dorothy Malone
screenplay by William Faulkner, Leigh Brackett & Jules Furthman, based on the novel by Raymond Chandler
directed by Howard Hawks

by Walter Chaw While biographer Todd McCarthy refers to the two versions of Howard Hawks’s The Big Sleep as marking the delineation point separating linear (early) Hawks from non-linear (later) Hawks, I feel like you can mark the director’s affection for bonzo non-sequiturs throughout his sultry To Have and Have Not. The picture tells its tale of immigrants marooned off the islets of war and sexual sophistication–an island bell jar and pressure cooker envisioned as a sequel of sorts to Casablanca. But where Casablanca‘s sex was mature and companionate (the sizzle replaced by simmer) and tinged with regret, To Have and Have Not has a slick of bestial sweat to it that promises that the explosion of really naughty stuff is looming rather than in the rear-view. (There’s no sexier film in all the Forties.) The story of the corrupt Vichy government and the brave French underground unfolding behind the red-hot flirtation between diplomatically non-affiliated fishing boat captain Harry “Steve” Morgan (Humphrey Bogart) and lost American teen “Slim” (Lauren Bacall) is punctuated helter-skelter by husky lounge numbers courtesy Slim and Cricket (Hoagy Carmichael) and riff sessions with Steve and Slim that have the cadence and unpredictability of jazz improvisation. It’s not so much a narrative as a medley in a bouncy key, and Hawks is not so much a director as a bandleader. Much has been made of Hawks’s skill in casting (and it’s hard to argue otherwise when he sniffs out the alchemical enchantment between old man Bogie and new thing Bacall (and Marilyn Monroe and Jane Russell; and Dean Martin and a bottle)), but looking at To Have and Have Not–the first of Bogie/Bacall’s four collaborations–is to glimpse something more than a good casting eye: it’s to witness the evolution of a true musical genius. The rhythms are subterranean, the verses in between the words; to watch this and The Big Sleep (Hawks’s other collaboration with Bogie/Bacall) back-to-back is as close to rapture as this experience gets.