Thriller Archives - Page 6 of 67

No Time to Die (2021)

November 16, 2021****/****, 2021, Action, Adventure, Authors: Walter Chaw, Espionage, James Bond, Theatrical, Thriller, UK

****/****
starring Daniel Craig, Rami Malek, Léa Seydoux, Christoph Waltz
screenplay by Neal Purvis & Robert Wade and Cary Joji Fukunaga and Phoebe Waller-Bridge
directed by Cary Joji Fukunaga

by Walter Chaw SPOILER WARNING IN EFFECT. Cary Fukunaga’s No Time to Die, the twenty-fifth canonical James Bond film, is the best one since Peter Hunt’s On Her Majesty’s Secret Service and for many of the same reasons. One could hazard that the similarities, a vulnerable Bond chief among them, comprise the guiding principle behind this picture, with its multiple call-outs to Fleming’s books–On Her Majesty’s Secret Service, in particular, along with its downbeat, mortal sequel You Only Live Twice, the last Bond Fleming completed himself. In the latter, 007’s boss, M, uses the same Jack London quote to eulogize the presumed-dead superspy (“The proper function of a man is to live, not to exist. I shall not waste my days in trying to prolong them. I shall use my time”) that his screen counterpart (Ralph Fiennes) uses to eulogize Bond in No Time to Die. It ends with Bond, initially dumbstruck by grief over the death of his wife in the previous novel (On Her Majesty’s Secret Service), now stricken by amnesia and about to abandon his impregnated wife–the child a development Fleming never got to bring to term, but who finds her fruition in Fukunaga’s film. At a late point in No Time to Die, two combatants reaching the end of their struggles agree that the only reason to live is to leave a legacy. I find it touching that this film brings a small and precious note of Fleming’s to life, so many years after his death.

SDAFF ’21: Catch the Fair One

November 7, 20212021, Authors: Walter Chaw, Film Festivals, Revenge, San Diego Asian Film Festival, Thriller

***½/****
starring Kali Reis, Tiffany Chu, Michael Drayer, Kevin Dunn
screenplay by Josef Kubota Wladyka
directed by Josef Kubota Wladyka

by Walter Chaw Hyphenate Josef Kubota Wladyka follows his Colombian drug-trafficking adventure film Dirty Hands with the concussive, propulsive sex-trafficking thriller Catch the Fair One, announcing himself as an artist with the chops to handle an efficient action vehicle that functions as a vibrant social statement, too. It’s a rich, angry work that has not a hint of sentimentality to it nor an ounce of fat on it. The uncharitable would maybe call it too straightforward: a march, brutish and uninterrupted, with a message that’s more like a klaxon than a statement–but the picture is admirable for its unwillingness to gild the intensely ugly lily of vanished Native American women and white law enforcement’s utter lack of interest in doing anything about this epidemic. Kali Reis collaborated on the story, a personal one for her as one of the most visible spokespeople for the MMIW (Missing and Murdered Indigenous Women) movement–visible because, as a boxer, she’s the WBA super lightweight world champion.

Titane (2021)

October 22, 20212021, Authors: Walter Chaw, Belgium, Drama, France, Horror, Palme d'Or Winner, Sci-Fi, Thriller

***/****
starring Vincent Lindon, Agathe Rousselle, Garance Marillier, Lais Salameh
written and directed by Julia Ducournau

by Walter Chaw In Julia Ducournau’s first film, Raw, there’s a part involving scissors wielded near a vagina that almost made me pass out. A sequence in her second film, Titane, involves another massively inappropriate object wielded near, and inside, a vagina, yet it didn’t bother me half as much. This may have something to do with Titane‘s tone and attitude towards menace: In Raw, there’s a tenderness and familiarity to it all that makes the horror invasive, whereas Titane gives off an alien, madcap, Mack Sennett vibe that announces the movie’s allegorical intentions as a barker at a carnival sideshow might. What’s constant in Ducournau’s two films is an admirably reductive drive to boil a woman’s body down to its biological functions. As Titane opens, hero Alexia (Agathe Rousselle)–badly scarred from the titanium plate behind her ear, the product of a childhood car accident she caused by wanting very badly to sing along to the car’s engine noise–is making her living as a stripper/model at an underground car show. Her body is a fetish object the way a car is to certain men, you see, and I’m thinking immediately not only of how men often assign a feminine pronoun to their cars, but also of e.e. cummings’s naughty poem “she being brand.” Here it is in full:

Halloween Kills (2021)

October 14, 20212021, Authors: Bill Chambers, Crime, Horror, Theatrical, Thriller, UK

**/****
starring Jamie Lee Curtis, Judy Greer, Andi Matichak, Anthony Michael Hall
written by Scott Teems & Danny McBride & David Gordon Green
directed by David Gordon Green

by Bill Chambers Depending on your perspective, Halloween Kills, David Gordon Green’s follow-up to his 2018 Halloween, is the third Halloween II, or the second Halloween III, or the twelfth entry in a long-running serial with a compulsion to press the reset button. Though other horror franchises have splintered into manifold continuities (you’d need Ancestry.com to sort out the various branches stemming from The Texas Chain Saw Massacre), Halloween is unique in that it’s not (just) a cash cow getting milked to death by new content farmers–no, a fairly consistent chain of ownership has made a habit of calling a mulligan whenever the consensus is that they’ve strayed too far from the beaten path. After a failed bid to rebrand as an anthology with the John Carpenter-backed Halloween III: Season of the Witch, whose reputation has since been reclaimed, the series resurrected Michael Myers and his Ahab, Dr. Loomis, only to fly too close to the sun with Halloween: The Curse of Michael Myers. Halloween H20 followed, and in bringing back Jamie Lee Curtis as Laurie Strode, Michael’s sister, it wallpapered over the events of Halloweens III through VI. Then Halloween: Resurrection undid all of that movie’s goodwill, so Rob Zombie wrote and directed a remake of the first film. Zombie returned for a sequel that was roundly rejected despite being the ne plus ultra of Halloween movies for the misfit fans like myself, and the unlikely team of Green and Danny McBride took the reins, making the somewhat unconventional decision to do a legacy sequel to Carpenter’s 1978 original alone, again with Curtis but without the early retcon that Laurie and Michael are related.

TIFF ’21: Wrap-up

October 6, 20212021, Authors: Bill Chambers, Brazil, China, Comedy, Documentary, Drama, Film Festivals, France, Hong Kong, Horror, Iran, Mexico, Music, Sweden, Thriller, TIFF, UK

by Bill Chambers I’ve been covering TIFF for, gulp, 25 years now. If I didn’t expect to mark this silver anniversary in the confines of my living room, I have no complaints. Some of the show ponies were geoblocked for Canadian press or offline altogether, but although I’m fully vaccinated, I wasn’t about to risk transmission or stew for hours in a mask to see the May-December romance Dear Evan Hansen, or another remake of Dune, or a Secret Steven Soderbergh Screening that turned out to be, lol, Kafka, which is almost as good a prank as moving Best Actor to the end of the Academy Awards ceremony. I did at least get to stream my white whale, Jane Campion’s The Power of the Dog, so no regrets. No regrets, no complaints.

Telluride ’21: Encounter

September 30, 20212021, Authors: Walter Chaw, Film Festivals, Sci-Fi, Telluride, Thriller, UK

**/****
starring Riz Ahmed, Octavia Spencer, Janina Gavankar, Rory Cochrane
screenplay by Joe Barton and Michael Pearce
directed by Michael Pearce

by Walter Chaw It’s possible that Michael Pearce’s Encounter is its own worst enemy. The opening hour or so is remarkable stuff: tetchy, kinetic, terrifying–the honourable sequel in spirit to Philip Kaufman’s Invasion of the Body Snatchers, where insects become the vectors of an alien virus that appears to change our DNA and, with it, our behaviour. Such a smart idea for an era in which more and more people are coming around to the idea that fully half of us at any one time are mindless animals powered by the pleasure principle and the selfish cell and little else. They would watch us die without a flicker of recognizable empathy. Nothing is real to them unless it happens directly to them–there is no evidence save that of the flesh, of their flesh, that could compel them to care about the suffering of another human being. Not even care–nothing could compel them to acknowledge that suffering was possible. They are empty of imagination, devoid of personality; they are essentially alien things neither malign nor beneficent. And there is no better explanation for their existence among us than what Encounter at first appears to be getting at: the government is aware that an unknowable influence has taken over half the population, and it’s only a matter of time before the rest of us succumb. Delicious. Pearce’s treatment of it is delicious, too, as uncomfortable and alive as William Friedkin’s Bug, paired beat-for-frantic-beat with an extraordinary performance by Riz Ahmed, who might be incapable of providing any other.

TIFF ’21: The Guilty (2021)

September 27, 20212021, Authors: Walter Chaw, Crime, Drama, Film Festivals, Streaming, Thriller, TIFF

**/****
starring Jake Gyllenhaal, Ethan Hawke, Riley Keough, Peter Sarsgaard
screenplay by Nic Pizzolatto, based on the original screenplay by Gustav Möller & Emil Nygaard Albertsen
directed by Antoine Fuqua

by Walter Chaw Landing midway between Pontypool and Talk Radio, Antoine Fuqua’s The Guilty finds disgraced cop Joe (Jake Gyllenhaal) bumped down to 9-1-1 operator as he awaits trial for something the press is eager to hear his side of the story of. He’s falling apart, though; this much we can tell by the way his superiors in the call station keep him on a short–very short–leash, and by the way he looks at himself in the bathroom mirror like an animal injured and cornered. He calls his estranged wife and begs her to let him say goodnight to his daughter. She begs him to leave her alone. He can’t seem to catch a break. But he gets a call from Emily (voiced by Riley Keough), who’s been abducted by her ex-husband, Henry (Peter Sarsgaard). They’re travelling east on the 10–Joe figures that out because she sees a forest fire raging out the driver’s-side windows. Joe figures out a lot of things while, on a bank of screens in front of him, an apocalypse plays out. It’s a vision of hell. Our hell–we made it. It’s ours. Emily gives Joe one last chance to do a good thing before he vanishes, so he’s going to do it, whether or not it’s too late. It’s been too late for a long time.

Lady of the Manor (2021) + Copshop (2021)

September 17, 20212021, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

LADY OF THE MANOR
½*/****
starring Melanie Lynskey, Judy Greer, Justin Long, Ryan Philippe
written and directed by Justin Long & Christian Long

COPSHOP
**/****
starring Gerard Butler, Frank Grillo, Alexis Louder, Toby Huss
screenplay by Kurt McLeod and Joe Carnahan
directed by Joe Carnahan

by Walter Chaw The first perky, jaunty violin strokes in the oppressive score announce exactly the kind of garbage Justin and Christian Long’s Lady of the Manor is going to be: self-satisfied, high-concept comedy that apes Neil Jordan’s High Spirits and Jared and Jerusha Hess’s Austenland while entirely wasting Melanie Lynskey and Judy Greer. I would watch Lynskey and Greer in anything–and Lady of the Manor tested me sorely, immediately, repeatedly. Its execution is ’80s VHS Screwballs quickie tossed together with cheap gags, an overreliance on fart and dick jokes, exaggerated in-camera effects, and skits that fall flat and don’t stop falling for at least ten or twenty beats after they’ve died. They were dead before they got there. There are montages that are just expository scenes strung together and there’s a running gag where Greer is asked to shake her head disapprovingly while Lynskey sucks on a bar of soap and shrugs. There’s another where Greer makes “silly” faces in a mirror for a long, long time to demonstrate how she misses her friend and also how maybe she’s loosening up, and it’s unbelievably painful to watch someone so brilliant and naturally hilarious shoehorned into a square hole as stolid and unforgiving as this. Admittedly, it takes actual talent to make something this terrible. I mean, you can’t do it accidentally.

TIFF ’21: The Humans + Lakewood

September 16, 20212021, Authors: Bill Chambers, Drama, Film Festivals, Thriller, TIFF

THE HUMANS
**½/****
starring Richard Jenkins, Beanie Feldstein, Steven Yeun, Amy Schumer
screenplay by Stephen Karam, based on his play
directed by Stephen Karam

LAKEWOOD
*/****
starring Naomi Watts, Colton Gobbo, Sierra Maltby
written by Chris Sparling
directed by Phillip Noyce

by Bill Chambers Richard Jenkins leads an all-star cast as the nightmare-plagued patriarch of the Blake family, who have gathered for Thanksgiving at the new home of daughter Brigid (Beanie Feldstein) and her boyfriend Richard (Steven Yeun): a duplex in the middle of Chinatown that’s falling apart, Polanski-style, in symbiotic echo with the dysfunctional Blakes. Erik (Jenkins) and his wife Deirdre (Jayne Houdyshell) have been keeping something from their children that’s bound to sting, while their other daughter, Aimee (a dynamite Amy Schumer, which is the film’s biggest surprise), is intent on protecting the dinner table from the life-altering medical prognosis she’s received. Then there’s Erik’s mother, Momo (June Squibb), who sits in a wheelchair muttering in a secret language between brief periods of lucidity. It’s a long day’s journey into night in which truths are laid bare but none of the characters experience catharsis, since all this TMI does is create space between them–and more room for their personal demons. The Humans is pretty on-brand for distributor A24 in that it dabbles in the syntax of genre, but how scary you find it will probably depend on how much you relate to Erik, a dinosaur who can see the asteroid coming for him now that nobody really depends on him anymore.

Malignant (2021)

September 13, 20212021, Action, Authors: Walter Chaw, China, Crime, Horror, Mystery, Streaming, Theatrical, Thriller

***½/****
starring Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
screenplay by Akela Cooper
directed by James Wan

by Walter Chaw James Wan’s Malignant is spectacularly, unabashedly fucking nuts. Not nuts in a random way, nuts in the way Oliver Stone’s The Hand is–or, more to the point, Brian De Palma’s Sisters. It’s what the Dario Argento The Phantom of the Opera should have been: not entirely giallo, not without elements of high opera; a classic “madwoman” picture as well as a possession movie. Also, that voice on the phone from Black Christmas, and also a loving homage to Stuart Gordon, and also… Malignant is a joyful mishmash that plays like a NOW That’s What I Call Music compilation for horror fans. It’s the North by Northwest of delirious genre fare: Bava if you want it, the most gothic Hammer if it pleases you, complete with a Universal Monsters monster I kind of can’t believe someone hasn’t done before. I’m not giving anything away by saying the cosplay is going to be lit.

Super 8 (2011) – Blu-ray + DVD + Digital Copy|Super 8 – 4K Ultra HD + Digital

September 2, 20212011, 2021, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Coming of Age, DVD, Mystery, Sci-Fi, Spielberg, Thriller

Please note that all framegrabs are from the 1080p version

***/****
BD – Image A+ Sound A+ Extras A-
4K UHD – Image B Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw J.J. Abrams’s Spielberg shrine Super 8 mines the birth-of-the-blockbuster nostalgia vein so doggedly that you actually wish it was better than it is. Still, what works about it works really well, the best result of it being that it offers a vehicle for young Elle Fanning that should catapult her to the real superstardom Somewhere would have had anyone seen it. She’s stunning; every second she’s on screen, no matter whether she’s sharing the frame with a two-storey monster, it’s impossible to look away from her. She’s the natural lens-flare Abrams offsets with his trademark visual tick. Fanning’s Alice, the daughter of town drunk Louis (Ron Eldard), is enlisted by a pack of Goonies-stratified youngsters to be the female lead in their kitchen-sink zombie flick. The erstwhile director is the Stand By Me chubby one Charles (Riley Griffiths), and along for the ride are the one who pukes (Gabriel Basso) and the one who likes to blow shit up (Ryan Lee). And, yes, there’s that scene where the kids throw their stuff over a fence, gather up their bikes, and recreate an entire sequence from the Amblin Entertainment logo that opens the picture.

The Green Knight (2021) + Pig (2021)

August 30, 2021****/****, 2021, Adventure, Authors: Walter Chaw, Canada, Drama, Fantasy, Ireland, Nicolas Cage, Theatrical, Thriller, UK, VOD

THE GREEN KNIGHT
****/****
starring Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Nelson
written for the screen and directed by David Lowery

PIG
****/****
starring Nicolas Cage, Alex Wolff, Adam Arkin
written and directed by Michael Sarnoski

by Walter Chaw A thing has no value if there is no risk of losing it. A treasure is only that if there are hobbits. If you’re a parent and you’ve done everything right, and everything goes exactly as it should, your children will know the exquisite pain of your death. The story for us all ideally has the tang of misadventure to it and a sad ending full of irony. It is a great fable without a moral, wrought with temptations–though hopefully, when the curtain falls, free of too much regret. The key to navigating the labyrinth of the Rose Poet’s medieval romance “Sir Gawain and the Green Knight” is perhaps in its prologue, where it presents the history of the founding of England from the Fall of Troy through to Aeneas’s further stories: his conquests and foundings, sure, but also the inevitable decline of his line. A popular version of this history around the time that “Sir Gawain and the Green Knight” would have been written holds that Brutus of Troy is the grandson of Aeneas, exiled from Italy because, in fulfillment of a prophecy similar to the one that doomed Oedipus, he accidentally killed his father with an errant arrow. In the course of his wanderings, this Brute, the product of a cursed line beset with hubris and tragic folly, becomes the first king of what would be called England.

Fantasia Festival ’21: Prisoners of the Ghostland

August 28, 20212021, Action, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Nicolas Cage, Thriller

*/****
starring Nicolas Cage, Sofia Boutella, Nick Cassavetes, Tak Sakaguchi
screenplay by Aaron Hendry, Reza Sixo Safai
directed by Sion Sono

by Walter Chaw A theory I’ve been kicking around about certain pre-made, fast-fashion auteur demimondes like, say, Sion Sono: there are those who are anointed cult filmmakers because they have idiosyncratic tastes; and there are those without any real taste who aspire to be cult filmmakers because they’ve figured out that idioscyncracy can be marketable and have thus taken it on as an affectation. The former make films the only way they can make them, driven by a purity and persistence of vision; the latter make stuff like Prisoners of the Ghostland, because they’ve seen films by the former and wonder what could be so hard about that? It’s why Sono’s work is only spoken of in reference to other films and filmmakers, or even to earlier entries in his own filmography, back when he was doing what he felt was right rather than what he thought he should. Prisoners of the Ghostland is a facile affectation, in other words, a slapdash collection of somebody else’s cool without a genuine, native bone in its body. Douglas Adams includes instructions for how to fly in his Hitchhiker’s Guide to the Galaxy books: you fall and miss. You can’t fly on purpose, you see. You can’t make a camp movie on purpose, either. It took me three tries to get through Prisoners of the Ghostland. 102 minutes of someone not meaning it is incredibly boring.

Candyman (2021)

August 25, 20212021, Authors: Walter Chaw, Canada, Horror, Theatrical, Thriller

½*/****
starring Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo
screenplay by Jordan Peele & Win Rosenfeld and Nia DaCosta
directed by Nia DaCosta

by Walter Chaw An old urban legend, it goes like this: an amorous pair of youths spirit themselves away to a remote Lovers Lane when, lo, the girl hears something lurking about. With thoughts of the recently-escaped murderer on her mind, she convinces her boyfriend to leave and, frustrated, he takes her home. Recovering himself on the ride back, he thinks to come around to open the door for his beloved, and there he blanches, for dangling from the door’s handle is a razor-sharp hook, the bloodied stump to which it’s fused still attached. I have to think Clive Barker had heard some version of this tale before conceiving of his short story “The Forbidden.” It’s collected in the fifth volume of his “Books of Blood” series–the one that, with Stephen King’s shining endorsement (“I have seen the future of horror, and its name is Clive Barker”), propelled Barker into the upper strata of horror authors in the mid-Eighties. When I was 13, I devoured every word of Barker’s six-volume anthology with a white, hot fury. Thirty-five years on, I still remember them all vividly.

Beckett (2021) – Netflix

August 14, 20212021, Action, Authors: Walter Chaw, Brazil, Crime, Drama, Greece, Italy, Streaming, Thriller

*/****
starring John David Washington, Alicia Vikander, Yorgos Pirpassopoulos, Filippos Ioannidis
screenplay by Kevin A. Rice
directed by Ferdinando Cito Filomarino

by Walter Chaw SPOILER WARNING IN EFFECT. It’s obvious what Ferdinando Cito Filomarino is after with Beckett: a 1970s paranoia thriller in the Three Days of the Condor vein. And it’s just as obvious that he misses the mark. Beckett isn’t even a prestige knock-off version à la the Peter Hyams remake of Narrow Margin. Lots of reasons for its failure, chief among them that it doesn’t have a point of view; landing somewhere in the junction between a “wrong man” thriller and a film about a truth-seeker finding more truth than he bargained for makes it all seem arbitrary. To be clear, not arbitrary in the sense that what’s happening to our heroes is meaningless (a capricious universe is the fodder, after all, for great paranoia)–arbitrary in the sense that the film itself has no real reason for being, and that’s a hurdle very little art can overcome. It’s a hurdle that not even great cinematography (by Sayombhu Mukdeeprom) and a Ryuichi Sakamoto score can ameliorate. Instead, they underscore how top-heavy it all is. Great cast, too, scenic locales–everything top of the line. But there’s nothing mooring it to relevance, despite all its arched-eyebrow pipe-smoking about the state of Greece and American interventionism.

Fantasia Festival ’21: Baby, Don’t Cry

August 11, 20212021, Authors: Walter Chaw, Crime, Fantasia Festival, Film Festivals, Romance, Thriller

*/****
starring Zita Bai, Boni Mata, Vas Provatakis, Helen Sun
written by Zita Bai
directed by Jesse Dvorak

Fantasia Festival runs from August 5 to August 25, 2021. For more details, visit their website.

by Walter Chaw Zita Bai stars in and scripts Baby, Don’t Cry, a film by Jesse Dvorak that follows a rough few weeks in the life of troubled teen Baby (Bai). Unsuccessfully navigating a dysfunctional home and hostile high-school environment, she meets bad boy Fox (Vas Provatakis) and, in the tradition of stuff like Badlands and Gun Crazy, falls in love and engages in some very bad things–not necessarily in that order. The promise of the piece is that Baby initially seems unfamiliar: a heavily-accented Chinese-American who consoles her loneliness with a habit of filming people and things–perhaps to contextualize them, though more likely to hold them in digital amber, thus negating their immediate threat. The problem is that this promise is largely squandered in a series of repetitive conflicts and resolutions punctuated now and again by hints of magic realism (like her mother sprouting pig ears, or a cartoon fox pacing a car) that, again, are suggestive of a deeper exploration of alienation and loss without the muscle to provide an adequate reckoning with them.

Old (2021)

July 22, 20212021, Authors: Walter Chaw, Directors: M. Night Shyamalan, Drama, Horror, Mystery, Theatrical, Thriller

**/****
starring Gael García Bernal, Vicky Krieps, Rufus Sewell, Alex Wolff
screenplay by M. Night Shyamalan, based on the graphic novel Sandcastle by Pierre-Oscar Lévy and Frederick Peeters
directed by M. Night Shyamalan

by Walter Chaw M. Night Shyamalan is a brilliant filmmaker and an arrogant storyteller, and sometimes that works out pretty well (see: The Sixth Sense, Unbreakable). More often, it yields wildly mixed results where his savant-like mastery of the visual wars with the pedantic, childish, even messianic tendencies of his writing. Imagine if Spielberg wrote all his own movies instead of merely tacking his tidy happy endings on them. There's possibly a paper in how the degree of obstreperousness in Shyamalan's cameos has a direct correlation to the film's obnoxiousness. My favourite Hitchcock cameo is in Notorious, where Hitch has himself drinking a glass of champagne at a party at a Nazi's house, thus, through a series of events, accelerating the discovery of our heroic secret agent. But Hitch never cast himself, as Shyamalan has, in extended speaking roles that have found him playing a prophet writing a new Bible (Lady in the Water), delivering key exposition in a protracted flashback (Signs), and serving as the beneficiary of the most complicated camera set-up to deliver the twist in an otherwise transfixing, transporting picture (The Village). Tarantino used to do garbage like that, and, predictably, this was reliably the worst part of a Tarantino movie. For a while, after Shyamalan went through a pronounced humbling (The Happening, The Last Airbender, After Earth), he cut the shit for a trio of tight, nasty, mostly-glorious, largely career-resuscitating little thrillers (The Visit, Split, Glass). With his latest, Old, he's got his confidence back, and that's…bad.

The Tomorrow War (2021)

July 1, 20212021, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Streaming, Thriller, Time Travel

**½/****
starring Chris Pratt, Yvonne Strahovski, J.K. Simmons, Betty Gilpin
written by Zach Dean
directed by Chris McKay

by Walter Chaw Not to be confused with Joe Haldeman’s classic 1974 novel The Forever War, Chris McKay’s super-stupid The Tomorrow War doesn’t bear up under the slightest prodding yet demonstrates an admirable agreeability to “sciencing the shit out of” part of its solution while dealing, however rotely, with its father/son and father/daughter abandonment themes. Pratt, whose Q-meter stock has fallen because of a few public missteps, proves an affable presence as science teacher-cum-future soldier Dan Forester, enlisted by future soldiers into fighting the tomorrow war against thorn-tossing, bugbear monster things dubbed “White Spikes.” See, in 30 years or so, humans are down to their last half-million and need people from the past to bolster their ranks. But doesn’t that create some temporal anomaly problems? I’m very glad you asked. Yes, it does. That’s why they only recruit people who are going to die within a decade anyway, which is either an incredibly stupid plan in its looseness or an incredibly cynical plan that presumes none of these people will procreate again within the next 10 years–or, you know, otherwise do something that will fuck with the future in an unexpected way. Maybe they’ve accounted for all that and simply don’t share. Or maybe it’s like that Mark Hamill anecdote about how his hair should have been filthy and wet for a scene shot out of sequence but meant to follow the trash-compactor escape in Star Wars: As Harrison Ford sagely informed him, “Kid, it ain’t that kind of movie.”

Lisa (1990) – Blu-ray Disc

June 20, 2021****/****, 1990s, 2021, Authors: Bill Chambers, Blu-ray Disc, Coming of Age, Horror, Teen, Thriller

****/**** Image A- Sound B+ Extras B+
starring Cheryl Ladd, D.W. Moffet, Staci Keanan, Tanya Fenmore
written by Gary Sherman & Karen Clark
directed by Gary Sherman

by Bill Chambers SPOILER WARNING IN EFFECT. It’s cheesy, right? He stakes out beautiful women, breaks into their apartment while they’re out, and decorates their place with enough candles for a Meat Loaf video. When they return home and check their messages, they hear one from him: “Hi, this is Richard. I’m in your apartment. I’m going to kill you.” Then he pounces, doing exactly what he promised to do. I went to see Gary Sherman’s Lisa with a friend on opening weekend in May of 1990; we had planned on going to Ernest Goes to Jail but were late for the matinee. We were late for everything, in fact, except Lisa, and the only competition for a seat was the tumbleweeds–a reflection of the skeletal marketing budget and maybe Siskel & Ebert’s downcast thumbs. Anyway, my buddy and me, both 15 at the time, were snorting derisively at Richard’s M.O.–the media has christened him, ooh, the Candlelight Killer–as Lisa got underway, mainly because it involved the type of aesthetic jive we put up with for a flash of nipple on late-night cable. (Did I mention the saxophone music?) Then came the introduction of the title character, a 14-year-old girl who lives with her florist mother Katherine in a cozy little womb of a loft, and any residual laughter took on a nervous edge. Safe to say that Scooby-Doo-ish frisson of siccing a sociopath on the territory of Apple Paperbacks worked like a charm: We were on tenterhooks for the next 90 minutes or so, like air-traffic controllers monitoring the progress of Lisa and Richard’s inevitable, inexorable collision.

Spiral (2021)

June 14, 20212021, Authors: Walter Chaw, Crime, Horror, Mystery, Theatrical, Thriller

Spiral: From the Book of Saw
½*/****
starring Chris Rock, Max Minghella, Marisol Nichols, Samuel L. Jackson
written by Josh Stolberg & Peter Goldfinger
directed by Darren Lynn Bousman

by Walter Chaw It’s so familiar it’s fatiguing, another one of these projects that begins with passion and the best of intentions and ends up chewed to paste and regurgitated as this thin, masticated gruel. Is Darren Lynn Bousman’s Spiral (a.k.a. Spiral: From the Book of Saw) the product of too many notes from too many people, or simply the wrong people? Or maybe there weren’t enough voices in the room to challenge accepted wisdom, which tends to be unreliable more often than not. Spiral occupies a weird space where it’s both desperate and cocksure. In moments of duress, one tends to revert to the familiar and the comfortable, so when things are obviously going south for Chris Rock, still-aspiring movie star, Chris Rock, legendary stand-up comic, tries to assert himself. The script is a mess, and the grafts meant to save the patient have been rejected. Spiral probably should’ve been killed at inception.