FILM FREAK CENTRAL

TIFF ’24: Paying for It

September 6, 20242024, Authors: Bill Chambers, Canada, Comedy, Film Festivals, TIFF

**/****
starring Dan Beirne, Emily Lê, Andrea Werhun, Noah Lamanna
written by Sook-Yin Lee, Joanne Sarazen, based on the graphic novel by Chester Brown
directed by Sook-Yin Lee

by Bill Chambers Paying for It director Sook-Yin Lee is the ex-girlfriend of Toronto cartoonist Chester Brown. They broke up in the late ’90s when Lee fell in love with another man but continued living together. Overhearing the petty squabbles between Lee and his replacement, Chester gained a new appreciation for bachelorhood and swore off romantic relationships for good. To satisfy his sexual needs, he began to frequent prostitutes and, over the next few years, amassed enough material for a graphic novel. Part confessional memoir, part manifesto arguing for the decriminalization of prostitution, Paying for It was published in 2011 with an introduction by the king of porny cartoons himself, R. Crumb, who describes Brown as “a real connoisseur in the world of professional sex workers.” Now Lee has adapted the, er, fruits of Brown’s labour for the screen–which is quite the lede in itself (Woman Makes Movie of Ex’s Autobiography), but she also accounts for her whereabouts during Chester’s misadventures, fleshing out her ghostly appearances on the page into a full-blown character arc. Women have been consigned to the fringes of so many biopics that an artist’s former lover hacking into his autobiography feels nothing short of radically feminist. It’s also something of a tonic, as the book’s blunt assessments of the ladies Brown solicits can read as casual misogyny.

Strange Darling (2024)

September 2, 20242024, Authors: Walter Chaw, Horror, Theatrical, Thriller

**/****
starring Willa Fitzgerald, Kyle Gallner, Madisen Beaty, Barbara Hershey
written and directed by JT Mollner

by Walter Chaw Defenders will say that JT Mollner’s Strange Darling exists, in an ancillary way, in the Martyrs universe, but it isn’t playing the same game. It lacks that movie’s meanness, for one; for another, it lacks the discipline required of ecclesiastical curiosity, the doom and fear and loathing that comes with any honest spiritual examination of the biological roots of fear. I want to call it “Martyrs for Dummies,” but that’s not exactly right, either. The only things Strange Darling ultimately shares with it–and with Christopher Nolan’s Memento–are a destabilizing narrative and an unreliable protagonist. It lacks the rigour of Martyrs and Memento, too, a clear grasp of what it’s after and how. When all’s said and done, Martyrs, which has nothing to do with Clive Barker, remains the truest adaptation of Barker’s marriage of atrocity and communion that I’ve ever seen. Strange Darling is mostly a life-support machine for a twist given away by its title. It’s like handing someone a ukulele in wrapping paper. Surprise! A gimmick tied to a high concept. A Shyamalan flick shot like a series of 1970s grindhouse trailers, featuring a lot of good work in the service of a disappointing puzzle box. Worse is that one of its red herrings involves consent and BDSM, which, you know, are serious and personal issues dangerously marginalized in horror movies that want to treat kink like a moral issue in need of correcting. Imagine the version of Strange Darling that follows through on the idea that a perfectly normal person might like to get stepped on between the sheets. Even better, imagine the version of the film interested in asking: If there is a line, how hard would one need to push to turn a “nice” man into a violent rapist?

Danny Huston and Bill Skarsgård in The Crow

The Crow (2024) + Blink Twice (2024)

August 26, 20242024, Action, Authors: Walter Chaw, Crime, Fantasy, France, Horror, Mexico, Mystery, Romance, Theatrical, Thriller, UK

THE CROW
***/****
starring Bill Skarsgård, FKA twigs, Sami Bouajila, Danny Huston
screenplay by Zach Baylin and William Josef Schneider, based on the comic book series by James O’Barr
directed by Rupert Sanders

BLINK TWICE
***/****
starring Naomi Ackie, Channing Tatum, Christian Slater, Alia Shawkat
written by Zoë Kravitz & E.T. Feigenbaum
directed by Zoë Kravitz

by Walter Chaw “Eric, I had this dark dream,” she says. She doesn’t know these are their last moments together, here and for eternity–that she’s been dead and that her lover has bartered his life for hers, and that whatever there is of mercy in this blighted place has briefly reunited them as they pass each other in purgatory. It certainly doesn’t feel like mercy. It feels cruel. Cruelty is all there is. When I was a depressed, moony kid, I believed in my heart there was a grand melodrama in which I had a part to play. A delusion of grandeur, a symptom of narcissism (should one fail to outgrow it): you dressed the part with eyeliner and black trenchcoats, Doc Martens and clove cigarettes–the borrowed identity, the illusion of disaffection in language affected by quotes pulled from Shakespeare, Wilde, and our patron saint Morrissey. Most of my childhood and adolescence was a dark dream. I lived in a fugue. I lived in the spaces where my brain needed to mature, and I didn’t know what I was doing from one moment to the next, not really. I believed I was responsible for not only the feelings but also the fate of others. I was always performing. I was never performative.

Alien: Romulus (2024)

August 15, 20242024, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical, Thriller, UK

**½/****
starring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced
written by Fede Alvarez & Rodo Sayagues
directed by Fede Alvarez

by Walter Chaw SPOILER WARNING IN EFFECT. It’s at least an hour before the fan service begins in earnest, and until it does, Fede Alvarez’s Alien: Romulus is a sterling example of how to tell another story in a familiar universe without regurgitating what came before. Although I’m a sucker for Rogue One, I can’t really defend its exhumation of Peter Cushing and a young Carrie Fisher to live as zombies in digital eternity. It feels infernal, a punishment invented by Dante. In space, no one will let you die. But, oh, that first hour of Romulus, in which we’re introduced to Jackson’s Star, a miserable, exploitative, blue-collar mining colony teeming with poverty and indentured servitude. (In a nice touch, these exhausted 22^nd-century schlubs still carry canaries in cages and black lungs in their chest.) Orphaned miner Rain (Cailee Spaeny) and her adopted, Black, android brother Andy (David Jonsson) dream of starting a new life in an off-world colony (time to begin again!) but find their entreaties to the company store falling on corporate’s deaf ears. The films in the Alien universe are at their best when they’re invested in the working class: first miners, then soldiers, then prisoners. Though centring Romulus on miners again demonstrates a lack of imagination and should have been a red flag, after the strained mythopoetics of the last couple of Ridley Scott pictures, it actually ratcheted my hopes up high. I mean, even Rain’s ship is named, again, for an element of a Joseph Conrad novel, the “Corbelan”–just like the “Nostromo” of the first film, the “Sulaco” of the second, and the “Patna” of the third. Hearts of darkness, indeed. Capitalism will destroy us all.

Twister (1996) – Blu-ray Disc|4K Ultra HD + Digital Code

August 13, 20241990s, 2024, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Blu-ray Disc, Spielberg

The film portion of this review was written when Twister made its Blu-ray debut in 2008. I stand by it and don’t have much to add. It seems funny to cling to “they don’t make ’em like they used to” about a movie whose reboot-quel just came out, but there are more years between Twister and Twisters than there were between Psycho and Psycho II, and the industry has been through a sea change. High-concept blockbusters–of which Twister was one–have virtually gone the way of the dodo, replaced by “IP” blockbusters (of which Twisters is one), where all the focus is on branding. This, along with the kind of “technological progress” that’s a euphemism for the dismantling of time-honoured industry practices, has left today’s tentpoles feeling ersatz, if not curiously bespoke. The passing of Bill Paxton and Philip Seymour Hoffman in 2017 and 2014, respectively, only makes the sense of loss that much more palpable, though it hasn’t, in my experience, translated to a higher opinion of Twister, which is far from either actor’s best work. (The movie might, however, be Jami Gertz’s finest hour. Hopefully, Film Twitter’s recent reassessment of her character and performance will result in the Gertz-aissance that should’ve happened in 1996.)

**/****
BD – Image B+ Sound A Extras C+
4K UHD – Image A- Sound A+ Extras B-
starring Helen Hunt, Bill Paxton, Jami Gertz, Cary Elwes
screenplay by Michael Crichton & Anne-Marie Martin
directed by Jan De Bont

by Bill Chambers Jan De Bont’s Twister has a host of problems that mocking its physics–a common pastime among smartasses the summer of its release–doesn’t begin to address, though if the film were even one degree more earnest than it is, moments like the bit where a tornado powerful enough to hoist a tractor leaves two people clinging tenaciously to a wooden support beam under a rickety bridge unscathed would make for prime “MST3K” fodder. (That’s the thing about notorious pedant Michael Crichton, who co-wrote Twister with then-wife Anne-Marie Martin: he figures getting the technobabble right buys him more poetic license than it really does.) For starters, Helen Hunt doesn’t belong in this milieu–and by that I mean the film’s, not that of the blockbuster. (I actually thought she acquitted herself fine in What Women Want and Cast Away.) Blame the contemporary compulsion to spell everything out: The picture saddles her character, Dr. Jo Harding, with a Tragic Past™ so that she’ll have a psychological motivation for chasing twisters, something that is not only completely gratuitous but also forces us to consider her provenance in a way that would never be an issue had the film stuck to the present tense. It’s impossible to imagine the immutably bicoastal Hunt as the Midwest offspring of the rednecks who leave an indelible impression in the opening flashback, and as a result, she wanders through Twister a virtual impostor.

Borderlands (2024)

August 11, 20242024, Action, Adventure, Authors: Walter Chaw, Comedy, Sci-Fi, Theatrical, Thriller

½*/****
starring Cate Blanchett, Kevin Hart, Jack Black, Jamie Lee Curtis
screenplay by Eli Roth and Joe Crombie
directed by Eli Roth

by Walter Chaw Borderlands is what happens if you stop evolving as a human being when you’re a privileged, 16-year-old, cis-gendered, heterosexual male. When you are a mess of hormones and your prefrontal lobe has not finished growing–has barely even started growing, truth be known. Remember the uncontrollable and inexplicable boners? The constant fear and self-loathing that results in your actively seeking out groups you perceive to be vulnerable in order to predate upon them and make yourself bigger? You are violent and emotional and wrapped up in your melodrama. You might pretend that you wrote that song by Counting Crows because you are well aware you’ve done nothing of note and, based on the emptiness inside, probably never will. Yet you believe the world is for you, since you’ve never learned any differently from Dad, the doctor/professor, and Mom, the artist. I read somewhere that dolphins stopped evolving because there was no need: the food was plentiful, and they reached the top of the food chain. I believe certain people stop evolving in the same way because interpersonal and professional success was handed to them, so they didn’t need to develop curiosity, empathy, or humility. I’ve heard that dolphins, incidentally, are assholes, too.

Trap (2024)

August 3, 20242024, Authors: Walter Chaw, Crime, Directors: M. Night Shyamalan, Horror, Mystery, Theatrical, Thriller, UK, Yemen

½*/****
starring Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills
written and directed by M. Night Shyamalan

by Walter Chaw I try sometimes to put myself inside the mind of the creator, to imagine the route they took to the art they made. Maybe M. Night Shyamalan was at a concert, looked around, and imagined what it would be like if everyone there was searching for him. How he would have trouble blending in, but someone who looked like, say, Josh Hartnett, might have an easier time of it. He kind of took a run at this with the football game in Unbreakable, right? But why would Night imagine people were looking for him in the first place? Did he want that? Did he want the discomfort of being recognized in public, the struggle and obligation to be magnanimous towards strangers while remaining present for his family? Was the sacrifice of it appealing, a chance to display unusual charm and grace and build on the self-mythology he started in SPORTS ILLUSTRATED reporter Michael Bamberger’s hilarious, bathetic The Man Who Heard Voices, which begins: “Night’s shirt was half open, Tom Jones in his prime.” Not Henry Fielding’s fortunate foundling, for sure, but the Welsh sexy beast notorious for the amount of ladies’ lingerie tossed in his general direction on stage. Maybe Night was feeling the burden of being semi-famous in a specific location that night at this theoretical concert. Maybe he was feeling the burden of not being more famous.

Fantasia Festival ’24: Cuckoo

August 2, 20242024, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Germany, Horror, Mystery, Thriller

**/****
starring Hunter Schafer, Dan Stevens, Jessica Henwick, Márton Csókás
written and directed by Tilman Singer

by Walter Chaw For the most part, Cuckoo is the species of movie people who don’t like Yorgos Lanthimos accuse Yorgos Lanthimos of making. It’s a deadpan, mordant, deeply affected comedy of bad manners that distills human interactions to their component, lizard parts. In Cuckoo, marriage is merely a state-sanctioned reproductive arrangement designed to secure the reproductive potential of women; children are evolutionary guinea pigs for rogue geneticists; and love is a label for a biological reaction rather than a spiritual one. The picture’s main selling point, and what lends it depth, is star Hunter Schafer, fresh from HBO’s “Euphoria” and, from what I can tell, a capable and empathetic actor. But what serves this film particularly, perhaps cynically, is her identity as a prominent transgender activist. For me, a horror/sci-fi flick about a kind of human/cuckoo bird hybrid that, with the help of a secret cabal of mad scientists, implants their fetuses in the womb of unsuspecting hosts, is primed to be read as a trans parable. Being born in the wrong body? Feeling alien in one’s skin? Ostracized by family and dependent on doctors? I get it. Indeed, even in an age in which a woman’s reproductive choice is up for grabs again in the United States, seeing Cuckoo as a metaphor for the trans experience is the only way I could read it. I’m still trying to parse whether that’s to its benefit–because it gives it purposeful subtext–or an unfortunate distraction too unsubtle to be subtext, thus making the film feel didactic at best and like an exploitative vanity project at worst. Probably, it’s a “me” problem.

Fantasia Festival ’24: The Silent Planet

August 1, 20242024, Authors: Walter Chaw, Canada, Fantasia Festival, Film Festivals, Sci-Fi, Thriller

**½/****
starring Elias Koteas, Briana Middleton
written and directed by Jeffrey St. Jules

by Walter Chaw Jeffrey St. Jules’s The Silent Planet, despite a small detail about hypoxia, doesn’t appear to be the long-awaited franchise adaptation of C.S. Lewis’s “Space Trilogy.” Rather, it occupies a space with Duncan Jones’s Moon, Walter Hill’s Supernova, David Fincher’s Alien³, and especially Jack Smight’s “Twilight Zone” episode “The Lonely,” in which poor James A. Corey (Jack Warden), a murderer sentenced to solitary confinement on a remote asteroid, is suddenly given a mysterious female companion (Jean Marsh) to ease the horror of his days. The aging murderer sentenced to Life in The Silent Planet is Theodore (Elias Koteas). Terminally ill and convinced that “alien gas” is making him revisit unpleasant episodes from his past, he carves out the monitoring device embedded in his chest, triggering an automated system to presume him dead and ship out his replacement: convicted terrorist Niyya (Briana Middleton). Niyya, orphaned as a child and raised by an alien race called the “Oieans” (who look vaguely like how C.S. Lewis described his pfifltriggi–but again, the film is not based on his Out of the Silent Planet), is understandably embittered about the human government sanctioning the oppression and genocide of her adopted people. Resigned to her fate, she’s unhappy to learn she’s sharing her interstellar oubliette with some nutsy old dude who’s clearly Going Through Something.

Fantasia Festival ’24: A Samurai in Time

July 31, 20242024, Action, Authors: Walter Chaw, Comedy, Fantasia Festival, Film Festivals, Japan, Time Travel

***/****
starring Makiya Yamaguchi, Norimasa Fuke, Rantaro Mine, Yuno Sakura
written and directed by Junichi Yasuda

by Walter Chaw Jun-ichi Yasuda’s A Samurai in Time is a lightweight, nostalgia-streaked, deceptively sad little flick in which a bedraggled Edo-period samurai named Kosaka Shinzaemon (Makiya Yamaguchi) finds himself, at the moment of his most meaningful duel against the evil Kyoichiro Kazami (Ken Shonozaki), finds himself transported to the present and mistaken for an extra on a samurai television show. Guided by old-world decorum and generally astonished as a fish-out-of-water, he falls under the kind auspices of script supervisor Yuko (Yuno Sakura), who takes him under her wing and helps him get progressively better roles as the sort of fight extra–a kiraeyaku–who “gets slashed” in jidaigeki productions like hers. A Samurai in Time doesn’t break any new ground, but it trods those worn boards with a spring in its step. I loved a moment where Kosaka tastes a little dessert and, in horror, asks if they made a mistake giving it to someone as lowly as he. When told that anyone has a right to eat such miracles in modern Japan, he weeps and declares his relief that a country he left in war and on the brink of collapse would become such a generous, egalitarian society as to treat all its citizens, from top to bottom, as royalty. I appreciate science-fiction that’s aspirational rather than apocalyptic. It’s hard to see sometimes how far we’ve come.

Fantasia Festival ’24: Kryptic; The Beast Within; Vulcanizadora; Animalia Paradoxa

July 30, 2024****/****, 2024, Authors: Walter Chaw, Canada, Chile, Drama, Esoterica, Fantasia Festival, Film Festivals, Horror, Thriller, UK, Werewolf

KRYPTIC
*½/****
starring Chloe Pirrie, Jeff Gladstone, Jason Deline, Ali Rusu-Tahir
written by Paul Bromley
directed by Kourtney Roy

THE BEAST WITHIN
*/****
starring James Cosmo, Ashleigh Cummings, Kit Harington, Caoilinn Springall
written by Greer Ellison & Alexander J. Farrell
directed by Alexander J. Farrell

VULCANIZADORA
***½/****
starring Melissa Blanchard, Joshua Burge, Joel Potrykus, Solo Potrykus
written and directed by Joel Potrykus

ANIMALIA PARADOXA
****/****
starring Andrea Gomez, Daniela Ossa, Javiera Reyes, Hormazábal Rocío
written and directed by Niles Atallah

by Walter Chaw The problem with Kourtney Roy’s Kryptic is that its subtext is text. It’s well-shot, well-performed, even has some nice Yuzna-esque goop effects, but it’s so didactic that all that hardly matters. When the message becomes exposition, it indicates a lack of faith in both the audience and the material. I’m as tired of writing about this as you are of reading about it, I’m sure, and I must confess it takes a lot out of me nowadays to finish films like this, however well-made and however promising its director might be, should they ever get out of their own way. Kryptic would be less frustrating if it weren’t so good in so many ways. It opens with shy, socially anxious Kay (Chloe Pirrie) on her drive to a guided cryptid hike, repeating positive affirmations to buck herself up for meeting new people and maybe making new friends. In the woods, she strays from the group and encounters the terrifying Sooka (glimpsed only in flashes), sending her into a fugue state wherein she forgets who she is and what she does. “I’m a dentist?” she asks. “I’m a veterinarian?” Most likely, she’s a cryptozoologist named “Barb” who has been missing in these woods for some time. Also likely is that Barb went missing because she was fleeing her abusive husband, Morgan (Jeff Gladstone).

Fantasia Festival ’24: The Dead Thing

July 27, 2024Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror

***/****
starring Blu Hunt, Ben Smith-Petersen, John Karna, Katherine Hughes
written by Webb Wilcoxen and Elric Kane
directed by Elric Kane

by Walter Chaw There’s a scene in Kiyoshi Kurosawa’s Pulse where one of the last surviving citizens of an apocalyptic Tokyo stumbles into a forbidden room–the sort of room Tarkovsky locates in his wastelands now and again–and meets a phantom who tells him that death is “eternal loneliness.” The Internet has become the kind of trap divers warn about: a technological rapture of the deep that presents a sanctuary for the wayward spirit, the parts in everyone that are lost, never mind that there’s no air in there and the pressures of continuing to exist as a version of yourself are obliterating. Elric Kane’s The Dead Thing has similar thoughts on its mind, 23 years down the electric road from Pulse (a gap which, if measured in terms of gadget generations, may as well be millennia ago), in considering what happens to the soul when courtship and physical touch is primarily, if not exclusively, mediated through viewscreens and algorithms. The Dead Thing wonders what would happen if you invested so much of yourself into an electronic web that when you died, an echo of you lived there forever. I mean, is that even science-fiction? It’s a good ghost story, in other words, but it’s an even better spiritual piece about the nature of eternity.

Deadpool & Wolverine (2024)

July 26, 20242024, Action, Adventure, Australia, Authors: Walter Chaw, Canada, Comedy, New Zealand, Sci-Fi, Superhero

**½/****
starring Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen
written by Ryan Reynolds & Rhett Reese & Paul Wernick & Zeb Wells & Shawn Levy
directed by Shawn Levy

by Walter Chaw What’s legitimately fascinating about Shawn Levy’s Deadpool & Wolverine is how much of its humour is based on idiotic producer’s notes and franchise-killers. It’s essentially the manifestation of the concept of irony, and it relies entirely on an individual’s knowledge of the last twenty years of “Access Hollywood”/TMZ culture: the public and private failures of the rich and famous, like who Jennifer Garner’s ex is and how Marvel hasn’t figured out how to launch another Blade movie even though Wesley Snipes and Guillermo del Toro are both right fucking there. You don’t need to have watched all of these latex flicks and their television spin-offs or to have read the comics, but it helps in appreciating the Shrek-ness of it all, I suppose, absolutely the lowest form of endorphin-mining. We have reached tentpole filmmaking as micro-transactional phone game: 99¢ to unlock a new costume, another $1.99 to play as Lexi Alexander’s Punisher–you know, the good one. It works to the extent it works because you’re like me and you watched the X-Men cartoon in its first run and have always lamented that they couldn’t figure out how to make Gambit cool in the live-action universe. The entire midsection of Deadpool & Wolverine, in fact, takes place on The Island of Misfit Toys for nerd detritus (remember that appalling multiverse sequence in The Flash? Like that, but with living actors), more or less, and manages, against every expectation, to be a little bit touching. The film works like a roast/eulogy for thinking we wanted a Marvel Cinematic Universe. It’s as if we’re all Regan waking up with a bad Pazuzu hangover. What the fuck did we do? What the fuck is wrong with us?

Fantasia Festival ’24: The Soul Eater

July 25, 20242024, Authors: Walter Chaw, Belgium, Crime, Fantasia Festival, Film Festivals, France, Horror, Thriller

Mangeur d’Âmes
*½/****
starring Virginie Ledoyen, Sandrine Bonnaire, Paul Hamy, Cameron Bain
written by Annelyse Batrel, Ludovic Lefebvre
directed by Julien Maury and Alexandre Bustillo

by Walter Chaw Alexander Bustillo and Julien Maury’s first film, 2007’s Inside, is a prominent member of the brief but incandescent French New Extremity movement, and so fucking good it reverberates still, 17 years later, showing up in the fetus reaction shots of Denis Villeneuve’s Dune Part Two and contributing to the slight feeling of dread I’ve come to feel about changing lightbulbs and getting into fender-benders. Inside‘s stylishness, lawlessness, and formal gamesmanship left such a mark on me that I found an all-region release of Bustillo and Maury’s follow-up, Livid, before it secured an American release and did the same thing again with Among the Living. Neither was as good as Inside, but both were slick enough to suggest there might be more live rounds in the barrel. I was thrilled when they landed a prequel to The Texas Chain Saw Massacre, Leatherface, and disappointed when it failed to push any boundaries–a running theme, as it turns out, for their follow-ups: the monster film Kandisha and the underwater haunted-house flick The Deep House. They’re still promising filmmakers, but after setting the world on fire, their work has lacked danger and urgency.

Fantasia Festival ’24: Oddity

July 23, 2024****/****, 2024, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Ireland, Thriller

****/****
starring Gwilym Lee, Carolyn Bracken, Tadhg Murphy, Steve Wall
written and directed by Damian McCarthy

by Walter Chaw Damien McCarthy’s Oddity is the perfect campfire story: self-contained, tantalizingly high-concept, and terrifying as fuck without necessarily carrying any existential baggage or greater stakes than, “Hey, some fucked up things happened to these people once, gather ’round while I tell the tale of a night just like this.” It’s the kind of story I’d love to hear while camping on the moors–the kind of thing Harlan Ellison used to write in the front window of Dangerous Visions bookstore in Sherman Oaks as a parlour trick: give him a prompt and watch him go. In Oddity, the blind proprietress of a cursed oddities shop (curses removed upon purchase) seeks to discover the murderer of her twin sister. That’s it, the long and the short of it, but what McCarthy conjures from a one-sentence pitch is an exercise in unbearably ratcheting tension, with tremendous performances and impeccable filmmaking craft. Consider a prologue that, in the first minute, establishes the existence of a motion-activated camera documenting the movements of a lone woman in an isolated location. Its shutter clicks once when she crosses before it, and then again when nothing crosses before it. I mean “nothing” in the Goodnight Moon sense, the Wallace Stevens sense, where the camera captures a nothing we can see and a nothing we can’t. The woman leaves the relative security of her home twice, and both times, McCarthy offers us a point of view on her that isn’t attached to anything. She’s being watched, see, and it’s awful. The second time, at night, she makes it to safety, but before we can relax, the pitch-black outside tests the doorknob as soon as she locks it behind her. I thought of the scene in Jacques Tourneur and Val Lewton’s The Leopard Man where a mother tarries in unlocking the door for her terrified daughter, who is given to crying wolf, and then the pleas stop, and a slow pool of blood begins to spread under the door.

The Exorcism (2024) + Maxxxine (2024)

July 22, 20242024, Authors: Walter Chaw, Crime, Horror, New Zealand, Theatrical, Thriller, UK

THE EXORCISM
*½/****
starring Russell Crowe, Ryan Simpkins, Sam Worthington, David Hyde Pierce
written by M.A. Fortin & Joshua John Miller
directed by Joshua John Miller

MAXXXINE
**½/****
starring Mia Goth, Elizabeth Debicki, Moses Sumney, Kevin Bacon
written and directed by Ti West

by Walter Chaw Joshua John Miller is Hollywood royalty: the son of actor/playwright Jason Miller (best known as The Exorcist‘s Father Damien Karras) and grandson of bang-zoom Jackie Gleason. He’s vampire royalty, too, having played foul, bitter Homer in Kathryn Bigelow’s Near Dark around the same time his brother Jason Patric headlined Joel Schumacher’s The Lost Boys as almost-turned heartthrob Michael, making Joshua John ideal for helming a film about the goings-on behind the scenes of a genre flick. The film-within-a-film in his The Exorcism is codenamed “The Georgetown Project,” a requel/redux/remake of The Exorcist in which Russell Crowe’s Tony Miller, a broken-down, widowed, recently in his cups actor seeking a comeback, essays a role very much like Father Karras while hoping to reconcile with his offscreen daughter Lee (Ryan Simpkins), who has come to live with him after being kicked out of school. The director is unctuous piece of shit Peter (Adam Goldberg), whose main motivating tactic for Tony is to remind him of Tony’s multiple failures as a human being while dangling his career in front of the lumpen actor like a spider over a Jonathan Edwardsian abyss. Credit Crowe for making Tony’s humiliation feel so familiar and lived-in that even his flinches from Peter’s gut punches are understated and resigned.

Fantasia Festival ’24: Bookworm

July 21, 20242024, Adventure, Authors: Walter Chaw, Comedy, Family, Fantasia Festival, Film Festivals, New Zealand

**½/****
starring Elijah Wood, Michael Smiley, Nell Fisher
screenplay by Toby Harvard
directed by Ant Timpson

by Walter Chaw Kiwi jack-of-all-trades Ant Timpson’s sophomore feature after his strong hyphenate debut Come to Daddy reunites him with that film’s star, Elijah Wood. Bookworm, a quiet, charming echo of Hunt for the Wilderpeople, tells a familiar tale of wayward fathers and precocious daughters in a light, warm-hearted way. The girl is 11-year-old Mildred (Nell Fisher), and her dad is failed illusionist Strawn (Wood). When Mildred’s mother, Zo (Morgana O’Reilly), suffers a terrible accident, landing her in a coma, Strawn materializes out of the past to reunite with the child he sired but abandoned to pursue his dreams of becoming the next David Copperfield. Meanwhile, Mildred is convinced that if she can find proof of the Canterbury Panther, a legendary cryptid that allegedly lives in the New Zealand wilderness, she’ll be able to bring her mother back from the brink. Of course, the $50,000 prize money wouldn’t hurt, either. The problem is that Strawn is fairly useless as a father and even more so as an outdoorsman, but working in their favour is Mildred’s confidence and Strawn’s desire to finally do the right thing here in Mildred and Zo’s moment of crisis. Hilarity ensues.

Twisters (2024)

July 18, 20242024, Action, Adventure, Authors: Walter Chaw, Spielberg, Theatrical, Thriller

**/****
starring Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Kiernan Shipka
screenplay by Mark L. Smith
directed by Lee Isaac Chung

by Walter Chaw Lee Isaac Chung’s Twisters is the whistle next to the graveyard, a fascinating companion piece to Adam Wingard’s Godzilla x Kong: the one a spectacle designed to desensitize against our ongoing climate collapse, the other to deaden us against widely-broadcast images of an ongoing genocide. Its only two points of interest are Glen Powell’s sudden ascendance as matinee idol and the astounding majesty of natural phenomena fuelled by man-made climate change–meaning, in its simplicity, the goal is to leave audiences with the dazed satiation one associates with the aftermath of an ostentatious fireworks display: half-deafened, eyes bedazzled, the smell of gunpowder sulphurous in the air. A gut full of barbecued meats and sugared drinks in the American fashion, celebrating our liberation from a monarchy on the back of our God-sanctioned manifest genocide of an Indigenous population. We had fun, but that hangover is a sonofabitch. For me, the best part of Twisters is the extended prologue, where I thought it was going to be a Kiernan Shipka movie.

Longlegs (2024)

July 16, 20242024, Canada, Crime, Horror, Nicolas Cage, Theatrical, Thriller

***½/****
starring Maika Monroe, Nicolas Cage, Blair Underwood, Alicia Witt
written and directed by Oz Perkins

by Walter Chaw Thematically, at least, Oz Perkins reminds me most of Sofia Coppola, in that all of his films are autobiographical examinations of the relationship between isolated, creative, depressed children and their absent parents. Not abusive parents, mind (not exactly, in any case)–more parents lost in labyrinths in the company of goblin kings. Perkins uses negative space to suggest presence in the way that absence can become a palpable thing. Not a state in which one could lurk, but the lurker itself. After a parent is gone, they’re not really gone, because the space they used to occupy can take over all the light in your world. It’s a shadow of a naught. It happens when you’re not paying attention, and it happens because the absence of what is essential becomes physical in time. The golem of being forgotten is still preferable to being alone. I have the image in my head of Frankenstein and the little girl he drowns out of love. Their filmographies, Perkins’s and Coppola’s, are exquisite autopsies of the various forms the friendship takes between golden orphans and their parents. They tell it in the way their parents might understand them. It is their gilded grief that guided them to their seat behind the camera. Film is their native language, and so what they write in it is fulsome and tactile, full of subtext raw and personal. It is the cinema of solipsism, and it tends to be beautiful, self-indulgent by nature. And sometimes, but not always, it can even resonate with lost children vibrating at the same strange frequencies.

Ferris Bueller’s Day Off (1986) – 4K Ultra HD

July 15, 2024****/****, 1980s, 2024, 4K Ultra HD, Authors: Bill Chambers, Comedy, FFC Must-Own, John Hughes, Teen

****/**** Image A+ Sound A- Extras B+
starring Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones
written and directed by John Hughes

by Bill Chambers I often begin these autopsies of John Hughes’s oeuvre by regurgitating some lore about how the film in question came to be. In the case of Ferris Bueller’s Day Off, I want to correct a faux pas I made on Twitter. “I find it fascinating,” I tweeted, “that in test screenings they all hated Ferris Bueller’s girlfriend and John Hughes figured out it was because of one line where she criticizes him. They cut it and her likability quotient skyrocketed.” (“Fascinating and depressing,” I added in a follow-up.) In actuality, the line had nothing to do with Ferris’s girlfriend cutting him down to size. I should’ve refreshed my memory of the incident beforehand, say by rereading this passage from A Long Time Ago in a Cutting Room Far, Far Away (reviewed here), the 2019 memoir by the movie’s editor, Paul Hirsch:

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