Horror Film Review: Old (dir by M. Night Shyamalan)


An odd film, Old.

Seriously, 2019’s Old is so odd that I feel the need to point out repeatedly just how strange it is.  As I watched the film, I respected it’s dedication to being odd but, at the same time, I was a bit surprised that it was directed by M. Night Shyamalan.  For all of the fame that he’s gained for his twist endings and his suspenseful films, Shyamalan has always aspired to being a member of the Hollywood mainstream.  As such, his films are usually twisty without being transgressive.  He’s usually careful about alienating the audience.

But then, he makes something like Old, which features a group of people going to the beach and aging a year every 30 minutes.  This group includes middle-aged people (and wow, are they ever in trouble) but it also includes young children who quickly become teenager and then quickly become adults and, by the end of the film, are middle-aged and walking around in ill-fitting swim suits.  Along the way, there’s a 10-minute pregnancy, a baby that only lives for a few seconds because it’s aging too quickly, and a blood infection that kills within seconds.  Eyesight and hearing fades.  Bones snap.  Bodies quickly decay.  Aging sucks.

It’s not a happy film at all.  Yes, the movie does end with a minor victory but it still leaves the remaining characters in a sort of mental and emotional limbo, the type that you know they’re never going to escape.  The majority of the characters die and often, they die graphically and painfully.  Under normal circumstances, they would have died over the course of several years and, at the very least, people would have time to grieve in between.  On the cursed beach of Old, people die one after the other and there’s no time to grieve.  Two character do manage to make some sort of peace with themselves before they age to death but the majority of the characters go out railing against that dark night.  One of the most disturbing things about the film is that the characters have no control over what is happening to them.  Even when they try to leave the beach, they pass out and reawaken on the sand, a few years older.  I guess it’s like life.  There is no escape and there’s no way to prevent getting older.  Some will age well and live a full life.  Others will randomly get sick and die and, in the end, there’s no way to control which will be which.

Seriously, that’s depressing!  I’m not used to M. Night Shyamalan being that depressing!  But then I discovered that this movie was based on a French-language graphic novel and it all made sense.

The people on the beach are played by a talented group of actors, with several different performers playing the rapidly aging children over the course of the film.  Rufus Sewell gives a good performance as a surgeon who cracks under the pressure.  I was happy to see one of my favorite actors, Ken Leung, on the beach but I wasn’t particularly happy with what happened to his character.

It’s a strange film.  Say what you will about Shyamalan and his career has definitely been uneven, he can still deliver when he has the right material.

Film Review: The Mother (dir by Niki Caro)


Jennifer Lopez is …. THE MOTHER!

The Mother is a professional assassin, a former U.S. military operative who has spent the last 12 years isolated in Alaska, hiding out from two of her former associates, drug lord Hector Alvarez (Gael Garcia Bernal) and mercenary Adrian Lovell (Joseph Fiennes).  In the past, The Mother went to the FBI when she discovered that Alvarez and Lovell were involved in human trafficking.  Lovell reacted by killing a bunch of FBI agent and attempting to kill The Mother’s unborn child by stabbing The Mother in the belly.  (I actually gasped in shock at this act of violence.)  Both The Mother and her daughter, Zoe, survived.

The Mother left her daughter to be raised by an FBI agent named William Cruise (Omari Hardwick).  But, twelve years later, Zoe (Lucy Paez) is kidnapped and The Mother has to come out of hiding to rescue her.  It’s a mission that will lead The Mother and Cruise to Cuba and which will eventually bring Lovell and his men back to Alaska.  Along the way, The Mother learns how to forgive herself and to how to open up emotionally and Zoe learns why her mother abandoned her so many years ago.  Zoe also learns that nature can be ruthless and unforgiving.

The Mother isn’t really a bad film as much as it’s just a very predictable film.  It’s very much from the Taken school of cinematic action, with a parent doing whatever is necessary to protect their children.  This is another one of those films where everyone tends to be very grim and there’s a lot of scenes of people coldly threatening each other.  The film opens with the FBI interrogating The Mother and the dialogue was so familiar and the attitudes so reminiscent of every single action film and television show that I’ve seen recently that I had to take a few minutes to remember which film I was watching.  Even The Mother’s eventual trip to snowy Alaska caused me to have flashbacks to both Those Who Wish Me Dead and the recent Dexter revival.  Oddly enough, it also reminded me of Sound of Metal, if just because The Mother‘s one friend in Alaska was played by Paul Raci.  It was nice to see Raci again.  With his haunted eyes and his kindly voice, he’s the type of guardian angel that everyone would want to have.  But again, it just all felt so familiar.

Jennifer Lopez gives a convincing performance as The Mother.  Though the film may be predictable, her commitment to protecting her daughter no matter what was undeniably moving and she and Lucy Paez has a believable mother/daughter relationship.  That said, Jennifer Lopez is always at her best when she’s allowed to play a character with a sense of playfulness and there’s little of that to be found in The Mother.  It’s a grim film about serious characters and it hits all of the expected beats with efficiency but not much more.  When it comes to 2023 Jennifer Lopez films, I still prefer the appealingly silly Shotgun Wedding.

What If Lisa Picked The Oscar Nominees: 2017 Edition


With the Oscar nominations due to be announced tomorrow, now is the time that the Shattered Lens indulges in a little something called, “What if Lisa had all the power.” Listed below are my personal Oscar nominations. Please note that these are not the films that I necessarily think will be nominated. The fact of the matter is that the many of them will not. Instead, these are the films that would be nominated if I was solely responsible for deciding the nominees this year. Winners are starred and listed in bold.

(You’ll also note that I’ve added four categories, all of which I believe the Academy should adopt — Best Voice-Over Performance, Best Casting, Best Stunt Work, and Best Overall Use Of Music In A Film.)

(Click on the links to see my nominations for 201620152014201320122011, and 2010!)

Best Picture

Baby Driver

The Big Sick

The Disaster Artist

*A Ghost Story*

It

Kedi

Lady Bird

The Meyerowitz Stories

Three Billboards Outside Ebbing, Missouri

Wonder Woman

Best Director

Greta Gerwig for Lady Bird

Patty Jenkins for Wonder Woman

*David Lowery for A Ghost Story*

Martin McDonagh for Three Billboard Outside Ebbing, Missouri

Andy Muschietti for It

Edgar Wright for Baby Driver

Best Actor

*Sam Elliott in The Hero*

James Franco in The Disaster Artist

Jake Gyllenhaal in Stronger

Daniel Kaluuya in Get Out

James McAvoy in Split

Robert Pattinson in Good Time

Best Actress

Gal Gadot in Wonder Woman

Sally Hawkins in Maudie

Frances McDormand in Three Billboards Outside Ebbing, Missouri

Cynthia Nixon in A Quiet Passion

Aubrey Plaza in Ingrid Goes West

*Saoirse Ronan in Lady Bird*

Best Supporting Actor

Woody Harrelson in Three Billboards Outside Ebbing, Missouri

Sam Rockwell in Three Billboards Outside Ebbing, Missouri

Adam Sandler in The Meyerowitz Stories

Bill Skarsgard in It

*Patrick Stewart in Logan*

Jason Sudekis in Colossal

Best Supporting Actress

Holly Hunter in The Big Sick

Catherine Keener in Get Out

Sophia Lillis in It

*Laurie Metcalf in Lady Bird*

Carey Mulligan in Mudbound

Ella Rumpf in Raw

Best Voice-Over or Stop Motion Performance

Will Arnett in The LEGO Batman Movie

Gael Garcia Bernal in Coco

Bradley Cooper in Guardians of the Galaxy, Volume 2

Doug Jones in The Shape of Water

*Andy Serkis in War for the Planet of the Apes*

Dan Stevens in Beauty and the Beast

Best Original Screenplay

The Big Sick

Get Out

A Ghost Story

*Lady Bird*

The Meyerowitz Stories

Three Billboards Outside Ebbing, Missouri

Best Adapted Screenplay

Before I Fall

*The Disaster Artist*

It

Logan

Their Finest

Wonder Woman

Best Animated Film

Cars 3

Coco

*The Lego Batman Movie*

Leap!

Best Documentary Feature

Karl Marx City

*Kedi*

Risk

Step

Strong Island

32 Pills: My Sister’s Suicide

Best Foreign Language Film

First They Killed My Father

Frantz

*Kedi*

Raw

Best Casting

The Big Sick

Detroit

Dunkirk

Get Out

Lady Bird

*The Meyerowitz Stories*

Best Cinematography

Blade Runner 2049

Dunkirk

*A Ghost Story*

It

Lost City of Z

Three Billboards Outside Ebbing, Missouri

Best Costume Design

Beauty and the Beast

The Beguiled

Free Fire

Thor: Ragnarok

Victoria & Abdul

*Wonder Woman*

Best Editing

*Baby Driver*

Before I Fall

Dunkirk

A Ghost Story

It

Wonder Woman

Best Makeup and Hairstyling

The Disaster Artist

Guardians of the Galaxy Volume 2

Lady MacBeth

Logan Lucky

My Cousin Rachel

*Thor: Ragnarok*

Best Original Score

Blade Runner 2049

A Ghost Story

*Good Time*

Dunkirk

The Shape of Water

Wind River

Best Original Song

“Buddy’s Business” from Brawl In Cell Block 99

“Evermore” from Beauty and the Beast

“Friends are Family” from The Lego Batman Movie

“How Does A Moment Last Forever” from Beauty and the Beast

“Myron/Byron” from The Meyerowitz Stories

*”The Pure and the Damned” from Good Time*

Best Overall Use Of Music

Atomic Blonde

*Baby Driver*

The Disaster Artist

Guardians of the Galaxy Volume 2

Thor: Ragnarok

T2: Trainspotting

Best Production Design

*Beauty and the Beast*

The Beguiled

Blade Runner 2049

It Comes At Night

Logan

Thor: Ragnarok

Best Sound Editing

Baby Driver

*Dunkirk*

Kong: Skull Island

Spider-Man: Homecoming

War For The Planet of the Apes

Wonder Woman

Best Sound Mixing

Baby Driver

*Dunkirk*

Kong: Skull Island

Spider-Man: Homecoming

War For The Planet of the Apes

Wonder Woman

Best Stuntwork

Baby Driver

Dunkirk

Logan

Spider-Man: Homecoming

Thor: Ragnarok 

*Wonder Woman*

Best Visual Effects

Blade Runner 2049

Guardians of the Galaxy Vol. 2

Spider-Man: Homecoming

Thor: Ragnarok

Valerian and the City of a Thousand Planets

*War For The Planet of the Apes*

Films Listed By Number of Nominations

9 Nominations — Wonder Woman

7 Nominations — Baby Driver, Dunkirk, It, Three Billboards Outside Ebbing Missouri

6 Nominations — A Ghost Story, Lady Bird, Thor: Ragnarok

5 Nominations — Beauty and the Beast, The Disaster Artist, The Meyerowitz Stories

4 Nominations — The Big Sick, Blade Runner 2049, Get Out, Guardians of the Galaxy Vol. 2, Logan, Spider-Man: Homecoming, War For The Planet Of The Apes

3 Nominations — Good Time, Kedi, The LEGO Batman Movie

2 Nominations — Before I Fall, The Beguiled, Coco, Kong: Skull Island, Raw, Shape of Water

1 Nominations — Atomic Blonde, Brawl in Cell Block 99, Cars 3, Colossal, Detroit, First They Killed My Father, Frantz, Free Fire, The Hero, Ingrid Goes West, It Comes At Night, Karl Marx City, Lady MacBeth, Leap!, Logan Lucky, Lost City of Z, Maudie, Mudbound, My Cousin Rachel, A Quiet Passion, Risk, Split, Step, Strong Island, Stronger, T2: Trainspotting, Their Finest, 32 Pills: My Sister’s Suicide, Valerian and the City of a Thousand Planets, Victoria & Abdul, Wind River

Films Listed By Number of Wins

3 Oscars — A Ghost Story, Lady Bird

2 Oscars — Baby Driver, Dunkirk, Good Time, Kedi, War For the Planet of the Apes, Wonder Woman

1 Oscar — Beauty and the Beast, The Disaster Artist, The Hero, The LEGO Batman Movie, Logan, The Meyerowitz Stories, Thor: Ragnarok

Will the Academy be smart enough to agree with me?  Probably not.  We’ll see what happens tomorrow!

 

The Washington D.C. Area Film Critics Get In With Get Out!


Today, the Washington D.C. Area Film Critics announced their picks for the best of 2017!  After picking up awards from many of the other precursors, Get Out has finally been named best picture of the year.  While it’s always debatable how much weight these various groups carry with the Academy, Get Out can use all the help it can get to become one of the few horror films to ever receive a best picture nomination.

​Best Film
Call Me by Your Name
Dunkirk
Get Out – WINNER
Lady Bird
Three Billboards Outside Ebbing, Missouri

Best Director
Guillermo del Toro – The Shape of Water
Greta Gerwig – Lady Bird
Christopher Nolan – Dunkirk – WINNER
Jordan Peele – Get Out
Dee Rees – Mudbound

Best Actor
Timothée Chalamet – Call Me By Your Name
Daniel Day-Lewis – Phantom Thread
James Franco – The Disaster Artist
Daniel Kaluuya – Get Out
Gary Oldman – Darkest Hour – WINNER

Best Actress
Sally Hawkins – The Shape of Water
Frances McDormand – Three Billboards Outside Ebbing Missouri – WINNER
Margot Robbie – I, Tonya
Saoirse Ronan – Lady Bird
Meryl Streep – The Post

Best Supporting Actor
Willem Dafoe – The Florida Project
Armie Hammer – Call Me By Your Name
Jason Mitchell – Mudbound
Sam Rockwell – Three Billboards Outside Ebbing Missouri – WINNER
Michael Stuhlbarg – Call Me By Your Name

Best Supporting Actress
Mary J. Blige – Mudbound
Tiffany Haddish – Girls Trip
Holly Hunter – The Big Sick
Allison Janney – I, Tonya
Laurie Metcalf – Lady Bird – WINNER

Best Acting Ensemble
Dunkirk
It
Mudbound
The Post
Three Billboards Outside Ebbing Missouri – WINNER

Best Youth Performance
Dafne Keen – Logan
Sophia Lillis – It
Brooklynn Prince – The Florida Project – WINNER
Millicent Simmonds – Wonderstruck
Jacob Tremblay – Wonder

Best Voice Performance
Will Arnett – The LEGO Batman Movie
Gael García Bernal – Coco
Michael Cera – The LEGO Batman Movie
Bradley Cooper – Guardians of the Galaxy Vol. 2
Anthony Gonzalez – Coco – WINNER

Best Motion Capture Performance
Andy Serkis – War for the Planet of the Apes – WINNER
Dan Stevens – Beauty and the Beast
Steve Zahn – War for the Planet of the Apes
Taika Waititi – Thor: Ragnarok

Best Original Screenplay
Emily V. Gordon and Kumail Nanjiani – The Big Sick
Jordan Peele – Get Out – WINNER
Greta Gerwig – Lady Bird
Martin McDonagh – Three Billboards Outside Ebbing Missouri
Guillermo del Toro and Vanessa Taylor – The Shape of Water

Best Adapted Screenplay
Hampton Fancher & Michael Green, Story by Hampton Fancher – Blade Runner 2049
James Ivory – Call Me by Your Name
Scott Neustadter & Michael H. Weber – The Disaster Artist
Aaron Sorkin – Molly’s Game
Virgil Williams and Dee Rees – Mudbound – WINNER

Best Animated Feature
The Breadwinner
Coco – WINNER
Despicable Me 3
The LEGO Batman Movie
Loving Vincent

Best Documentary
City of Ghosts
Faces Places
An Inconvenient Sequel: Truth to Power
Jane – WINNER
Step

Best Foreign Language Film
BPM (Beats Per Minute) – WINNER
First They Killed My Father
In the Fade
The Square
Thelma

Best Production Design
Beauty and the Beast
Blade Runner 2049 – WINNER
Dunkirk
The Shape of Water
Wonder Woman

Best Cinematography
Roger A. Deakins – Blade Runner 2049 – WINNER
Sayombhu Mukdeeprom – Call Me by Your Name
Hoyte Van Hoytema – Dunkirk
Rachel Morrison – Mudbound
Dan Laustsen – The Shape of Water

Best Editing
Baby Driver – WINNER
Blade Runner 2049
Dunkirk
Get Out
The Shape of Water

Best Original Score
Blade Runner 2049 – WINNER
Coco
Dunkirk
The Shape of Water
Three Billboards Outside Ebbing Missouri

The Joe Barber Award for Best Portrayal of Washington, DC:
An Inconvenient Sequel: Truth to Power
Last Flag Flying
Mark Felt: The Man Who Brought Down the White House
Spider-Man: Homecoming
The Post – WINNER

Lisa Marie Bowman Does It At Casa de mi Padre (dir. by Matt Piedmont)


 

Having seen the new Spanish-language comedy Casa de mi Padre on Friday, I now know what I want for Christmas.  I want a big white tiger that can talk and sit in trees and laugh, just like the big white cat that shows up and serves as spirit guide to Will Ferrell.

Seriously, let’s make it happen!

As for Case de mi Padre, the film is a deliberately absurd homage to both telenovelas and the B-movies of the 70s.  Armando Alvarez (played by Will Ferrell) is a stupid but good-hearted Mexican rancher whose drug dealer brother (Diego Luna) is on the verge of marrying the niece (played by Genesis Rodriguez) of another drug dealer (Gael Garcia Bernal).  Ferrell, of course, falls in love with Rodriguez and this leads to a deliriously over-the-top wedding party massacre and … well, listen the plot isn’t important.  The plot makes no sense.  It’s not supposed to make sense.  It’s not only a Will Ferrell movie, it’s a Will Ferrell movie based on telenovelas.  In short, the film is deliberately designed not to make any sense and, on that count, it succeeds admirably.

Despite a lot of funny moments and Ferrell’s admirable commitment to the film, Casa de mi Padre ultimately works better as a concept than an actual film.  In the past, Ferrell’s comedies have worked because they’ve satirized pompous institutions and people who generally take themselves far too seriously, with the obvious example being Anchorman‘s cast of self-important television reporters.  However, the majority of telenovelas are already essentially satiric in their intent.  Casa de mi Padre finds itself in the odd position of satirizing satire and, as a result, it never feels as outrageous as an actual telenovela.  The end result is hardly perfect but it’s silly enough to be consistently amusing.

 

Casa de mi Padre is a pretty uneven film that’s never as funny as you want it to be but I would be lying if I said I didn’t enjoy watching it.  Will Ferrell’s strength as both a comedic and a dramatic actor is his willingness to totally commit to his performance.  No matter how ludicrous or silly things get, Ferrell gives 100% and that’s never been more obvious than in his performance here.  Not only does he deliver all of his dialogue in Spanish (apparently he learned his lines phonetically) but he also totally throws himself into the melodrama of it all. 

A similar commitment can be seen in just about every frame of the film.  For me, the film’s best moments come from the small details that the filmmakers take the time to get right.  It’s there in every scene from the film’s deliberately tacky sets to the way that the characters randomly break out into overdone laughter to the fact that every female character in the film down to even the maids who work for Ferrell’s father wander around showing off miles of cleavage.  Perhaps my favorite scene in the film is when Ferrell and Rodriguez go for a horse ride and it’s obvious from the way the scene is framed that neither one of them is actually sitting on a horse.  These are the type of details that will leave boring mainstream audiences scratching their heads but for those of us who speak B-movie, these are the details that make this film worth seeing.