The Florida Film Critics Circle Names Portrait Of A Lady On Fire The Best of 2019!


On Monday, the Florida Film Critics Circle announced their picks for the best of 2019!  For best picture, they selected the French-language film, Portrait of a Lady on Fire!  Portrait of a Lady on Fire has, as of late, emerged as a bit of an Oscar dark horse.  While it would be surprising (and history making) to see two international films nominated for best picture in the same year, strangers things have happened.  After all, just three years ago, I was proudly declaring that there was no way that Academy would ever nominate a Netflix film for any of the big prizes.

Here are the winners and nominees from Florida:

BEST PICTURE
1917 – Runner-up
Ad Astra
Marriage Story
Portrait of a Lady on Fire – WINNER
The Irishman

BEST ACTOR
Adam Driver, Marriage Story – WINNER
Adam Sandler, Uncut Gems
Antonio Banderas, Pain and Glory – Runner-up
Franz Rogowski, Transit
Joaquin Phoenix, Joker
Taron Egerton, Rocketman

BEST ACTRESS
Charlize Theron, Bombshell
Elisabeth Moss, Her Smell
Florence Pugh, Midsommar – Runner-up
Renée Zellweger, Judy
Scarlett Johansson, Marriage Story – WINNER

BEST SUPPORTING ACTOR
Anthony Hopkins, The Two Popes
Brad Pitt, Once Upon a Time in Hollywood
Joe Pesci, The Irishman – WINNER
John Lithgow, Bombshell – Runner-up
Tom Hanks, A Beautiful Day in the Neighborhood

BEST SUPPORTING ACTRESS
Annette Bening, The Report
Isla Fisher, The Beach Bum – Runner-up (tie)
Jennifer Lopez, Hustlers
Laura Dern, Marriage Story – WINNER
Margot Robbie, Bombshell – Runner-up (tie)
Scarlett Johansson, Jojo Rabbit
Zhao Shuzhen, The Farewell

BEST ENSEMBLE
Little Women – WINNER
Marriage Story
Parasite
The Farewell – Runner-up
The Irishman

BEST DIRECTOR
Céline Sciamma, Portrait of a Lady on Fire – WINNER
Greta Gerwig, Little Women
Sam Mendes, 1917 – Runner-up

BEST ORIGINAL SCREENPLAY
Bong Joon-Ho and Han Jin-Won, Parasite
Céline Sciamma, Portrait of a Lady on Fire
Lulu Wang, The Farewell – Runner-up
Noah Baumbach, Marriage Story
Quentin Tarantino, Once Upon a Time in Hollywood
Ronald Bronstein, Benny Safdie and Josh Safdie, Uncut Gems – WINNER

BEST ADAPTED SCREENPLAY
Anthony McCarten, The Two Popes
Greta Gerwig, Little Women – WINNER
Micah Fitzerman-Blue and Noah Harpster, A Beautiful Day in the Neighborhood
Steven Zaillian, The Irishman – Runner-up
Taika Waititi, Jojo Rabbit
Terrence Malick, A Hidden Life

BEST CINEMATOGRAPHY
Claire Mathon, Portrait of a Lady on Fire – Runner-up
Hoyte Van Hoytema, Ad Astra
Jorg Widmer, A Hidden Life
Roger Deakins, 1917 – WINNER

BEST VISUAL EFFECTS
Ad Astra – Runner-up (tie)
Avengers: Endgame – Runner-up (tie)
Alita: Battle Angel – WINNER

BEST ART DIRECTION/PRODUCTION
Barbara Ling, Once Upon a Time in Hollywood – WINNER
Kevin Constant, Christa Munro, Alison Sadler, David Scott and Gary Warsaw, Ad Astra – Runner-up
Simon Elsley, Elaine Kusmishko, Rod McLean, Niall Moroney, Stephen Swain and Robert Voyset, 1917

BEST SCORE
Daniel Lopatin, Uncut Gems – WINNER
Hildur Guðnadóttir, Joker
Max Richter, Ad Astra
Randy Newman, Marriage Story
Thomas Newman, 1917

BEST DOCUMENTARY
American Factory
Apollo 11 – WINNER
Honeyland – Runner-up
The Biggest Little Farm

BEST FOREIGN LANGUAGE FILM
Long Day’s Journey Into Night
Pain and Glory
Parasite – Runner-up
Portrait of a Lady on Fire – WINNER
The Farewell

BEST ANIMATED FILM
Frozen 2
How to Train Your Dragon: The Hidden World
I Lost My Body – WINNER
Toy Story 4 – Runner-up
Weathering With You

BEST FIRST FILM
Booksmart
Honeyland – Runner-up
Queen & Slim – WINNER
The Last Black Man in San Francisco

PAULINE KAEL BREAKOUT AWARD
Florence Pugh, Midsommar, Fighting With My Family and Little Women – WINNER
Honor Swinton Byrne, The Souvenir
Lulu Wang, The Farewell – Runner-up
Roman Griffin Davis, Jojo Rabbit

Here Are The 2019 Nominations of the Online Film Critics Society!


On Monday, the Online Film Critics Society (OFCS) announced their nominations for the best of 2019 and here they are!  The Irishman has the most nomination, with 8.  Meanwhile, Once Upon A Time In Hollywood received seven while Parasite and Marriage Story received six each.

The winners will be announced on January 6th!

Best Picture

The Irishman
Jojo Rabbit
Knives Out
Marriage Story
1917
Once Upon a Time… in Hollywood
Parasite
Portrait of a Lady on Fire
Uncut Gems
Us

Best Animated Feature

Frozen II
How to Train Your Dragon: The Hidden World
I Lost My Body
Missing Link
Toy Story 4

Best Director

Bong Joon-ho – Parasite
Sam Mendes – 1917
Celine Sciamma – Portrait of a Lady on Fire
Martin Scorsese – The Irishman
Quentin Tarantino – Once Upon a Time… in Hollywood

Best Actor

Antonio Banderas – Pain and Glory
Robert De Niro – The Irishman
Adam Driver – Marriage Story
Joaquin Phoenix – Joker
Adam Sandler – Uncut Gems

Best Actress

Awkwafina – The Farewell
Scarlett Johansson – Marriage Story
Lupita Nyong’o – Us
Florence Pugh – Midsommar
Renée Zellweger – Judy

Best Supporting Actor

Willem Dafoe – The Lighthouse
Al Pacino – The Irishman
Joe Pesci – The Irishman
Brad Pitt – Once Upon a Time… in Hollywood
Song Kang-ho – Parasite

Best Supporting Actress

Laura Dern – Marriage Story
Jennifer Lopez – Hustlers
Florence Pugh – Little Women
Margot Robbie – Once Upon a Time… in Hollywood
Shuzhen Zhao – The Farewell

Best Original Screenplay

Knives Out – Rian Johnson
Marriage Story – Noah Baumbach
Once Upon a Time… in Hollywood – Quentin Tarantino
Parasite – Bong Joon-ho, Han Jin-won
Us – Jordan Peele

Best Adapted Screenplay

A Beautiful Day in the Neighborhood – Micah Fitzerman-Blue, Noah Harpster
Hustlers – Lorene Scafaria
The Irishman – Steven Zaillian
Jojo Rabbit – Taika Waititi
Little Women – Greta Gerwig

Best Editing

Ford v Ferrari – Andrew Buckland, Michael McCusker
The Irishman – Thelma Schoonmaker
1917 – Lee Smith
Once Upon a Time… in Hollywood – Fred Raskin
Parasite – Jinmo Yang

Best Cinematography

The Irishman – Rodrigo Prieto
The Lighthouse – Jarin Blaschke
1917 – Roger Deakins
Once Upon a Time… in Hollywood – Robert Richardson
Portrait of a Lady on Fire – Claire Mathon

Best Original Score

Joker – Hildur Guðnadóttir
Little Women – Alexandre Desplat
Marriage Story – Randy Newman
1917 – Thomas Newman
Us – Michael Abels

Best Debut Feature

Mati Diop – Atlantics
Melina Matsoukas – Queen & Slim
Tyler Nilson, Michael Schwartz – The Peanut Butter Falcon
Joe Talbot – The Last Black Man in San Francisco
Olivia Wilde – Booksmart

Best Film Not in the English Language

Atlantics
Monos
Pain and Glory
Parasite
Portrait of a Lady on Fire

Best Documentary

American Factory
Apollo 11
For Sama
Honeyland
One Child Nation

Playing Catch-Up With The Films Of 2019: The Dead Don’t Die (by Jim Jarmusch)


Uh-oh, the dead are rising again.

Seriously, I’ve lost track of how many zombie films I’ve seen over the past ten years.  This last decade was the decade when zombies went mainstream and I have to admit that I have mixed feelings about it.  Zombies have become so overexposed that they’re no longer as scary as they once were.  I mean, there’s even PG-rated zombie movies now!  How the Hell did that happen?  Everyone’s getting in on the act.

There were a brief flurry of excitement when Jim Jarmusch announced that his next film would be a zombie film.  Myself, I was a bit skeptical and the release of a terrible trailer didn’t really help matters.  The fact that the film was full of recognizable names also made me uneasy.  Would this be an actual zombie film or would it just be a bunch of actors slumming in the genre?  The film opened the Cannes Film Festival and received mixed reviews.  By the time it opened in the United States, it seemed as if everyone had forgotten about The Dead Don’t Die.  It was widely chalked up as being one of Jim Jarmusch’s rare misfires, like The Limits of Control.

Last month, I finally watched The Dead Don’t Die and you know what?  It’s a flawed film and yes, there are times when it even becomes an annoying film.  That said, I still kind of liked it.

In The Dead Don’t Die, the Earth’s rotation has been altered, the result of polar fracking.  No one seems to be particularly concerned about it.  Instead, they’re just kind of annoyed by the fact that the sun is now staying up in the sky a bit longer than usual.  Cell phones and watches stop working.  House pets abandon and occasionally attack their owners.  In the rural town of Centerville, the dead rise from their graves and start to eat people.  Whether or not that’s connected to the Earth’s rotation is anyone’s guess.  (I like to think that the whole thing about the Earth’s rotation being altered was Jarmusch’s homage to Night of the Living Dead‘s suggestion that the zombies were the result of space radiation.)

We meet the inhabitant of Centerville.  Zelda (Tilda Swinton) is the enigmatic mortician.  Bobby (Caleb Landry Jones) is the horror movie expert.  Farmer Miller (Steve Buscemi) is the red-hatted farmer who hates everyone.  Zoe (Selena Gomez) is the traveler who is staying at the run-down motel with two friends.  Cliff Robertson (Bill Murray) is the police chief who wants to save everyone but Farmer Miller.  Ronnie (Adam Driver) and Mindy (Chloe Sevigny) are police officers.  They’re all in the middle of a zombie apocalypse but very few of them seem to really be that surprised by any of it.

Throughout the film, we hear Sturgill Simpson singing a wonderful song called The Dead Don’t Die.  Cliff demands to know why the song is always one the radio.  Ronnie replies that it’s the “theme song.”  Ronnie, we discover, has an answer for almost everything.  He explains that he knows what’s going to happen because he’s the only one that “Jim” allowed to read the entire script.  Cliff isn’t happy about that.

That’s the type of film that The Dead Don’t Die is.  It’s an elaborate in-joke, a zombie movie about people who know that they’re in a zombie movie but who are too detached to actually use that information to their advantage.  The script has been written so they have no choice but to do what the script says regardless of whether it makes them happy or not.  It’s a clever conceit, though a bit of a thin one to build a 103-minute movie around.

As I said, the film can occasionally be an endurance test.  Everyone is so deadpan that you actually find yourself getting angry at them.  But, whenever you’re on the verge of giving up, there will be a clever line that will draw you back in or the theme song will start playing again.  Bill Murray and Adam Driver are fun to watch and Driver reminds us that he’s actually a good comedic actor.  (In the year of Marriage Story and Rise of Skywalker, that can be easy to forget.)

It’s a flawed film and definitely not one of Jim Jarmusch’s best.  At the same time, though, The Dead Don’t Die is not as bad as you may have heard.

Playing Catch-Up With The Films of 2019: Ma (dir by Tate Taylor)


Oh, Ma!  I had such high hopes for you!

When I first saw the trailer, I assumed that Ma would be kind of a silly horror film where Octavia Spencer plays a woman who buys beer for a bunch of teenagers and then develops an unhealthy obsession with them and then freaks out when all the teenagers are like, “We don’t want to spend all of our time hanging out with a 50 year-old.”  I thought it would be a nicely simple little film and I was looking forward to it because Octavia Spencer is a great actress who, far too often, gets typecast as everyone’s surrogate maternal figure.  I really wanted a chance to see her just go crazy on film.

And, make no mistake about it, Spencer does get to go crazy in Ma and that’s fun to watch but the film itself gets weighed down by a plot that’s a hundred times more complicated than it needs to be.  It turns out that Ma isn’t just someone who is a little bit too clingy for her own good.  No, instead, Ma has got an elaborate scheme going so that she can get revenge on the children of the people who humiliated her in high school and …. well, who cares?  I mean, this is a good example of a film that could have been a lot of fun except for the fact that someone decided to try to make a statement.

(Tate Taylor previously directed Spencer in The Help and if you think that there’s little in The Help that would suggest that the future director of Ma had an affinity for or understanding of the horror genre, you’re right.)

Octavia Spencer is obviously having a lot of fun with the role of Ma but the film, for some reason, spends a lot of time following a host of other characters, none of whom are as interesting.  It all come down to yet another Saw-style torture chamber and that sort of thing really hasn’t been interesting for a while.  In the end, Ma is a missed opportunity.

Oh well.

Playing Catch-Up With The Films of 2019: Yesterday (dir by Danny Boyle)


It’s a bit of an odd film, Yesterday is.

Himesh Patel plays Jack Malik, a singer-songwriter who has struggled to find much success.  The only person who believes in him is his manager, a school teacher named Ellie Appleton (Lily James).  (Given the film’s subject matter, Ellie’s last name is a significant one.)  One night, the entire world is hit by a brief blackout.  Jack misses most of the excitement because he’s in a coma, having been hit by a bus.

When Jack wakes up from his coma, he’s shocked to discover that he’s lost several teeth and now looks kind of silly whenever he speaks, sings, or even smiles.  However, he also eventually discovers that he is now apparently the only person in the world who remembers The Beatles!

Somehow (it’s never explained how), that global blackout changed history.  It’s not that the Beatles ceased to exist as individuals.  In one of the film’s more affecting scenes, Jack drives out to the country and meets John Lennon (Robert Carlyle), who never became a superstar and who, as a result, was never assassinated.  However, in this new world, the Beatles never came together as a group and, as a result, some of the most beloved songs in history were never written.  Only Jack knows the lyrics and music for Eleanor Rigby, Yesterday, The Long and Riding Road, Let It Be, Back in the USSR, and …. well, everything!

(Oddly enough, the Beatles no longer existing has also led to several other things no longer existing.  It’s impossible not to laugh when Jack discovers that, without the Beatles, there was never an Oasis.  At the same time, there’s also no Coke or Harry Potter books.  I guess the Beatles weren’t around to inspire J.K. Rowling but why Coke would vanish is a bit more confusing.  Since Coke predates the Beatles by a century, perhaps the the film is less about how strange the world is without Sgt. Pepper’s Lonely Hearts Club Band and instead about how we owe everything good in the world to John Pemberton.)

Needless to say, this leads to Jack becoming a huge star.  He’s soon touring with Ed Sheeran and recording his debut album.  And yet, through it all, Jack is haunted by the fact that the music isn’t truly his.  Will Jack continue to plagiarize his way to stardom?  And will Jack and Ellie ever realize that they’re in love and totally meant to be together?  Watch to find out, I suppose!

As I said at the start of this review, Yesterday is a bit of an odd film.  Directed by Danny Boyle and written by Richard Curtis, it’s a meeting of two talents that you wouldn’t necessarily expect to compliment each other.  Surprisingly enough, though, the mix of Curtis’s sentimentality and Boyle’s more subversive instincts works well.  This is to especially be found in the scene where Jack meets John Lennon.  On paper, the scene shouldn’t work but it does work because Boyle is enough of a contrarian to direct his actors to play the scene with a wistful sadness.  The script may have intended the scene to prove that Lennon would have found happiness no matter what but Boyle directs it as if to say, “It probably would have been better for John if the Beatles has never existed….”  Stylistically, Boyle is too much of a cheerful anarchist to fully embrace Curtis’s romcom-style love of the Beatles.  At the same time, Curtis’s more earnest dialogue often undercuts Boyle’s more excessive instincts.  The end result is a sweet-natured movie with an edge.

Making his feature film debut, Himsh Patel is likable as Jack, even if he doesn’t quite have rock star charisma.  (Then again, that’s also a part of the film’s humor.  On his own, Jack is destined to forever be the opening act, the acceptable performer who is forgotten as soon as the headliners show up.  It’s only after the Beatles are wiped from everyone’s memory that Jack is able to become a star.)  Lily James does her best with an underwritten role and Ed Sheeran plays a hilariously vapid version of himself.

Yesterday is a good-natured tribute to the power of music and one band in particular.

Catching Up With The Films of 2019: Late Night (dir by Nisha Ganatra)


Molly Patel (Mindy Kaling) has just gotten a new job.  A struggling comedienne who, up until now, has been forced to test out her best material on her coworkers at a chemical plant, Molly is hired to join the writing staff of late night talk show host, Katherine Newbury (Emma Thompson).  Even though Molly knows that she was largely hired so that the show could claim to have a diverse writing staff (all of the other writers are white males), she is still thrilled to be working for Katherine.  Why wouldn’t she be?  Katherine is a notoriously difficult boss who can’t even be bothered to learn the names of most of the people working for her but Katherine is also a legend, one of the first women to ever host her own late night talk show.

Of course, all legends have to come to an end and Katherine’s career as a late night talk show host appears to be in its final days.  Katherine’s rating have been in a steep decline for several years and her nonthreatening monologues and habit of booking guests like Doris Kearns Goodwin are not doing much to reverse the trend.  Safely hidden away in her mansion and continually worried about the health of her Parkinson’s-stricken husband, Walter (John Lithgrow), Katherine has grown out of touch.  Making matters even worse, the president of the network (played by Mindy Kaling’s Office co-star, Amy Ryan) hates Katherine and is eager to replace her with an obnoxious, Dane Cook-style comedian named Daniel Tennant (Ike Barinholtz).

Molly’s new job is a struggle at first.  The other writers dismiss Molly as merely being a “diversity hire” while Katherine often seems to be put off by Molly’s cheerful earnestness.  Over time, Molly proves herself and soon, she’s inspiring Katherine to refuse to leave her show without a fight.  Gone are bland monologues and boring presidential historians, replaced by politically charged humor and YouTube stars.

Late Night, as you may remember, was a huge hit at Sundance back in January.  Amazon Studios paid 13 million for the distribution rights.  The film was released in June to generally positive reviews and …. well, it made very little money.  Despite an extensive advertising campaign and a deluge of think pieces that literally begged audiences to see the film, Late Night flopped at the box office and it is estimated that, taking into account the film’s ad campaign, Amazon lost about 40 million dollars on the film.

Why wasn’t Late Night a bigger success at the box office?  At the time, the popular answer was misogyny.  While one should never discount that, I think that the film’s failure had more to do with the fact that the ad campaign made Late Night look more like the latest Netflix series than an actual cinematic experience.  Like a lot of movies about TV, Late Night was a film that seemed like it could wait for television.  I mean, I am the film’s target audience and even I waited to watch the film on Prime.

As for the film itself, it’s flawed but likable.  Along with co-starring in the film, Mindy Kaling wrote the script and the dialogue is consistently witty, even if the plot occasionally struggles to keep up.  At its best, this is a fun movie to listen to.  Visually, the film’s a bit flat and there’s a big third act development that feels a bit forced but, for the most part, the film works.  Not surprisingly, Emma Thompson is perfectly cast as Katherine and she delivers her razor sharp lines with the right mix of scorn and pathos.  Mindy Kaling effortlessly holds her own opposite Thompson and even John Lithgow, who can usually be counted upon to chew every piece of scenery available to him, is effective in his small but important role.  In the end, it’s kind of a sweet film and there’s something touchingly naive about the film’s steadfast belief that a late night talk show can actually be worth all the trouble.

Late Night is available on Prime so check it out.

 

4 Shots From 4 Holiday Classics: The Godfather, Rabid, Lethal Weapon, Eyes Wide Shut


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Merry Christmas!

‘Tis the season for….

4 Shots From 4 Holiday Classics

The Godfather (1972, dir by Francis Ford Coppola)

Rabid (1977, dir by David Cronenberg)

Lethal Weapon (1987, dir by Richard Donner)

Eyes Wide Shut (1999, dir by Stanley Kubrick)

 

Once Again, It’s Time To Watch Santa Claus Conquers The Martians On The Shattered Lens!


Watching the 1964 holiday sci-fi epic, Santa Claus Conquers The Martians, is a Christmas Eve tradition here at the Shattered Lens!  So, sit back, turn on Kid TV, and get ready to sing!

S

A

N

T

A

C

L

A

U

S

HOORAY FOR SANTY CLAUS!

Lifetime Film Review: Recipe For Danger (dir by Lisa France)


What’s the perfect recipe for dangers in a Lifetime movie?

Well, you need a pinch of melodrama, a dash of empowerment, a tablespoon of a wimpy spouse, and a quart of psycho energy.  Sorry, I’m not really much of a cook and you can probably already tell.  Perhaps that’s why I’ve always been obsessed with cooking shows and movies about professional chefs.  I watch and I think to myself, “How come they can do that when I can’t even make toast without nearly burning down the kitchen?”  And, of course, I always take a bit of pleasure when Gordon Ramsay catches a professional chef trying to serve up raw lamb.  “See!?” I shout at the TV, “It can happen to anyone!”

But to get back to my recipe.  Here’s what you need to cook up some danger, Lifetime-style.

You need a protagonist who has a glamorous job and an attractive family.  In the case of Recipe for Danger, Vanessa (Bree Williamson) is the head chef at a very successful restaurant.  Vanessa has a super supportive husband (Adam Hurtig) and a super loyal best friend (Kate Yacula).  Vanessa also has an adopted daughter named Lacy (Annelise Pollman).

You need to have a bit of a moral panic.  In this case, Vanessa is warned that she’s oversharing on social media.  She’s constantly posting pictures of her life and writing about Lacy’s accomplishments.  She’s warned that, if she’s not careful, she’s going to end up with a stalker.  Vanessa laughs off the danger.  She’s proud of her daughter.  She has a great life.  Why shouldn’t she share?

And, of course, you need a psycho!  In this case, that psycho would be Taryn (Sarah Lind).  Taryn’s is Lacy’s birth mother and she wants her daughter back.  Due to Vanessa’s habit of oversharing, Taryn has been able to track them down.  (Who’s laughing now, Vanessa!?)  Taryn manages to get a job working in Vanessa’s restaurant and soon, she and Vanessa are besties!  Everyone tries to warn Vanessa that something is off about Taryn but Vanessa refuses to listen.  Of course, eventually, Taryn kidnaps Lacy.  Can Vanessa rescue Lacy and how many people will end up in the hospital before Taryn’s rampage ends?

This was a pretty standard Lifetime kidnapping film, though I did like the fact that, rather than passively going along with being kidnapping, Lacy was always looking for an opportunity to escape and she got a chance to prove herself to be considerably more clever than even her own birth mother gave her credit for being.  Sarah Lind’s been in quite a few Lifetime films and she does a pretty good job as Taryn, providing a nice balance between charm and psychosis.

In the end, Recipe for Danger is a filling if rather traditional meal.

 

Lifetime Film Review: He’s Out To Get You (dir by Nadeem Soumah)


So, put yourself in the shoes of Megan (Samaire Armstrong).

You had a wonderful husband.  You had a young child.  You were out driving one day and, because you took your eyes off the road, you ended up having a head-on collision with another vehicle.  You survived.  Your husband did not.  Your child is dead.  What do you do?

Well, Megan decides to check herself into a mental hospital and it’s there that she stays for the next four years.  Because she checked herself in, she can also check herself out.  Eventually, she decides to do just that.  Her doctor thinks that Megan isn’t ready to reenter society but Megan is determined to return to her hometown and reunite with her brother.

Her brother, Greg, lives in a house on a hill that overlooks the ocean.  It’s a big house that towers over the otherwise dead end small town below.  As Duke (Rob Mayes), the local bartender puts it, it doesn’t look like it belongs in the town.  Greg has lived in the house since the death of his and Megan’s parents but when Megan arrives, Greg is nowhere to be found!

When Mega asks around town, everyone insists that they’ve never heard of this mysterious Greg.  At first, Megan thinks that it might be because Greg was always a bit of a recluse.  But, as the days drags on and she can still find no sign of her bother, Megan starts to think that something has happened to Greg.  Could it be a conspiracy or could it all be coincidence?

Or ….. is it possible that Megan never had a brother to begin with!?  That’s certainly what the unhelpful sheriff (Bart Johnson) seems to think.  In fact, the only person who seems to have any faith in Megan is Duke but Duke has a shady history of his own.  Duke not only is a former burglar but he has plans that require more money than he probably possesses.  Is Duke to be trusted or is he lying about what he knows?

And who put that rattlesnake in Megan’s car!?

Yes, the plot of He’s Out To Get You raises a lot of questions.  They’re all answered and some of the answers are more satisfactory than others.  This is one of those films that sets up an intriguing mystery but which doesn’t quite come up with a satisfying solution.  To be honest, though, none of that really matters because — OH MY GOD, THE HOUSE IS FREAKING GORGEOUS!

I have often stated on this site that one of the main things that I love about Lifetime films is seeing the huge houses in which they take place.  I mean, Lifetime has featured a lot of truly stunning homes.  But I don’t know if Lifetime has ever featured house quite as impressive as the one in He’s Out To Get You.  Seriously, this house is huge and it’s tastefully decorated and it has a nice pool and, most importantly, the view is absolutely to die for!  Would I kill to own that house?  Well, maybe not quite but I’d definitely consider it.

As for the rest of the film, it’s well-acted and the villains are properly hissable.  I liked Duke, the morally ambiguous bartender and I thought Rob Mayes did a great job with the role.  That said, the house is definitely the star.

Seriously, it’s beautiful.