October True Crime: An Officer and a Murderer (dir by Norma Bailey)


 

Gary Cole is an interesting actor.

He’s handsome in a distinguished way, even if he’s played some roles that have required him to play down his looks.  (Think about his perm in The Brady Bunch Movie or the glasses that he wore in Office Space.)  He’s not exactly movie star handsome but he’s definitely good-looking enough to be the star of his own detective series.  He’s got the authoritative voice of someone who you instinctively trust.  You look at Gary Cole and you see someone who knows what’s going on and who you would probably trust in a crisis.

At the same time, with just about every character that Cole has played, there’s always been a sign of something lurking behind the friendly smile and perfect haircut.  At the very least, there’s usually a hint of a threat concealed behind his polite manner.  Gary Cole is the ideal actor to play a character who has secrets to hide, whether he’s playing Mike Brady as someone who cheerfully offers up nonsensical advice or telling one of his employees that he’s going to need to come in over the weekend.  It’s hard to trust a character played by Gary Cole.  Cole has appeared in a wide variety of films and shows.  As anyone who has seen Veep can tell you, Gary Cole can be a very funny actor.  But where Gary Cole really shines is when he plays the bad guy who no one suspects is a bad guy.

In 2012’a An Officer and A Murderer, Gary Cole plays a very bad guy indeed, Russell Williams.  Williams is a colonel in the Canadian Air Force.  He’s such a highly respected figure that he was given the job of flying with the Queen of England when she last visited Ontario.  Williams has a big house in the suburbs.  He has a beautiful wife (played by Nahanni Johnstone).  His neighbors love him and they all say hi whenever he’s out for his morning run.  Williams had just been appointed the new commander of the local Canadian Air Force base.  He’s a respected and beloved figure who raises money for charity, mentors younger pilots, and seems like the ideal gentleman.

But at night, Russell Williams sneaks out of his house and breaks into the homes and apartments of single women.  He starts out as an underwear thief, obsessively cataloging all of the bras and the panties that he steals from each house.  Unknown to his wife, he has two suitcases filled with stolen underwear.  Occasionally, he even wears them himself.  The two detectives (played by Laura Harris and Rossif Sutherland) who investigate the break-ins theorize that the perpetrator is going to start to escalate his activities and Williams soon does just that. Williams assaults a young mother, blindfolding her and then filming her while he poses with her.  He breaks into another house and removes his clothes while he stares at the homeowner showering just a few feet away.  Eventually, two women are murdered.  The detectives suspect Russ but can they get him to slip up and give them the evidence that they need to arrest him?

An Officer and A Murderer is based on a true story, which makes it all the more disturbing to watch as Williams breaks into his neighbor’s homes and even tries to frame an innocent man for his crimes.  Watching this movie, I found myself wondering about all of the neighbors that I’ve had over the years.  Part of living in neighborhood is trusting the people around you but how well do we know the people who are living just a few houses or a few apartment away from us?  An Officer and a Murderer tells a sordid story and occasionally, it lingers over the details of Williams’s crimes to such an extent that you worry that Williams’s real-life victims are being exploited all over again.  That’s always an issue with films about real-life crimes.  That said, Gary Cole gave a genuinely frightening performance as Russell Williams and, if nothing else, the film reminded me to make sure that all of my doors and windows are locked tonight.

The Films of 2020: Possessor (dir by Brandon Cronenberg)


Tasya Vos (Andrea Riseborough) is a professional assassin.

That really shouldn’t come as too much of a surprise.  For whatever reason, films about assassins have become very popular over the past few years and those assassins are often women.  However, what sets Tasya apart from other assassins is the technique that she uses.  Under the direction of Girder (Jennifer Jason Leigh), Tasya can possess someone else’s body.  While controlling that other person’s body, Tasya commits her murders and then commits suicide.  The host dies while Tasya’s mind returns to her original body.  The media then reports that the murder was some sort of random incident and, with the killer dead by their own hand, their true motives will probably never be known.  It’s an outlandish premise and yet, it’s one that feels oddly plausible.  Most mass shootings and random acts of violence remain a mystery precisely because their perpetrators often take their own lives.  Three years after the deadliest mass shooting in U.S. history, we still don’t know why Stephen Paddock opened fire on a music festival in Las Vegas.  We’ve become conditioned, I think, to accept that these things just happen.

Wisely, Possessor doesn’t go into too much details about just how exactly Tasya possesses other people.  We see that it involves a lot of odd technology and we also discover that Tasya struggles to return to her “normal” self after her mind returns to her body.  That’s really all we need to see.  Too many films make the mistake of trying to explain all of the little details, as if the audience is going to be concerned as to whether or not a film about possession is 100% plausible.  The director of Possessor, Brandon Cronenberg, understands that all he really has to do is make it look convincing.  He doesn’t have to explain it and, indeed, there’s much that Cronenberg doesn’t explain.

Tasya’s latest assignment takes her into the body of Colin Tate (Christopher Abbott), who is engaged to marry the daughter of arrogant businessman named John Parse (Sean Bean).  Colin and Tasya find themselves fighting for control of Colin’s body.  Even while Tasya is setting up the circumstances that will lead to Colin killing both his girlfriend and her father, Colin is resisting and struggling to take control.  It all leads to some disturbingly surreal imagery, as well as some shockingly gory violence.  There’s a lot of blood in Possessor.  Both figuratively and literally, Possessor is a film that’s obsessed with what lies under the skin.  Throughout the film, bodies and minds are ripped open and what we discover inside of them is frequently grotesque.

Possessor is a film that raises a lot of questions and which often refuses to provide easy answers.  Does Girder sincerely care about Tasya or is she just manipulating her emotions to get the result that she desires?  Who exactly does Girder work for?  Does Tasya truly want to get back together with her estranged husband, Michael (Rossif Sutherland)?  Is Michael as clueless as he seems or does he secretly understand that Tasya is lying whenever she says that she has to go away on business?  Possessor is not always an easy film to follow but Cronenberg’s visuals are so strong and the performances are so wonderfully off-center that it remains enthralling regardless of whether or not it always makes it sense.  By the time one person is wearing someone else’s face as a mask, it’s pretty much impossible to look away.

With its emphasis on body horror and loss of identity (as well as its chilly Canadian setting), Possessor has a lot in common with the early work of David Croneberg.  That’s perhaps not surprising, considering that Possessor was directed by David’s son, Brandon Cronenberg.  Unfortunately, Possessor doesn’t really have the same dry sense of humor that distinguished David Cronenberg’s best films.  (David Cronenberg was, in his way, as much of a satirist as a horror director and Possessor doesn’t quite have the same subversive charge as something like Rabid or Shivers.)  That said, Possessor is still a fascinating and enthralling film, one that will stick with you long after it ends.

2018 In Review: The Best of Lifetime


Today, I continue my look back at the previous year with my picks for the best of Lifetime in 2018!  Below, you’ll find my nominations for the best Lifetime films and performances of 2018!  Winners are starred and listed in bold!

(As a guide, I used the credits for the imdb.  If anyone has been miscredited or left out, please feel free to let me know and I’ll fix the error both here and, if I can, on the imdb as well.)

(For my previous best of Lifetime picks, click on the links: 2014, 2015, 2016, 2017)

Best Picture

The Art of Murder, produced by Neil Elman, Bryce Fishman, James Lourie, Hannah Pillemer, Edgar Rosa, Fernando Szew

The Bad Seed, produced by Justis Greene, Harvey Kahn, Elizabeth Guber Stephen, Mark Wolper.

Believe Me: The Abduction of Lisa McVey. Produced by Mary Petryshyn, Charles Tremayne, Jeff Vanderwal

Cocaine Godmother, produced by Jamie Goehring, S. Lily Hui, Jonathan Koch, Stephen Michaels, Andrew Molina, Alisa Tager, Shawn Williamson.

Conrad & Michelle: If Words Could Kill, produced by David Manzaners and Judith Verno

*The Girl in the Bathtub, produced by Kevin Leeson, Emanuel Pereira, Diane Sokolow, Rachel Verno*

Girl in the Bunker, produced by Kim Bondi, Stephen Kemp, Thomas Vencelides

I Killed My BFF: The Preacher’s Daughter.  Produced by Len Murach and Rick Van Meter.

No One Would Tell. Produced by Shawn Angeliski, Paddy Bickerton, Martin Fisher, Lisa Richardson, Danielle Von Zerneck

Terror in the Woods. Produced by David Eubanks, Les Franck, Adam Freeman, Leslie Greif, James Heerdegen, Ashley Hudson, Christina Ricci, Eric Tomonsanus, DJ Viola

Best Director

Jim Donovan for Believe Me: The Abduction of Lisa McVey

Gail Harvey for No One Would Tell

Seth Jarrett for I Killed My BFF: The Preacher’s Daughter

Rob Lowe for The Bad Seed

*Karen Moncrieff for The Girl in the Bathtub*

Guillermo Navarro in Cocaine Godmother

Best Actor

Burgess Abernethy in Harry & Meghan: A Royal Romance

Kevin Fonteyne in Lover in the Attic

Rob Lowe in The Bad Seed

Austin P. McKenzie in Conrad & Michelle: If Words Could Kill

*Eric Roberts in Stalked By My Doctor: Patient’s Revenge*

Henry Thomas in The Girl in the Bunker

Best Actress

Haylie Duff in Deadly Delusion

McKenna Grace in The Bad Seed

Caitlin Stasey in The Girl In The Bathtub

Bella Thorne in Conrad & Michelle: If Words Could Kill

Megan West in I Killed My BFF: The Preacher’s Daughter

*Catherine Zeta-Jones in Cocaine Godmother*

Best Supporting Actor

Juan Pablo Espinosa in Cocaine Godmother

David Fierro in Lover in the Attic

Joel Gretsch in I Killed My BFF: The Preacher’s Daughter

Patrick Muldoon in A Tale of Two Coreys

*Jason Patric in The Girl in the Bathtub*

Rossif Sutherland in Believe Me: The Abduction of Lisa McVey

Best Supporting Actress

Krista Allen in Party Mom

Cara Buono in The Bad Seed

Angela Kinsey in Terror in the Woods

*Lydia Look in Mistress Hunter*

Jenny Pellicer in Cocaine Godmother

Katherine Reis in I Killed My BFF: The Preacher’s Daughter

Best Screenplay

The Bad Seed.  Barbara Marshall.

Believe Me: The Abudction of Lisa McVey. Christina Welsh.

Cocaine Godmother.  Molly McAlpine, David McKenna.

The Girl in the Bathtub. Karen Moncrieff.

*No One Would Tell. Caitlin D. Fryers*

Terror in the Woods. Amber Benson.

Best Cinematography

The Bad Seed. Peter Menzies, Jr.

Believe Me: The Abduction of Lisa McVey. Sasha Moric.

Cocaine Godmother. Guillermo Navarro.

Girl in the Bunker. Fraser Brown.

*I Killed My BFF: The Preacher’s Daughter.  Brian J. Reynolds*

Terror in the Woods. David McGrory.

Best Costuming

*The Art of Murder. Steviee Hughes.*

Cocaine Godmother. Jori Woodman.

Harry & Meghan: A Royal Romance. Claudia Da Ponte, Diah Wymont.

I Killed My BFF: The Peacher’s Daughter.  David Anthony Crowley.

Psycho Prom Queen.  Anie Fisette.

A Tale of Two Coreys.  Jennifer Garnet Filo.

Best Editing

The Bad Seed, Eric L. Beason.

Believe Me: The Abduction of Lisa McVey. Lisa Grootenboer.

Cocaine Godmother. Luis Carballar.

*Conrad & Michelle: If Words Could Kill.  Henk van Eeghen*

The Girl in the Bathtub.

Girl in the Bunker.  Stephen Kemp.

Best Makeup and Hairstyling

Cocaine Godmother.  Laura Copó, Victoria Ferguson, Brittany Isaacs, Andrea Manchur, Joanna Mireau, Adam James Phillips, Trefor Proud, Juanita Santamaria, Ronnie Sidhu, Vicki Syskakis

Harry & Meghan: A Royal Romance.  Lorna Bravo, Helena Cepeda, Jenni Brown Greenberg, Shelly Jensen, Melissa Rankl, Cydney Sjostrom

I Killed My BFF: The Preacher’s Daughter. Missy Scarbrough and Christina Kim.

*Lover in the Attic. Crystal Broedel, Brittanie Cruz, Robin Styles, Diana Valerie, Nataleigh Verrengia*

A Tale of Two Coreys. Katherine Chandler, Lynnae Duley, Monique Hyman, Katie Kilkenny, Kaity Licina, Megan Nicoll, Rebecca Violet Schroeder, Adina Sullivan

Zombie at 17.  Jessica Awad, Cinthia Burke, Christine Capustinsky, Shannon Doyle.

Best Score

Cocaine Godmother. Eduardo Aram.

The Girl in the Bathtub.  Adam Gorgoni.

Lover in the Attic. Ozzy Doniz.

No One Would Tell. Mark Lazeski.

A Tale of Two Coreys. Jim Dooley.

*Terror in the Woods. Ozzy Doniz.*

Best Production Design

*The Art of Murder. Yana Veselova.*

Cocaine Godmother.  Eric Fraser.

The Girl in the Bathtub. Laura Lola Maier.

Girl in the Bunker. Andrew Berry.

Harry & Meghan: A Royal Romance. Mayne Berke, Ashley Swanson, Vincent Wright

Lover in the Attic. Lindsay Glick.

Best Sound

Cocaine Godmother

*Deadly Delusion*

House of Darkness: New Blood

Killer Under The Bed

Lover in the Attic.

Terror in the Woods

Best Visual Effects

The Bad Seed.

Cocaine Godmother

Deadly Delusion

House of Darkness: New Blood

*Killer Under The Bed*

Zombie at 17

And those are my picks for the best of Lifetime in 2018!  (Lifetime had a pretty good year.)  Now, I’m off to make my selections for the best of SyFy 2018!  I’ll be back …. well, maybe not soon.  It took me about three hours to do my Lifetime post.  So, I’ll be back eventually.

Lisa Marie’s 2018 In Review:

  1. The 10 Worst Films of 2018