Mini-Review – “The Exorcist” (1973)

Why do you think people find “The Exorcist” so scary? Why do people keep coming back to this horror film, year after year, to return and find out they’re still terrified by it? Shouldn’t most of the creepy factor fade after the first or second viewing? What is so special about “The Exorcist”?

Well, I think I have an answer. Part of it is because the film plays it with the utmost seriousness and sincerity. “The Exorcist” takes the concept of a little girl being possessed by the devil and never once plays it up for laughs, never shying away from how graphic and disturbing the devil can be. This is the ruler of the underworld that we’re talking about. He is sneaky, under-handed, fiendish and will do just about anything to mess with people. We see the intensive therapy, the logical reactions to what is happening to this girl and the world trying to rationalize what might be happening, only to come up with no definitive answer. All we know is that what is happening is not of this world.

Another part is the unknown. Like most great horror films, what we don’t see is often the most terrifying aspect of a horror film. Is this the devil we’re dealing with? It’s possible, but not necessarily true. What we do know is that Regan (Linda Blair) is not alone in her body and mind, and that her body is being torn apart by these hellish creatures. Is the exorcism actually working, or is the devil letting them only think it is working? Has the devil orchestrated this from the beginning? We may never know.

The final part of what makes “The Exorcist” one of the greatest horror films is Linda’s mother, Chris (Ellen Burstyn). It isn’t enough that the devil possesses a little girl, but that we witness her mother watch her pride and joy fall to pieces. Her daughter is being torn apart by some spawn of evil, and there is nothing she can do about it. Yet, like a good mother, she attempts every treatment, every psychologist, every person or source that might help save her daughter. Her emotional outbursts drive home how heartbreaking and tragic something like this could be and make it feel all the more real.

This isn’t just a possession, but a life being taken away by some force we’ll never hope to understand.

Final Grade: A-

 

 

Movie Review – “Mr. Holmes” (2015) – Gandalf, Magneto or Sherlock?

Imagine that Sherlock Holmes was not only real, but that he quit being a detective. Why would he do that? Sherlock Holmes is one of the craftiest, egotistical and ingenious characters of all times, who above all else wants to solve crime.

But what if Sherlock realized that solving crime has repercussions? In most adaptations, Sherlock is a man driven by logic and devoid of empathy for other human beings. He thinks more like a computer, setting his emotions aside because they can’t make solving the crime any easier.

“Mr. Holmes” takes that side of the most famous private detective of all time, and shows how it would reflect in an aging Sherlock Holmes. That over the years, he has come to realize that without human connection and understanding, he has grown to be a man with many regrets in life. While he has solved countless crimes, what he should have done is save the people effected by these crimes.

Ian McKellen plays Sherlock Holmes, who hasn’t been in the detective business for thirty years, yet cannot remember his last case, the one that caused him to go into self-imposed exile. He now spends his time at a house on the English coast, collecting royal jelly from bees and writing the tale of his final mystery. Holmes had read Dr. Watson’s book about this case, as well as a movie adaptation of it, and found both lacking in finality. He intends to right this wrong and prove to the world that Sherlock Holmes is human after all.

McKellen does a wonderful job at playing both a young and decrepit Holmes, and gives us a look at the character that is rarely seen, one of him being at his most vulnerable. We watch as all the years of chasing criminals and clashing with mortal enemies has amounted to memories he cannot recall, and more people hurt by his actions than anything else. All because he never knew when to keep his mouth shut.

Overall, “Mr. Holmes” is a tragedy about Sherlock looking back on his life, and realizing that he was a terrible human being. That he sacrificed his humanity to be one of the most intellectual creatures of his time. And in the end, he would take it all back if he could.

Final Grade: B+

 

Mini-Review – “The Red Shoes” (1948)

This one might get added to the list of films I hate, but everyone else loves.

I have made it no secret that I’m not a fan of musicals at all, as most of the subtleties and nuances of music go over my head. I admit my lack of the basic understanding of music is the problem, but a film should still rely on visual storytelling and stand on its own merits even without the music.

While there are parts of “The Red Shoes” that are impressive, such as the 15-minute sequence that comes in the middle of the film where Vicky Page (Moria Shearer) enacts the entirety of the Red Shoes ballet, there are so few scenes that left an impact on me that it is hard to remember exactly what happened.

We are told about a plot about the start of the ballet falling in love with the composer, as the director of the play being completely against it, but I don’t buy for a second that the ballerina and the composer are in love. As I said, we are simply told about it, never shown it. The cast and crew talk about how great it is that love has blossomed, but we never see any chemistry between the two until after the romance has supposed started. After that, it is only kissing and making googly eyes at one another.

The only character actions that seem logical are the emotional reactions from the director, Boris Lermontov (Anton Walbrook), as he watches the greatest dancer he’s ever witnessed and his miraculous composer fall in love and his jealousy consumes him. He is a man who only sees the beauty of art in life, and sees anything else and childish and a waste of talent and time. This does lead to a memorable ending where Vicky must make the ultimate decision as to which world she wants to live in – a world of love, or a world of ballet.

Though it does beg the question – Is it too much to ask for both?

“The Red Shoes” has moments of ingenuity and passion for the art of ballet, but it is surrounded by scenes of unimportance and banal that it makes the experience feel forgettable. Like other films that tackle art forms, such as “Almost Famous,” there is clearly a love for that almighty art, but the movie never bothers to keep the audience in the loop. The only people who would utterly get this piece are those understand ballet and theatre inside and out.

Final Grade: C-

 

Movie Review – “Ant Man” (2015) – Size Is Irrelevant

I think it is now safe to say there is a set pattern to most Marvel movies. Now that we have over a dozen entires into the Marvel cinematic universe, plot points and themes are shared throughout most of these films.

For example, in many of the solo hero entries, like “Iron Man,” “The Incredible Hulk” and “Captain America: The Winter Solider,” our titular hero ends up fighting a foe who has nearly identical powers to his own in a city landscape where destruction is at the greatest potential. The heroes are often cocky, full of themselves but can back it up, especially Tony Stark, Thor and Star Lord from “Guardians Of The Galaxy.”

This is bound to happen when you have a series that has more than ten entires, but this does tend to get a bit dull after a while. When every main character is similar and ultimately lead to a final confrontation with someone like our heroes, you kind of want something a bit more after so many films.

Well, in a way, that is what we got with “Ant Man.” I am hesitant to say so, because we still get a protagonist that leans more on the comedic and improve side, much like Robert Downey Jr. and Chris Pratt, but there is enough of differences in this film to give “Ant Man” its own unique flare and presentation. The film doesn’t necessarily break the mold, but it does what it can with the mold it was given.

Scott Lang (Paul Rudd), an expert thief and hacker, has been in prison for some time now, and has missed his daughter growing up. Lang promises to quit cat burglary and get a real job so that he can spend time with his family, but finds it difficult for a former inmate to keep a job. When his friends call upon Lang for a heist that is “air tight,” he accepts, only to find there is one item to be stolen – a strange suit and helmet. What Scott doesn’t know is that the suit will transport him to a new world he never thought possible – the world of the insects.

Now Scott must take part in a new heist, orchestrated by the creator of the suit, Hank Pym (Michael Douglas). Pym wants to make sure the power to shrink down to bug size isn’t given to the military by Lex Luthor…I mean Obediah Stane… I mean Darren Cross (Corey Stoll), and Pym is willing to break into his own company, with the help of his daughter Hope (Evangeline Lilly), and stop power from falling into the wrong hands.

Let’s get this out of the way, the plot is almost identical to “Iron Man” – A man reaches his lowest point, uses his ingenuity and cunning to create (or find) power he never thought possible, wishes to use said power to help the world (most of the second act is the hero testing the limits of his power), but the big bad corporation wants to use the same power for evil military purposes, leading to the final confrontation of similar powers duking it out.

To be fair though, “Ant Man” had to go through four different writers after Marvel’s original pick to write and direct, Edgar Wright (director of “Hot Fuzz” and “Scott Pilgrim Vs. The World”), left the project due to creative differences with the company. So they attempted to make a new hero in a proven formula, which most would say is the best written Marvel movie. Still, the plot is not the most imaginative and is one of the weaker points of the film, especially since it has many of the same character traits between Scott and Tony Stark, as well as the villain.

What does shine through in “Ant Man” is in its simplicity. Unlike most other Marvel films, this one doesn’t try to overly impress us with flashy effects or grand battles that take up whole city blocks. If anything, the effects are not that impressive and every battle is confined to microscopic sizes. This film is more about pulling a heist than anything else, outside of the over arching theme of the film – rekindling family love.

The best part of “Ant Man” is the father-daughter relationship between Hank Pym and Hope, and really shows off how great Michael Douglas and Evangeline Lilly are of actors. Hope resents her father for most of the film, because he has shunned the outside world after being the Ant Man for so many years in secrecy. When the two of them begin to concoct this heist, Hope insists that she put on the suit. She knows it better than anyone and has inside connections. Hank refuses to let her become Ant Man.

For a long time, we’re not told why. Because we don’t need to told. Douglas’ body movement and tendency to snap at the suggestion of Hope taking an active role says it all – he cares more about his daughter than he does about this mission. Hope is the only thing he has left in this world, and he regrets throwing her out of his life. Hank did the same thing to Darren Cross, who was his apprentice that he never told about Ant Man. Now Darren has taken it upon himself to prove that the Ant Man is possible and that he’ll share this power with the world, by weaponizing it.

Perhaps in Hank’s old age, he is gotten sentimental and wishes to pay for the mistakes he has made. But we watch all of this unfold through Scott’s eyes, and we see him doing the same thing to his daughter – throwing her aside so that he can improve the world, when she should be his world.

This makes the character dynamic of Scott far more relatable than any other Marvel movie. Instead of being this larger than life persona of gods attempting to bring peace to the world, we get a guy who wants to make things right with his family. Instead of overcoming his own ego, Scott has to deal with the mistakes of his past.

The comedy of “Ant Man” is hit-and-miss. Sometimes we get a good joke, like when Scott learns to use his powers and keeps growing while still stuck underground, or most of the scenes involving Scott’s best friend, Luis (Michael Pena). Luis seems to have this permanent smirk on his face, and takes everything in stride that it is impossible to hate him. He’s like if Groot could speak English and drove a van.

Other times though, the comedy falls flat. Most of the scenes involving Darren Cross’ testing his shrinking formula on co-workers and goats are strange and off-putting that leaves me wondering if Cross thought his actions were hilarious or tragic. At times, the comedy felt rushed so the story could advance, but again that might have to do with having so many writers.

But the funniest scene is the climatic battle between Scott and Darren, all of which takes place on a Thomas The Train play set. The two toss toy trains, set others on fire which we see doesn’t look like much from a human’s perspective, and even growing ants to giant size. While this is another case of a final battle of characters using similar powers, like “Iron Man,” this battle is creative in how it uses the growing and shrinking abilities to give “Ant Man” its own unique feel.

Overall, “Ant Man” is a flawed but fun ride that feels different enough from any other Marvel movie. Instead of big battles where thousands of lives are threatened, we get a more personal story of a man redeeming himself in the eyes of his family and the heist that comes from that. The writing and effects are not Marvel’s best, but the comedy and acting more than make up for it.

Final Grade: B-

 

Mini-Review – “The Incredible Shrinking Man” (1957)

Sometimes all you need is the tiniest of set-ups to have a great B-movie with effects that transport you to another world.

“The Incredible Shrinking Man” does not dwell on details of why or how this man, Scott Carey (Grant Williams), began to shrink from a man who hardly fit his clothes, to the size of a child, to hardly fitting in a doll house, and then to the point where a common spider is utterly massive to him. We get the basic understanding of how it happened, but it is so rushed that you almost miss it. Not that it matters, the film only uses it as an excuse to show the true highlight of the film – making us feel like we’re right along-side Scott in this tiny world.

Truly great special effects do not make the impossible possible, but make us care and rejoice in the impossible. Films like “Godzilla” (1954) and “Terminator 2: Judgment Day” not only have impressive effects, but effects that make you terrified for the characters. The same can be said about “The Incredible Shrinking Man,” as we watch Scott’s world deteriorate from phones being too big for him, to using a pencil as a lifeboat, to a bobby pin acting as a sword. The effects never go over the top and compliment how even the tiniest of menaces in our world can become life-shattering problems when you’re smaller than an ant.

My only complaint with the film was the closing monologue about how being so tiny made Scott feel one with the universe and how pretentious it was. That type of speech didn’t fit with the rest of the film, so it came out of no where and didn’t do the film any favors. If anything, I found that speech laughable because of all the 1950s cheese attached to it.

Overall, “The Incredible Shrinking Man” is an impressive piece of 1950s science fiction that deserves more recognition. It might not have changed much, but its use of size manipulation and sets helped to elevate this above most other B-films. With a great performance by Grant Williams, this one is certainly worth a watch.

Final Grade: B-

 

Mini-Review – “Mortal Kombat” (1995)

This might be the first movie I’ve watched that is based on a video game. I’ve attempted to avoid such films, like “The Super Mario Bros. Movie,” “Street Fighter: The Movie” and “Max Payne” (starring Mark Wahlberg), because they attempt to turn video games that have very little character and even less plot into a feature-length production. The results have always been disastrous.

“Mortal Kombat” falls into the same group when it comes to story and character – It is a martial arts tournament with the fate of the world in the balance. The characters are little more than stereotypes, like the female military leader that bottles up her emotions, and the cocky and smug Hollywood type that is somehow good at kung fu, especially at punching four-armed demons in the private parts.

But let’s face it, people don’t watch “Mortal Kombat” for the story, they watch it for the action.

One of the main attractions of the Mortal Kombat video games is the ultra-violent finishers with characters getting ripped in half or burned alive, yet they decided to make “Moral Kombat” PG-13, with next to no blood for the kids to enjoy. Most of the charm of the video game is removed by doing this, making the movie a standard kung-fu film with a kick-ass soundtrack.

I’ll admit, the main theme to “Mortal Kombat” gets me excited to watch two warriors duke it out to the death. Listening to the opening cords makes me want to punch a wooden board. The theme gets the job done at building up the action and making it seem all the more grand and exciting. Easily the best part of the film.

Overall, “Mortal Kombat” is devoid of any good character moments and very few action sequences that stand out, even a few hours after watching the film. Johnny Cage has a few good moments of being a dick, and the soundtrack is amazing, but that’s all this film has to offer.

Final Grade: C-

 

Mini-Review – “The Giant Claw” (1957)

…

What is wrong with your face?

I’m not sure what else I can say about this film. Just look at this thing. This is monster that everyone is supposed to be afraid of, with big dumb doofy eyes, huge flaring nostrils, a mouth that is never fully closed and a wing span that makes an Ostrich feel embarrassed. And the characters would not stop calling it a “flying battleship.” This is the most laughable monster I have ever seen.

Like most B-movies, “The Giant Claw” has its charm but it is full of techno-babble right out of Star Trek, and a plot that makes little sense as it tries to understand that this giant bird came from outer space and has an energy barrier that prevents anything from getting through.

“The Giant Claw” is stupid, nonsensical and overly dramatic about a monster that looks like if Dopey from “Snow White And The Seven Dwarves” got beat up, and then turned into a monster to fight those who wronged him.

Final Grade: C

 

Mini-Review – “Atragon” (1963)

Awesome ideas in this film, but mostly laughable execution.

To illustrate that point, the plot consists of an underwater empire, known as Mu and is said to be more powerful and advanced than Atlantis, has decided to invade the surface world and take back what they feel rightfully belongs to them. The Mu Empire knows that its weapons and technology are far ahead of ours, except for one piece of weaponry that has been in secret development for years – Atragon, a flying submarine with a giant drill on its front with a weapon that freezes everything to absolute zero.

Yet most of “Atragon” is spent on our cast of characters, almost all of whom would be used again in later Godzilla films like “Mothra vs. Godzilla,” and the drama of their lives, like the photographer who wants take pictures of this woman he finds attractive, but she has daddy issues with the guy building Atragon. It takes at least 50 minutes for something interesting to happen in “Atragon,” when the film has less than half an hour to go.

Granted, once the film gets to that point, the effects kick into overdrive as Tokyo literally falls into the ground and we get a cool (although short) battle between the Atragon and Manda, a giant sea serpent. The Atragon is a ridiculous concept that you can’t help but respect the filmmakers for being able to bring such an idea to life. There is also a neat theme involving the captain of the Atragon, who is so devoted to the Japanese mentality of honor and devotion that is blinded to the fact that Japan has evolved since the end of WWII and now cares more about the world around it.

Overall, it takes a while for anything to happen in “Atragon,” but when something does occur, the film pulls out all the stops. It is clear this movie was made by the same people as the Godzilla films, especially with the eccentric tone that rolls with the punches. There is a cheerful atmosphere throughout, so the film is never dull or a pain to sit through. Give this one a watch if you’re bored and want something new to appreciate.

Final Grade: B-

 

Paul’s Favorite Films – Number 12

Two men are driving to Minneapolis in a stolen car, one is a “funny-looking kinda guy” who cannot stand more than five seconds of silence, the other is big guy that never says a word unless it involves a pancake house and will not stop smoking.

They are going to this winter infested city to kidnap the wife of the man who gave them this stolen vehicle, who has orchestrated the kidnapping. He has told these criminals that the ransom amount will be $80,000 and they will get half, when he really plans to tell his father-in-law these guys demanded one million dollars, and then he will take all but $40,000 for himself.

The problem is that this man, Jerry Lundegard (William H. Macy), cannot hold a conversation without others finding holes in his logic. One of these criminals, Carl (Steve Buschemi), points out why Jerry just can’t ask his father-in-law for the necessary money, instead of going through this elaborate plan to get his wife kidnapped. Jerry says that it wouldn’t work that way, without giving any other sufficient reason.

Jerry is yelled at by his own customers for being a liar, his father-in-law only sees him as a car dealer, and resorts to throwing a temper tantrum when things don’t go his way. Perhaps part of the reason Jerry goes through all of this trouble is to give him some sort of control and power in the world.

But slowly, Jerry begins to realize that he has no control over anything that happens. He may have set everything in motion, but Jerry’s cowardice and greed set in, leading to blood shed.

This is all shown in the first half hour of Joel and Ethan Coen’s masterpiece “Fargo.” That Jerry and these two criminals want to live in their world where they believe control is possible and anything is in their grasp, when they are pathetic little people with inferiority complexes, especially Jerry and Carl.

Yet these characters are not the reason “Fargo” is one of my favorite films, nor is it their constant bumbling that leads to terrible consequences. We see this happen in many Coen brothers films, where despicable people do awful things, leading to a normally depressing and off-putting film with a strange sense of humor. What sets “Fargo” apart from their other films is one simple addition – Marge Gunderson.

Played by a pregnant Frances McDormand, Marge is the police chief in charge of the crimes. Arriving at the scene of a road side execution, she is able to piece together exactly how the event transpired, what type of car and license plate Carl had, and all while her fellow officers were hiding from the cold Minnesotan winter or hadn’t completed their own police work.

Marge chooses to see the best in every one, even the people she may not trust. When meeting her old high school classmate, he breaks down into tears after describing his wife dying of leukemia, and Marge comforts him while joining in a toast to better times. Everything she does is with a genuine smile and unbelievably pleasant attitude, even while chowing down at a buffet.

But the absolute best part of her character is the relationship she has with her husband, Norm (John Carrol Lynch). When Marge is introduced to us, more than a third of a way through the film, she gets a call at five in the morning to investigate the crime. Norm, without any hesitation, gets up out of bed to make Marge some eggs and toast before she leaves for work.

“You gotta eat something,” says Norm.

He eats with her, kisses her goodbye, tells Marge he loves her before finishing up his breakfast. A few seconds later, Marge comes back in. Her police car needs a jump.

Later on, Norm meets Marge in her office with some Arby’s for lunch. This time, Marge has brought Norm a gift – night crawlers for the fishing trip he is about the take. Norm talks about his day so far, and how he is working on his new duck painting to could be made into a stamp. All the time, Marge is extremely supportive and proud of everything Norm has worked on and knows that he will get that stamp.

This may sound small and somewhat insignificant, since this is something most married couples do. But keep in mind this is the same movie where another husband had his own wife kidnapped so that he could collect the ransom money.

In a marriage like this, it is the small gestures and supportive nature that makes love stronger. It isn’t about big romantic moments or hot and steamy sex, but that there is someone out there that you love more than you love yourself. That you want to be with every step of the way, and make sure their life is the best it can be.

Marge and Norm Gunderson have the most realistic, caring and smile-inducing romance I have seen in cinema.

Without Marge, “Fargo” falls apart. I believe the emotional point of the film is to show that people like Jerry and Carl, who think that they have life figured out with their schemes and desire for control are light years behind what Marge and Norm have already figured out – simple pleasures are the greatest treasures.

Marge may not lead a glamorous lifestyle, but she knows that it is better to focus on the things you already have instead of the things you don’t. She holds these values close to her heart, and fights for them every step of the way as she pieces together the crime. All while having the most pleasant and optimistic perspective.

“Heck Norm, you know we’re doing pretty good,” says Marge.

Overall, “Fargo” has one of the best story worlds that manages to be full of evil greedy people yet still comes out cheerful and wonderful. On top of this, the film has gorgeous cinematography of winter in Minnesota that matches the bleak and unforgiving world that Jerry and Carl live in, while also being in stark contrast to the dark red blood throughout the film. Combine this with a hauntingly beautiful score by Carter Burwell and a sense of humor that is so common with the Coen brothers films yet feels right at home with how pathetic these characters can be, and you have a modern-day classic that always brings a smile to my face.

 

Mini-Review – “Varan, The Unbelievable ” (1958)

Don’t believe the title, Varan is very believable. In fact, I’ve seen this story before. It was called “Godzilla.” Except “Varan, The Unbelievable” is devoid of all the character, awe, suspense and respect for the world around it that “Godzilla” had.

While watching this film, moments and scenes from “Godzilla” kept playing through my head and noticing how similar the two are. The mysterious accident that leaves people dead which sets the events into action, the natives who believe it was their god that attacked these people, the ultimate reveal of the monster that leads to the destruction of the natives land, and the military designated to stop the monster from destroying Japan. This is a plot we would see in several other monster films, but in “Varan, The Unbelievable,” it is rushed and forced to get to the monster sequences.

This film feels like it was made by people who were impressed by “Godzilla” but didn’t understand what made it so great. Which is extremely odd and depressing, considering “Varan” was made by the same creators as “Godzilla.”

“Varan, The Unbelievable” was the fourth monster film created by Ishiro Honda and crew, following “Godzilla,” “Rodan” and “The Mysterians.” It is also the only other black-and-white monster film that Honda would ever make, yet it often relies on stock footage from “Godzilla,” especially for the scenes involving the military. There are even some shots where we see Godzilla’s tail or foot, but the film wants us to believe it is Varan.

However, “Varan, The Unbelievable” does get better near the end, as the military develops new techniques to combat Varan, including the use of flares and making the monster eat explosives. Like most of these Toho monster films, the effects can be impressive, if a bit laughable on the military vehicles. I’m not entirely sure why the film was shot in black-and-white when the vast range of colors is what made “Rodan” and “The Mysterians” stand out. Nothing impressive, but I do not regret seeing the film.

Final Grade: C-