Tag: THRILLER

TRIPLE 9 (2017)

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Directed By: John Hillcoat 
Written By: Matt Cook 
Cinematography By: Nicolas Karakatsanis 
Editor: Dylan Tichenor 

Cast: Chiwetel Ejofer, Casey Affleck, Norman Reedus, Anthony Mackie, Aaron Paul, Woody Harrelson, Clifton Collins Jr., Kate Winslet, Gal Gadot, Teresa Palmer, Michael K. Williams, Michelle Ang, E. Roger Mitchell 

A crew of dirty cops are blackmailed by the Russian mob to execute a virtually impossible heist. The only way to pull it off is to manufacture a 999, police code for “officer down”. Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck, action-packed finale filled with double-crosses, greed and revenge.

The film feels like the story should have added up to something bigger and more meaningful. Like how each character was a puzzle piece as we wait to see how eventually they will all fit together. This is clearly a manly man film that drips of machismo though for all of it’s toughness it does take time to actually show the complexities of the situations they have found themselves in. As this is a heist film beautifully filmed but feels like a typical caper film only done more slowly and supposedly intricately. As the crew seems more forced and involves working for the Russian mob.

The film Doesn’t really highlight or fetishize the heists as much as other films. Here it is more done matter of fact. This film seems to care more about the characters involved.

The film doesn’t even seem too involved in what was the initial hook of the film. Where the cops in order to pull off a robbery plan on killing a fellow cop to distract all other police from them Pulling off a heist. Though with so many things going on in the film that all Lead to one another eventually and come to a head. Seems more realistic but also makes everything on the same level and never really that high up.

Even though most of the time it seems Chiwetel Ejofer as well as a few other characters seem to constantly be stuck between a rock and a hard place. Where it also seems the people who put them up for these robberies want them To fail as their actions seem to more sabotage them.

While the film comes off as more of an ensemble film. It also leaves a bunch of premonitions in certain characters words and actions and also while taking place in Atlanta’s it is unfortunate that while the film gives the most of characters a certain humanity. It also has most of the minority characters be criminals not necessarily evil but they seem more subordinate and characterized as the bad guys. Where as the more heroic characters of which there are only really 2 are both Caucasian though Woody Harrelson’s character isn’t the most moral he is seen as one of the good guys.

The film never truly explains the relationship between Chiwetel Ejofer and Gal Gadot’s Characters since they have a child but are they still together. Is she being dangled in front of him by her sister. Are they seperated?

Kate Winslet seems to let her outfits and make up do most of the work as she is given less to do and more exists as a presence, but clearly is having fun vamping it up more or less. She seems to be slumming here or more like a case of stunt casting. Replacing Cate Blanchett

The film stays within the films of director John Hillcoat’s usual films with pitch black stories and violent ends with characters who lore or less feel loved in. As next to LAWLESS, this is probably his most commercial film. He tends to make films that are more filled with agressions and machismo real manly men type films.

This film feels longer than it should and could easily have been shortened. As it feels like a film full of character and characters who get short changed more due to plot mechanics that while introduced in a different way feel way too familiar. The double crosses are expected but the triple crosses feel unexpected.

Woody Harrelson has fun with his role as a detective who while is no stranger to bending the rules he still manages to be a strong moral character. As he seems to have let the job get to him. Though as a veteran he also treats it more trivially. Replacing Jeff Bridges.

Casey Affleck as the new guy comes off on bit is handed a kind of bland good cop character. He was actually cast after both Shia Lebouf, Chris Pine and Charlie Hunnam dropped out of the film.

The film tries to be more about mood and atmosphere but never comes off that strong nor does it ever seem to find that right tone. As it almost tries to come off as a modern-day western but not one where you are expecting the gunfights. One that is more about bravery and strength of moral and character not to mention loyalty

Grade: C

WHITE OF THE EYE (1987)

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Directed By: Donald Cammell

Written By: Donald Cammell & China Cammell Based on the novel “MRS. WHITE” By: Andrew Klavan & Laurence Klavan

Cinematography: Larry McConkey

Editor: Terry Rawlings

Cast: David Keith, Cathy Moriarty, Alan Rosenberg, Art Evans, Alberta Watson, William G. Schilling, Mimi Lieber, Michael Greene, Danielle Smith 

In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. As he desperately tries to prove his innocence, his young wife starts to uncover mysteries of her own…

This film is like a jazz album. One can’t quite get into or find the correct beat to connect with to groove with it. 

This film was recommended by quite a few people. Especially as it is one of the few films directed by Donald Cammell a popular writer and director of cult films such as PERFORMANCE.

As his films are usually out there it’s expected that his films will be a bit crazy. This one Certainly is it commits the sin of being boring for most of the film Until a totally bonkers ending. Which still doesn’t save the film as a whole. 

The film shows its Giallo influences only when it uses them in the daylight. These scenes are the only time the film comes alive and its artistic touches work to its advantage. Other times it seems like a film that is pretty Mainstream and more a studio product but presented in a style that feels peculiar and not for the better. That comes off pretty bland the first 2 thirds of the Film.

The camera work is unpredictable which is a thrill. It keeps you alert. Even the casting is inspired but in the end, the ingredients are there, but the dish served comes up short.

What saves the film somewhat or at least keeps you watching is David Keith’s performance that goes from mundane to romantic to off the wall. 

Alan Rosenberg doesn’t fare as well as he comes off like a New York stereotype at first who is dim-witted and then later comes across as a new age burnout. 

Cathy morality gets a chance to not play her usually big-haired villain or tough New York City girl. Here she gets a chance to just play normally as the lead who might be a little too trusting, but other than Be the audience’s introduction to the events and revelations she is given little to work with or do with her character to make an impression.

It also doesn’t help that this film is supposed to be sexy and have a lot of sex and half the time it is usually the opposite and the seduction doesn’t seem to raise the temperature. Even the sex scenes take a while for the audience to realize what they are doing.

The film’s theme seems to be nature vs commercialism. Which represents more of an Avant-garde film abs approach that eases into trappings of the more ridiculous commercialism. 

By the end the film made me come up with some thoughts when it comes to films such as these.  Where it seems we will make excuses for ourselves to explain why we just sat through all of this, but rationalize what we have seen by giving it artistic credentials because it tries to be artistic and different. When it did take a gamble that was misguided. Ultimately it might actually be bad but if the filmmaker had success before there must be some kind of deeper point 

Usually viewed by an audience who expected it. Usually mostly caucasian looking at it analytically abs since it speaks to them or is identifiable it must be good abs preached upon. 

GRADE: F

BUTCHER BAKER, NIGHTMARE MAKER (1981)

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Directed By: William Asher 
Written By: Stephen Breimer, Alan Jay Glueckman & Boon Collins 
Cinematography: Robbie Greenberg 
Editor: Ted Nicolaou 

Cast: Jimmy McNichol, Susan Tyrell, Bo Svenson, Julia Duffy, Bill Paxton, Britt Leach, Steve Eastin

Since the death of his parents fourteen years ago, Billy Lynch has been raised by his overprotective aunt Cheryl. But once he turns seventeen, he is soon set on planning his life…without her. He’s planning on going on to college and is dating local girl Julie. None of which sits well for his aunt, who’s lost everyone else in her life and now with her nephew ready to leave, ensures she starts on a campaign to keep him with her…forever. But as her plans misfire she becomes swept up in a cycle of psychosis and frenzied violence all being blamed on Billy by everyone else…including a homophobic detective, whose anti-gay prejudice is steadily reaching its zenith…leading to an unforeseeable outcome.

This film feels silly even for the time when it was released. Watching the film is a fun experience in its awfulness.

It’s entertainment is marred by its characters’ homophobia. This is disappointing as it easily could have been an unintentional camp classic. Surprised it hasn’t been embraced by a cult audience of not for anything at least the performance and gusto from Susan Tyrell.

The lead performance by Susan Tyrell gives it her all and goes way over the top. So unhinged In one of her rare leading roles.

So unhinged that as the movie moves along even her look begins to deteriorate. She is obviously wearing a wig and once her character cuts it she goes further off the deep end. It ends up being her real hair.

Revealing the killer wept on makes the movie more suspenseful. Especially as the film goes along, there ends up being few choices as to who it could be and where the film can go. 

The film has Bill Paxton in an early role as a jealous bully. Not to mention Julia Duffy as the teenage nephew’s love interest.

The film ultimately revolves around a serious obsession between the aunt for her nephew. Which also makes the film feel more suited for a drive in a movie theater. 

The movie’s special effects, the few that there Are, are so bad they become laughable especially when it cowls to stabbings and dismemberment. 

Memorably bad but the film Means well and tries hard. So that it is more entertaining and fun than scary. If this is a genre you particularly like.

It can be understood that homophobia was the Mood at the time. The film tries to justify that mood as evil by having one fo the good characters be gay. But also at the end, most of the characters with that discrimination end up dead. 

This is a film you look for more for fun than necessary thrills or any kind of horror 

GRADE: C

THE NAME OF THE GAME IS… KILL (1968)

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Directed By: Gunnar Hellstron 
Written By: Gary Crutcher 
Cinematography: Vilmos Zsigmond
Editor: Lou Lombardo

Cast: Jack Lord, Susan Strasberg, Collin Wilcox Paxton, Tisha Sterling, T.C. Jones, Mort Mills, Marc Desmond 

A desert family offers a traveling stranger its hospitality, but the stranger doesn’t realize exactly what they have in store for him.

This film is certainly an oddity the time had never heard of before.

The film is pretty basic in plot and relies heavily on its ending, which is meant to be shocking. So much so the film Mostly depends on it. Though offers two for one. Then leaves you with a Few questions it will never answer.

If you notice early in the film you can’t predict the end. Tone. even if you miss eventually the film will become predictable but then try to still get you 

So obviously this is a film to best go in blind or knowing as little as possible to get the best bang for your buck.

This is certainly the first time I have seen star Jack Lord in anything other than the show that made him Famous HAWAII FIVE-O and here he plays a Hungarian drifter with an accent. He does a serviceable job. Though you wonder about the intelligence of his character. As many times he is attacked and almost does from these attacks. Yet he keeps coming back to this family. Yet tries to rationalize it when it appears mostly to be lust.

Even as they are all obviously off in many ways. Though the one he seems to fall for in only one day. Where they talk about their love for each other already. Seems to be the sane one and the one who just needs love in her life.  

Whereas her sister’s one already has an instant distaste for him and lets it be known and the teen sister just seems disturbed as when we meet her the family mother is bringing her home after setting a cat on fire to punish someone who was picking on her. Who has she then Tripped down a set of stairs and broke their leg after killing the cat. All of this is scenes as teenage hijinks.

They all come onto him at some point in the film except the mother. As they are fetching in their own ways. Though most would have hightailed it.

The film also can’t seem to settle at times it says that no tourists stop and stay in the town. Yet later the sheriff talks about how the town is torn. They hate tourists but depend on them for income. Just as this family of females run a service station that no one tourists or townsfolk ever seem to come by or use.

Not to mention it’s hard to see how or why they would stay or live in this town as it comes off almost as desolate as a ghost town.

This is definitely a movie of its time. Making it today would be too obvious. As we have become used to these kinds of twists. Though for what it’s worth even if at times it seems ridiculous. It definitely keeps your interest. 

Grade: C+

FUNNY GAMES (2008) (REMAKE)

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Written & Directed By: Michael Heneke 
Cinematography By: Darius Khondji 
Editor: Monika Willi 
Production Design: Kevin Thompson 
Art Direction: Hinju Kim 

Cast: Tim Roth, Naomi Watts, Michael Pitt, Brady Corbet, Devon Gearheart, Siobhan Fallon, Boyd Gaines 

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

Not as good as the original of course I think the real weakness of the film is not only going back and repeating something that was never wrong, to begin with just to expose it to a massive audience that might have not seen the film the first time just because it was in a foreign language.   

The remake doesn’t show growth but hey rockstars have to play their classic hits once in a while, Even with new band members. If they are willing to pay you to do it why not.


I think one other weakness this film has is that it is opened up more than the original, with more characters. Who are minor but it opens it up. which in the beginning was scarier and more intense because it was more intimate.


It’s not a shot-for-shot remake but is similar enough. Maybe the film doesn’t affect you because we already saw the original and know what’s going to happen. Whereas when you see the original it’s a shock and keeps you on the edge of your seat. Watching this is like watching an imitation even though it is by the same director. Maybe it is also because whereas there were no stars in the original. So anything could happen and It felt realistic. Seeing stars in this you know it’s just fake and doesn’t penetrate any of my emotions like it seems to be directed to. By bringing well-known actors into the film also gives them nothing to do but whimper in pain for two hours there are no great characters to play or great lines unless you have the villain’s role in this film.


you also notice that in the original the female star was in her underwear for a scene then gets clothed. Here Naomi Watts spends most of the movie in her underwear. Sure it’s great to look at but I guess it was meant to tap into American horror films as usually the females run around naked and in their underwear as they are stalked and killed rarely do they survive. In fact, there is no real violence shown only the aftermath. The only time there is violence it happens to one of the villains.


The main villain also doesn’t speak to the audience as much as he did in the original, maybe it was deemed annoying. The remote scene which seemed daring in the original seems like a gimmick here. Here in making it bigger, it is marketed as a thriller but shot like an art film with attention to detail and colors but with no real shown violence that the audience is waiting for.


It also plays with the conventions of films such as foreshadowing and making an excuse for the violent behavior, breaking the fourth wall, and the illusion that in the end, everything will turn out fine. The false hope that it can all turn around because that’s what happens in the film. They wouldn’t be that messed up.


It plays with the rules that you have come to expect and then just when you think it will follow narratives you have seen it switches it upon you.

The pacing also seems off that it makes the film almost seem boring. Some could look at it as satire. It is obviously a message movie because all that happens in the film makes you realize your own bloodlust and includes you as a co-conspirator in all that happens because you are sitting there watching for entertainment.

SPOILER:


Like the scene where Anna is then taken to the boat where she attempts to cut herself loose with the knife shown earlier in the film, only to have it taken from her as a way to mock the standard Hollywood foreshadowing. She is then dumped overboard and drowns as the two boys discuss school fiction and state the message of the film quite clearly by stating (in reference to a novel they read) “the family was real, the hero was in fiction”, demonstrating that violence is real and what occurs for entertainment happens in reality, however rising above the odds and becoming a hero only happens in fiction. And as a note, all of the killing is off-screen, this is a pro-reality but anti-violence film in its own brutal right

SPOILER END


Now I didn’t exactly write the last paragraph but it is summed up pretty well that I agree with it I say if you didn’t see the original this might be interesting but if you did you don’t really have to bother with this film. Trust me rent the original it’s a lot better.

GRADE: C

PROMISING YOUNG WOMAN (2020)

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Written & Directed: Emerald Fennell 
Cinematography: Benjamin Kracun 
Editor: Frederic Thoraval 

Cast: Carey Mulligan, Bo Burnham, Adam Brody, Sam Richardson, Clancy Brown, Jennifer Coolidge, Laverene Cox, Max Greenfield, Christopher Mintz-Plasse, Alison Brie, Connie Britton, Molly Shannon, Loren Paul, Christopher Lowell, Steve Monroe

A young woman, traumatized by a tragic event in her past, seeks out vengeance against those who crossed her path.

The film seeks to try to make its points over and over again that feel like overkill and preaching to a certain extent.

The film manages to surprise the audience using exploitation expectations though giving something else entirely.

This film would have worked fine enough if it was what one was expecting a revenge tale against so-called nice guys and bad guys alike.

Though the film addresses more and it tries to be a film that inspires discussion and becomes more of a think piece than necessarily Just a film. This is fine as long as it offers more arguments and evidence for what it seems to want to spark conversations. 

Some aspects are left vague as we never really See what happens once she is down with her encounters with these men and are never really told what happens after. Is it just confrontation as a kind of exposing and warning to them? Does she do anything violent to them and if the just warning does she really Get revenge and does she have a backup security measure if these guys decide to get violent?

Even with her little notebook which she seems to make markings in of another case or victim. What Is it all for?

Not to mention afterwards though it seems to happen around the same town and area. It never comes back to her until the film needs it to, which comes off as a bit too convenient.

The film offers interesting twists but while there is a certain level of guilt. We still might wonder why she takes on this mission. 

Her revenge schemes are thought out, cruel, and make their points. Even though most men are made out to be villains throughout there are some women who are just as guilty in their ambivalence.

The film seems to make a point against nice guys being as bad or worse than predators. As they see themselves above it all and defend or support women. Though deep down they hold the same attitudes as those predators and believe because of their other good deeds that they are somehow owed love or a woman. Even as these nice guys already seem kind of predatory or at least douchey beforehand. 

Especially by casting actors, we have seen as the nice guy nerdish characters in other films and television shows. Who here makes cameos or has a scene or two Then disappear. That truly only one character actually does surprise me.

This also gives the film a whiff of superiority as it comes off more about issues than character. Which for some might feel for some

Preachy and while a film about the issues it presents are welcome. The film isn’t as good to back it up, Or be a good example.

Nice to see comedian Bo Burnham Giving more of a meaty supporting role. 

This is a revenge tale that takes comfort in being in and having the rules but acts like it is better than them. When it actually might be a little smarter and more discreet in its handling And treatment of the Material.

Which helps the film not be as exploitative. As the character and scenes aren’t made erotic or sexualized. It comes off as more of a new normal get more through a feminine gaze. Though strangely in its set-up and backgrounds it feels almost like it’s taking place on a kind of dreamland as it is real but feels artificial, more pretty than anything. 

The design of the film is remarkable and quite brightly colored to offset the dark behaviors and characters.

The film’s strength is more in its surprising and unpredictable third act. 

This is also a movie that loses some points due to hype. As ever since hearing about the film before it Came out wanted to see it and heard nothing but good things to the point of it’s Multiple academy award nominations And win for best original screenplay. But not after finally seeing it. That hype hurt the film in my eyes. 

Even when trying to put that aside others might have Been lucky to Discover it to admire it for what it is. (The best way To see any film) But coming into the film with preconceived thoughts. It doesn’t live up to the prose exactly. As it isn’t horrible but not as good as expected though better than average. 

It feels like a lifetime movie due to the can be anywhere, Polished no violence but always a threat of it and actions mostly Done on theory with big histrionics and a cast more known for appearances on television. 

The film even introduces an idea that might even work as a sequel 

GRADE: B-

BLOOD GAMES (1990)

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Directed By: Tanya Rosenberg
Written By: Craig Clyde, James Hennessy & George Saunders 
Story By: Jim Makichuk 
Cinematography: Sam Gart
Editor: Rick Mitchell

Cast: Gregory Scott Cummins, Laura Albert, Shelley Abblett, Luke Shay, Ross Hagen, Don Dowe, George Buck Flower, Julie Hall, Paula Manga, Sabrina Hills

A team of softball players get lost in the woods after their bus breaks down. They get attacked, beaten, raped and murdered by some psychotic men. The women fight back with baseball bats and bows and arrows.

This film is quite the throwback. As I believe i saw this back in the day on late-night HBO as a kid.

The film is simple and stupid yet entertaining. As it was released in 1990 but feels made from pure 1980’s ideas all the way.

As essentially it pits an innocent team of female softball players versus what seems like a whole county of evil redneck men bent on revenge. Even though the females are assaulted the perpetrator is killed by accident but he is seen as innocent and the ladies as bloodthirsty. 

The film is made by a female filmmaker. So that it feels more sympathetic to the female character as heroes and survivors. Even though they have short-cut tight semi revealing outfits. They are rarely nude and the sex that the film shows is violent and involves rape. So that while it heaps on the violence. It stays not explosive when it comes to sex and nudity. Giving the female characters a sense of pride. It treats them more as human beings and less as sex objects. They are treated more respectful 

Even when it comes to the deaths of characters. When it’s a male you feel a kind of happiness. More like they deserved it. Whereas when it is a female character it is tragic and makes you in the audience want to get emotional. 

The villains come off at times as more comedic releif than at least two of the characters do. Who manages to survive despite being thought of, or left for dead in many accidents throughout. Though early on they are more comedic releif until the hunt begins. Where they are rarely scary just armed doofuses and then only own becomes a threat later in the film. Even though most of the male characters believe themselves to be badass. That only appears to be true in numbers.

Titillation was used to their advantage constantly though more accidentally and as a survival technique. 

The film stands as a kind Of statement in a genre that usually leaves female characters as the damsels in distress who can’t help themselves, wives & girlfriends meant to be by someone’s side but barely have anything to do or as sex objects. This film sets the female characters apart from that not necessarily in a better quality of filmmaking.

The one Minority character gets killed off early and quickly. 

The initial premise that sets this film up is ridiculous. Why would the females team coach/manager trust the town’s matriarch in a fair game? Also is the female team professional traveling along to take on exhibition games and pick-up games? Are they hustling unsuspecting towns and teams which should be tipped off by their team bus and matching uniforms? Are they using sexism to help them be underestimated and hoping that by showing their talent that men will see them in a different way and then be respectful? That seems like the premise for another film. As this film seems to want to set up and get to the action quickly. 

The film is barely 90 minutes. Though while it doesn’t feel longer than Its running time. It could have been easily 10 minutes shorter 

This film is ultimately meant to be a tale of survival. 

Grade: C+

SPARTAN (2004)

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Written & Directed By: David Mamet
Cinematography By: Juan Ruiz Anchia
Editor: Barbara Tulliver

Cast: Val Kilmer, Derek Luke, Kristen Bell, Tia Texada, Stephen Culp, Clark Gregg, Ed O’Neill, Aaron Stanford, Geoff Pierson, William H. Macy, Said Taghmaoui, Zosia Mamet

Maverick Ranger Scott, known for ruthless, unorthodox methods but good results, is called in to help the secret service after Washington big whig’s brat daughter is abducted while studying at Harvard. Scott quickly realizes the protection detail’s prime suspect, her boyfriend Michael Blake, is innocent and dumped her for being a drug-addicted slut. Next, he traces her to a bordello, only to realize the captors didn’t realize who she is but simply recruited her for the Middle Eastern white slavery market, and are likely to dispose of her rather than confront her father. But instead of the support expected in such a high-profile case, Scott gets orders to work in secret before the press catches on, and even finds his quest sabotaged.

This is a tight and taut film. Like a clock with airtight precision. It is also a strange film that has a rhythm and beat all its own.

It’s a top-notch thriller with a good story that plays small and close to the chest rather than a grand conspiracy blockbuster, but when you think you have it figured out. A twist you honestly didn’t see comes, then another one, then another one.

Truthfully I wouldn’t expect any less from playwright-writer-director David Mamet. Though I must say that while this is good. it is one of his lesser works. Which considering the excellent standing of his previous films isn’t bad.

His films specialize in sleight of hand movies. These days though he seems to take stories where you know and subvert them so you care more about the characters, their rapid-fire dialogue, and line delivery which have hidden meanings. Characters’ faces rarely betray emotion but do say so much with simple gestures and tone.

This film is noteworthy for a few reasons. It’s one of the closest Mamet will ever get to mainstream entertainment blockbuster type. Which is the direction. he has a top-notch low-key cast. Val Kilmer is the lead for one of the few times that a film he appears in makes it to the big screen. He really doesn’t get enough credit for how good an actor he is.

The film moves at a slow pace which adds to the slow burn of scenes, it is ultimately rewarding and gives the film more nuance. As it fleshes out characters. Which in other films would be strictly one-note. Mamet shows the procedures and what motivates their actions and reactions. So that you don’t get too far ahead of the lead, but doesn’t not leave you behind him in some scenes.

This film has action but is low on it. A fight scene for instance is started, but the camera stays on the face of Val Kilmer. while he watches it instead of on the actual action. So you can use your imagination to fill in the blanks while hearing it. Then you see the aftermath of the fight.

David Mamet performed rewrites during production using nothing more than a typewriter on a cardboard box between takes.

Except for a single day on a soundstage, the film was shot exclusively at practical locations.

Producer Art Linson and David Mamet were having lunch when Linson informed Mamet that he could not get anything more than a no-frills budget for the movie. Val Kilmer was literally at the next table. Linson knew Kilmer and asked him to come over, and they talked about the production. Kilmer was so impressed with the story and Mamet’s vision that he agreed to the role of giving a significant discount to facilitate Franchise Pictures giving a green-light to the production.

The film might be an acquired taste as I went to this film with one of my constant film companions my female cousin who was bored and really didn’t like the film. While I was quite captivated throughout

I don’t want to spoil too much, that would spoil the experience of seeing it with open eyes. Which I believe is where much of the film’s enjoyment lies.

One of the problems, with the film, is that one character does who is very close to the lead. When it happens he shows no emotions, but later when a character dies who the lead barely knows he tears up like a baby, delayed reaction as the person was hardly innocent. It feels out of place.

David Mamet incorporated a number of real-life experiences from various U.S. special forces members for the production, including Eric L. Haney who had served in highly classified operations during his 20-year military career. Haney’s experience included front-line combat units as a combat infantryman, as an Army Ranger, and as a founding operator within the elite Delta Force under Colonel Charlie Beckwith.

These experiences helped Haney effectively serve as a technical advisor, weapons expert, and actor’s mentor to Val Kilmer, ensuring that Kilmer reflected an accurate depiction of a special forces operative in every capacity. Haney retired as a highly decorated Sergeant Major, and his documented experience also includes security surveys, metro SWAT team arms training, oil company guard force management, executive protection, and the recovery of American children kidnapped and taken overseas.

The film never comes completely alive for all the thrills stays sedate and calm. While the size of production staying small and intimate brings a certain reality to the conspiracy it also feels like a letdown as the size of the story seems more on The scale of epic Or at least bigger proportions.

This is Mamet keeping his style for a major release that offers him a bigger palate. It actually reminds me of the minimalist style of Steven Soderbergh. I am surprised they never collaborated on a project.

 Grade: B

TEENAGE COCKTAIL (2016)

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Directed By: John Carchietta 
Written By: John Carchietta, Sage Bannick, Chris Sivertson 
Story By: Amelia Yokel 
Cinematography By: Justin Kane 
Editor: John Carchietta, Josh Ethier & Ben La Marca 

Cast: Nichole Bloom, Fabianne Therese, Pat Healy, Joshua Leonard, Michelle Borth, AJ Bowen  


Feeling confined by their small town and overbearing parents, Annie and Jules hatch a scheme of running away. But as the girls soon find out, consequences can blindside you. Sometimes violently.

Who is this film supposedly for? As it plays like a hard edged after school special. Though it does involve a central coming of age lesbian love story. Though then kind of spoils it by going into a thriller element of sex work and picking the wrong person to do it with.

The film has a weird almost laughable scene where one of the girl’s father looks at her computer ad’s and never says anything. In fact he is more embarrassed and see’s his daughter in her lingerie. Which comes out of nowhere. If the father really cared that should have been the moment to show care and discipline. It is understandable that he is shocked but irresponsible to do nothing about it This is a film that seems to be searching to be something and coming off all wrong.

I believe maybe the film might have been better if directed by a female or at least someone more sensitive to it’s material and nature. As many of the scenes of the two girl making out and frolicking seem more exploitive and vivid. Almost more like fetish and fantasy more than anything else. So that it feels uncomfortable or soft core pornographic rather then just fun or revealing. It reeks more of the male gaze, making any intimacy between the leads more erotic and physical. Rather then romantic, personal or endearing. As most of the time it feels like we are intruding on the girls and watching them as voyeurs. Not in a good way as we invade their privacy and tender moments.

So much so that it feels like an adult film only without the hardcore scenes and not as over the top. Which unfortunately makes it feel slow. Though it had an starter emo indie artist soundtrack. That showcases how amateur the film comes off. As since it doesn’t know how to identify itself. Like it’s characters it just seems to try anything to fit in and be relevant. So that it can say something, but as it has it’s chance. There is nothing new or too striking to say.

Though the final 15 minutes seem more stupid and ill advised even if the characters are young. As all of a sudden the man turns psycho and desperate. In a way over the top way. Rather than subtle.

You can’t shake that the film and the females characters in particular are being shown and shaped under a male glaze that turns everything into titilaion instead of emotional drama. One just wishes there was more to it. As it seems to make an emotional drama about friendship and connection. Then all of a sudden veers into thriller territory. Which could have worked if it didn’t feel so rushed all of a sudden.

It’s a shame as all the actors are usually good in other films and have a real chance to shine here, but what they are given is so mundane and silly that it never makes a mark.  

GRADE: D+

SAINT MAUD (2021)

~ jbg ~ Leave a comment

Written & Directed by: Rose Glass
Cinematography: Ben Fordesman
Editor: Mark Towns 

Cast: Morfydd Clark, Jennifer Ehle, Lily Frazer, Marcus Hutton, Lily Knight, Noa Bodner

Deeply religious Maud, a tight-lipped live-in nurse with a dark past, takes a job in a humdrum English coastal town to look after Amanda Köhl: a once-celebrated, now terminally ill former dancer and choreographer. Convinced that she has been sent to sensualist, chain-smoking Amanda with a purpose, ascetic Maud soon becomes obsessed with saving her vulnerable patient from herself, and in the process, lead her to the light. However, is worldly Amanda prepared to receive absolution for her sins?

This is a film that I was looking forward to seeing. It was at the top of my must-see list for 2020, until it got postponed, and finally got to recently watch. It is definitely a case of a movie living up to my expectations.

You can tell that this film feels lien something special. Even for as dark as it is.

The film is a great production and has committed performances and is definitely the work of a gifted filmmaker. As the filmmaking is gorgeous and sumptuous. That doesn’t fit into expectations. 

The film offers a lot of build-ups. That has a bunch of elevated horror cliches. As the film Challenges the audience’s expectations. As they might be looking for more than what the film has to offer.

The film revolves around loneliness at heart. While going through mental illness and stability. It ends up with strongly disturbing images.

The film is a slow burn that takes it’s Time with it’s Story and characters. Where it is meant to be more than what you are seeing. This film wants to be more than entertainment. It wants to affect you. Say, present and experience its Story more. 

It deals with obsession which causes a mental undoing to someone who was already fragile. Where she punishes herself. When she is only

Trying to help and seeking forgiveness for her past through religious fundamentalism. Which strangely she turns into a kind of eroticism for herself.

Her devotion spins takes form In trying to awaken others and give them what they want to try and help them. While having more and more delusions.

Where eventually she keeps building an intimacy out of loneliness. That once making a connection in helping others to make herself feel better and not worthless. 

As we are given hints to her life before he became so devout that seemed aimless and wild before an accident that changes her. 

By the end, the film is Sad and depressing but effective. In the last act of the film, the film becomes more of a horror. as it becomes more tension-filled. Where it feels like anything can happen.

Grade: B+