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Cinema, New Releases, Reviews

HORROR DOUBLE BILL: THE DEAD DON’T DIE (2019) & ANNABELLE COMES HOME (2019) REVIEWS

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HORROR DOUBLE BILL REVIEWS

THE DEAD DON’T DIE (2019)

Written and directed by: Jim Jarmusch

Cast: Adam Driver, Bill Murray, Chloe Sevigny, Tilda Swinton, Steve Buscemi, Caleb Landry-Jones, Danny Glover, Selena Gomez, Tom Waits and many more.

As a big fan of Jim Jarmusch films and a big fan of zombie films I was really looking forward to the Dead Don’t Die (2019). Interestingly though, it neither works as an arthouse horror film or dramatic zombie film. There’s a lot to enjoy, especially with the deadpan wit, but overall the film felt underwhelming to me.

Set in the fictional American town of Centerville, we find out fracking or some similar stupid human being industrial act has caused a global disaster. Suddenly we get a disparate set of townsfolk including hermits, Republican farmers, waitresses, cops, morticians, College kids, all fighting the living dead. The acting led by Adam Driver, Bill Murray and Tilda Swinton is the best thing about the film. Yet, while I was chuckling at many of the dry lines of dialogue, the film falls flat with a plodding and disappointing ending. Jarmusch, in his inimitable style essentially undermines the raft of intriguing archetypes he has established with a deconstructive and knowing final act.

I think the main problem is Jarmusch, while paying lip service to the likes of George A. Romero, did not commit fully to making a proper zombie film. This is a comedic parody and satire which lost me when Adam Driver’s character become overly self-reflexive. Jarmusch sets up some great characters to fight the dead but throws them away for clever-clever-Godardian-oh-we’re-in-a-movie references which undermine the comedy, drama and horror. I love Jarmusch’s style and he has made some cult cinema classics. This, alas, is not one of them.

Mark: 6.5 out of 11

ANNABELLE COMES HOME (2019)

Directed and written by: Gary Dauberman

Cast: McKenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga etc.

Having watched the Dead Don’t Die (2019), I decided to make the most of my Odeon Limitless card and watch the next instalment in a franchise which shows absolutely no sign of dying. I really liked The Conjuring and Insidious franchises, which involved horror experts including James Wan and Leigh Whannell. However, the monstrous creations such as Annabelle and The Nun are pretty thin in terms of credible horror threat and cinematic quality. Having said that this latest film Annabelle 3 film already made $200 million at the box office, so what do I know!?

The story is pretty threadbare, but it concerns Ed and Lorraine Warren’s demonic spirit room which, for some bizarre reason they entrust a teenage babysitter, Mary Ellen (Madison Iseman) and their daughter, Judy (McKenna Grace), NOT to open while they’re away. Guess what happens? A friend of Mary Ellen, Daniela (Katie Sarife), opens the spirit room and all hell breaks loose due to Annabelle the evil doll causing all the devilish spirits to rise up and frighten the characters half to death.

I actually liked the cast of young actors here, most notably McKenna Grace, who is very talented. Daniela’s character also had some decent motivation for her ridiculous actions as she sought closure with her dead father. At times I was quite fearful due to some decent jump scares, deadly creatures and creepy use of lighting tricks. However, the whole thing seemed like a cash-in with new monsters being introduced to expand the franchise further. Even fine actors such as Patrick Wilson and Vera Farmiga seemed happy, laughing all the way to the bank with their book-ended cameos.

Mark: 5.5 out of 11

Cinema, New Releases, Reviews

THE OLD MAN AND THE GUN (2018) – CINEMA REVIEW

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THE OLD MAN AND THE GUN (2018)

Written and Directed by: David Lowery

Produced by: James D. Stern, Dawn Ostroff, Jeremy Steckler, Anthony Mastromauro, Bill Holderman, Toby Halbrooks, James M. Johnston, Robert Redford

Based on: The Old Man and the Gun (article) by David Grann

Starring: Robert Redford, Casey Affleck, Danny Glover, Tika Sumpter, Tom Waits, Sissy Spacek

Music by: Daniel Hart

Cinematography: Joe Anderson

**CONTAINS SPOILERS**


Forrest Tucker was a career criminal destined to die in jail. His life in between was one of many bank robberies, incarcerations and successful and unsuccessful prison breakouts. The morality of his actions must be condemned as the man was a recidivist addicted to the thrill of crime, making money and also the chase. While I’m not a fan of banks, who themselves are bigger criminals than the robbers, I rarely find myself rooting for such characters, unless there are mitigating circumstances for their actions.

Indeed, Tucker’s illegal acts would have left the authorities drained chasing him across America, and prevent them from protecting other people. Moreover, by holding a gun in people’s faces and demanding money Tucker would have most likely scared a good number too.  Tucker would go on to rob banks well into his late seventies but he never fired his gun; and was often described as a gentleman by his victims. Yet, despite his wrong-doings, the film of his life in the hands of acting legend Robert Redford and director David Lowery is well worth a watch.

It’s a pretty simple story based on a New Yorker article by David Grann and Lowery adapts with warmth and empathy towards Tucker’s aging bank robber. The casting of Redford is also a masterstroke. As he has throughout his career he exudes a mercurial class and poise.  There’s some wonderful usage of stock photos of Redford from earlier in his career, supplanted to the character of Tucker. This nostalgic trip down memory lane both serves the story and reminds us what a great movie star Redford has always been. It’s a shame that Redford has decided to retire from acting, as reported in August 2018, but this is a fine film to bow out on.

Lowery, whose last film was the amazing A Ghost Story (2017), changes tack with a more conventional character study here; however, he invests lots of imaginative touches in the presentation. He also gets a memorable performance from Sissy Spacek who sparkles as Redford’s romantic interest. It’s beautifully and hazily shot by Joe Anderson on Super 16mm and contains a misty-eyed halcyonic feel to it. I felt like I was watching a film from the 1970s even though it was set in or around the 1990s. So, despite my inherent dislike of the man and the crimes he committed, I very much enjoyed this excellent drama about a fascinating, if misguided, character.                                        

Mark: 8 out of 11

Cinema, New Releases, Reviews

SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

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SORRY TO BOTHER YOU (2018) – CINEMA REVIEW

Directed by: Boots Riley

Produced by: Nina Yang Bongiovi, Kelly Williams, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker

Written by: Boots Riley

Starring: Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Danny Glover, Steven Yeun, Armie Hammer

**SPOILER FREE REVIEW**

Just when you think the well was drying up somewhat in regard to favourite films of the year, Sorry To Bother You (2018) comes along and jumps straight into my top twelve. Written and directed by activist and musician Boots Riley, this really is a humdinger of an absurdist comedy and must surely be a contender for best original screenplay of the year.

Centring on Oakland-based Lakeith Stanfield’s downtrodden everyman, Cassius Green, we find him unemployed and desperate to find work. So much so he takes a soulless commission paid job at RegalView selling encyclopaedias. So far so normal but very quickly events take many left field turns and Cassius is catapulted into a world of corporate greed, worker rebellion, romantic difficulties and some very weird science.

I do not want to give too much away but I had a blast with this film. Indeed, it’s best watched when you know as little as possible about the story. All throughout writer and director Riley has managed a great balance between believable situations and ridiculously surreal humour. His screenplay manages to satirise both the greed of corporate America and racial profiling, while at the same time never preaching or getting heavy. The tone of the film reminded me of so many films and TV shows I love, including: Being John Malkovich (1999), Atlanta, TheMighty Boosh and Monty Python’s Flying Circus. It’s also a thematic sibling to Jordan Peele’s massive horror hit Get Out (2017); which found white people exploiting Afro-Americans to nefarious ends.

The cast jump on board the many hyper-real and absurd concepts with abandon. Lakieth Stanfield, who is brilliantly deadpan in the show Atlanta, shows what a gifted actor he is. Again, Tessa Thompson proves what a brilliant actress she is as Cassius’ energetic artist and activist girlfriend; while Jermaine Fowler, Danny Glover and Steven Yeun provide really solid support. Special mention for Armie Hammer who really amps up the comedy with his representation of avaricious corporate megalomaniacs who care more for profits than they do for human life.

Incredibly, this is Boots Riley’s debut feature film and what a fantastic job he has done.  Sorry to Bother You is brimming with hilarious comedic scenes, on-point parody, textured style and credible social commentary. Cassius’ journey throughout is believable too as he is tempted by the promise of money but at severe and Faustian cost. Riley, within the hyper-reality of the world he presents, never strays far from the idea that the collective must join forces to overcome the paymasters. Ultimately, the film may be messy and chaotic at times but this project-mayhem-gonzo-style, along with the colourful design and moody cinematography combine to deliver one of the most memorable films of the year.               

Mark: 9 out of 11