Tag Archives: It Comes At Night

FILMS THAT GOT AWAY #11 – WAVES (2019)

FILMS THAT GOT AWAY #11 – WAVES (2019)

Directed by: Trey Edward Shults

Produced by: Kevin Turen, Jessica Row, Trey Edward Shults

Written by: Trey Edward Shults

Cast: Kelvin Harrison Jr., Lucas Hedges, Taylor Russell, Alexa Demie, Renée Elise Goldsberry, Sterling K. Brown, Alexa Demie, Clifton Collins Jr., Vivi Pineda, etc.

Music by: Trent Reznor, Atticus Ross

Cinematography: Drew Daniels

*** MAY CONTAIN SPOILERS ***



“First your parents, they give you your life, but then they try to give you their life.”

― Chuck Palahniuk


Being a parent is an extremely difficult job and mostly impossible to get right. It is a rewarding and joyous experience, but can also be a frustrating one. Raising another human being in this world is a fluid and ever-shifting set of tasks. Once you have got past a certain age and seemingly resolved the issues of that time, their next period of growth provides a whole different set of puzzles. Whatever books you read or advice you take, or help you get, you will never be prepared enough to meet the challenge of being a parent. Even those who have had more than one child can attest that what occurred with the first child will not be the same for the next or the next after that. Every individual being is different and will have a varied set of intricacies.

In the majestic family drama, Waves (2019), for example, Ronald (Sterling K. Brown) and Catherine Williams (Renee Elise Goldsbery), are middle-class parents with successful jobs who provide a fabulous Florida home and upbringing to their teenage children. Their son, Tyler (Kelvin Harrison Jnr.), is smart, athletic and a popular student, while their younger daughter, Emily, is quieter but equally bright. Ronald pushes Tyler to excel in every way, in study, work and on the wrestling team. He’s doing it with best intentions, but it creates incredible pressure for the lad. So much so, when Tyler suffers a serious injury and a problematic romantic situation he mentally and emotionally breaks.



Waves (2019)

This is a tale of two children and their parents attempts to raise, guide and control them. Not control in a negative fashion, but out of love and desire to see they are on the correct path in life. But what the narrative illustrates is that even the most loving and comfortable families can have tragedy bestowed upon them via a mixture of spontaneously poor life choices, youthful emotional imbalance and the fickle finger of fate. Thus, some could argue that with subjects such as unwanted pregnancy, pushy parents and rebellious teenagers, the film is over-familiar and melodramatic in places. However, the acting, direction and cinematography render the film wholly cinematic. Special mention to the extremely talented cinematographer Drew Daniels, who also lit HBO’s stylish mini-series Euphoria (2019). The production’s choice of colour, lighting, lens differentiation and aspect ratio switches are another reason this fabulous film impacted me so much.

No disrespect intended to the films nominated for Best Picture at the last Academy Awards, but how Waves (2019) did not get on that list is beyond me. Maybe it didn’t qualify due to some technicality, but it was definitely one of the best films of last year. It’s a shame I missed it as Trey Edward Schults proves he is a formidable young director. Sterling K. Hayden is impressive as the father who thinks he knows best, but is ultimately as emotionally lost as his son. Taylor Russell as Emily is an absolute shining star in the role and Kelvin Harrison Jnr. is, following his mesmerising performance in Luce (2019), destined for great things. Lastly, I’m not sure how Waves (2019) got away from me on release, but I’m glad I finally caught up with this searing and complex drama.

Mark: 9 out of 11


SCREENWASH CINEMA SPECIAL – JULY 2017 – Reviews include: WAR FOR THE PLANET OF THE APES, SPIDERMAN, THE BEGUILED etc.

SCREENWASH CINEMA SPECIAL – JULY 2017

It’s been a busy July for decent cinema releases and my Odeon Limitless card has been earning its dough somewhat!  So I decided to compress the reviews into one manageable article and here they are in order of film preference with the usual marks out of 11!

**CONTAINS MINIMAL SPOILERS**

WAR FOR THE PLANET OF THE APES (2017)

The final part in the prequel trilogy to the movie classic Planet of the Apes (1968) is an apocalyptic epic which had me gripped from start to finish. The story continues a few years after Koba’s rebellion caused further catastrophic events between humans and apes. We find Caesar and his guerrilla army attempting to protect their families from Woody Harrelson’s obsessive Kurtz-like figure The Colonel. When The Colonel causes irreparable damage to Caesar’s clan he sets out on an epic journey to free the apes from their fascistic human captors.

Aside from some convenient plotting for pace, director Matt Reeves and co-writer Mark Bomback have constructed a superb and compelling story which echoes the epic glory of cinema classics such as: The Searchers (1956), Dr Zhivago (1965), The Great Escape (1963), Spartacus (1960), Apocalypse Now (1979); and even the Biblical story of Moses. Andy Serkis is incredible once again as the noble Caesar and his determined, proud and intelligent character is someone we really root for. Special mention to Steve Zahn too who plays the likeable fool, Bad Ape, adding welcome comic relief to the heavy drama and pulsating action.

The cinematography from Michael Seresin’s lense is exquisite as snowy, beach and woodland landscapes provide a beautiful counterpoint to the chaos of war. Moreover, the action set-pieces are breath-taking with expertly staged composition and crisp editing while the motion-capture effects brilliantly support the story. In between the emotional moments hit home too as Matt Reeves and his team have fashioned a big film with an even bigger heart. Overall, this is one of the best cinematic experiences I have had all year as story, style, technology and emotion all work together to bring a fitting end to one of the best film trilogies committed to celluloid.

(Mark: 9.5 out of 11)

SPIDERMAN: HOMECOMING (2017)

Oh no!! Not another Spiderman film!!  But don’t panic as this one is presented from within the Marvel Universe!  Following quickly after the events of Captain America: Civil War (2016), Tom Holland’s eager arachnid-kid literally bounces off the walls waiting for an assignment from his mentor Tony Stark (Downey Jnr in a cameo-plus-style appearance). However, he’s palmed off with overgrown babysitter Happy (Jon Favreau) and here’s when Peter Parker gets in a pickle by ignoring the adults and going out to play on his own.

With some tremendous set-pieces on the Staten Island Ferry and at the Washington Monument the action really fizzes along and raises the pulse throughout. Having said that the final explosive action set at night was poorly lit in my view rendering the action almost incomprehensible. In between, the high school scenes are very funny, notably Jacob Balaton’s Spidey sidekick, and Peter’s impatient and chaotic teen characterisation was very well drawn. Yet, it is Michael Keaton as the scavenging Vulture who absolutely steals the show. His performance as gritty, working-class and angry antagonist, Adrian Toomes adds shades of dramatic grey to an otherwise shiny and colourful narrative.

While not quite shaking the feeling of creative ennui and Spidey overkill, Homecoming still manages to hit many of the heights reached by Marvel’s sparkling stable of comic-book stars. Newish filmmaker Jon Watt, who directed the brilliant, low-budget film Cop Car (2015), handles it all with some verve and humour while delivering a humdinger of an end of second act dramatic twist. Having seen him recently in Wolf Hall (2015) and The Lost City of Z (2016), Tom Holland confirms himself a bona fide star, and is fantastic as everyone’s favourite neighbourhood spider.

(Mark: 8 out of 11)

IT COMES AT NIGHT (2017)

This haunting post-viral apocalyptic nightmare of a film drips with dread, suspense and bloody heartache throughout. It concerns Joel Edgerton’s everyman who, along with his wife and son, are attempting to survive in their battered and isolated woodland home. Paranoia is a key fuel for the characters’ lives as they follow strict rules of wearing gloves, washing hands, burning bodies and not leaving the house at night. When their space is invaded by Will (Christopher Abbott), his wife and child, the families all form an uneasy pact; yet it is not too long before peace gives way to disharmony and recrimination.

Trey Edward Schults directs the hell out of this low-budget gem with the skill of a way more experienced filmmaker. He creates an eerie, dark and hallucinatory vision which, while lacking in expositional clarity, more than makes up for in atmospheric visuals and human drama. The film glides along at a creepy pace and builds to what feels should be a cathartic and dramatic peak. However, the ending left me slightly disappointed as it was too poetic. I was okay with the mysterious narrative elements such as not knowing the cause of the virus, but I felt that a more traditional horror conclusion would have made it a much better film. Still, Schults is a director to watch out for but being a horror whore myself I wanted a bit more blood and guts at journey’s end.  

(Mark: 7.5 out of 11)

THE BEGUILED (2017)

Colin Farrell portrays a Union Army deserter who hides out in an all-women boarding school featuring an excellent cast including: Nicole Kidman, Elle Fanning, Kirsten Dunst, Oona Laurence, and Angourie Rice. It’s based on a novel by Thomas Cullinan and previously adapted into a 1971 film starring Clint Eastwood. Sofia Coppola’s subtle direction is impressive and this gothic drama has amazing cinematography, costume design and decent performances. However, I felt, by the end, the film was completely lacking in drama, eroticism and suspense.

The build-up over the first hour was fantastic but alas there were no major pay-offs to events relating to repressed sexuality and male-female divide. Moreover, thematically I found Coppola had nothing to say on the Civil War, sexual temptation or the damaging impact of patriarchy in a matriarchal world. She also fails to develop Farrell’s character as Faustian sexual threat and aside from some incredibly beautiful lighting and composition from Phillipe Le Sourd the story just peters out unsatisfactorily in my view.

(Mark: 6 out of 11)