REVIEW: “The Toll” (2021)

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Those itching for a new horror movie might find some relief with “The Toll”, a Canadian horror flick written and directed by Michael Nader (his feature film debut). “The Toll” is an exercise in unadulterated love for horror, pulling inspiration from every end of the genre. Nader will have you thinking of everything from “Poltergeist” to “The Slender Man”; from “The Shining” to “The Blair Witch Project”. Seeing those influences on screen is fun in itself. The problems come with the movie’s shaky execution of its own ideas.

Despite some logic-defying cracks the movie’s opening 30 minutes are easily its best. It begins with a rideshare driver named Spencer (Max Topplin) swiping through his Uber-like phone app looking for his next passenger. He passes over a hipster and a middle-aged guy to choose Cami (Jordan Hayes), a young woman at the Detroit airport just off of a delayed late night flight. She’s in town to visit her divorced father and instead of bothering him to pick her up she hops in the car with a strange guy in the wee hours of the morning. Maybe not the best example of decision-making but delayed flight, frustration, exhaustion, all that stuff so we’ll give her a pass.

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Image Courtesy of Lionsgate

Spencer swings into the airport, picks up Cami, and then sets out for a long drive to her father’s house well outside of the city. During the drive Nader does a good job making us as uncomfortable as Cami. That’s because Spencer comes off as a creep, making awkward small talk, asking prying questions, and attempting jokes that no socially cognitive person would ever try. At the same time Spencer is never overtly aggressive or threatening. So the question becomes is he really dangerous or is the movie intentionally trying to throw us off.

*Note to all horror movie characters: If you use a GPS expect bad things to happen. That’s definitely the case here. Spencer follows his GPS down a gravel road that winds through a dense forest. Suddenly his phone zaps out and his car dies. An apprehensive Cami thinks it’s all an act while Spencer swears to the contrary. Aside from the eerie things that begin happening in the woods around them, Nader keeps the suspicion and mistrust between his two stranded characters his focal point. At least until a creepy old lady on a tractor pulls up and tells them they have been marked by a schlocky terror called the Toll Man. And the only way off his road is to pay him…in blood.

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Image Courtesy of Lionsgate

You would think this would lead to some meaty horror mythology where we learn of the Toll Man, his background, his motivations, etc. But actually we get none of that. Instead we just see the tall, slender, pointy-fingered being with a bag over his head terrorizing Cami and Spencer, mostly through life-like visions that poke at past traumas. Heavy references to suicide, child abuse, rape, and victim-shaming all come up but not in a way that adds much weight to either character. Just as a way to prod Cami and Spencer and drive them to do the Toll Man’s bidding. Meanwhile the poorly defined Toll Man himself is left as this ambiguous nothing. He and his minions have the horror movie look, but I never understood them or their existence.

One thing “The Toll” does really well is create atmosphere. The genre has already established that ‘nighttime in the woods’ is a great horror setting. Nader knows this and utilizes it to great effect. His camera choices and especially his strategic use of lighting give the film an uneasy kick. Unfortunately it’s the story that runs out of gas right when it should be picking up. The intro is tense and suspenseful, but by the end it’s inability to sell or even explain its big baddie left me questioning the point of the entire second half. “The Toll” is now streaming on VOD.

VERDICT – 2.5 STARS

2-5-stars

First Glance: “Spiral: From the Book of Saw”

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Ok, so technically this isn’t a first glance at the movie since its first teaser trailer dropped several months back. Instead consider this a first glance at trailer #2 for “Spiral: From the Book of Saw” which gives us a better feel for what this movie is going for. It’s officially the ninth movie in the “Saw” franchise and considered a sequel and not a reboot. I’m hardly what you would call a “Saw” movie connoisseur (I’ve only seen a couple of them). But this trailer caught my attention most notably for its casting.

“Spiral” stars comedian Chris Rock as a big city detective who gets caught up in a grisly murder investigation. Soon he’s sucked into a gruesome and deadly game by someone with all the markings of the Jigsaw killer. The film also stars Samuel L. Jackson playing a retired detective and Rock’s father. I’ll be honest, I’ve had a hard time visualizing Chris Rock in a role like this and the trailer doesn’t do much to ease my mind. It looks like it could be an interesting turn for the franchise but it will depend on how big of a hurdle Rock’s casting turns out to be.

“Spiral: From the Book of Saw” releases May 14th. Check out the new trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “SAS: Red Notice” (2021)

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I’ve always been able to make time for a good action flick. Norwegian filmmaker Magnus Martens directs “SAS: Red Notice”, the new British action-thriller based on the novel of the same name by Andy McNab. Hardly original but reasonably entertaining, “SAS: Red Notice” squeezes everything it can out of its “Die Hard on a Train” premise. But it turns out to be a classic case of a movie that simply runs out of ideas. And while it does throw in a handful of original twists, most of them land with a thud.

The film stars Sam Heughan from television’s “Outlander” giving us his best ‘James Bond meets John McClain’ impression (sadly he doesn’t seem comfortable filling either’s shoes). Heughan plays cold-as-ice SAS Special Agent Tom Buckingham III (how’s that for a British name). His ability to shut off his emotions makes him one of the British government’s most lethal and effective agents. It has a much different affect on his relationship with his loving girlfriend Sophie (Hannah John-Kamen). He plans on asking her to marry him, but she’s concerned about his frosty demeanor.

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Image Courtesy of Sky Cinema

The film opens with a beautifully shot prologue that quickly turns gritty and violent. In the beautiful mountains of Georgia near the Black Sea we’re introduced to the Black Swans, a mercenary group led by by William Lewis (Tom Wilkinson) and his family – his hardcore daughter Grace (Ruby Rose) and his dimmer but loyal son Olly (Owain Yeoman). The Swans secretly meet with a crooked military liaison named Clements (Andy Serkis) working for the Prime Minister (Ray Panthaki) who hires them to clear out a local village who refuses to relocate so that a gas pipeline can be ran through the area.

The Swans carry out the blood-soaked contract but are tagged by British SAS who issue red notices (essentially high-priority arrest warrants) for William, Grace, and Olly. This leads to the story’s labyrinthine political sub-plot involving the SAS attempting to take down the Swans, the Prime Minister trying to cover his tracks, and the Swans threatening terroristic attacks for being hung out to dry by the Prime Minister. All of it adds some okay twists and a few interesting layers to the story. But it also bogs things down and leaves you thirsty for the bigger action bits.

During all of this Tom schedules a romantic trip to Paris with Sophie where he plans on popping the question. But their train ride is interrupted by none other than a ruthless Grace and her mercs who hijack the Paris-bound Eurostar and bring it to a stop in the tunnel that runs under the English Channel. But little does she know Tom Buckingham III is onboard and he’s going to use his particular set of skills (I know, different guy) to make sure Grace and her goons have a fight on their hands.

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Image Courtesy of Sky Cinema

The inevitable action in the tunnel starts strong and even though it’s familiar and formulaic, there’s enough energy to keep things upbeat and entertaining. Ruby Rose is a big reason why, gelling charisma and psychopathy to create a fun and engaging villain. Unfortunately the story does start to run out of gas both narratively and in the action scenes. Things pep up when Tom’s friends with the SAS and Clement and his team all converge on the tunnel. But even then the movie doesn’t seem confident in what it wants to do with all of its moving parts. It ends with an inevitable but really satisfying showdown that would have ended things on a high note. But regrettably there’s a laughably bad epilogue that even my far more forgiving wife couldn’t help but chuckle at.

Despite being a little too long and all over the place, “SAS: Red Notice” is still a pretty easy watch. There’s not much here that will stick with you or that will encourage a revisit. I understand there are two more books in Andy McNab’s Tom Buckingham series. It’s hard to say this movie warrants a trilogy, but I’ve seen franchises built on a lot worse. As usual, time (and more importantly money) will ultimately tell. “SAS: Red Notice” is now streaming on VOD.

VERDICT- 2.5 STARS

2-5-stars

First Glance: “Profile”

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After watching the new trailer for “Profile” you might be tempted to think of it as a crafty little indie made during the pandemic.  It takes place entirely over computer screens, it has a relatively small cast, and so on. Actually this taut looking thriller from director Timur Bekmambetov premiered way back at the 2018 Berlin & SXSW Film Festivals. Now it’s finally getting its US release courtesy of Focus Features.

The film stars Valene Kane as a British investigative journalist who goes undercover to expose extremists who recruit young women over social media. She creates a fake internet profile in hopes of baiting a terrorist recruiter. She gets a bite from a charismatic jihadist (Shazad Latif) who soon begin luring her into his trap. The movie advertises itself as “a new genre of thriller” and looks to tap into some of the same intensity as 2018’s “Searching” which starred John Cho and was produced by Bekmambetov.

“Profile” opens in theaters May 14th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Concrete Cowboy” (2021)

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Idris Elba is an actor I’ve always admired. Whether he’s speaking with power and passion as Nelson Mandela or declaring himself Black Superman in “Hobbs & Shaw”. He has always possessed both leading man charisma and supporting role restraint. He uses a little of both in the new Netflix drama “Concrete Cowboy”, directed by Ricky Staub from a screenplay by Staub and Dan Walser. The film is based on the 2011 young adult novel “Ghetto Cowboy” by Greg Neri. Elba plays the estranged father of a troubled teen and brings just the right amount of gravitas and sincerity.

“Concrete Cowboy” tells a story set within the free-spirited horseriding subculture of Philadelphia’s inner-city. These modern-day urban cowboys from predominantly African-American communities (such as the Fletcher Street Riding Club) mentor youth and offer them an alternative to the dangerous street life. Staub’s film shines eye-opening light on this compelling pocket of humanity and the performances fill his film with character and heart. Yet this is a very by-the-numbers coming-of-age story and within 10 minutes you’ll have a good idea of where it’s going and how it will end.

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Image Courtesy of Netflix

Elba is a key player but the film’s lead is Caleb McLaughlin (“Stranger Things”). He plays 15-year-old Cole, a wayward teen living in Detroit with his working single mother Amahle (Liz Priestley). After Cole is expelled from school following yet another fight, a helpless and heartbroken Amahle picks him up from school and drives him straight to Philadelphia. There she drops him off with two garbage bags full of clothes at his father’s place downtown and then drives away in tears. Staub wastes no time introducing us to this low-income yet richly cultured neighborhood where the rest of the movie is set. In fact, one of the real strengths is the film’s ability to capture a strong sense of place and community.

Cole and his father Harp (Elba) don’t exactly hit it off. Harp is a no-nonsense guy with strict take-it-or-leave-it house rules. Cole pushes back and ends up reconnecting with a shady childhood friend named Smush (a very good Jharrel Jerome). But Cole is also introduced to his father’s passion – horses and the small group of neighborhood riders who make up their club. And this forms the dichotomy Cole will wrestle with for most of the movie – two vastly different lifestyles with significantly different outlooks pulling him in opposite directions.

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Image Courtesy of Netflix

The movie is at its best when it’s sitting us down with the riders and letting us listen to their playful banter and personal stories. Or when it allows us to tag along and watch Cole’s challenging initiation into Harp’s group. We get to meet some interesting characters in these scenes, none better than Lorraine Toussaint’s Nessie, a wise and tough-loving mother figure with her finger on the neighborhood’s pulse. Her stables are a safe haven from the allure of street-life and the balm that help heal the film’s central father/son relationship. Staub also casts some real-life Fletcher Street riders who add a noticeable layer of authenticity to the stable scenes.

The film’s predictability turns out to be its biggest weakness. Not a single plot point, story beat, or character angle will surprise you. Instead it’s the vibrant community setting that feels fresh and unexplored. There’s something to watching Idris Elba and his fellow urban cowboys stoically riding their horses, not across an open rolling plain, but through cramped inner-city streets. And you never doubt it for a second. This is just one of many segments of Black America with stories waiting to be told. And as surreal as it sometimes looks and sounds, this horseback riding culture has for decades fought for its very existence. Staub captures that unique essence even though the particulars of the story he’s telling are nothing new. “Concrete Cowboy” is now streaming on Netflix.

VERDICT – 3 STARS

3-stars

First Glance: “The Mitchells vs. the Machines”

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There is some pretty impressive talent behind the upcoming animated feature “The Mitchells vs. the Machines”. It’s produced by Phil Lord and Christopher Miller, big names who had their hands in huge hits like “Spider-Man: Into the Spider-Verse” and “The LEGO Movie” (full disclosure – I wasn’t as smitten with “Spider-Verse” as many were but I loved “LEGO”). Like so many other films, this one had its release plans upended by COVID-19. Now it has been acquired by Netflix who recently gave us our first look.

The new trailer for “The Mitchells vs. the Machines” introduces us to a self-described “weird” family who ends up being the world’s only hope against a robot apocalypse. The Mitchells are an everyday family who have essentially lost their ability to communicate. In an effort to regain the loving connection they once had, the four and their trusty pug head out on a bonding trip only to have it upended by a global machine uprising. Sounds ridiculous which is okay with me. I love the look of the animation and there are several comedy bits that land really well. I’m anxious to see this one.

“The Mitchells vs. the Machines” premieres April 30th on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.