REVIEW: “The Devil Below” (2021)

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In the upcoming horror thriller “The Devil Below” from director Brad Parker an abandoned Appalachian mining town holds a dark and deadly secret. Back in the 1970s the tight community of Shookum Hills was decimated by what was ruled an “environmental disaster”. As a result the town burned to the ground and as many as 1,000 miners and their family members vanished. Now it’s as if the town and the events that occurred there has been wiped off the map and from everyone’s memory.

Parker has spent most of his film career working as a digital artist and special effects supervisor. His only other directorial effort was 2012’s “Chernobyl Diaries”, a not-so-good horror film built around an intriguing premise and an eerie setting. Similarly “The Devil Below” has a setting that grabs you and Parker soaks his film in atmosphere. And while it does stumble with a couple of head-scratching character choices and some all-to-familiar genre moments, there’s more than enough mystery and fleet-footed tension to keep things fun and entertaining.

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Image Courtesy of Vertical Entertainment

Will Patton has turned into one of my favorite character actors – always reliable and well-tuned to whatever movie he’s in. Just last year he brought a great presence to two of my favorite 2020 films, “Minari” and “Blood on Her Name”. Here he appears in the prologue as Paul, a foreman for the Shookum Hills Mining Company. In a brief but well shot opening, we see him lose his son to something (emphasis on THING) from deep inside the mine. Wounded and incapacitated by the creature, all Paul can do is helplessly listen to the screams of his son from the depths below.

Jump ahead to current day and we’re introduced to Ariana (Alicia Sanz), a strictly business expedition guide who scouts out hard-to-find locations and leads her paying clients to their destinations. She’s hired by Darren (Adan Canto), an Oxford-funded leader of a research team anxious to uncover what really happened at Shookum Hills. Darren is a man of science who scoffs at anything that can’t be logically explained. This causes him to butt heads with team member Shawn (Chinaza Uche), a geologist and the one member of the group who embraces the possibility of the supernatural. Other team members are Terry (Jonathan Sadowski), an annoying but skilled tech guy and Jamie (Zach Avery) who handles the vaguely defined “security services”.

Parker takes his time setting things up, spending much of the first thirty minutes or so building up atmosphere and setting the film’s tone. That’s helped immensely by DP Morgan Susser’s camera and the foreboding score of Nima Fakhrara. These early scenes follow the team as they venture deep into the Appalachian hills led by Ariana who believes she’s narrowed down the location of the now uncharted ghost town. They get no help from the cryptic locals, the kind who clearly know more than they want to share. Among them is Patton’s Paul. “I want them gone“, he grumbles about the nosy out-of-towners. “No matter what it takes.”

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Image Courtesy of Vertical Entertainment

Of course the researchers don’t heed the advice of the locals, eventually finding their way to the hull of Shookum Hills. They hilariously miss evidence that the town may not be so vacant (burning kerosene lanterns, mowed green grass, etc.) and they press on until they find the mine and disturb the ghastly secret that lies deep within it. What follows is a pretty familiar survival horror formula – a group running for their lives and being picked off one-by-one. But the story is kept interesting through its brisk pacing and Parker’s ability to not only build tension but sustain it. It’s also helped by some of his visual choices. The grainy night vision and occasional handheld camera sometimes make things hard to decipher, but he nicely utilizes the setting and captures a steady sense of claustrophobia in the second half that’s pretty harrowing.

“The Devil Below” is very much a genre film which both helps and hurts. But overall Parker along with screenwriters Stefan Jaworski and Eric Scherbarth have their own vision and they hit their target, delivering a moody and absorbing horror-thriller that keeps you locked in from start to finish. Good performances fill out the under 90-minute runtime, keeping our focus forward and leaving little time to question the logic of what we’re seeing. It does leave some of the characters too thinly sketched, but the story has just enough grit and suspense to keep things entertaining. “The Devil Below” premieres March 5th is select theaters and on VOD.

VERDICT- 3.5 STARS

3-5-stars

REVIEW: “The Vigil” (2021)

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In the upcoming indie chiller “The Vigil” a troubled young man encounters a malevolent spirit while watching over the body of deceased man from his Jewish community in Brooklyn. It’s a religious ritual where the person watching (called a shomer if male, a shomeret if female) both protects and comforts the deceased’s soul until time for burial. First time director Keith Thomas uses this Jewish practice as a catalyst in his small-scale supernatural horror film about the psychological ravages of oppressive guilt.

“The Vigil” premiered way back at the 2019 Toronto International Film Festival and has since released in a handful of markets. Now it has finally found its way to the States thanks to IFC Films. The troubled young man is Yakov (Dave Davis) who we first meet at a support group for struggling Jewish twenty-somethings who have left their Orthodox roots. He shares with the group his bad news of losing a job opportunity and of how his financial woes “having to choose between medication and meals“.

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Image Courtesy of IFC Films

As Yakov leaves the meeting he’s greeted by his former rabbi Reb Shulem (Menashe Lustig) who’s in a pickle. He needs Yakov to fill in as a shomer for the recently deceased Mr. Litvak, a Holocaust survivor who lost his entire family in the concentration camps. After the war Mr. Litvak started a new family but the scars from his last drove him to become a recluse, estranged from his children and grandchildren. For the last several years he had stayed shut-up inside his home with his frail dementia-addled wife. The shomer who was there left in a panic. Reb Shulem needs Yakov to cover the final five hours until morning when Mr. Litvak is set to be buried.

Cash-strapped and a bit desperate, Yakov works his payment up to $400 and heads to the Litvak home. Most of the film takes place in this shadowy townhouse which Thomas uses to great effect. Within moments of settling in, Yakov begins hearing noises upstairs where Mrs. Litvak (Lynn Cohen) is sleeping. The bumps, creaks and flickering lights are nothing compared to the horrifying visions that follow and intensify as the night goes on. Meanwhile Mr. Litvak’s body ominously lays in the living room covered in a sheet and bathed in an eerie off-white glow.

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Image Courtesy of IFC Films

Some of the film’s biggest strengths lies in Thomas’ ability to manage his unsettling tone while developing and sustaining a spooky atmosphere despite the constrictions of such a small setting. There is a time or two where he gives in and goes for some unneeded jump scares. They’re made worse by an uneven sound design that had me constantly adjusting the volume on my television. It’s as if in those few moments Thomas lost faith in his vision and went the cheap route. But thankfully those moments are few and the film’s deeper meaning quickly comes to the surface.

Over the course of the film we learn more about what drove Yakov to leave his Orthodox roots – a particular tragedy that has not only left him disillusioned but also burdened by guilt. The evil spirit in the house hones in on that weakness turning “The Vigil” into an unexpectedly compelling supernatural and psychological blend. And it’s all realized through a smart visual technique that centers on building its foreboding mood rather than leaning on blood-soaked special effects. So we end up with a crafty theme-conscious horror film with an interesting cultural perspective and mostly good instincts when it comes keeping its audience squirming. “The Vigil” premieres February 26th.

VERDICT – 3.5 STARS

3-5-stars

SEFCA Announces Our Award Winners for the 2020 Movie Year

As a proud member of the Southeastern Film Critics Association I’m excited to share our organization’s awards for the 2020 movie year as voted on by the body. Below you’ll find our official press release.

February 22, 2021 – The Southeastern Film Critics Association (SEFCA) has named Nomadland as its Best Film of 2020. Chloé Zhao’s intimate, elegiac drama about life in America after the Great Recession also earned the organization’s awards for Best Actress for Frances McDormand, Best Director and Best Adapted Screenplay for Zhao, and Best Cinematography for Joshua James Richards.

“Nomadland was an overwhelming favorite among our members in this year’s award season,” said SEFCA President Matt Goldberg. “It’s clear that Zhao’s thoughtful, deeply humanistic and heartfelt portrait of life at the fringes of our country connected with our members across the Southeast, and it is our pleasure to name it the Best Film of 2020.”

SEFCA also bestowed its Gene Wyatt Award, which goes to a film that best embodies the spirit of the South, to Lee Isaac Chung’s Minari, the story of a Korean immigrant family that moves to Arkansas so the patriarch can realize his dream of becoming a farmer. Like Nomadland, Minari was a clear favorite among our members, and there’s no question that Chung’s film is a moving and authentic portrait of our part of the country.

Due to the COVID-19 pandemic and changes made across various guilds and academies, SEFCA stretched its voting period from January 1, 2020 to February 15, 2021. Despite a trying and difficult year, we are proud of the membership for continuing their devotion to film criticism and celebrating the best that cinema has to offer.

Founded in 1992, the Southeastern Film Critics Association brings together a diverse coalition of critics across the Southeast to celebrate the year’s best films and craftsmanship in cinema. Winners from past years can be found at sefca.net.

Top 10 Films

1. Nomadland
2. Minari
3. The Trial of the Chicago 7
4. Promising Young Woman
5. Sound of Metal
6. One Night in Miami…
7. Da 5 Bloods
8. Ma Rainey’s Black Bottom
9. Soul
10. Mank

Best Actor

Winner: Chadwick Boseman, Ma Rainey’s Black Bottom
Runner-Up: Riz Ahmed, Sound of Metal

Best Actress

Winner: Frances McDormand, Nomadland
Runner-Up: Carey Mulligan, Promising Young Woman

Best Supporting Actor

Winner: Sacha Baron Cohen, The Trial of the Chicago 7
Runner-Up: Paul Raci, Sound of Metal

Best Supporting Actress

Winner: Youn Yuh-jung, Minari
Runner-Up: Maria Bakalova, Borat Subsequent Moviefilm

Best Ensemble

Winner: The Trial of the Chicago 7
Runner-Up: One Night in Miami…

Best Director

Winner: Chloé Zhao, Nomadland
Runner-Up: Regina King, One Night in Miami…

Best Original Screenplay

Winner: Lee Isaac Chung, Minari
Runner-Up: Emerald Fennell, Promising Young Woman

Best Adapted Screenplay

Winner: Chloé Zhao, Nomadland
Runner-Up: Kemp Powers, One Night in Miami…

Best Documentary

Winner: Time
Runner-Up: Dick Johnson Is Dead

Best Foreign-Language Film

Winner: Another Round
Runner-Up: Bacurau

Best Animated Film

Winner: Soul
Runner-Up: Wolfwalkers

Best Cinematography

Winner: Joshua James Richards, Nomadland
Runner-Up: Erik Messerschmidt, Mank

The Gene Wyatt Award

Winner: Minari
Runner-Up: One Night in Miami…

First Glance: “Cruella”

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Full disclosure: I’m not the most knowledgeable individual when it comes to Cruella de Vil or the beloved Disney animated classic “One Hundred and One Dalmatians”. But even I know Cruella is an iconic Disney villain. She’s a greedy, vain and demented London heiress who kidnaps puppies in order to harvest their fur. See! Utterly reprehensible. She’s also getting her own movie and after seeing its first trailer it’s hard to figure out what Disney is going for.

Emma Stone plays the infamous Cruella in what looks like an origin story of sorts. Stone sports the signature black-and-white head of hair fitting for the punk-rock 1970’s setting. The tone is what’s hard to grasp. The film looks to going for a “Joker” or “Birds of Prey” vibe but I can’t imagine Disney would ever push it that far. And will this be another attempt at making a ruthless villain sympathetic? I hope not. Whatever it is, “Cruella” is a big wait-and-see for me. I like Stone but too much is still up in the air for me to get excited for this one yet.

“Cruella” opens in theaters May 28th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Blithe Spirit” (2021)

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The new period British comedy “Blithe Spirit” has both the concept and the cast for a fun and hearty romp. The film stars Dan Stevens, Leslie Mann, Isla Fisher, and Judy Dench. It’s built on a delightfully wacky premise that would fit right in with the screwball comedies of old. Director Edward Hall along with the writing trio of Nick Moorcroft, Meg Leonard, and Piers Ashworth deliver bursts of farcical mayhem and maintain a subtly deranged comic energy. Yet throughout I kept thinking something was missing.

“Blithe Spirit” is based on Noël Coward’s 1941 play of the same name. It was first adapted for the big screen in a 1945 film starring Rex Harrison. This brisk and lightly entertaining version rides on the backs of its charismatic cast who bring out the best in material that isn’t always certain of the kind of movie it wants to be. It leaves us with a film that has its funny moments and is easy to digest, but lacks the flavor to stick with you once the end credits have rolled.

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Image Courtesy of IFC Films

The story is set in 1937 England and opens with an exasperated Charles Condomine (Stevens) staring at a blank page in his typewriter. Charles is an acclaimed crime novelist who has been hired to write the screenplay for an upcoming adaptation of one of his books. But a severe case of writer’s block has set in, something that his supportive yet quietly frustrated wife Ruth (Fisher) patiently puts up with. She gives him plenty of space in their lavish Art Deco estate to hammer out his words. She even tolerates him gazing at an old photo of his late wife Elvira in hopes that it might provide some kind of inspiration.

Finally Charles is struck with a new idea for a story, one inspired by a disastrous stage show he attends (and probably the amphetamines he’s been popping). He hires a medium and clairvoyant named Madame Arcati (Dench) to come to his home and conduct a private séance for the purpose of gathering material for his new story. Charles and Ruth along with their snobby upper-class chums George (Julian Rhind-Tutt) and Violet (Emilia Fox) snicker their way through Madame Arcati’s conjuring, brushing off the flickering lights and blown-open doors to a passing storm.

But once everyone is gone Charles finds out Madame Arcati has inadvertently summoned the spirit of Elvira (Leslie Mann) who we learn died seven years earlier in an equestrian accident. It turns out that only Charles can see and hear Elvira and she doesn’t take kindly to Ruth being in their house. It sets up a series of comic mischief and slapstick gags as two women on opposite sides of the astral plane battle for their husband’s affections. As for Charles, he wants to find a way to send Elvira back to wherever she came from. But he has second thoughts once his screenplay starts coming together with her help. The complications go without saying.

Hall keeps things pretty light, only teasing us with the devious black comedy that this could have been. There’s definitely the material for something equally wacky but more darkly funny. But those things are left for the what-could-have-been. Instead “Blithe Spirit” is content with a more playful approach, sneaking in some occasional innuendo and leaving the darker potential buried under the surface. It’s a shame really because even though what we get is breezy and easy to watch, the movie lacks an edge that it hints at but doesn’t embrace.

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Image Courtesy of IFC Films

It’s the performances that end up carrying the audience through. Stevens has a real knack for playing offbeat and slightly neurotic men. Here he once again shows off his comic chops, skittishly fluttering about in various states of distress. Some of the film’s funniest moments lean on his wild-eyed physicality. Fisher brings a needed charm to an otherwise constrained character. Mann is entertaining and does the best she can with Elvira who is in desperate need of more depth. Together the trio have a fun chemistry and play off each other well. Dench ends up being the odd person out. She gives a terrific performance but unfortunately her character seems disconnected at times and operating at a completely different temperature. It’s not Dench’s fault. It’s simply how the Madame Arcati is written. It’s as if she belongs in a much different movie.

“Blithe Spirit” isn’t without its charms and their are some laugh-out-loud moments of sly dialogue and slapstick humor that really work. But there’s still the feeling that the movie misses an opportunity to be more. The characters need more work which leaves the story in a weird place. On one hand it’s a knowingly silly and diverting comedy. On the other it lacks the vigor and go-for-it spirit to make it something memorable. “Blithe Spirit” opens today in select theaters and on VOD.

VERDICT- 2.5 STARS

2-5-stars

REVIEW: “Red Dot” (2021)

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There’s more than frigid weather and armed stalkers threatening a young couple in the tight and tense Swedish film “Red Dot” from director and co-writer Alain Darborg. Despite its familiar framing, “Red Dot” mixes ingredients from several genres to come up with its own unique flavor. It’s a run-for-your-life horror movie one minute and a gritty survival thriller the next. But when blended together the story has some heavy things to say about humanity and the world we live in.

The film is driven by two terrific lead performances. Nadja (Nanna Blondell) and David (Anastasios Soulis) are so in love when we first meet them. He has just graduated from engineering school and they’re about to move to Stockholm where she will finish medical school. But before they go David pops the big question and asks Nadja to marry him. She enthusiastically accepts and the two are ready to spend the rest of their lives together. “It all begins here“, David lovingly pledges.

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Image Courtesy of Netflix

Jump ahead eighteen months and things have changed. Now married in Stockholm, David has a great job but works long hours and does nothing but lounge when he’s home. A frustrated Nadja resents that she’s left with all the housework on top of her studies. She’s also hiding a secret from her husband that adds to her stress. After five tests to be certain Nadja has learned she is pregnant. Normally that’s exciting news, but considering the state of their marriage she’s terrified.

Realizing they desperately need to rekindle their fire, David surprises Nadja with a romantic weekend getaway to snowy Northern Sweden. There they can focus on each other, do a little skiing, and camp out under the beautiful Northern Lights. The trip starts by hitting a lot of familiar notes. For example this isn’t the first time we’ve seen city folks venturing into wilderness and having a run-in with some backwoods locals. For David and Nadja it begins with two creepy-acting brothers at a gas station. Then an uncomfortable encounter with oddballs at a lodge. But everything gets on track and after a fun day outdoors they retire to their tent underneath the famed aurora borealis.

Then their night is interrupted when a bright red laser dot (hence the title) appears on the canvas of their tent, moving around like a laser pointer. But as you can probably guess, it’s no laser pointer. Within minutes the two are indeed running for their lives into the ice-cold darkness with bullets zipping by their heads from a shooter they can’t see. At the same time this is where the movie’s survival elements really kick in with Darborg utilizing his snowy environment extremely well. There are a couple of times where the sensation of freezing from the cold is vivid and palpable.

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Image Courtesy of Netflix

As things play out the movie does struggle with an issue that many of these films do – questionable and head-scratching decisions. Yes, you can chalk some of it up to the anxiety of the moment and not thinking clearly. But more than once I caught myself asking things like “Why didn’t you grab the gun?” or yelling “Go back and get the snowmobile!”. But the story makes up for it with a twist-filled and slightly subversive final act that does some spirited things with the themes of making shallow judgements and running from your past.

By the end of “Red Dot” I found myself surprised by what it had become. What started as a familiar concept with a routine setup turned into something with a lot more meat on its bones. It fully embraces elements of its genre influences, but the film is built on some heady ideas that are brought together well in a visceral second half that completely throws out any notion of black and white; good or bad. It looks at an ugly side of humanity and what we as people are capable of doing. And of course it looks at the consequences for those actions which we too often fail to consider. “Red Dot” is now streaming on Netflix.

VERDICT- 3.5 STARS

3-5-stars