Director Thea Hvistendahl weaves a creepy and captivating web with “Handling the Undead”, a Norwegian horror drama based on Swedish writer John Ajvide Lindqvist’s 2005 novel of the same name. Aside from its genuinely intriguing premise, the feature film adaptation (which just showed at the 2024 Sundance Film Festival) stars Renate Reinsve who dazzled audiences with her performance in 2021’s critically acclaimed “The Worst Person in the World”.

The story of “Handling the Undead” (written for the screen by Hvistendahl and Lindqvist) is in many ways a metaphor-rich meditation dressed as a genre film. Yes, it’s a zombie movie but with an intensely human focus. Hvistendahl isn’t concerned with carnage and chaos. Instead she takes three unrelated families in Oslo, each in different stages of grief, and explores the raw emotions and internal conflict that might follow a loved one being reanimated from the dead. It’s an audacious and strikingly original approach that shatters expectations.

While the idea of the dead coming back to life is a central ingredient, it’s the cutting social realism intrinsic to Hvistendahl’s storytelling that sets the movie apart. It’s seen from the opening scene where we’re introduced to the first of the three families. A man named Mahler (Bjørn Richard Sundquist) bags up some food from his fridge and walks it over to an apartment building where his daughter Anne (Reinsve) is getting ready for work. The two barely speak – a lingering aftereffect following the recent death of Anne’s young son Elias.

Elsewhere an elderly woman named Tora (Bente Børsum) is the lone attendee at a funeral for her partner Elisabet (Olga Damani). She pays her last respects before a funeral director wheels away the casket holding the remains of her loved one to the back of the stylishly cold and echoey parlor. Tora then gets in a taxi and returns to her spacious and now heartbreakingly empty home.

Then there is a mostly stable family of four that includes a father David (Anders Danielsen Lie), a mother Eva (Bahar Pars), their teenage daughter Flora (Inesa Dauksta), and their younger son Kian (Kian Hansen). Aside from the occasional spat with the rebellious Flora, everything looks great until Eva is involved in a serious car accident that leaves her on life support. A devastated David has to break the news to their children while struggling to get any updates from the hospital.

Then out of the blue a shrill high-pitched sound pierces the air, setting off car alarms, knocking out radio signals, making traffic lights go haywire, and sending flocks of birds into a swirling panic. The chaos eventually ends with a brief blackout. And then a short time afterwards and without warning, the dead begin coming back to life.

The source of the disturbance is never revealed and what follows it is never explained. But those aren’t the kind of questions Hvistendahl or her characters are interested in. Instead David wants to know if his dying wife’s suddenly strong heartbeat means she’s on the mend. Tora is just happy that her crippling sorrow and loneliness is over following the sudden reappearance of Elisabet. Anne and Mahler are more concerned with the government taking Elias away if they find out he’s alive again. These are the kinds of deeply personal and viscerally human concerns that Hvistendahl surveys.

Again, it can’t be stressed enough that this isn’t a movie about some grisly apocalypse. Yes, it involves the reanimated dead. But rather than brain-munching terrors, Hvistendahl views the few zombies we see as shades of people once loved. Despite their gruesome appearances, Elias, Elisabet, and Eva are seen through the eyes of their loved one. It’s a painful perspective especially as we watch family members love on their recently resurrected only to get nothing in return. No acknowledgment; no response. It poses a number difficult questions.

Of course the zombie genre conventions are never too far out of mind and loom just enough to maintain a low-simmering sense of dread. They eventually surface in the final act but even then Hvistendahl handles things with remarkable restraint. That very same kind of control is seen all throughout “Handling the Undead”, making it a hauntingly unique movie and a penetrating first feature from an exciting new filmmaker.

VERDICT – 4 STARS

Jacob Elordi had quite the breakout year in 2023. First came his much talked about performance as Elvis Presley in Sofia Coppola’s “Priscilla”. Then came his role in Emerald Fennell’s try-hard disappointment “Saltburn”. Regardless of your thoughts on the movies, the 26-year-old Aussie took a major step up from his “Kissing Booth” features on Netflix and has positioned himself as one of the most interesting young talents in the business.

Elordi kicks of 2024 with yet another role that tests his range. He plays a serial killer in first-time director Jeffrey Darling’s “He Went That Way”, a true-crime thriller based on Conrad Hilberry’s 1987 nonfiction book “Luke Karamazov”. The film is built upon an inherently interesting premise and it certainly emphasizes Elordi’s magnetism. But it’s hindered by an inconsistent tone and a lack of emotional resonance which minimizes our connection to the characters and their stories despite being entertained by them.

Darling (who sadly died in a surfing accident in 2022) begins his movie with the tag “This really (mostly) happened.” Set along the infamous Route 66, the story takes place during the Summer of 1964. It’s a period marked by a shift in American culture – something eluded to in an early montage but never really followed up on. From there we’re introduced to Bobby (Elordi) a tall, handsome, and unhinged roamer dumping a dead body in Death Valley, California.

A scene or two later we meet a fidgety Pepto-guzzling animal trainer named Jim (Zachary Quinto) as he’s traveling Route 66 with some rather unusual cargo. Jim is transporting his pet chimpanzee named Spanky to Chicago for a “private engagement”. We learn Spanky was once a fairly big celebrity, known by many and frequently making appearances on television. But his fame has fizzled leaving Jim to take their act on the road.

While stopped at a gas station Jim sees Bobby hitchhiking and decides to offer him a ride. Bobby is on his way to Michigan where he has a girlfriend named Bonnie (or so he says). But it doesn’t take long before Bobby starts showing his poorly suppressed violent side. He brandishes his beloved Derringer and intimidates the considerably more unassertive Jim who suddenly finds himself on a road-trip across the Southwest with a young sociopath.

It’s easy to assume you know where the story is going. But Darling and writer Evan M. Wiener attempt to throw us a few curveballs. Most come in the strange relationship that forms between Jim and Bobby. The two begin warming up to each other in their own weird (and kinda twisted) ways. As they do, we’re fed tidbits of information about each of them although never enough to get a good grasp of who they are. The feelings and motivations that drive them are even more opaque, making it hard to have anything other than a surface-level connection to them.

Despite there being a flimsiness to their characters, the performances from Elordi and Quinto keep our attention and help elevate the material. But they can’t quite compensate for the lack of depth nor can they do much to steady the script’s uneven tone. There is some good tension from the grittier thriller side of the story and there are some amusing bits from the swings it takes at dark comedy. But the movie has the hard time balancing the two, leaving us often wondering what kind of movie Darling is going for. “He Went That Way” hits select theaters on January 5th.

VERDICT – 2.5 STARS

In “The Holdovers” Paul Giamatti once again reminds us of how great he can be when given a good character and good material. He gives an awards-worthy performance in director Alexander Payne’s latest. This is Payne’s first feature film since 2017’s so-so “Downsizing”. Call it a return to form or whatever you want. I’ll just enthusiastically say that even with its few minor issues, “The Holdovers” is one of Payne’s best films to date.

The story, written by David Hemingson, is set in 1970 around the Christmas holiday. At the New England boarding school of Barton Academy Paul Hunham (Giamatti) is a classical antiquities teacher who is widely hated by his students and is an outcast among the faculty. He’s a sad and lonely sort although he keeps his misery hidden, at times even from himself.

With its two-week Christmas break looming, students and teachers begin packing to head home for the holidays. But every year there remains a small group of kids with nowhere to go. They’re called holdovers and this year Paul gets the duty of staying on campus and looking after them. It’s not that he minds. After all he has no place to go himself. Among this year’s batch of five boys is Angus Tulley (Dominic Sessa), a smart but frustrated student who is left at school after his selfish mother and her new husband decide to take their belated honeymoon over the holidays.

A rather convenient something happens that gives the four other boys a ‘Get Out of Jail Free’ card. That leaves Angus and Paul, two seemingly polar opposites whose disdain for each other quickly festers. But “The Holdovers” is a movie about looking beyond what you think you know about someone. It’s about the empathy that comes from seeing and understanding the real person underneath their hardened exterior. So Angus and Paul slowly begin letting down their guards, and as a result they begin learning more about each other and themselves.

A key reason their stubborn hearts begin to soften is a school cafeteria worker named Mary. She’s played by Da’Vine Joy Randolph whose Oscar-caliber performance is full of heart and pathos. Mary is no stranger to tragedy which is one reason she too stayed at school through the holiday break. She’s a wise but straight-shooting woman who offers eye-opening perspectives that (at different times) both Paul and Angus desperately need to hear.

Payne clearly loves this unusual trio and he puts plenty of attention towards growing each character. He takes his time unpacking their individual stories which Hemingson lays out in deep personal detail. Both writer and director do a great job defining these distinctly different yet beautifully complimentary personalities. There’s also plenty of lighthearted moments such as Mary introducing Paul to The Newlywed Game or Paul’s choice of Christmas gifts for his newfound ‘family’ of sorts.

“The Holdovers” is bound together by Payne’s keen direction, Hemingson’s compassionate script, and some stellar performances particularly from Giamatti and Randolph who should be on every voter’s shortlist (the way Giamatti spouts things like “you hormonal vulgarian” without cracking a smile is awards-worthy in itself). It’s a little longer than it needs to be due to a slow starting first half. But once it hits its emotional stride, the film really connects. And anyone with a beating heart is sure to be moved by this unexpected delight. “The Holdovers” is out now in select theaters.

VERDICT – 4 STARS

A hard-working but struggling hired hand has his hopes of taking over his employer’s farm dashed when his boss’s wayward son returns, staking a claim on his inheritance. That’s the gist of “Hands that Bind”, a minimalist slow-burning rural drama written, directed, and produced by Kyle Armstrong. It’s a movie with a quiet and low-key exterior but with a simmering bone-deep dark side that becomes more evident as its story unfolds.

Set in 1981 on the stark remote prairies of Alberta, Canada, “Hands that Bind” follows a dedicated farmhand named Andy Hollace (played with remarkable restraint by Paul Sparks). He works hard tending to things for his boss Mac (Nicholas Campbell). In addition to a paycheck, Mac lets Andy, his wife Susan (Susan Kent), and their two young kids live in an extra guesthouse on his property. It’s far from lavish living, but it enables Andy to provide for his family.

But things take a turn after Mac learns that his son Dirk (Landon Liboiron) is coming home after losing his job in the oil fields. He informs Andy that he can stay on for another month, but then he’ll have to let him go. Even worse, Dirk along with his wife and newborn, will be needing the guesthouse. So Andy and his family are forced to move into a beat up old trailer home until he can find somewhere else to go.

It’s a gut-punch for Andy who had his eyes set on one day taking over Mac’s place. But Dirk’s unceremonious reappearance and apparent claim to his birthright changes everything. It doesn’t help that he’s lazy, hot-tempered, and knows nothing when it comes to farming. Andy immediately takes a disliking to him and understandably so. The tension between them is obvious to us. But Andy keeps his growing animus hidden and at bay, at least until he can’t anymore.

While that’s the main story in a nutshell, Armstrong throws in several unexpected curveballs that steers “Hands that Bind” (and more specifically Andy himself) in some uneasy directions. First there is the handful of wicked dream sequences that grow more and more twisted as the story progresses. Then you have cows turning up dead, mutilated with pinpoint precision. And strange lights in the distance sky – aliens? That all may sound strangely out of place and even far-fetched. But Armstrong has more on his mind and is going for something much different than how it may sound.

Strong compelling leads are essential in character-driven dramas like this and Paul Sparks delivers. He gives a richly organic and understated performance that is perfectly in step with what his character needs. His Andy is tough to read. He’s grounded yet enigmatic – a mysterious blank canvas in many ways. One that slowly comes more into focus as things tighten around him. Kent brings much-needed heart and pathos while Liboiron is adequately detestable. We even get the great Bruce Dern as Mac’s sad crusty neighbor, Hank.

I can see the last 15 minutes being pretty divisive as Armstrong doesn’t offer much in terms of answers. Its ambiguous finish and loose ends will likely be seen as artfully challenging by some and frustratingly unfinished by others. But Armstrong isn’t interested in spelling things out. There’s so much more going on underneath the slow-cooking narrative and beyond the spellbinding cinematography (DP Mike McLaughlin should be on every Oscar shortlist). And it’s those unexpected creative strokes that ultimately give the movie its kick. “Hands that Bind” is out now in select theaters and on VOD.

VERDICT – 4 STARS

Kenneth Branagh’s spin on Agatha Christie’s Belgian super-sleuth Hercule Poirot has grown into a full-fledged film series and I couldn’t be happier. Branagh has directed and starred in two previous Poirot whodunnits starting with 2017’s “Murder on the Orient Express” which was followed it with 2022’s “Death on the Nile”. Both were entertaining star-studded movies that played like delightfully fun relics of a bygone movie era.

Branagh’s third venture into Poirot’s world of mystery and murder is “A Haunting in Venice”, another tasty period feature yet one with a supernatural twist. It’s based on Christie’s 1969 novel “Hallowe’en Party” and once again brings together an intriguing ensemble that includes Tina Fey, Jamie Dornan, Michelle Yeoh, Kelly Reilly, Kyle Allen, Camille Cottin, Jude Hill, Emma Laird, Riccardo Scamarcio, and Ali Khan.

Set in 1947, we first meet Hercule Poirot (once again played with steely charm and sophistication by Branagh) tucked away in Venice where he pretends to enjoy his retirement from detective work. One day he’s surprised by an old friend, Ariadne Oliver (Fey). She’s a successful American mystery novelist who’s in Venice to attend a séance being performed by a self-proclaimed medium named Joyce Reynolds (Yeoh). Ariadne is out to expose Reynolds as a fraud and maybe get a little inspiration for her new novel.

Ariadne convinces the skeptical and reclusive Poirot to loosen up, get out of the house, and accompany her to the séance. It’s being held at a creepy old palazzo owned by Rowena Drake (Reilly), a grieving mother who desperately wants to make contact with her recently deceased daughter Alicia. Joining them is an eclectic array of guests including Alicia’s former doctor Leslie Ferrier (Dornan) and his precocious young son Leopold (Hill), Rowena’s superstitious housekeeper Olga (Cottin), and Alicia’s pompous ex-fiancé Maxime (Allen) among others.

Returning screenwriter Michael Green does a good job opening up his characters. He gives each of them their own nicely defined personalities and histories. Most importantly, after one among them winds up dead, Green gives them all believable motives. And in a snap we have ourselves a good ol’ mystery and it’s up to Poirot to sort through the conflicting stories to find the murderer. But what’s with the creepy voices and shifting shadows? Could something supernatural be to blame?

The movie has fun toying with the horror genre, but it’s never what I would call scary. That said, Branagh does create a genuinely spooky atmosphere with the help of some nice production design, terrific cinematography from Haris Zambarloukos, and the sparse yet ever eerie score from Oscar winner Hildur Guðnadóttir. But the film also has a subtle sense of humor which comes out at some of the most unexpected times.

Yet at its core “A Haunting in Venice” remains a straight-up whodunnit and everything (the horror bits included) feeds into that ambition. Branagh once again proves to be the right fit for these films, both in front of and behind the camera. Will the film find an audience? That’s the big question, especially in this frustratingly fickle box office world we currently exist in. I hope it does. Branagh now sits 3 for 3 in his Poirot universe, and I for one hope there will be more of these films coming down the pipeline. “A Haunting in Venice” opens today exclusively in theaters.

VERDICT – 4 STARS

Recently we’ve seen several solid biographical sports dramas come down the movie pipeline. The latest is “The Hill” from director Jeff Celentano. It stars Dennis Quaid who is certainly no stranger to said biographical sports dramas. Written by Angelo Pizzo and Scott Marshall Smith, the film seeks to tell the inspiring true story of Rickey Hill who refused to let his physical disability stop his pursuit of a baseball career.

“The Hill” is a heartfelt and well-intended feel-good feature that is more of a melodrama than a full-on sports story. Obviously baseball plays a key part. But it’s much more about a close-knit yet struggling family, particularly the relationship between a stern and overprotective father and his gifted and determined son. There’s plenty of good material there to work with. But the wildly uneven handling of it leaves the movie oscillating between sincerely touching and overly sentimental.

Since he was a child Rickey Hill (played by Jesse Berry and later by Colin Ford) had a knack for hitting a baseball. But a degenerative spinal disease put him in leg braces as a child making his dream to play in the Major Leagues seem unreachable. Rickey’s strict but well-meaning father James (Dennis Quaid), a small town Texas pastor, discourages him from pursuing baseball out of fear of serious injury. He’d rather Rickey follow in his footsteps and preach. But over time his hardline orthodoxy does more to push his son towards his dream than discourage him from it.

So “The Hill” follows two paths – Rickey’s and his father’s. To its credit, the movie takes its time developing the family dynamic and showing the hardships they faced in 1970 rural Texas. Rickey’s path is one of trials and challenges, but also of unwavering confidence and resilience. James’ path is one of spiritual conflict and stubbornness. But James is no villain. The film does a good job showing how his actions, though often misguided, are rooted in a genuine love for his son.

Several other characters do a good job filling out these two central stories. Gracie (first played by Mila Harris and later by Siena Bjornerud) is Rickey’s self-proclaimed girlfriend who proves to be his biggest encourager. Joelle Carter is really good playing James’ supportive yet frustrated wife Hellen. And it was great seeing Scott Glenn pop up later as the gruff big league scout Red Murff (Scott Glenn). But at the same time the movie is hampered by some really bad performances in smaller yet reoccurring roles. They can be a real distraction.

After a shaky first 30 minutes the movie eventually hits its stride only to be tripped up in a painfully mawkish final 20 minutes that sees Celentano attempt to yank every emotional string, hit every schmaltzy cue, and lean on every baseball movie cliche in the book. There are a couple of surprising cameos in the last 15 minutes including an appearance by the real Rickey Hill. But the movie wraps up on such a false note which ends up being too much for the film’s better moments to overcome. “The Hill” opens in theaters August 25th.

VERDICT – 2.5 STARS