Abigail Breslin | Keith & the Movies

One could make the argument that the cinema landscape has been saturated with zombie movies. There have been numerous interpretations of zombie horror. We have had zombie comedies. We’ve even had a weird zombie romance flick. Yet with so many variations of zombie movies, I’ve seen nothing quite like “Maggie”. Writer John Scott 3 pens a story that pulls the focus off of the normal zombie movie machinations and tropes. Instead he shoots for a more personal approach by spotlighting intimacies rarely considered in these types of films.

“Maggie” is a movie full of surprises. Perhaps the biggest comes in the lead performance from Arnold Schwarzenegger. In a dramatic departure from anything he has done before, Arnie plays a father whose daughter has been bitten and infected with a deadly, incurable virus. The majority of the story focuses on their time together between the onset of the virus and what looks like the inevitable outcome. Schwarzenegger dials it back and shows an understated side to his acting that is absolutely essential to his character, Wade Vogel. His bearded face is worn and weathered and he is clearly a man tormented by his new reality.

Abigail Breslin plays his daughter Maggie. We first meet her making a phone call to her father telling him not to come looking for her. Soon after she is caught in town past the city curfew and it is revealed she has been bitten and infected by the fatal disease that has ravaged most of the world’s population. Wade is allowed to take Maggie home for her final days until the virus reaches a point where she must be sent to what is called Quarantine to be “processed”. Joely Richardson is very good as Maggie’s caring but nervous stepmother. She struggles to balance her support for Wade with her fears of Maggie’s condition.

In a way “Maggie” could be called a family tragedy. It just happens to take place during a zombie apocalypse. But zombies are never the focal point. Their threat lingers in the background occasionally showing itself. Director Henry Hobson keeps his film from becoming a ‘zombie movie’. He effectively uses that backdrop to energize the movie’s sad and hopeless setting, but whenever the film is potentially moving into conventional directions his restraint becomes obvious and he pulls us back to the primary focal point.

As a whole, Hobson’s direction is yet another of the film’s surprises. It’s always nice to see a first time director throw aside a number of conventions and add a degree of style. This is clearly seen in the great job he does capturing mood and atmosphere. It’s well realized through Hobson’s camera, by his strategic use of David Wingo’s score, and through the telling expressions of his cast. Without the right tone the story would have fallen flat. I also like the deliberate pace of the story, something that Hobson and Scott clearly aim for. I can see where some may find it slow and even languid, but I never felt that at all. I fell right into the pacing and the story itself.

“Maggie” intrigued me from its first trailer, but the actual movie was even more enjoyable than I expected. It is such an interesting mix of subtle horror and emotional family drama. And even when it leans a little heavy on the melodrama, it feels surprisingly earned and acceptable. There is also an earnest sweetness at the heart of “Maggie”. The central father/daughter relationship is what drives the film and provides its satisfying emotional core. And that relationship is strengthened more by two very good performances particularly Schwarzenegger who shows us a side that I hope to see again.

VERDICT – 4 STARS

“August: Osage County” is a hard pill to swallow. It’s based on a Pulitzer Prize-winning play of the same name and could be categorized as a dysfunctional family drama with pinches of dark comedy. It features a star-studded cast led by Meryl Streep and Julia Roberts and a premise that may have a lot of appeal to some audiences. But underneath all of the big acting from big stars lies a coarse and abrasive film that never knows when to pull back the reins. It ends up being a movie I could never wrap my arms around.

Tracy Letts (who also penned the play) writes the screenplay and John Wells (better known for his television work) directs the film. It’s set in Osage County, Oklahoma during a sweltering hot August. Violet (Streep) is a mean and contentious women suffering from mouth cancer and a heavy addiction to pain pills. Her husband Beverly (Sam Shepard) is a calmer sort who seeks refuge in his books and liquor. One day Beverly hires a caretaker for his wife and soon after disappears.

Distraught over her husband’s disappearance, Violet calls in her family and a parade of family dysfunction follows. First to arrive is her sister Mattie Fae (Margo Martindale) and her husband Charles (Chris Cooper). Shortly after, Violet’s three daughters come. Barbara (Julia Roberts) is a shrill carbon copy of her mother. She’s at odds with her mom for leaving home and moving to Colorado. Karen (Juliette Lewis) is the spacy middle daughter who hasn’t been home in years. And there is Ivy (Julianne Nicholson), the youngest daughter and the only one who lives close to home. Each of these characters have a wheelbarrow full of flaws and baggage that all comes into play as the film moves along.

But if that assortment of maladjusted individuals wasn’t enough, we also have Barbara’s husband Bill (Ewan McGregor) who apparently has an eye for younger women and their daughter Jean (Abigail Breslin) who is bearing the fruits of their horrible parenting. Then there is Karen’s fiance Steve (Dermot Mulroney), a phoney and moral-free Florida businessman. Oh and then there is Charles and Mattie Fae’s awkward son Little Charles (Benedict Cumberbatch) who may have a weird little secret.

It’s almost impossible to like any of these people. With the exception of the caregiver, practically every character reveals an appalling secret, spits out hateful insults, or does something vile. And the film is relentless. It bludgeons you to death with one dysfunctional family scene after another. I found it to be smothering. The story never allows any breathing room or provides any variation with its characters. And the constant barrage of bad behavior and disgraceful revelations is a bit ridiculous. It’s as if Letts wants to trump one disgraceful act or insult with another. And so on and so on…

Again, the cast is a laundry list of big names and the performances are good. However many of the scenes are so big and the characters so loud that it can be difficult to really appreciate the performances. It’s one of those cases where the material hurts what the actors are doing. Streep is fine as the venom-tongued Violet but she is so big and brash. It’s definitely how the character is written but Streep does her share of scene chewing. Julia Roberts has been applauded for her work but it too is a loud and showy performance. Roberts is never overmatched by the character and she shows brilliance in some scenes. But the character is crassly written and some of her dialogue is so over the top. The other performances aren’t getting the same attention, but they’re generally good when the screenplay allows them to be.

I’ve heard that the stage version of “August: Osage County” is very good. Sadly I don’t think it has translated well to the big screen. This is a crude and unyielding adaptation that has a powerful and potent potential. The idea is appealing and every so often we get glimpses of what I hoped the film to be. Unfortunately I was put off by these characters, their endless dysfunction, and their profane spite. This was a tiresome watch and tough movie to endure. It’s a shame because with this much talent I was expecting more.