[Review] Demon

Ah, there's nothing like a demonic possession on your wedding day.

If you're a fan of this year's great, slow-burning horror film The Witch, then the late Marcin Wrona's Demon should be right up your alley. Based on Jewish folklore involving an entity called "The Dybbuk", this Polish film is an artfully shot, sharply written, and straight-up insane tale.

Set in a drab, hazy frown of a town where it definitely seems like some kind of evil could manifest, the film follows Peter (Itay Tiran), a man on the verge of marrying his fiance Zaneta (Agnieszka Zulewska). While surveying land for the house they plan to fix up, Peter stumbles upon a pile of bones, and let's just say he begins to experience some very strange symptoms during the wedding celebration. Either he's possessed by a malevolent spirit or it's the worst case of cold feet ever.

Given the dark and serious setup, it's surprising how funny the tone of this thing actually is--from its wry dialogue to its mirthfully absurdist humor. When the sickness first starts coming on, it plays more like a sweaty bout of the diarrhea runs, or the result of way too much vodka (or both at the same time). The film isn't all that intense or scary, per se. It's more of an exercise in intrusive madness, although the creepy factor does ramp up a bit during second half. Much credit goes to the screechy musical score and Itay Tiran's committed performance as he goes into full lurch mode. It's just really amusing to see how this whole debacle unfolds. Talk about wedding horror stories...

But buried deep beneath the surface of it all is a solemn spell of tragic history and old haunts that continue to linger and linger. Demon, indeed.

( 8/10 )

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[Review] Nocturnal Animals

Fashion designer and movie director Tom Ford unleashes the strange beast that is Nocturnal Animals for his second feature-length film. It's a flawed but gripping endeavor--as ugly as it is stylish. Part modern noir. Part gritty southern detective story. Part relationship drama. Part lurid WTF.

After a bold and provocative opening credits sequence, we meet Susan (Amy Adams), a discontent art gallery owner who dwells in a cold and drab mansion with her dashing but conniving husband (Armie Hammer). Out of the blue, she receives a manuscript from her ex-husband Edward (Jake Gyllenhaal). Foreshadowing is abound when she slices her finger opening the package.

As Susan begins reading the novel, the film transitions into a movie-within-a-movie of sorts. Thank God the story is shown and not told--can you imagine going to the theater and having to watch/hear someone scan through a book? Anyway, the novel sees a stand-in for Edward (Gyllenhaal with a beard), his wife (Isla Fisher, bearing an uncanny resemblance to Susan), and their daughter as they get caught up in a highway tussle with a group of greasy scumbags, led by a notoriously nasty Aaron Taylor-Johnson. It's a masterfully tense, stressful, and sweaty scene that unfolds into something that I won't spoil. In fact, there's no sense of catharsis until a hard-nosed detective played Michael Shannon gets involved. From there, the film jumps around between past and present, the novel and the real world--all while reveling in both the power and potency of fiction, art and life.

Amy Adams and Jake Gyllenhaal are definitely solid leads, but it's the secondary cast that stuns. Michael Shannon absolutely steals the show in a role that's almost too perfect for him. What a legend, that guy is. Also impressive is Aaron Taylor-Johnson. He plays a maddeningly despicable character, but it actually seems like a real breathing person, as opposed to his aggressively bland leading role in the recent Godzilla reboot. It's a turn that's so committed, dirty, and under-your-skin that it will make you feel the need to take a shower. I also have to mention how amusing it is that well-known look-alikes Amy Adams and Isla Fisher have finally appeared in the same film. And even after this, I'm still not fully convinced that they aren't the same person. (Kidding, of course.)

In contrast to the film's lush cinematography, sublime wardrobes, and pristine frames, the narrative can't help but feel a bit messy. I was disappointed by the lack of payoff and the abrupt ending. On one hand, it's as if Tom Ford crafted a stream of engrossing stories and couldn't figure out how to properly conclude them. But on the other hand, the ending proposes a creepy and spiteful element that's consistent with the film's relentlessly dark tone.

Either way, you'll be thinking about it long afterwards, and well into the night...

( 8/10 )

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[Review] The Monster

Bryan Bertino's The Monster quietly crashes in as a decent late-season horror entry. It's not a game-changer or anything, but this minimally told tale is one that avid genre fans won't want to miss.

Kathy (Zoe Kazan) is a disheveled and neglectful single mother, basking in empty beer bottles and constantly oversleeping. Her precocious daughter Lizzy (Ella Ballentine) seems to be the more responsible one, making breakfast and packing (for the both of them) in preparation for a road trip to see her estranged father. During the hostile drive, their car breaks down and the two are left stranded on a secluded backroad. But they're not completely alone... There's an elusive beast lurking in the forest, and this broken mother and daughter relationship must come together in order to survive.

The first 12 minutes or so are a bit obnoxious, as our two main characters awkwardly yell a bunch of really forced dialogue at each other. But once the catalyst takes place, and the ominous mood sets in, the film builds some eerie suspense--initially concentrating on what we don't see rather than what's there. Is the threat just their imagination? The wolf they accidentally hit? A creepy criminal dwelling in the woods? Or an actual flesh and bones monster? Things eventually get physical and bloody and gruesome. And in case you're wondering, we do end up getting a clear look at the evil force in all its nasty glory, even amidst the film's murky, rain-drenched setting and deep, dark shadows. While there might be a metaphor to dig for, I perceived the story's antagonist in a very straightforward and literal way, as opposed to recent spooky and symbolic gems like The Babadook or Under the Shadow.

Unfortunately, the narrative gets bogged down with melodramatic flashbacks that come off as filler, and the film doesn't reap the emotion and poignancy that it seems to be aiming for. Basically, The Monster isn't going to shatter your world, but it's at least a good VOD choice for a stormy night.

( 7/10 )

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[Review] Manchester By the Sea

I'm not saying you should bring some tissues to Manchester By the Sea, but you should probably bring some tissues to Manchester By the Sea. This film is a commendably adept character study and stirring rumination on the rippling complications of a family death, as well as a crisp and cinematic postcard of the picturesque New England harbor town.

Lee (Casey Affleck) is a lonely janitor and repair man, spending his days un-clogging toilets, trying to fix leaks that won't quit, and shoveling endless piles of snow (cue the baggage metaphors). After the sudden death of his brother (Kyle Chandler), he reluctantly inherits custody of his teenage nephew Patrick (Lucas Hedges). The narrative follows them as they cope with the haunts, burdens, and messy aftermath of a tragedy, all while they straighten out their lives going forward.

Writer/director Kenneth Lonergan (You Can Count On Me) pens an excellent script, full of blunt and snappy dialogue, all-too-real human conflicts, and genuinely affecting emotion. The multiple flashbacks enrich the story and give the characters depth, while adding a heart-wrenching undercurrent of unspeakable tragedy. It's sad stuff indeed. But even amidst the somber circumstances, the film doesn't forget its sense of humor. This thing is actually really funny. You'll laugh in between the tears. It's fully dimensional. Just like life. Lee and Patrick's relationship isn't of the blatant warm and fuzzy Hallmark variety. It's awkward, pugnacious, and full of ribbing. But they're cool with each other, and we know they care deep down. They're both in the same boat (pun definitely intended).

Casey Affleck gives a seriously tremendous performance. Lee isn't the most likable character, but we still sympathize with him. It's as if his distressing numbness, self-resentment, and repressed feelings have all transferred to his hunched shoulders and the darkness beneath his eyes. It's quietly devastating and nuanced, and Affleck nails it. Award nominations are certainly on the way. Michelle Williams is also stunning with her supporting role as Lee's estranged ex-wife Randi. She's only in a few scenes, but they're crucial scenes that leave a weighty impact. Newcomer Lucas Hedges is impressive too, seeming like an authentic high schooler dude who's going through some stuff. In fact, the entire cast is top-notch here, as you'd expect from one of this year's Oscar frontrunners.

There is a slight shred of uplift in the end, but it's still the type of story that'll make you want to go off and have a good cry in the movie theater parking lot afterwards. Manchester By the Sea is a film that hits hard no matter what, but it's especially poignant if you've ever lost someone close to you.

It's one of 2016's very best.

* 10/10 *

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[Review] Moonlight

"Who is you, Chiron?"

Barry Jenkins' Moonlight is a special film. Revolving around a young man's struggle to find himself in the thick atmosphere of a poverty-stricken Miami, this artful portrait is as sprawling as it is intimate, and as raw as it is technically marvelous. It's truly a transformative experience.

The story is divided into three distinct chapters, which all follow the life of Chiron, a quiet and scrawny kid who's constantly picked on by his peers. Unfortunately, he finds no solace at home because his mother (Naomie Harris) is a drug-addict. One day, he meets a supportive father-like figure named Juan (Mahershala Ali), who ironically makes his living as a drug kingpin. A complex and vicious cycle, to be sure. But Juan and his caring girlfriend (Janelle Monáe, terrific) practically begin to raise the boy themselves in their welcoming household. And from here, the film spans across Chiron's adolescence (Alex Hibbert), his high school stint (Ashton Sanders), and matured adulthood (Trevante Rhodes), all while he attempts to form his identity, battle with toxic masculinity, and ruminate on his sexuality.

The film exudes with life and bursts with heartbreak. The rarely-represented characters are fleshed out in a manner that isn't often witnessed like this on the big screen, and the performances are absolutely flawless all around. It'd be a crime to pick a standout in the cast, because they all shine in their own vital way. Everything is so richly detailed and beautifully captured amid the vibrant lighting, crisp editing, and stylized camerawork that frequently boasts 360-degree views, which breathes dimension into the scenes, while also creating a sense of the world spinning. The musical score flaunts piercing strings and somber piano keys, but it's really the deafening silences that have the most impact.

It's a film of defining moments, fateful connections, and memorable faces. A poetic character study. It's blue. It's black. It's glowing. It's Moonlight.

* 9/10 *

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