On the run after killing his dad, Bradley Cooper wanders mutely into a carnival needing work and food and gets shown around by Willem Dafoe. Ron Perlman is there of course, typecast as a strongman. Cooper’s talents are gradually put to use until he runs off (openly, not in secret) with Rooney Mara to run their own upscale act stolen from mentalist Toni Collette and her late partner David Strathairn.
A couple years later in the plotty, less compelling back half of the movie, the spook act impresses Mary Steenburgen and he’s set up with haunted and dangerous Richard Jenkins. Psychologist Cate Blanchett gives him inside dirt on Jenkins then swindles him, Rooney dislikes his turn to crime-laced trickery, and after it all goes wrong he leaves town in a chicken car, wounded, with nothing and nobody, and comes crawling to new circus master Tim Blake Nelson.
It’s convenient when you’re a circus psychic that everyone in the 1940’s had the same backstory. The movie is as obvious as I’d guessed from the trailer, but the actors and the look of the thing make it completely worthwhile.
Opens on my birthday, sometime during the cold war. Mute Amelie (Sally Hawkins) lives in the apartment above a reclusive artist (Richard Jenkins) who forges them fake IDs and van decals when it’s time to break her fishman boyfriend out of the government facility where she works alongside Octavia Spencer, but wait, I’m getting ahead of myself. First, blatantly evil U.S. government agent Michael Shannon wants to kill and dissect the fishman, and sympathetic Russian spy Michael Stuhlbarg defies his superiors to save the fishman, all the while nobody noticing that Mute Amelie is having an affair with the fishman, and forgetting that she’s not deaf and can hear all their plans which they are constantly saying out loud.
I was warned by the anti-Guillermo critic contingent, but thought it’d be worth checking out Sally’s dance moves on the big screen, and jeez, does this movie ever have the best production design. Since Doug Jones plays the fishman, can this count as a Hellboy prequel?
Feature film directors (and Meryl Streep) tell the tales of American feature film directors in the 1930’s and 40’s who were sent to war to make documentaries for the homefront… with one of the best motion-graphics-meets-stock-footage opening title sequences. If you’re interested in filmmakers and/or war, the whole thing’s just fascinating.
William Wyler, fresh off the inspirational Mrs. Miniver, rages against racism while Frank Capra is producing Private Snafu cartoons. Working (mostly) under Capra, John Ford and George Stevens are sent to film D-Day. John Huston makes the gritty San Pietro, using mostly reenacted fight footage but real dead bodies. And Citizen Kane cinematographer Gregg Toland proves himself a poor director. Stevens went on to film the liberation of concentration camps, while Wyler snuck a trip home and found the holocaust had killed his family and all their neighbors. In the end, Huston’s final work about emotionally wounded soldiers was censored for decades, Ford returned to make They Were Expendable, and Capra/Wyler/Stevens founded their own Liberty Studio, which immediately went broke on the flop It’s a Wonderful Life.
I’d love to watch a bunch of the original documentaries themselves, all available on netflix: Battle of Midway, Report from the Aleutians, San Pietro, Let There Be Light, The Negro Soldier, The Battle of Russia, Nazi Concentration Camps and Memphis Belle. But that’s six hours of WWII docs, and it’s Cannes Month now, and six movies I want to see opened in theaters this week, and a new season of Mystery Science Theater 3000 just came out, and it’s baseball season…
Can’t figure out why this was made – straightforward haunted-house murder story with predictable twists, feeling at times like a remake of The Devil’s Backbone minus the evocative wartime setting. One character sees ghosts that lead her to the truth behind some murders, ghosts have similar look to the earlier film, phantom blood emanating from cracked-china holes in their translucent faces. But it’s undeniably a beautiful film, sumptuously designed with gorgeous candlelight and shadows and snowy mist, falling leaves, costumes, big creepy crumbling house, and so on. Nice iris-out effects complete the period look. Definitely good to see Guillermo returning to his gothic-horror roots – an enjoyable film to soak in, leaving me satisfied without that post-Martian malaise.
Mia Wasikowska has become a fave of scary/creepy movies (Stoker, The Double), plays a bookish New Yorker with rich dad Jim Beaver (TV’s Deadwood and Supernatural). Incestuous baron siblings Loki (Mia’s Only Lovers Left Alive costar) and Jessica Chastain (Take Shelter, Interstellar) are in town raising funds for their clay-excavation machine. Loki marries Mia and takes her home to England where she discovers he does this a lot, and the bodies/ghosts of his previous rich-girl wives are buried in red clay pools in the basement. Pacific Rim star Charlie Hunnam is Mia’s friend from home who comes to her rescue. Did I mention that Jessica Chastain is an axe murderer? That’s something you don’t expect.
Set in a Communist-friendly haunted orphanage towards the end of the Spanish Civil War, but surprisingly, all deaths and horror in the movie come from twisted, selfish young Jacinto (Eduardo Noriega of Abre Los Ojos and Transsiberian) raised at the orphanage and now after its hidden gold, not from ghosts or General Franco’s men. He’s sleeping with one-legged Marisa Peredes (star of The Flower of My Secret) every night (she runs the place with older boyfriend Federico Luppi, the moral vampire in Cronos), stealing keys from her chain to try getting into the safe. When the orphanage is to be abandoned because the war is lost, he loses his shit and blows everything up, killing most of the movie’s characters except young viewer-surrogate Carlos. The ghost of a kid he’d killed the previous year has warned about this (“many of you will die”), but doesn’t try to stop it, only wants to drag Jacinto into the murky depths.
Guillermo’s movie between Mimic and Blade 2, a solid haunted orphanage movie but not as great as I’d heard it would be. Some nice details which are more rich and mysterious than the ghost: an unexploded bomb in the middle of the courtyard, the titular backbone, the orphanage selling aged embalming fluid in town as liquor, gold stored in a hollow leg.
It is a film about repression that celebrates, albeit in heartbreaking fashion, the irrepressibility of the innocent human spirit. This duality also underpins Pan’s Labyrinth, a fable about a young girl’s exploration of an underworld. Both films balance political tensions with a feud between fantasy and reality, between the way the world seems and the way it is. And both counterpose the recurrent fairy-tale motif of choice against the specter of fascism — the ultimate lack of choice.
Aliens vs. Robots.
Stars Stringer as Stacker in Striker. Bland main guy is Charlie Hunnam, Ron Perlman’s Sons of Anarchy costar. Rinko Kikuchi was the newcomer who got all the buzz in Babel, later in The Brothers Bloom and Norwegian Wood. Stacker is father-figure to Rinko, who is soulmate bro-bot to Hunnam. Two scientists are racing for the bomb that is the prize: stuffy Brit is Burn Gorman of BBC’s Bleak House, excitable kaiju fan is Charlie Day of It’s Always Sunny. Lot of TV actors here. There are other foreign robot pilot teams, all dead, all dead. And Ron Perlman plays a huge badass. Obviously.
In 1536, the official watchmaker to the viceroy flees the Inquisition and lands in Vera Cruz, Mexico. In 1937 a vault collapses, killing the watchmaker. How he lived for 400+ years becomes the obsession of rich, dying businessman Claudio Brook (Simon of the Desert himself). When his enforcer son Ron Perlman discovers evidence that the watchmaker’s Cronos Device (which turns the user into a kind of vampire/addict: see also The Addiction, released two years later) has turned up in an antiques shop, he tries to acquire it from its accidentally-immortal new owner.
Two dying men, sort of:
Think I watched this in Paul Young’s after-hours screening series at Tech, but I must’ve slept through part of it, since it seemed mostly unfamiliar. A quality flick – suppose it qualifies as horror, but it doesn’t behave quite the way a horror movie is supposed to, has a classic genre sensibility (horror genre with action/revenge/gangster elements) but marches to its own beat. For instance, the old man’s granddaughter Aurora isn’t a spooky ghost child nor a victim, but a witness/participant, a representative of the spectator with more personality than is usually allowed.
Perlman, before City of Lost Children:
Federico Lupi, also in The Devil’s Backbone, is antique dealer Jesus Gris, who has a run-in with Ron Perlman after finding and using the device. Perlman arranges a car crash and attends the cremation of Gris’s coffin – but Gris has escaped from it just in time. After getting himself together he sneaks into the businessman’s office seeking answers about his condition (with Aurora accidentally in tow, a glowstick between her teeth). The businessman is killed, and a rooftop fight between Gris and Perlman leaves them both dead-ish, but Gris is revived by the device, which he then smashes, realizing he’s being tempted to drink Aurora’s blood. He goes home and presumably starves to death in bed surrounded by his family, a strangely beautiful portrayal of a moral vampire.
Let’s see, this opened last July and apparently I was too busy watching classic Hollywood comedies, french auteur cinema, documentaries and Wall*E to go see it. Also I wasn’t so wowed by Pan’s Labyrinth and I figured an action-comedy sequel could only be worse than that. Turns out it’s a very good action-comedy sequel. I should’ve guessed. Anyway, looked great in high-def.
I guess Hellboy was dating fire woman Selma Blair in the first one – I barely remember the movie even though I’ve seen it twice. Anyway she’s pregnant in this one with twin fire demons, but that’s hardly discussed because we are busy being introduced to, then figuring out how to kill, various wonderful creatures.
Also Doug “Silver Surfer” Jones is back as Abe the aquatic poetry-reading scientist psychic fellow, Jeffrey Tambor as the comic relief operations manager, and introducing the voice of Family Guy creator Seth MacFarlane as the ectoplasmic being encased in a steamy glass-topped robot suit.
This time the crew goes to Ireland (actually filmed in Budapest) to fight some Lord of the Rings holdovers.
They win at the end.
Did I mention John Hurt appears in the intro?
Starts with the end. All movies start with the end now.
Kind of a disappointment. Not just that expectations were high, just that they were so high for so long and movie kept playing and finally I saw it in closing week and by then I knew it’d be a depressing fascist struggle film with metaphorical special effects and had already seen the monster with eyes in its hands a million times in promo photos. Had few delightful surprises to offer, just a good movie.
Let’s see… fascist Spain 1944, little Ofelia’s dad is dead and mom is marrying a psycho captain who moves them into the country to fight rebel forces who camp in the woods. Housekeeper Mercedes is in love with lead rebel and smuggles out food, supplies and information. A showdown ensues, rebels win the battle but not the war.
Oh also Ofelia finds an underground fantasyland where she tries to escape the pain of reality and eventually succeeds by getting shot to death by the captain and reuniting with her dead parents, now king and queen of Pan’s realm. A happy ending, not really.
Katy liked it I think.