Obsession

 

                Writer/director Curry Baker puts a new spin on the tale of "The Monkey's Paw" and "be careful what you wish for". 

                  Michael Johnston stars as "Bear" who is hopelessly in love with Nikki (played by Inde Navarrette). Unfortunately, Nikki only thinks of Bear as a good friend. The two leads are absolutely terrific. Ms. Navarrette, in particular, is outstanding as her obsession grows.

                  The film co-stars Cooper Tomlinson as Ian and Megan Lawless as Sarah. Andy Richter also has a small role as Sarah's dad. Mr. Baker does a lot with a little counting on his young cast to carry the load as the film gets progressively creepier and deadlier.  Rock Burwell's music perfectly compliments the growing horror and Mr. Baker has a great knack for using it to build the tension and then cutting it completely to drive home the scene.

                   Early on,  Mr. Baker uses Nikki's obsession to comedic effect but things get progressively nastier and the climax of the film goes completely off the rails. While no animals were harmed making the film, cat lovers in particular, will not be happy with the fate of Bear's pet cat, Sandy.

                    

Deep Water

 

       Action director Renny Harlin returns with a new disaster/survival thriller.  He manages to keep the tension and excitement level high with not just an intense plane crash into the middle of the Pacific Ocean but also with the addtion of hungry sharks surrounding the survivors among the wreckage.

        The shark behavior is amplified to enhance the story and there are enough emotional subplots to tug at your heart strings. There is, of course, a completely obnoxious passenger who is the villain of the film and it's only a matter of time until he gets what he deserves.

         Aaron Eckhart and Ben Kingsley star as the pilots of the doomed plane. Co-starring are Molly Belle Wright as Cora and Elijah Tamati as Finn, the requisite kids in danger.  Also co-starring are Angus Sampson as Dan, the obnoxious passenger, as well as Lucy Barrett, Rose Zhao, Lakota Johnson, Ramian Newton,Madeleine West, Mark Hadlow, and Kelly Gale.

          Mr. Harlin's direction keeps the action level high, first with the crash and then, with the surviving passengers and crew having to contend with the sinking wreckage, blood thirsty sharks and infighting among themselves.

           You get what you expect with this "popcorn" thriller. No more, no less.

          

The Devil Wears Prada 2

 

       Twenty years later, we get more fashion, more glamour, pretty much more of everything people loved about the first film. Directed again with much flair by David Frankel, the film will certainly not disappoint fans of the original.

      This time however, the red hot devil represented by Miranda Priestly has cooled off as the film seeks to find her humanity. Meryl Streep, like putting on a favorite dress, easily slips back into the character. As her counterpoint, Anne Hathaway returns as Andy Sachs, now a veteran journalist who finds herself out of work until "Runway" magazine comes calling needing a new features editor. She is as cheerful as ever.

      Also returning is Emily Blunt as Emily, Andy's nemesis, now working at Dior but still finding ways to sling a good barb in Andy's direction. And as Miranda's stalwart right hand man, Stanley Tucci returns as Nigel Kipling, who just about steals the film with his perfect style and grace. 

      Joining this time are Justin Theroux as tech billionaire, Benji Barnes who is smitten with Emily, Kenneth Branagh as Miranda's new husband, and Lucy Lui as  Benji's ex-wife. Rounding out the cast are B.J. Novack, Tracie Thoms, Simone Ashley, Tibor Feldman, and Patrick Brammell. While Mr. Brammell is a fine actor, he's merely there to include a completely unnecessary romance for Andy. Of course there are also too many fashion icon cameos to mention as well as other celebrities including a particular female superstar (a fashion icon herself) who even gets a musical number.

      Underneath all the glitz and glamour, the script tries to make some points about the threat of digital and AI on the media as well as corporate acquisitions displacing the workforce and tearing at the soul of beloved companies.

      It's a light and breezy sequel that is enjoyable but like a glass of sparkling champagne that's been sitting on a tray too long, it does start to lose it's bubbles after a while.

Hokum

 

          Writer/director Damian McCarthy's ("Caveat" and "Oddity") most ambitious horror film yet doesn't disappoint. With a style all his own, Mr. McCarthy creates an atmospheric sense of dread and a creepiness that grabs you early and doesn't let up.

           The film stars Adam Scott (perfect for this role) as a writer who returns to the Irish hotel where his parents spent their honeymoon years ago. This is a classic haunted house story with McCarthy's signature twists and turns. Simple visuals alone may give you nightmares.

            Co-starring are Peter Coonan, David Wilmot, Florence Ordesh, Will O'Connell, Michael Patric, Brendan Conroy and Austin Amelio.

            The music by Joseph Bishara compliments the spooky visuals and horror elements and Brian Phillip Davis's editing provides many a jump scare.

            Mr. McCarthy is three for three and I can't wait to see what he does next.

MIchael

 

           A sanitized screenplay by John Logan gives us a heartwarming version of Michael Jackson's life. Directed with flair by Antoine Fuqua, the musical numbers are very entertaining recreating some of Mr. Jackson's best moments but the story is just too clean portraying him just short of sainthood.

            Michael is played by his actual nephew, Jaafar Jackson and he's got all the moves and nuances of his uncle perfectly. He doesn't do his own singing however, rather lip-synching the songs to Michael's actual voice.

             The film also stars Nia Long as Michael's mother, Miles Teller as his eventual manager John Branca, and Coleman Domingo, chewing the scenery, as Michael's domineering father, Joseph Jackson. Mr. Domingo is over the top as a scary bully but falls short of the suspicions of abuse around the real Mr. Jackson. The most we see is a belt lashing. Also co-starring are Larenz Tate as Berry Gordy,  Kendrick Sampson as Quincy Jones,  KeiLyn Durrel Jones as Bill Bray, Michael's long time head of security, and Mike Myers (in a one scene cameo) as Walter Yetnikoff, the head of Columbia Records. And of course, a CGI (or AI) Bubbles the chimp.

             There is little to no interaction with his brothers. We see little of La Toya and Janet Jackson is not even mentioned in the film. Apparently, she "declined" to take part.  The drug addiction that ultimately took his life is briefly mentioned after his incident with his hair catching fire (which got him hooked on pain meds in the first place). And any hint of sexual abuse doesn't even exist here.

             While the story plays like a lifetime bio with little substance, the musical moments are magical. Even the scenes in his home studio watching him put together the songs we know so well was fun to watch. It's an entertaining film that casts no shade on Michael's legacy and ends on a high note during the "Bad" tour in 1988. 

              It's actually sad to think what a waste of incredible talent was lost much too soon, like so many other talented artists.

Lee Cronin's The Mummy

 

        Not to be confused with Universal's "The Mummy", writer/director Lee Cronin puts his name right in the title. While this original story certainly involves a mummy, it is closer in plot to "The Exorcist" since it involves the evil possession of a little girl.

         While the film is too long and could have benefitted from additional editing, it still contains enough gross out moments and jump scares to be a satisfying horror film. At it's core, it's an emotional story about a family threatened from within by their possessed daughter, thought dead for eight years. Little Katie is found alive (but no longer an innocent little girl) inside a thousand year old sarcophagus after a plane crash, and once reunited with her family, things begin to go off the rails.

          The film stars Jack Reynor as Charlie Cannon and Laia Costa as Larissa Cannon, Katie's parents, May Calamawy as Detective Zaki, Natalie Grace as Katie (Emily Mitchell as young Katie), Shylo Molina as brother Sebastian (Dean Allen Williams as young Sebastian), Bille Roy as younger sister Maud, Veronica Falcon as Grandmother Carmen, and Hayat Kamille as "The Magician".

           Mr. Cronin puts his young cast through the ringer with lots of  good special effects and bloody gore, but they are all up to the task. Mr. Reynor is an admirable hero trying to protect his family and save his daughter. The score by Stephen McKeon adds the right amount of dread but the use of some popular rock songs seem out of place.

           Stuffed with horrific moments, including a few good scares, the craziness builds to an exciting climax in a final battle with the demon possessing Katie.

   

Exit 8

 

      Based on a Japanese video game, the film faithfully recreates the look and feel of the game with just a few changes. Director Genki Kawamura, who also co-wrote the screenplay invites the viewer to experience the game in a cinematic way. This is not a horror film but rather a metaphysical puzzle that needs to be solved by both the protagonist and the viewer.

       The film stars Kazunari Ninomiya as "The Lost Man" who becomes trapped in a underground subway passage in a seemingly endless loop. As he repeatedly navigates the corridors leading to Exit 8, he encounters "The Walking Man", played by Yamato Kochi, "The Boy", played by Naru Asanuma and "The High School Girl", played by Kotone Hanase. Nana Komatsu plays the "Lost Man's" ex-girlfriend, who at the beginning of the film, we find out, is pregnant and unsure if she wants to keep the baby.

        We are told that there are anomalies each time "The Lost Man" navigates the corridor and part of the fun for the viewer is trying to spot them before he does. What the film means is open to interpretation but I suspect one of its elements is a deliberate commentary on contemporary Japanese society.  And while I have my own theory about what it all means to "The Lost Man", I will keep that to myself and let the viewer decide for themselves.

        If you are fascinated by a mobius strip and the art of M.C. Escher, this is a film for you.