“Besetment” – (Movie Review)

By Andrew Buckner
Rating: ***1/2 out of *****.

Besetment (2017), from writer-director Brad Douglas, is a lean and ultimately potent horror concoction. The seventy-four-minute picture begins as a triumphant homage to Alfred Hitchcock’s quintessential psychological thriller, Psycho (1960). We note this in the relationship our antagonist, Billy Colvin (in a simultaneously tense and vulnerable, ruggedly enthralling performance from Michael Meyer), has with his domineering and equally wicked mother, Mildred (in a phenomenal portrayal from Marlyn Mason). Much of the plot, which revolves around a young woman, Amanda Millard (in a top-notch representation from Abby Wathen), who takes a job at The Oregon Hotel and later comes up missing, echoes this aforesaid similarity. Not to mention, it is even spied in one of the most quietly clever moments in the fiction. Such an arrangement arrives at nineteen minutes into the story. This sequence involves what looks like a bloody fluid building around the drain of a shower. For those who vividly recall the murder of Marion Crane (Janet Leigh) by Norman Bates (Anthony Perkins) in the previously stated Hitchcock classic, especially the closing shot, Douglas’ sequence serves as an equally smart and smirk-inducing parallel. It also fits effortlessly into the context of the story.

Such a comparison is strongly tailored until nearly the conclusion of the intriguing, if exposition heavy, first half of the movie. Once the tension becomes more palpable and the thriller elements kick into full gear, Douglas’ endeavor establishes a tone that is more along the likes of Deliverance (1972), Wolf Creek (2008) and Kevin Connor’s darkly comic cult classic, Motel Hell (1980). Yet, Douglas’ exertion has the most in common with Jim Lane’s recent gem, Betrothed (2016). This is most noteworthy once the Colvins’ intentions towards Amanda are exposed.

When this occurs, the undertaking is partially held back by the familiarity that propels the events of the last forty minutes. Furthermore, one of the most pivotal arrangements in the undertaking, which is set in a church, is too brief to be as effective as possible. Regardless, the succession that is placed immediately after this instant, which serves as an epilogue, is perfectly chill-inducing. It also garners further points for being comparable to the commencement of John Carpenter’s Halloween (1978). Such more than makes up for the prior addressed shortcomings. Additionally, the film is consistently well-made and engaging. This formerly stated stretch also includes several episodes that are as steeped in tradition as they are memorable. The same can be said of the terrifically developed characterizations. This is most readily noted in a pair who find themselves attempting to solve the mystery of Amanda’s disappearance. They are Sheriff Joe Palin (Greg James) and Deputy Julie Nelson (Hannah Barefoot). Yet, the caliber of their depictions, sheer likability and on-screen chemistry with one another illuminate the configurations they reside within.

From a technical standpoint, Douglas’ scripting and general management of the project is skillful and captivating. Such high-quality capabilities evoke a foundation for the labor that is as gritty as it is deftly executed. Compatibly, the dialogue is credible. The actions of both the protagonist and antagonist also logically derive from the situations Douglas introduces into the tale. Best of all, Douglas just as organically builds continual suspense and audience interest. He also incorporates a masterful pace that unveils in a gradual and even fashion. These are all certainly necessary ingredients in crafting the unyielding credibility that radiates from Douglas’ undertaking.

This Barbed Wire Films co-production also sports spectacular, wonderfully claustrophobic cinematography from Chuck Greenwood. The veneer in Douglas’ latest calls to mind Daniel Pearl’s masterful work in Tobe Hooper’s groundbreaker, The Texas Chain Saw Massacre (1974). Such a look, commonly attempted in grindhouse evocative exertions such as this, is more than suitable for the material. Likewise, Graham Denman and Kyle Hnedak’s music is impressive and atmospheric. The effects, sound and makeup department offer a similarly exceptional contribution.

Such results in a taut, tough genre entry. This is even if the twists in the narrative are hit and miss. Still, the general prowess of the piece keeps the movie ever-admirable. The 1970’s B-movie sensibility that courses throughout the totality also adds a consistently old-fashioned charm. This is an appeal that fellow cinephiles will certainly adore. What augments the strength of this factor is Douglas’ spellbinding construction of the terror elements. The outcome is a thoroughly solid and satisfying genre outing. Douglas’ exercise in fear is far above average.

Besetment releases on video on demand on June 6th, 2017 through Uncork’d Entertainment. It will be available on DVD on September 5th.

“The Black Room” – (Movie Review)

By Andrew Buckner

Rating: ****1/2 out of *****.

Taking cues from The Entity (1982), Insidious (2010), Wishmaster (1997) and The Evil Dead (1981), prolific writer-director Rolfe Kanefsky’s The Black Room (2016) is stylish, tense, captivating and fun; an instant classic. The project tells the tale of a married couple who discover a demon that thrives on sexual repression and desire. Such an unholy entity threatens to destroy the lives of the once happy duo. This is almost immediately upon their arrival in their new home.

In so doing, Kanefsky instills a plethora of inventive ideas. They greatly enhance the occasionally formulaic mechanics of the plot. The endeavor also benefits from solid, character-oriented writing. Kanefsky also sports an undeniable capacity for visually stunning direction. Such a trait is wonderfully reminiscent of Dario Argento. The often gooey 1980’s influenced special effects, which come courtesy of Eric Chase and Vincent J. Guastini, only augment the joyously retro feel. Such pulsates ardently through every frame of the proceedings. Correspondingly, Savant’s booming, nail-biting and grimly gorgeous music compliments Kyle Stryker’s same said cinematography brilliantly.

Furthermore, Lin Shaye as Miss Black and Tiffany Shepis as Monica, a real estate agent, shine in their brief turns. Natasha Henstridge as our heroine, Jennifer, makes for a compellingly vulnerable counterpart. This is in relation to her possessed husband, Paul (in a bulls-eye turn from Lukas Hassel). Such is especially true once his increasingly eccentric behavior kicks in near the end of the first act.

In turn, Kanefsky has created a smartly paced, joyously successful horror outing. It is one erected from the most endearing qualities of the genre. Admittedly, the creature in the basement scenario is the most charming element in this respective arsenal. Best of all, the ninety-four minute picture commences with an extended opening segment that is impressive on all accounts. From herein, this largely unpredictable presentation only continues its enjoyably atmospheric and imaginative streak. The rousing, blood-soaked climax and post-end credit scene can be viewed as one magnificent, elongated final wink at the audience. Such results in an all-around superbly done and satisfying venture. Kanefsky has delivered one of the best cinematic terrors of the year. The mysteries of The Black Room are well-worth seeking out.

(Unrated). Contains graphic violence, sexuality, adult themes and nudity.

Now available on video on demand.

“The Lure” – (Movie Review)

By Andrew Buckner

Rating: ****1/2 out of *****.

The Lure (2015), a horror/ musical based on Hans Christian Anderson’s “The Little Mermaid” (1837), is one of the most unique, imaginative, surreal and visually spectacular films I have seen in years. Jakob Kijowski’s cinematography is gorgeous, the writing and direction (from Robert Bolesto and Agnieska Smoczynska respectively) are beautifully done and Marcin Charlicki’s effects are credible and superb. Congruently, the acting is stellar. Michalina Olszanska and Marta Mazurek as our heroines, Zlota and Srebrna, are especially good. Moreover, the nearly wall to wall songs, and dance numbers that accompany them, are lively and emotive. Likewise, the moments of terror are memorable and effective. The non-linear storytelling, as well as its constant contrasts in cheery and ominous mood, only helps add a deeper sense of unpredictability, drama, poetry and art house allure to the proceedings. Additionally, the touches of love narrative and same treated, often darkly comedic elements are handled in a proficient and spectacularly blended fashion. It is in a manner that never takes away from the true focal point of the fiction: the bond of Zlota and Srebrna. Correspondingly, these cinematic components are anything but formulaic. Such only makes this production, originally titled Corki dancingu (Daughters of the Dance Club), increasingly layered.

The result is an awe-inspiring, ardent and breezily paced ninety-two- minute stroke of excellence. This is a consistently hypnotic endeavor. It is one that seems to take as many cues from Jim Sharman’s The Rocky Horror Picture Show (1975) as it does any number of grindhouse flicks from that era. Smockzynska’s feature length debut masterpiece, which concerns a pair of sea nymphs who find themselves working in an adult night club in Poland in the 1980’s, is as toe-tapping and, at times, head-banging as it is brilliant. From beginning to grisly and smirk-inducing end, this is one continually soaring, high-note of cinematic exhilaration. For those who claim there is little originality left in the genre, I strongly urge you to seek this one out.

Available now on demand and on DVD and Blu-ray.

Distributed in the USA by Janus Films.

(Unrated). Contains nudity, some graphic violence, sexuality and adult themes.

“The Wicked One” – (Movie Review)

By Andrew Buckner

Rating: **** out of *****.

Co-writer and director Tory Jones’ The Wicked One (2017) is a knockout retro style slasher film. It is tense, blood-soaked fun. Furthermore, it is clearly inspired by a plethora of classics in the sub-genre. John Carpenter’s Halloween (1978) and the Friday the 13th series are among them. Even Alfred Hitchcock’s masterpiece Psycho (1960) gets a nod. Jones’ sly references to these previously mentioned features throughout this skillfully done work only augments the high entertainment value derived from this aspect.

Furthermore, the performances are strong. Correspondingly, Eryk Kyr (who is phenomenal here in his enactment of Mr. Miller), Sean Thomas and Vintage Voodoo’s music is atmospheric and haunting. The same can be said of Roman Jossart’s gritty cinematography. Andy Palmer and Jossart’s editing is terrific. Additionally, the project ends as grippingly, if abruptly, as it begins.

Jones also respects the many traditions, especially in terms of characterization and their often inexplicable actions, inherent in this brand of cinema. This is even if Jones and Cheyenne Gordon’s screenplay invests a bit too much time in the protagonists’ personal dramas. The simple, straightforward plot, which concerns a masked maniac (Jack Norman as the brutal, no- nonsense title protagonist) systematically hacking up a group of young friends on a weekend getaway, also reflects these qualities. Yet, never once does the narrative ever feel trite. It also rarely comes across as unimaginative or underwhelming.

Movies such as these hit audiences on a primal level. Therefore, they will never go out of style. Jones’ latest venture is invigorating proof of such a statement. It is also a testament to his prowess as a filmmaker and collaborative scripter. I eagerly anticipate the sequel the ninety-one-minute affair sets up in such a smirk-inducing fashion its concluding moments. See it!

(Unrated). Contains graphic violence and some nudity.

Available now on video on demand.

“To Be Alone” – (Short Film Review)

By Andrew Buckner

Rating: ***** out of *****.

“To Be Alone” (2017), the seventh short film from writer-director Matthew Mahler, is a wholly unique, thought-provoking and brilliantly realized meditation on grief. Yet, it is as much about religious guilt, shame and the all-encompassing hopes of redemption which arise with theology. As a matter of fact, most of the sparse words spoken in the entirety of the twelve minute and forty-six second runtime are from unseen spiritual individuals. All of whom cry out from inside the television set to our lead, William (in a mesmerizing and quietly compelling turn from Timothy J. Cox). They angrily exercise the foremost element. In so doing, they almost immediately prompt William to run outside and engage in actions which suggest the last two latter stated emotions. Whether this is a symbol of the unquestioning fidelity or the apparently easy manipulation of the devout is left to the viewer. There is an equal balance of circumstances throughout the piece that could support both belief systems. Likewise, the non-judgmental tone Mahler crafts here, especially when dealing with such a touchy subject, certainly assists the piece. This is in evoking its continually haunting and meditative resonance.

What also helps is the underlying tension. This is erected most readily in a repeated sequence which involves law enforcement phoning William. Once this erupts, a certain darkness settles over the proceedings. This is as the audience begins to comprehend why he may be going through the previously stated catalogue of inward impressions. It also makes us understand how the pious personalities that are shouting at him have such swift control over his dealings.

The successfulness of these ingredients is a courtesy of Mahler’s deft, carefully constructed screenplay and same said direction. They perfectly compliment the material. What enhances this aspect is the inclusion of moments of sheer style. For instance, a spellbindly done sequence has William looking up the steps towards the closed door of his bedroom. The way it is shot, with Mahler’s ardently energetic music punctuating the bit with an electric fervor that makes it impossible not to step inside William’s nervousness at the unfurling situation, is reminiscent of what one might find in a classically designed opus of cinematic horror. Yet, there are other clever, smirk-inducing bits. For example,  there is a near climactic episode that features William carrying a cross. This is in a manner that is reminiscent of Jesus Christ in the tale of his crucifixion. The item William is holding is arranged with Christmas lights and other season appropriate decorations. Such details suggest a bit of playfulness amid this otherwise somber narrative. These items work immeasurably. They also add to the admirable and well-rounded qualities of the endeavor. This is while finding new ways to augment the representative essence of Mahler’s theme. It also makes for imagery that is as unforgettable as the fiction itself.

Adding to the immersive beauty of the project is Jonathan Giannote’s brooding cinematography. Mahler’s editing is also superb. The exertion also benefits from terrific makeup from Maggie Kurth and Morgan Mahler. Correspondingly, Jack Fitzmaurice’s sound contribution is exceptional.

Produced by 8mm Films, Mahler’s latest is among his most accomplished configurations to date. The brief undergoing is massively entertaining. Still, its lasting impact is undeniable. Best of all, it makes you ponder your own convictions. In turn, you can’t help but wondering if you would go through the same repetitive cycle of reaction that William himself is going through. This is if you were in an equally fateful circumstance. With “To Be Alone”, Mahler has fashioned a mandatory movie-going experience. This is one of the best storytelling fabrications of the year.

A Brief Word on New Releases: “Patriot’s Day” and “Underworld: Blood Wars”

By Andrew Buckner


Rating: **** out of *****.

Patriot’s Day (2016), which chronicles the 2013 Boston Marathon bombing and the investigation it spawned, is an absolute knockout! Director and co-writer Peter Berg’s penchant for quiet moments of domestic character drama as well as claustrophobic, credible and tense action scenes shines through every frame of the film’s one-hundred-and-thirty-three-minute runtime. Stars Mark Wahlberg, Kevin Bacon and John Goodman are especially good in their respective turns. This is even if their on-screen personas could stand to be better developed. They also should’ve been given more dimension. There is also no insight whatsoever into the reasoning behind our reality based antagonists’ tragic dealings. Still, this does little to dilute the exceptional overall result.

Though it isn’t quite on par with Berg’s masterpiece Lone Survivor (2013), this uncompromising and appropriately gritty work comes awfully close. Berg’s latest is an emotionally layered and transcendent exhibition of craftsmanship. The concluding minutes are especially poignant. This appropriate send-off nicely balances out the nearly non-stop intrigue and deftly executed chase story suspense that came beforehand. Such further creates a well-rounded and admirable cinematic experience. This is a harrowing journey. It is one that, though rather routinely structured, is certainly worth taking.

(R). Contains adult language and violence.

Available now on video on demand.


Rating: **1/2 out of *****.

There is always a sense of urgency in the full-length feature debut of director Anna Foerster’s Underworld: Blood Wars (2016). This endures even in the dialogue heavy second act. The ninety-one-minute effort also sports stunning, handsome cinematography from Karl Walter Lindenlaub. Furthermore, there is a wonderfully gothic feel, present in the four other movies in this series, which is as modern as it is reminiscent of an archetypically circa 1960’s-1970’s Hammer Films horror entry. Additionally, Kate Beckinsale does an adequate job in her portrayal of our Vampire Death Dealer heroine, Selene. This is considering the one-dimensional material she is once again handed. Also, the action packed climactic twenty minutes prove a satisfying distraction. Likewise, Foerster’s behind the lens contribution is slick and stylish.

Yet, it is hard to ignore the fact that if you have seen any of the other Underworld pictures, you have already seen this latest installment. The laughable computer generated imagery and uninvolving plot also hinders this ongoing werewolves versus bloodsuckers tale immeasurably. There are also plenty of gaping holes in the broadly painted and moderately written screenplay from Cory Goodman. When combined with recycled shots and footage, the unyielding impression that this is but another unimaginative, assembly-line Hollywood product prevails. The result is a fair, but mostly forgettable, experience. Skip it.

(R). Contains violence.

Available on video on demand today.

A Word of Dreams Recommends: “Skyquake (2015)”

By Andrew Buckner

Rating: **** out of *****.

Propelled by an intriguing and original plot as well as excellent execution, writer-director-star Sandy Robson’s Skyquake (2015) intimately crafts a haunting, meticulously paced portrait of mania from a plethora of genuinely unnerving horror elements. This is a primary courtesy of Robson’s afore-mentioned contributions. All of which are terrific. Relatedly, John Prowse is exceptional in his turn as Dr. Edwards. This can also be said of Bronwen Smith’s proficient enactment of Grace/Norma and Aidan Kokotilo-Moen’s phenomenal portrayal of young Jake. Byron Kopman’s cinematography, Keaton House’s foreboding music and Robson’s editing are also a highlight. Such results in the telling of tale of a man, Adam, and his obsession with a strange hum that is as eerie as it is engaging. This is augmented by the incorporation of a final act that satisfactorily balances characterization, narrative twists and accumulating tension. Regardless, the concluding sequence could’ve benefitted from less explanation and more mystery. Still, the high quality and sheer effectiveness of the production remains intact.

Runtime: 79 minutes.

(Unrated). Contains adult themes.

Available now on Amazon Prime.

Distributed through Brain Damage Films and Midnight Releasing on April 4th, 2017.

“My Pet Dinosaur” – (Movie Review)

By Andrew Buckner

Rating: ***** out of *****.

Charming, playful and awe-inspiring, My Pet Dinosaur (2017), the second full-length feature from writer-director Matt Drummond, brilliantly evokes the essence of the early efforts of Steven Spielberg. This ninety-seven-minute triumph, distributed through Empress Road Pictures, has the heart and innocence of E.T: The Extra-Terrestrial (1982). Such is manifest in its vastly compassionate and kind, child-mirroring perspective. Drummond’s latest masterpiece also shares a notable similarity to the afore-mentioned behemoth of popular culture. This is present in its general plot. The major difference of this being the exchange of an abandoned, otherworldly entity for a spontaneously growing, Styracosaur resembling fossil reptile named “Magnus”. There is also a continued comparison visible between these two photoplays. This resides in the varied small-town characterizations, structure and overall atmosphere of each presentation. Yet, Drummond’s exertion has the thrills, magic, adventure and respect for science that made Spielberg’s groundbreaking adaptation of Michael Crichton’s same titled 1990 novel, Jurassic Park (1993), an unparalleled movie-going experience. There are also elements of Close Encounters of the Third Kind (1977) sprinkled throughout the proceedings. This is evident in the exciting and beautifully crafted final forty-minutes. They call to mind the last act of the latter stated opus splendidly. It is also inherent in the ongoing belief of space invaders in the region.

One of the funniest moments in the offering also occurs in this section. It involves Magnus taking down a military drone. Such is ingeniously framed to look comparable to a giant U.F.O. There is also a similar gag involving an underwater menace, which is glimpsed earlier in the labor, which is just as victorious. Such signifies a mere example of the successful and clever use of humor which runs through the photoplay. Much of this is also overheard in the witty banter among our lead, Jake Emory (in an exceptional turn from Jordan Dulieu), and his likable and courageous band of friends. Among them are the ever-hungry Max Merriman (Sam Winspear-Schillings) and the young alien enthusiast Charles Altman (Tom Rooney). There is also the highly-intelligent Dylan Finkelstein (in a stellar performance by Jack Mars). His general demeanor is equitable to an adolescent version of Egon Spengler (1984’s Ghostbusters and 1989’s Ghostbusters II). This only enhanced my nostalgia-infused enjoyment of the fabrication. Their chemistry, especially in the many sequences where they are all present together, is infectious. It helps Drummond’s emotionally layered, yet joyous and endlessly entertaining, affair become ever more transcendent. In turn, it will assuredly resonate with audiences of all ages. The result of these high-caliber attributes is the greatest cinematic love letter of this genus since J.J. Abrams’ breathtaking, 1979 set Super 8 (2011).

Drummond centers his action in the fictional district of Brightwood. Prone to making trouble to break up the monotony of his surroundings, Jake finds himself dealing with the passing of his father. Such causes a rift in his relationship with his mother, Jennifer (in a credible and well-wrought depiction from Beth Champion). With Jake’s older brother, Mike (in a terrific representation from Harrison Saunders), this familial problem is even more aggressive and verbalized. Yet, when a science project goes awry, the potential for these aforesaid difficulties to turn worse is amplified. This is as Magnus, who is initially shown at twenty minutes into the production, is accidentally created in Jake’s bedroom. Swearing to secretly keep the small, puppy-like creature in his room and study him, his promise to keep Magnus’ presence unknown to others quickly falters. As Magnus accrues in size, pandemonium reigns down on Jake’s once peaceful neighborhood. This is as a combative governmental squad, headed by Cornel Roderick (in an intense and commanding exhibition from Rowland Holmes), quickly takes over the area. As Officer Alan Farraday (in a riveting portrayal from Scott Irwin) fights this team for authority, tales of monstrous animals seize the area. It is a truth Jake and his school partner, Abbey Tansy (in an engaging and proficient enactment from Annabel Wolfe), are forced to face for themselves. This is all in an act of keeping Magnus safe.

Such a story is the perfect recipe for an exhilarating, robust arrangement such as the one Drummond cooks up here. He excels at this from the cryptic and visually alluring opening, which would be at home in any of the previously addressed Spielberg pictures, until the sweet and uplifting conclusion. Drummond, via his marvelously honed scripting skills and guidance of the project, handles the material in a manner that is occasionally tense, but never frightening. There is a necessary maturity to the more dramatic segments. Still, a sense of adolescent wonder, joy and even anguish is ever-present. This is observable in the treatment of the various types of relationships in the narrative. This makes for a certainly well-rounded and satisfying account. Such also issues a tone that only punctuates the Spielbergian feel.

Also, assisting matters is Drummond and Hive Studios International’s impressive and lively effects. They make Magnus lovable, curious and adorable throughout the endeavor. This can be spied in a memorable configuration near the half hour mark. It involves Magnus comically roaming his new owner’s home when no one else is around. The outcome of this is simply adorable. It is utilized with abounding slapstick. Even when Magnus reaches adult size in the second half, and is notably more massive and powerful, this unthreatening sensation remains true. This is also a courtesy of Drummond and Bradley Betts’ seamless animation. Chris Wright’s music is, akin to the images they accompany on-screen, ceaselessly daring, sentimental and magical. There is a certainly appropriate John Williams-esque sensibility derived in the scoring. Additionally, the sound and camera and electrical department offer mesmerizing work. Tina Boody’s make-up contribution is fantastic. This general magnificence is also augmented in the sleek and immersive cinematography. It is also summoned in the previously unmentioned roles. For instance, David Roberts is terrific in his brief bit as Doctor. The same can be stated of Joanne Samuel as Doris Mercher. Tiriel Mora as Trevor Brown and Christopher Gibardi as Dr. Fred Tansy are also spectacular. Congruently, Stephen Davis is astonishing as Will Spencer. He is one half of a pair of intrepid local fishermen whose screen time is consistently comic gold.

My Pet Dinosaur is the perfect companion piece to Drummond’s astounding, Jules Verne reminiscent debut, Dinosaur Island (2014). Both presentations are wide in scope. Still, they are surprisingly intimate. They also showcase a strong focal point on their incredibly developed protagonists. There is also a palpable affinity for the subjects as well as the subject matter. These qualities make each respective undergoing increasingly illuminating. Correspondingly, they are genuinely good-natured and deftly constructed. These are the types of sincere and quietly moving children friendly ventures that infuse great lessons of life. This is while appealing to the often courageous spirit of youth. We rarely get these types of epic, blockbuster re-defining journeys anymore. Such provides more reasoning as to why Drummond is a talent to be watched. With My Pet Dinosaur, which was recorded partially in New South Wales, he has again provided audiences with an instant classic. This is the best family film of the year.

(PG). Contains some profanity.

In Australian Hoyts Cinemas theaters today. It will expand to New Zealand on May 27th.

“Triangle” – (Short Film Review)

By Andrew Buckner

Rating: ***** out of *****.

“Triangle” (2017), the debut short from sound mixer and composer turned writer-director Christopher Fox, is a triumph of the emotive power of minimalism on-screen. For five and a half out of the nine minutes which constitute the runtime of Fox’s effort, we sense both the confusion and inner-mechanisms of our hero, Dave (in a masterfully nuanced and purely convincing performance from Branden Macor). This is as he wakes up on a sidewalk and proceeds to survey his surroundings. There is not a stitch of dialogue during this section. Still, Macor’s facial expressions, clothing and often awe-struck gestures speak in-depth about the attempts of Fox’s protagonist to understand where he is in both time and place. Such is more than even an entire feature length picture of discourse into the subject would ever be able to do.

Fox also instills a quiet beauty to this section. It augments the transcendent impact of the work. Such is heard in the gentle, heart-stirring music from Nick Bohun. This sonic material highlights these afore-mentioned sequences. Such an alluring quality is also viewed in Fox’s immersive and illustrious cinematography. Such makes the many moments where Dave contemplatively looks out towards or treads alongside the nearby lake in this initial stretch increasingly astonishing and cerebral. Fox’s sharp editing and brilliant sound department contribution with Bohun makes these arrangements ever more affecting and encapsulating.

The destination Dave is seeking out makes this sentimental journey complete. It also continues the intimacy found in what came beforehand. Given that one of the wisest decisions Fox evokes, and one of the most breathtaking elements of the endeavor, is figuring out what is going on, I will not divulge this here. But, it is easy to state that the plot, which is given visual cues via brief flashbacks during Dave’s wanderings, is brilliant. It’s fusion of science-fiction and character-driven drama would make it wholly at home in a stand-out episode of Rod Serling’s groundbreaking American television series, The Twilight Zone (1959 to 1964). But, there is undoubtedly the core of a truly moving, independent fabrication glimpsed in every frame. The past, or possibly continuing, relationship between Dave and Diana (in a stalwart and charismatic enactment from Margo Goodman), which is unveiled late into the affair, moves the narrative spellbindingly into the formation of the title shape. The climax is just as clever and harrowing. What is most is noteworthy is its sincerity and subtlety. This is as the bit is propelled by two simple words.

The result is a complex, mind-bending and meditative display of Fox’s cinematic craftsmanship. All the previously addressed roles took over on this project are gorgeously administered. They demonstrate a new moviemaker who is certainly in top form. The rest of the cast and crew deliver just as well. Likewise, the resonance of all we encounter in the exertion lingers with fellow bystanders. It compels you to relate and become one with what Dave is undergoing. This fusion of enigmatic, anything but straightforward storytelling and sheer talent is just a fraction of what makes “Triangle” so exhilarating. For example, Fox’s latest demands multiple observances. This is to begin comprehending all its underlying themes and intricacies. Correspondingly, the dedication in the well-honed end credits also brings home the atmosphere of the depiction with profound strength. The result is undoubtedly one of the best presentations of its ilk I’ve witnessed all year. I highly recommend seeking this composition, which has been submitted to over fifty film festivals, when the opportunity arises.


“Queen of the Desert” – (Movie Review)

By Andrew Buckner
Rating: ***1/2 out of *****.

Writer-director Werner Herzog’s long shelved Queen of the Desert (2015) is a stunning and beautiful portrait of writer, archeologist and cartographer Gertrude Bell’s journey through the middle east in the early 1900’s. These qualities are most readily reflected in Peter Zeitlinger’s striking cinematography. The same can be said for Klaus Badelt’s sweeping, exciting and spectacularly dramatic music. Likewise, Nicole Kidman’s lead performance, alongside James Franco’s turn as Henry Cadogan, are spectacular. They highlight the top-notch enacrments of this A-list cast. The notable exception to this rule would be Robert Pattinson’s robotic depiction of the legendary “Lawrence of Arabia” himself, T.E. Lawrence.

Yet, the film has an old-fashioned demeanor that is consistently endearing. This is glimpsed in Herzog’s hopelessly sentimental treatment of the various romantic sub-plots Kidman, often unwittingly, finds herself entangled within throughout the affair. This is even if the assorted characters she falls for often visibly lack genuine on-screen chemistry with our heroine. They are also generally unlikable. The major exception being the first act fling involving Franco. These early scenes showcasing the aforesaid duo are among the most visually alluring and captivating sequences herein. Still, there is a palpable stiffness to these arrangements. It is also apparent in the often sluggish, calculated pace. These traits give the presentation an impression of being admirable but, never fully encapsulating. This feeling is generated through every frame of its one hundred and twenty-eight-minute runtime. Such results in an effort that errs by always reminding audience members that they are bystanders. It does this by never becoming warm or inviting enough to kindly welcome and pull them completely into the world on-screen.

This coldness is especially interesting given the fact that Herzog’s production frequently revels in its wonderful esteem for poetry. It is a fondness shared by a large portion of those Kidman meets along the way. There is also an incredible ability in the feature, articulated outright in a second act line of dialogue from Kidman, to find the elegiac in both the memorable and mundane moments of Kidman’s travels. These instances are most prevalent in the second half of the exertion. This is more than welcome. I state this because the last hour often comes across as if it is crawling to its conclusion. Such is increasingly disappointing given the grand, highly cinematic promise of what came beforehand.

But, it is this gentle eloquence and maturity which saves the exertion. Such is echoed in Herzog’s masterful behind the lens contribution. It is also overseen in his proficient, if formulaically structured, scripting. The outcome is undeniably stalwart. Even if the labor isn’t as detailed as it could be, the picture is a triumphant marriage of effects, sound, breathtaking landscapes and Michele Clapton’s astonishing costume design. In turn, there is almost always something in the imagery or speech bystanders can appreciate. Best of all, we leave Herzog’s latest with a sense that we have trekked alongside Bell. Consequently, we have grown to understand her, and maybe ourselves, a bit better. That is why Queen of the Desert is, despite its previously stated flaws, an adventure well-worth taking. It’s not as meticulous and brilliant as Herzog’s 16th century set Aguirre, the Wrath of God (1972). There also isn’t any of the oddly enlightening observations or obsessive viewpoints into the creation of art that made Fitzcarraldo (1982) so invigorating. The attempt is deliberately restrained and surprisingly straight-forward. Regardless, it does what all worthwhile movies should do: give us an experience we can reflect on and ponder long after the end credits have scrawled past our gaze. For that alone, I have no problem giving Herzog’s current opus my recommendation.

(PG-13). Contains adult themes and some profanity.

On video on demand and in select theaters today.