Category: AWordofDreams

“The Mason Brothers” – (Movie Review)

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By Andrew Buckner

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

The one-hundred and fourteen-minute debut feature from thirty-year-old writer-director Keith Sutliff, The Mason Brothers (2017), is a handsomely fashioned, if all too familiar, revenge tale. Deriving inspiration from Brian De Palma’s The Untouchables (1987) and Quentin Tarantino’s oft-mimicked Reservoir Dogs (1992), the KS Pictures production has all the tough talk and sudden bouts of violence expected from a crime story of this ilk. In this arena, Sutliff’s endeavor soars. The opus also triumphs in its Tarantino-like ability to entertain via dialogue. A great example of this would be in the many cases throughout the exertion where Sutliff’s fictional personas describe the failed scheme that takes place immediately before the commencement of the piece. Where lesser filmmakers would punctuate such arrangements with actual flashbacks to the event out of fear of losing audience intrigue, Sutliff forces spectators to participate by imagining the episode themselves. Such occurs via the verbal illustrations painted by our central figures in their frequent discussions among one another. The backstories of our leads and related expository instances are similarly addressed to equally potent consequence in this manner.

In turn, Sutliff creates a slick, classically designed caper. It is one which is as gripping when the fists fly as it is in its quieter episodes. Yet, this otherwise engaging movie, despite its penchant for narrative, never feels as if it fleshes out its characters in any satisfactory way. Yet, this works masterfully to make those we follow on-screen enigmatic. The same can be said for the relatively routine arc of events. Correspondingly, this celluloid vehicle offers no true surprises. Still, it succeeds far more frequently than it falters.

Sutliff chronicles Ren (in an intense, commanding performance from Sutliff), Jesse (in an exceptional depiction from Brandon Sean Pearson) and Orion Mason (in a brilliant, consistently compelling representation from Michael Ryan Whelan). They are a group of close brothers and expert robbers. When their botched plan to steal $10,000,000 via a Los Angeles bank results in the death of one of the members of this outlaw clique, it becomes evident that this fatal event was anything but an accident. This soon becomes believed to be a set-up. Seeking payback, Ren, the eldest and head of the team, hires a bounty hunter, Jerry (in a captivating enactment from Tim Park). His assignment is to uncover who was involved in this tragic incident. But, these fervently sought-after answers come with unwanted results. Soon one felonious mind is battling with another. This is as a rival neighborhood gang is declared to be the guilty party.

Co-producer Sutliff augments this intriguing plot with a script that is confidently paced. Though it concludes on a predictable note, the undertaking remains an all-around solid venture. This is largely a courtesy of the plethora of brutal, deftly executed action scenes Sutliff incorporates throughout the runtime. There is also an unwavering, no-nonsense atmosphere found in the labor. Such is a signpost of Sutliff’s taut, claustrophobic and ever-stylish guidance of the project. When combined with the dark, mood-setting cinematography from Errol Webber Jr. and Federico Vaona’s immersive music, the effort continues to astonish. Complete with a magnificent portrayal from Carlotta Montanari as Allena, splendid visual effects from John Myers and sharp editing from Gio Arias, the affair endures as a consistently dazzling genre outing. I highly recommend seeking it out.

The Mason Brothers will be released on Video on Demand in the United States of America, Germany/ Austria, Japan and in the United Kingdom on August 2nd, 2017 through Adler & Associates.

(R). Contains graphic language and violence.

 

“Land of Mine” – (Movie Review)

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By Andrew Buckner

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

A nominee for Best Foreign Language Film at the 89th Academy Awards, writer-director Martin Zandvliet’s Land of Mine (2015) is a tense, intimate and naturally gripping post-World War II tale. Inspired by true events, this Nordisk Film distribution release, concerns a team of 14 young men, all of whom are German Prisoners of War, that are trained to personally defuse the 2,000,000 landmines said to be left over from the recently ended combat. Set in Denmark during May of 1945, the bulk of the action in Zandvliet’s 101-minute feature focuses on the attempts of the group to clear a beach of its 45,000 hidden explosives. This is while being overseen by a Danish Army member, Sgt. Carl Rasmussen (in a spellbinding depiction from Roland Moller), who initially seems unconcerned with the general well-being of the squad.

The story alone is fascinating. Yet, Zandvliet’s screenplay makes this nightmarish chronicle evermore intriguing with its near-perfect pace. It is meticulously-moving and cerebral; exactly what the material demands. Moreover, Zandvliet also orchestrates a terrific balance of character development and nail-biting instances. The latter of which are all beautifully executed. Correspondingly, the believable dialogue and interactions by our on-screen personas further heightens the credibility the effort radiantly reflects. This triumphant attribute is a courtesy of Zandvliet’s top-notch authorship and guidance of the project. The same can be said of the powerhouse performances found within the presentation. Louis Hoffmann as Sebastian Schumann and Joel Basman as Helmut Morbach are especially good in their respective turns. Even though Rasmussen’s transformative attitude towards his crew is too sudden, it does little to detract from these high-functioning qualities.

Originally titled Under sandet (Under the Sand), this spellbinding endeavor is also illuminated by Camilla Hjelm’s masterful, 1960’s inspired cinematography. Sune Martin’s music is both haunting and marvelously emotive. Simultaneously, the persistent underlying dramatic and narrative intensity heightens the urgency at hand. It makes the feature evermore rousing and immensely watchable. Though not always satisfactorily detailed in its exposition, the picture is nonetheless memorable and masterful. The theme of youth risking life and limb in the name of violent confrontation, as well as the impactful finale, only drive these remarkable and unsettling traits home with stalwart force. The result is a bold, mesmerizing and singular cinematic experience; a must-see work.

(R). Contains adult language, adult themes and violence.

“Toni Erdmann” – (Capsule Movie Review)

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By Andrew Buckner

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

Though sluggish and lingering on occasion, Toni Erdmann (2016), a Best Foreign Language Film nominee at the 89th Academy Awards, is a pleasant and leisurely, quietly charming journey for most of its massive 162-minute runtime. The performances are solid, natural and believable. This is especially accurate when considering Sandra Huller’s lead depiction of the hardworking Ines Conradi. Peter Simonischeck is just as impressive as Conradi’s practical joker of a father, Winifred. Coincidentally, he is responsible for setting the amusing, yet threadbare, plot in motion. This is when he creates the title alter ego in an endeavor to push his way into his daughter’s business life.

Throughout the course of the narrative, there are enough similarly authentic moments of offbeat laughter, engaging character development and subtle drama to keep the project afloat. Additionally, Maren Ade’s sharp and sophisticated writing and direction, as well as Patrick Orth’s ruggedly immersive cinematography, highlight the previously stated life-mirroring qualities of the project well. Still, this can’t mask the fact that there simply isn’t enough story to merit the extended length. The result is a flawed, but ultimately rewarding and mature, cinematic venture.

(R). Contains adult language, graphic nudity, sexuality and drug use.

Released theatrically in the United States on December 25th, 2016.

Available now to rent or buy at Amazon.

“Alien: Reign of Man” – (Movie Review)

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By Andrew Buckner

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

Much in line with Ridley Scott’s vastly underappreciated Prometheus (2012) and Alien: Covenant (2017), writer-director Justin Price’s Alien: Reign of Man (2017) is cerebral, ambitious science-fiction. Though bound by the iconic series Scott started with Alien (1979) in name only, there is a sharp focus on characterization, origin and exposition prevalent in Price and Scott’s aforesaid efforts. Such sharpens the many quiet moments of awe, planetary exploration and seamlessly woven elements of fear utilized in these endeavors. There is also a gradual and fluent pace to these presentations. Such makes each respective venture much more than a collection of routine space scares. A remarkable eye for masterfully designed shuttle interiors as well as a beautifully constructed atmosphere of impending dread also uplifts these exertions.

Yet, Price’s feature is distinctly its own endeavor. Chronicling a group of interstellar travelers who are tasked with triggering a mechanism which will bring Earth back to a time before its decline, the account is naturally intriguing. The marvelous, claustrophobic direction and pleasantly inquisitive scripting from Price make this low-budget narrative evermore engaging. This stellar handling of the material extends to the backstory of our lead, Zan (in a solid turn from co-producer Khu). Such bits are potently glimpsed in dream-like flashbacks throughout the endeavor. The inclusion of this element augments the sense of urgency and intimacy coursing through the proceedings. It also makes the wonderfully understated finale dramatically tense and satisfying. Correspondingly, this is a terrific bookend to a picture that grips audiences with its personal touch, elegiac essence, scope and inventiveness immediately. The commencing credits sequence is where this latter-addressed quality is especially evident.

This lean, effective and efficient eighty-five-minute affair, distributed through Uncork’d Entertainment, has a heavy reliance on effects. Luckily, they are largely impressive. Still, the animation of the multi-eyed entities spied in the creative cover art is questionable. Given that the viewing of these creatures is primarily reserved for a few quick moments during the opening and concluding acts, this isn’t as much of a problem as it could be.

Though the delivery of the otherwise fascinating dialogue is underwhelming at times, Price’s labor still sports solid performances all-around. Torrei Hart as Viceroy, Deanna Grace Congo as Constance and Cameron White as Reed provide solid proof of such a statement with their robust enactments. This is even if Price doesn’t focus on what drives them from a human level as much as he does with Zan. Further helping matters is the rousing, highly cinematic music from Julian Beeston.

In turn, Price has assembled a superior B-movie. Some of the motions of the film’s arc of events are routine in hindsight. Regardless, the photoplay is so well-made, thoughtful and broodingly tense that such criticisms barely register. It is also a lot of fun. Because of this. Price’s latest triumphs from both a technical and chronicle-oriented standpoint. Price’s work may not be as groundbreaking as Scott’s similar in moniker franchise. Regardless, it is a small wonder unto itself; a successful on-screen persona-minded action-thriller that pulsates with real heart.

Alien: Reign of Man will be available on Video on Demand on August 1st, 2017. It will be released on DVD November 14th, 2017.

“Mom and Me” – (Capsule Movie Review)

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By Andrew Buckner
Rating: ***** out of *****.

Irish writer-director Ken Wardrop’s seventy-seven-minute documentary, Mom and Me (2015), is a sweet, poignant and frequently amusing love letter to the unbreakable mother-son bond. Told in a deceptively simple manner, which benefits the general demeanor of the production splendidly, Wardrop centers his action around a local radio broadcast in Oklahoma. The host of said program is the charming and earnest Joe Cristiano. As the photoplay commences, we soon learn he is doing a Mother’s Day special. Cristiano takes this as a chance to invite listeners to call and discuss their relationships with those who are celebrated on this holiday. From herein, Wardrop fashions a varied, complex, gripping and undoubtedly impactful portrait of the subject matter. This is as we meet the callers and hear their tales. Wardrop also opens the door to see even more intimately into the lives of these individuals. He does this by allowing viewers a chance to personally witness scenes between these aforesaid familial counterparts unfold.

Though every narrative is strikingly different, they are all uniquely effective. In turn, Wardrop takes us through the emotional ringer with gentle, quiet sincerity. This is especially evident as this efficient, tightly paced and beautifully fashioned chronicle alternates between themes of regret, drug addiction, imprisonment and Alzheimer’s Disease. These more wrenching episodes match the generally upbeat air of the effort masterfully. The concluding sequences are especially harrowing. They balance all the prior beats of the endeavor spectacularly well. Consequently, they bring every individual yarn to a satisfying conclusion. John E.R. Hardy and Benjamin Talbott make this arrangement all the more immersive with their phenomenal musical contributions. This can also be said of the editing from Mark Bankhead.

The result is consistently ardent and brilliant; one of the best films of the year. This is a testament to true masculinity. It is one which will undoubtedly prove relatable to  audiences of all ages and backgrounds. I whole-heartedly recommend you check out Wardrop’s latest, which is being distributed through Uncork’d Entertainment and Visit Films, when it is released theatrically and on video on demand May 5th, 2017.

Production Companies: Boom Pictures and Venom Films.

(Unrated). Contains adult themes.

 

“Beacon Point” – (Movie Review)

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By Andrew Buckner

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

Beacon Point (2016), the debut feature from co-writer and director Eric Blue, is a subtle, intelligent and enigmatic alien invasion tale. Yet, there is a human center, reflected in the familial motivations ultimately unveiled in the late stretches, which becomes the most masterful element in the cinematic arsenal of this eighty-two-and a half minute long production. Such a component draws an undeniable comparison to Robert Zemeckis’ brilliant adaptation of Carl Sagan’s same said 1985 novel, Contact (1997). There is also an undeniable alignment to be found in these aforesaid traits with Denis Villeneuve’s exceptional big-screen treatment of Ted Chiang’s fantastic short literary piece, “Story of Your Life” (1988), Arrival (2016). Additionally, the calculated, slow-burn method in which the events unfold, as well as the general setting itself, calls to mind Daniel Myrick and Eduardo Sanchez’s ground-breaking found footage exertion, The Blair Witch Project (1999). Adding to this varied pot of movie-going ingredients is the inclusion of a brief opening, that runs approximately two minutes, which appears to mimic the beefed up, action-oriented nature of John McTiernan’s Predator (1987). Though this commencing bit feels out of place with the cerebral and dramatic turns that take place throughout the rest of the attempt, it is an intriguing, if all too familiar, way to lure audiences into the narrative at hand. The next few arrangements afterward, oddly enough, seem as if they are lifted from another entirely different category of chronicle: the buoyant comedy. Such creates a strange confection of genre beats. Yet, Blue, blends them into the arc seamlessly and sharply. This makes the overall result of the affair additionally admirable and unique.

Blue tells the account of a realtor, Zoe (in an unflinching, well-rounded and always captivating portrayal from Rae Oliver a.k.a. Rachel Marie Lewis). In the previously addressed early comic stages of the photoplay, we see her deliberately trying to get her potential buyers out of the house as quick as possible. This, we learn, is so that she can start a ten-day hiking trip through the Appalachian Trail. Yet, almost as soon as she departs on this journey, which promises an escape from the tribulations and stresses of the laboring world, she finds herself plagued by surreal nightmares. These are horrific visions she silently believes to be true. As those around her start to get sick and act strange, and sights lapse unexpectedly into her brain from her childhood, she soon learns that there is an extraterrestrial menace that has chosen the group. From herein, viewers are treated to a perfectly symmetrical balance of finely tuned and staged horror arrangements and personal drama. This is as we follow Zoe in her attempts to reveal why she has been  targeted in this fashion.

The plot is both bold and amusing. It is made increasingly gripping via Blue’s taut, visceral direction. The highlights of the fabrication, a terrifying flashback segment spied at the midway mark and the appropriately cryptic and beautifully made climax, are definitive proof of Blue’s abilities in this arena. Yet, the script Blue penned with Traci Carroll is just as solid. It is smartly, meticulously paced. Correspondingly, it is filled with credibly authored and delivered dialogue. Even if the twists are a mixed bag, with about half being expected and the rest a genuine surprise, this respective item is another pleasant component of the photoplay. It starts early on and is administered frequently throughout the runtime. The constant character focus is just as admirable. Likewise, the spectacular performances all around only augment this factor. Jon Briddell is excellent in his turn as the often-hostile group spearhead, Drake Jacobs. Eric Goins’ enactment of the overworked, but still frequently comical, Dan, is magnificent. Jason Burkey gives a stellar depiction of Brian. He quickly summons a flirtatious rapport with Zoe. RJ Shearer as Cheese is also wonderful in his particular representation. Furthermore, Jason MacDonald as Zoe’s Dad, Paisley Scott as Young Zoe, Jayson Warner Smith as Hunter and Randall Taylor as Phil are immensely proficient in their secondary roles.

Also, assisting matters is Kevin Riepl’s gently melodic, and ear-pleasing, musical score. Such punctuates every movement of the picture splendidly. The cinematography from Jim McKinney is illustrious and always striking. Scott Salamon’s editing is fluent. The make-up, costume, camera and sound department institute a terrific contribution. Deron Hoffmeyer’s visual effects are similarly impressive. Best of all, Blue’s flick mechanizes them in a manner that has proven most successful and effective with anecdotes of this ilk: only sparingly. Such makes this Georgia and North Carolina recorded endeavor refreshing and noteworthy. It even adds a welcome, old-fashioned touch to the proceedings. Bystanders only get the briefest glimpses of the creatively designed otherworldly entities that dominate the title area. This is with our fullest view transpires at the thirty-four minute mark to great consequence. But, what we see is certainly enough to enduringly haunt and intrigue us.

In this category, as well as many others, Blue succeeds at getting our psyches to ponder what we have seen. Yet, he doesn’t use the creature from outer space scenario purely for fear (as is the case of far too many similar efforts nowadays). There is a sense of awe; a yearning to understand what is occurring that is ever-present. This decision immerses us in Zoe’s attempts to unravel this ancient secret that has been thrust her way even more. Consequently, it makes us care. This is while giving us something to think about. Such makes Beacon Point, which will be released on video on demand and DVD through Uncork’d Entertainment on May 2nd , 2017, tower above its predecessors. In turn, Blue has crafted an illuminating and electrifying experience. This is a must-see for fanatics of thought-provoking science-fiction and horror alike.

(Unrated) Contains violence, adult themes and language.

The Facebook page for the project can be found here.

A Brief Word on New Film Releases: “Assassin’s Creed”, “The Devil’s Candy”, “The House on Willow Street” and “A Monster Calls”

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By Andrew Buckner

The following is a collection of short reviews of movies that have been recently made available on video on demand. The Devil’s Candy and The House on Willow Street are, in addition to being showcased on the platform mentioned above, also currently showing in select theatres.

ASSASSIN’S CREED

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

Though the general concept is intriguing, Assassin’s Creed (2016) becomes another popular video game series adaptation that is given mediocre treatment via wooden performances, uninspired action sequences, direction and writing . The story arc is also rather by the numbers. Skip it. 115 minutes. (PG-13) Starring: Michael Fassbender, Marion Cotillard. Director: Justin Kurzel.

THE DEVIL’S CANDY

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

A masterful melding of metal, muse and the memorably macabre, The Devil’s Candy (2015), the latest horror film from writer-director Sean Byrne, perfectly parallels the paranormal with artistry. The result is a beautifully built, stunningly stylish, efficient and effectively ghoulish gem that constantly called to mind the cinema of Mario Bava, Lucio Fulci and Rob Zombie. Highly recommended! 79 minutes. Unrated. Starring: Ethan Embry, Shiri Appleby.


THE HOUSE ON WILLOW STREET

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

The House on Willow Street (also known as From a House on Willow Street) (2017) starts out as a unique take on the abduction tale. Sadly, after an intriguing first act, the film descends into the usual barrage of cheap jump scares and garden-variety demonic possession shtick for the rest of the runtime. Making matters worse: characterizations and storyline generally get the cold shoulder during these later stages. Such gives us no reason to care and no one to root for. The ending, as well as the effects, are especially tepid. A cliché-ridden disappointment. 86 minutes. Unrated. Starring: Carlyn Burchell, Gustav Gerdener. Director: Alastair Orr.

A MONSTER CALLS

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

J.A. Bayona’s film version of A Monster Calls (2016) is a well-meaning, respectable and generally faithful adaptation of screenwriter Patrick Ness’ young adult fantasy novel of the same name. Yet, it only intermittently recaptures the narrative poetry, beauty and deeply symbolic nature that made Ness’ work such a mammoth achievement. Additionally, the cartoonish creature effects and broad characterizations further hold the production back from hitting the mark of greatness. 109 minutes. (PG-13) Starring: Lewis MacDougall, Sigourney Weaver.

“Devil’s Domain” – (Movie Review)

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By Andrew Buckner

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

New York born Writer-director Jared Cohn delivers a beautifully made, splendidly acted and engrossing take on an oft utilized concept in Devil’s Domain (2016). Cohn’s invention concerns a cyber-bullied teenager, Lisa (in a compelling performance from Madi Vodane that immediately and continuously draws sympathy from audience patrons). Frustrated by the torment that she undergoes daily, and a video of our central figure that only makes our central figure more of a target for harassment, Lisa meets an appealing stranger online. She initially states that her name is Destiny (in a hypnotic and superb enactment from Linda Bella). Almost immediately Destiny reveals herself to be The Devil. Drawn into the powerful and seductive promise of having her desires fulfilled, Lisa makes a deal with Destiny. The promise soon turns to tragedy. This is as Lisa’s peers find themselves the unwilling victim of this unholy pact.

Despite the familiarity inherent in the general plot, Cohn’s feature never feels predictable or overdone. Such is a courtesy of Cohn’s competent pace. It is also the consequence of his terrific balance of characterization and story. The horror sequences, especially a third act arrangement involving Lisa watching someone who recently confessed her feelings to our protagonist being hit by a car, are all effectively staged and tremendously executed. Cohn also implements a finale that shares the generally tried and true sensation of the tale itself. Yet, still it arises as a potent punctuation point to this memorable thrill ride. It also serves as a necessary extension of where the narrative appears to be naturally headed.

Such an ability to turn tropes into triumphs is the result of Cohn’s masterful, ever-taunt guidance of the project. His script, which is immersed in realistic dialogue and motivations, provides a consistently solid backbone to this celluloid exhibition. The photoplay is also made increasingly stalwart by Josh Maas’ atmospheric and striking cinematography. Additionally, Rob Pallatina’s editing is seamless and sharp. Correspondingly, the special effects are so credible that they greatly enhance the believability of what we are watching on-screen. Furthermore, unlike many similar genre efforts of the day, there isn’t an overreliance on these filmmaking illusions to mount intensity or culminate dread. This is another indicator of the sheer craftsmanship at hand.

Also, assisting matters are the top-notch depictions. Michael Madsen is especially good as Lisa’s compassionate and understanding stepfather, Bill. The music from Iggy & The Stooges, DMX and Onyx, reiterates both the tone and the overall beats of the affair uniquely and spectacularly. Likewise, the piece casually ebbs and flows eye-catching style. This is evident instantly in an opening credits sequence that is filled with comic book-like renderings of the leads. This is paired with Satanic symbols and images. The section is capped off by excellent animation work from Devin J. Dilmore. In turn, this bit calls to mind the bravura cinematic flash of a Gallo feature from legendary Italian moviemaker Dario Argento. This visceral flare, and alignment to the aforesaid maestro, is recaptured in the variety of imaginative and grisly kill scenes found throughout the labor. The outcome of these elements is a gripping and ever-immersive example of all-around talent; a brilliant tour de force. See Devil’s Domain when it is released in limited theaters and on video on demand on May 30th, 2017.

Runtime: 92 minutes and 48 seconds.

Distribution Company: The Orchard.

Production Company: Cleopatra Films, Cleopatra Records.

“Life”- (Capsule Movie Review)

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By Andrew Buckner

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

Life (2017) is, for better and for worse, exactly what I expected it to be. The photoplay, predictably, takes its every move from the Alien (1979) playbook. Correspondingly, the plot, which involves a space crew being systematically slaughtered by an ever-evolving extraterrestrial creature, is where this is most evident. Yet, it forgets many of the things that made Ridley Scott’s movie so legendary. This is its constant balance of the awe-inspiring and the ominous. But, what is most noticeably lacking is Scott’s well-developed, relatable characterizations. Moreover, Life is in too much of a rush to unveil its monstrous threat. The consequence of this is, besides ignoring the gradual and meticulous build-up of Scott’s classic, merely a forced attempt. This is at getting the audience to know its broadly etched leads in a wholly secondary and unoriginal fashion. Albeit, in the scant twenty-minutes of screen time allotted before the martian organism, Calvin, takes over. Such makes the endeavor ultimately feel heedless and generic. In turn, this science-fiction/ horror entry never gives its proven capable cast, helmed by Jake Gyllenhaal as David Jordan and Rebecca Ferguson as Miranda North (both of whom deliver satisfactory, serviceable performances), a chance to really make their characters a stand-out. Additionally, Ryan Reynolds again enacts another cloying, and unnecessarily comic, variation of his usual on-screen persona. This is in his one-note representation of Rory Adams. What also hurts matters is that the sets, though detailed, and low-tech effects are mediocre at best.

Yet, there is a dogged B-movie charm to the whole endeavor. This is heightened by the competent writing from Rhett Reese and Paul Wernick and Daniel Espinosa’s same-said direction. Such qualities make these flaws easy to forgive. Seamus McGarvey’s eye-popping cinematography, Jon Ekstrand’s score and Jenny Beavan’s costumes are also impressive. The same can be said of the sharply rendered sound department work as well as Mary Jo Markey and Frances Parker’s seamless editing.

Espinosa’s endeavor is never terrifying. It also fails to sufficiently erect and maintain a genuine atmosphere of suspense. This is despite its numerous attempts. Furthermore, the majority of the scares are of a garden-variety ilk.  Yet, this Skydance Media, Sony Pictures Entertainment (SPE) and Columbia Pictures release is certainly an enjoyable, if ultimately minor, distraction.

The project undoubtedly benefits from concluding on one of the most intriguing and smirk-inducing bits in the whole production. Such is a nice send-off to a third act that is, like the movie itself, alternately amusing and absurd. A prime example of this is found in a near-climactic segment which involves Gyllenhaal tearfully reading Margaret Wise’s timeless children’s book Goodnight Moon (1947). It is clearly designed to evoke an emotive resonance with its audience. Instead it conjures laughter. As this sequence goes on, it also proves to be extraneous. Still, the overall result of this severely flawed affair is familiar, but fair, entertainment. Espinosa has constructed the type of clunky, imitative picture that is best described as “a guilty pleasure”. It is one perfectly suited for viewing on a rainy day.

103 minutes. Rated (R) for violence and language. Opened on March 24th, 2017.

“Wicked Conclusions” – (Short Film Review)

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By Andrew Buckner
**** out of *****.

“Wicked Conclusions” (2016), a twelve-minute and forty-four second short picture from resident Pennsylvanian and co-writer-director Phillip G. Carroll, Jr., is a tense, taunt and thoroughly satisfying horror entry. It tells the tale of Amber (in an always captivating and credible turn from Chloe Hendrickson) and Henry (in a masterful portrayal from Boy-Yo Korodan that treads effortlessly on the line of child-like naivete and unsettling menace). They are imprisoned in the basement of their captor, Ben (in a well-rounded depiction from Erik Searle that conveys the conflicts of his imagined persona in a way that colors him brilliantly as both possible protagonist and antagonist for the bulk of the piece). Such instantaneously garners our attention by opening with a disarmingly light set-up. This includes an unseen individual putting up a sign for a lost dog. During this time, a surprisingly upbeat number pours from the soundtrack. The next scene carries on this impression. Such transpires in a bit which involves Ben making pancakes while casually conversing with an unseen entity. This arrangement is interesting because of the immersive and magnificent angle in which it is shot. It is one which only shows the side of Ben’s face and focuses in mainly on his mouth. Because of this, Carroll immediately defies our expectations. Yet, when Amber and Henry are introduced in the next scene, the invention becomes increasingly engrossing for far more grim reasons. This is as Carroll smartly tackles the afore-mentioned question of Ben’s true intentions. He also engages spectators in a nail-biting tug of war. This is until the rousing, if ultimately predictable, climax. All the while, we attempt to figure out who to root for. This is by mentally reiterating the tagline of the labor: “Who’s the real monster here?”

This is as much a courtesy of Carroll and Roman James Hoffman’s breakneck paced, smartly-written screenplay as it is Carroll’s claustrophobic, stylish and accomplished direction. Carroll seems intent on taking a familiar arrangement, such as the one inherently held in his narrative, and making it rise. This is from its endlessly empathetic shifts in perspective alone. Such twists in viewpoint are administered triumphantly. Carroll and Hoffman’s dialogue also helps matters. This is by being both believably straight-forward and powerfully delivered by those on-screen. Consequentially, the illusion of watching the ghastly scenario that is unfolding before the eyes of the audience is never broken. These items, along with the clues that are casually issued early on as to what is truly transpiring, make the endeavor more clever and easy to admire. But, what works best of all is the masterful handling and staging of the fearful elements themselves. They are beautifully, seamlessly implemented into the account. This is in a manner that never feels artificial. Likewise, it is never as if these pulse-pounding constituents exist to momentarily upstage the character-oriented focus of the exertion. This act itself is something of a rarity in cinema nowadays.

Budgeted at a mere $800, this PGC Studios, Fear Crypt Productions and Frank Horror fabrication also benefits from Sasikumar B’s sharp and assuredly effective music. The cinematography from Ryan Geffert is dark, brooding and impressive. Carroll’s editing is equally striking. Samantha Morris’ sound work is crisp and remarkable. The three-person camera and electrical department further enhance the all-around quality of the enactment.

These components all come together to compliment the unbroken atmosphere of dread Carroll engineers throughout the photoplay. With his tenth stint as behind the lens administrator, Carroll has crafted a balanced, memorable and monumentally mounted fusion of talent. It is one which, in the tradition of the best brief fictions, does not have one extraneous ingredient. Everything directly correlates with the unraveling of the yarn at hand. Most importantly, it does this while being massively entertaining. Carroll has evoked a wonderfully harrowing, haunting, vivid and visceral voyage into darkness. It is one which is also noteworthy for its restraint. This is exemplified via its ability to terrify without ever dissolving into excessive violence. For this, as well as its brash displays of bravado and storytelling prowess, the Halloween day released “Wicked Conclusions” is an unshakably solid addition to Carroll’s filmography. It refreshingly enthralls from start to finish. Simultaneously, it operates as a victorious orchestration of progressively bleak tone. In so doing, it comes with my highest recommendation to genre fanatics. Carroll is a silver screen chairman to be watched.