A Reel Review: FANTASTIC BEASTS AND WHERE TO FIND THEM

You can’t go home again. Or at least, that’s what they say. Returning home to try and recapture old magic is often an impossible task. For storytellers and filmmakers, returning to a fictional world of their own creation after a long absence can be equally challenging, and in the past decade, many have tried and failed. For author/screenwriter JK Rowling and director David Yates, returning to the world of HARRY POTTER is a journey being watched with many nervous eyes.  

In the 1920’s (70 years before Harry Potter is born), Newt Scamander (Eddie Redmayne), a young wizard, arrives in New York City with a bottomless case of magical creatures which are illegal to have in the non-magical world of humans. The case is lost, and some creatures escape…which leads Newt across the city in a chase to recapture them without harm.

FANTASTIC BEASTS AND WHERE TO FIND THEM has a whole lotta movie going on. Not content to just have a film consisting of chasing and capturing amazing creatures (although the chase-and-capture scenes are incredibly fun), series creator and screenwriter JK Rowling and director David Yates pack the film with a web of many storylines. Newt crosses paths with a human (Dan Fogler), fellow wizards (Katherine Waterston and Alison Sudol), the governing body of magic in America, (led by Colin Farrell and Carmen Ejogo), and a secret cult looking to hunt down wizards and witches (led by Ezra Miller and Samantha Morton). Toss in a mysterious magical dark entity which is destroying buildings and killing humans, and FANTASTIC BEASTS become a web of intrigue. There are many storylines, many of which seem separate from each other, which eventually come together nice and tight by movie’s end.

Long-time fans of the HARRY POTTER franchise have a lot to be happy about, and a lot to get used to. While the original eight films dealt with schoolchildren learning and growing up, this one takes place in the adult world which brings about a change in tone. It’s firmly set in the world of HARRY POTTER, so terms such as spells, wands, and witches are there to grasp. But at the same time, gone are familiar terms such as professor and quidditch. The film handles itself very business-like, with characters coming second and the plot coming first.

The film more-than lives up to its title. The magical beasts which reside in Newt’s case are wonderfully realized; taking on many shapes and forms with wonderful abilities. The beasties play an important role in the film’s enjoyment, as they provide plenty of whimsical fun in this adult-world tale. Director David Yates keeps the pacing brisk with an excellent sense of momentum and energy, and the darker scenes would feel right at home in any horror movie. James Newton Howard provides an excellent score.

The goddamn 3D is very good.

The actors and actresses are perfectly cast and go a long way in selling the ideas going around. Eddie Redmayne once again proves himself to be one of the world’s finest actors, playing Newt as a brilliant, caring, yet aloof and reckless wizard who is a bit shy and socially awkward. It’s a remarkable performance, and makes the Newt character an important entry in the POTTER universe. Katherine Waterston always seems to be stuck in the same gear, and Colin Farrell is excellent as always. The show is nearly stolen by Dan Fogler and Alison Sudol, whose budding love-affair (between human and witch) is fun to watch. Ron Perlman is perfect as a goblin gangster.

The third-act of the film unfortunately puts our now-beloved beasts on the backburner in favor of way too many fight scenes with wizards hucking CGI lights and blobs at each other (it reeks of studio meddling). Seemingly aware of this, Yates and Rowling manage to steer the film back to the creatures for the finale…which also packs in a twist which fans will eat up like chocolate frogs. By film’s end, FANTASTIC BEASTS serves as a solid first-chapter in a new set of stories, but it also stands alone as its own adventure. It is fun, eye-popping, intriguing, and for as much new material there is…feels comfortable. Going home has never felt better.

BOTTOM LINE: See it

A Reel Preview: Everything You Need To Know About FANTASTIC BEASTS AND WHERE TO FIND THEM

This week, author JK Rowling’s world of wizards, witches, and magical creatures enters a new era when FANTASTIC BEASTS AND WHERE TO FIND THEM lands in theatres. Here is everything you need to know about this highly anticipated film.

What is this all about? -  FANTASTIC BEASTS takes place in the same universe as HARRY POTTER and his adventures. Set 70 years before Harry is born, the story is about a case of magical creatures which gets lost in the non-magical (muggle) world; specifically, New York City.

What is this based on? – FANTASTIC BEASTS is based on the book of the same name, written by JK Rowling in 2001. The book contains no plot, and instead serves as a “schoolbook” that a wizarding student would study. The fictional author is Newt Scamander, who is the main character in the film.

Who is behind this? – This film marks the debut of JK Rowling as screenwriter. It is being directed by David Yates, who helmed the last four HARRY POTTER films. Yates’ other theatrical credit is this year’s giant stinking turd THE LEGEND OF TARZAN (or BORE-ZAN).

Who are the actors and actresses? – The central role of Newt Scamander is held down by Eddie Redmayne, who won an Oscar in 2014 for his stunning portrayal of Stephen Hawking in THE THEORY OF EVERYTHING. He was also nominated in 2015 for THE DANISH GIRL. His other credits include MY WEEK WITH MARILYN (2011), and LES MISERABLES (2012). Redmayne is joined by Katherine Waterston (daughter of Sam from LAW AND ORDER), who appeared in last year’s STEVE JOBS, and Paul Thomas Anderson’s INHERENT VICE (2014). Also tagging along are Colin Farrell, Jon Voight, and Ezra Miller. Ron Perlman (HELLBOY), provides the voice and motion-capture for a goblin gangster.

Random Facts – The name Newt Scamander appears on the Marauder’s Map in the film HARRY POTTER AND THE PRISONER OF AZKABAN (2004) * The film will take place in the United States, which is a departure from the previous films, which were set in the UK * Eddie Redmayne was the first and only choice for the role according to series creator JK Rowling * In the HARRY POTTER universe, Newt’s textbook is required reading for first-year students *

What to expect – It has been five years since the last film in the HARRY POTTER series, but that doesn’t mean the popularity of the franchise has waned (read Reel Speak’s review of a recent community festival HERE), so no matter how the film is, we can expect a massive box office hit. On the screen, Eddie Redmayne has proven to be one of the best actors working today, and can easily carry a film on his shoulders. Parent company Warner Bros. is a concern, as they have been known in the past year to meddle and butcher films in the editing room (see the last two DC Comics disasters). Behind the screen, Rowling is a very good storyteller, and her transition from writing novels to screenplays should be an easy one for her. But behind the camera, we have David Yates…whose rush-job shooting and editing style nearly sunk the last four HARRY POTTER films, and his BORE-ZAN movie this past summer was one of the worst of the year. During his original POTTER run, he was bailed out by the strength of the source material; the story was just too strong to be killed by his lousy style. So hopefully, the story by JK Rowling is once again good enough to survive its inept director. Sometimes magic is all we need.

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FANTASTIC BEASTS AND WHERE TO FIND THEM arrives November 18^th in 2D, 3D, and IMAX formats.

A Reel 25: BEAUTY AND THE BEAST

“Be our guest…”

This month marks the 25^th anniversary of Disney’s BEAUTY AND THE BEAST. 

 

Based on the French fairy tale of the same name (and partly on the 1946 French film version), in which a beautiful young woman falls in love with a prince who had been turned into a beast, BEAUTY AND THE BEAST was the 30^th animated feature film to be produced by Disney…but its origins would go much further back in time. Coming off the success of SNOW WHITE AND THE SEVEN DWARFS in 1937, Walt Disney was looking to adapt the story to the film, but the story proved to be a challenge. The project would sit on virtual shelf until the late 1980’s when it was revived, and it would become the first Disney animated film to use a script; as most animated films were developed using storyboards. 

After some stops and starts (including a complete scrapping and starting over in 1989), first-time feature directors Kirk Wise and Gary Trousdale were hired, and they in turn asked songwriters Howard Ashman and Alan Menken, who had written the song score for Disney’s successful THE LITTLE MERMAID (1989), to develop the film into a Broadway-style musical. Since the original story had only two main characters, the filmmakers enhanced them, added new characters taking the form of household items to guide the audience through the story, and added a real “villain” to complete the story. The film would use a combination of hand-drawn and computer animation, with new software and techniques allowing for a wider range of colors and much greater depth and movement. 

 

Paige O’ Hara, a Broadway actress, was cast as Belle, the main character, and Robby Benson was cast as Beast. Jerry Orbach, of TV’s LAW AND ORDER fame, donned a French accent to play the role of Lumiere, the butler who was turned into a candlestick, and Angela Lansbury provided the voice of Mrs. Potts, the castle cook turned into a teapot. The film’s songs were recorded live with the orchestra and the voice cast, giving it a cast album-like energy. 

 

In November of 1991, BEAUTY AND THE BEAST was released and met with critical acclaim. At the box office, it would be the third most successful draw of the year, surpassed only by TERMINATOR 2: JUDGEMENT DAY and ROBIN HOOD: PRINCE OF THIEVES…which was still a great feat for an animated movie. It would be the first animated film to be ever to be nominated for Best Picture, and would remain so until 2010 when the category was expanded to 10 films. At the 64^th Academy Awards, it would be nominated in six categories (including two for Best Original Song), and would win two; for Best Original Score and Song. Years later, IGN would rank the film as the greatest animated movie of all time, and in 2002 it would be selected for preservation in the National Film Registry by the Library of Congress. 

 

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The impact of Disney’s BEAUTY AND THE BEAST would go far beyond Oscars and dollars. From 1989 to 1999, Disney was going through what film-historians refer to as the “Disney Renaissance”; in which the famed studio went through a creative resurgence which restored public interest in their films and their products. BEAUTY AND THE BEAST was the third film made during this period, and would contribute greatly to Disney’s decade-long success. In that decade, countless kids and families would have shelves of VHS tapes packed with Disney titles, and in this Blogger’s household, BEAUTY AND THE BEAST was the film that was picked the most often. This Blogger’s little sister, then five years old, watched the film all the time…and knew every character, song, and moment in the film. It became a family favorite, and this Blogger’s little sister now shares her enthusiasm for the film with her daughter…and it’s certain that is a scene being played out with many families. BEAUTY AND THE BEAST is a legacy film; one that is passed down from generation to generation, transcending time over and over again.

 

“Tale as old as time…”

A Reel Review: ARRIVAL

In cinema, aliens have been arriving on Earth for tens of decades with all sorts of intentions. There have been those who want to kill, kidnap, and torture us, and there have been others who want to befriend and educate us…with the occasional one who just wants to hang out and eat candy. The genre can feel stale sometimes, which makes the landing of Denis Villeneuve’s ARRIVAL very timely…and what a landing it is.

Twelve mysterious alien craft have arrived across the globe and sends the world into a panic. To discover their intentions, the U.S. government enlists the help of Louise (Amy Adams), a troubled language professor, and Ian (Jeremy Renner), a theoretical physicist. Under the command of U.S. Army Colonel Weber (Forest Whitaker) and CIA Agent Halpern (Michael Stuhlbarg), the team races to communicate with the silent aliens before the world tears itself apart.

The most important question ever to be answered when aliens arrive on Earth is, what are their intentions; to destroy, or befriend us? ARRIVAL spends most of its time with its characters trying to solve this mystery, which is a monumental process. The large, tentacled aliens do not speak and only communicate with strange symbols, and Louise and her team have their work cut for them in learning the language and figuring out how to communicate back. It’s a race against the clock, as the more hostile nations of the world are gearing up for war, which of course makes every other country nervous enough to mobilize their military.

Despite the massive, worldwide events that are happening here, ARRIVAL is still very much a deep character piece. Louise has some serious demons that she’s dealing with the whole time, and as an intellectual, uses her troubles to her advantage in deciphering the alien code. However, towards the end, ARRIVAL presents a mind-bending, gut-punching, breath-taking, brain-destroying TWIST which flips the entire film upside-down. It is executed perfectly and not just for shock value, as it justifies the arrival of the aliens and Louise’s personal issues, and by the time the credits roll, the true meaning of the film comes as a revelation. It is so good, one would want to immediately view the film again.

Denis Villeneuve shoots, frames, and edits his film with meticulous care. Pacing is perfect, and every shot has an expressed purpose. It is beautifully shot, and Johann Johannsson’s score adds to the ominous atmosphere. Pacing is tight, humor is well-timed, and the surprises are perfectly executed.

Amy Adams does an outstanding job here. Her character’s personal struggles drives her, and with a single glance can convey the amount of turmoil she’s going through underneath. Jeremy Renner is equally outstanding. His character is like a kid in a candy store when boarding the alien craft, and although his character is a little undercooked, he later benefits from that big ol’ twist. Forest Whitaker and Michael Stuhlbarg are excellent as always.

Besides aliens and Louise, ARRIVAL has a lot of themes going on. The worldwide conflict over the alien ships speaks towards how this very world behaves towards each other. Villeneuve never gets preachy, and long after the credits finish, there is a lot to talk and think about for hours. ARRIVAL won’t set any new trends for the genre as it is so good in its ambition and execution, it can never be copied. It flies high above the crowded skies of sci-fi, and that makes it a masterpiece.

BOTTOM LINE: See it

A Reel Review: DOCTOR STRANGE

After 13 successful films in eight years Marvel and their parent company Disney seems to have this superhero thing down-pat, but the newest addition to their series is by far their greatest challenge to put to film. Where their previous heroes use familiar elements such as brute strength and technology to battle bad guys, DOCTOR STRANGE is a character which swims in the weird; bizarre things like out-of-body projections, time-loops, mystical portholes leading to other dimensions, and folding reality of top of itself in eye-popping collages of merging images. It’s the most out-there hero to be brought to film, and its success or failure could determine if the genre will be stuck in the familiar or have the ability to soar further.

Dr. Stephen Strange (Benedict Cumberbatch), is a brilliant yet arrogant neurosurgeon, who after a vicious car-accident loses motor function in his hands. Seeking a cure, he travels to the Far East, where he discovers the Ancient One (Tilda Swinton), and Mordo (Chiwetel Ejiofor), who lead a world-wide secret group of sorcerers…sorcerers who are under threat from former student Kaecilius (Mads Mikkelsen).

Showing no shame, director Scott Derrickson keeps DOCTOR STRANGE in the classic pages of traditional storytelling. It’s the Hero’s Journey to the letter, as Strange goes from one stage to the next…from his tragic fall from his comfortable life, to encounters with mentors, to journeying through the belly of the beast, and rediscovery of one’s self. It’s a familiar template, but the surroundings and the characters keep it all fresh. Strange is painted as an arrogant and ego-filled character in the early goings, and his journey to becoming a hero runs parallel to his path to becoming a better person.

There is an old axiom in filmmaking that the higher the concept, the simpler the story must be…and by sticking to that rule, DOCTOR STRANGE has a perfect balance. Once the mystical side of the film opens up, the dazzling and breathtaking visuals, most of which are sights never before seen on film, are a lot to take in. The visual dazzle isn’t just showing off, as each magic trick serves a purpose in the story; either to provide explanation to the new world or to serve as a backdrop or a way of fighting for our characters. At the center of all the acid trip-like (not that this Blogger would know for sure) is Strange, and he keeps things grounded as being a very human character just trying to find his way.

Director Scott Derrickson keeps the pacing tight and the humor well-timed. The film moves, and the weighty emotional moments add some welcome heart. Derrickson never lets Strange the character get lost in all of the weirdness, and his trauma in losing control of his hands can really be felt. The powers that the characters wield are wild and lead to some tricky sequences which can keep the audience fully engaged and makes the adventure a true thinking-man’s superhero film. Michael Giacchino’s score is magnificent.

The goddamn 3D is spectacular.

Benedict Cumberbatch is perfect as Strange. Shedding his British accent perfectly (which takes some getting used to), he plays the character as stubborn and spoiled, but finds a way to add some tragedy and generates a great amount of empathy. Tilda Swinton is absolutely mesmerizing as the Ancient One, and Chiwetel Ejiofor is excellent as always. Benedict Wong nearly steals the show as comic relief, and Mads Mikkelsen, as the Big Bad of the film…is also very good. His villain is a unique entry into the Marvel universe as his motivations could be argued to be on the right side of things. Two well-known actors, Rachel McAdams and Michael Stuhlbarg appear as Strange’s medical colleagues, but are used sparingly and put aside for the bigger picture.

Despite being connected to the larger series of movies, DOCTOR STRANGE is very much a stand-alone film, and only has a few winks and nods to the bigger picture…but even those winks are a firm connection and peek into what’s to come for this character and others. Once the visual assault clears our fried brains, DOCTOR STRANGE finishes as a unique, fun, and satisfying superhero origin story which delivers on every promise. Just like its main character, it masters the strange and bizarre…and ultimately raises the bar for what superhero movies are capable of.

BOTTOM LINE: See it

A Reel Review: HACKSAW RIDGE

Movies are often driven by characters, and building characters is essential. Character building is not unlike making a house; there’s a foundation, walls, a roof, and maybe most important of all…what’s inside. Such is the approach of filmmaker Mel Gibson and the odd-yet-true story of HACKSAW RIDGE.

Desmond Doss (Andrew Garfield), who despite being a devout Christian and conscientious objector, joins the Army during WWII as a medic and refuses to lift, much less fire a weapon despite the orders from his Platoon Sergeant (Vince Vaughn), company commander (Sam Worthington), and the persecution by his own fellow soldiers and military justice.

On paper, the idea of a soldier going to war without as much as pea-shooter in his hand to defend himself seems ludicrous, and maybe even a little corny despite being based on a true story. Establishing the character is everything, and director Mel Gibson, showing the patience of a veteran filmmaker, is in no rush to make sure we know exactly who Desmond Doss is and how his refusal to fire a weapon is justified. Childhood incidents cement his reluctance to fight, while his WWI-veteran alcoholic father (brilliantly played by Hugo Weaving) adds to his sense of duty to his country. His wife Dorothy (Teresa Palmer), gives him something to come home to and adds plenty of heart to the story, and his experiences in boot camp where he is literally punished for his beliefs builds his walls even stronger.

HACKSAW RIDGE is ultimately a war picture, and once Doss does make it to the front lines as a medic, he gets his wish and gets to rush into the hellfires with nothing but air in his hands. And once those hellfires do start to burn, Gibson lets it all fly. Guns boom like thunder, flames fill the screen, bodies are blown to bits, and blood and guts spew everywhere. Rats and maggots eat away at the dead, and heads and limbs are mangled and crushed like going through a meatgrinder. War is hell, and Gibson never lets us forget it.

But in the middle of all that blood and fire is Doss, who runs from one mess to another dragging his fellow wounded soldiers to safety, and this is where the emotional power of the film kicks in. Soldiers who had ridiculed Doss earlier now defend him, and the shit that Doss has to go through, especially when he is left on his own after his Company retreats, is enough to make anyone cringe. War is brutal and powerful and out of it comes raw emotion, and Gibson delivers. Bring tissues.

The score by Rupert Gregson-Williams is outstanding.

Andrew Garfield puts on a great physical and emotional performance. His southern accent pushes the good-ol-boy routine a little too much, but once he is asked to do the physical work all is forgiven. Garfield is asked to do a lot here and he is more than up to the challenge. Teresa Palmer is excellent, as is Sam Worthington, and in a rare dramatic role, Vince Vaughn.

HACKSAW RIDGE has a nostalgic feel to it, as it is filmed and acted in the 1950’s style of all-American boys and strong ideals. It sometimes feels dated, but it works…and sticking to ideals is what the film is all about. Gibson is telling a story not about war but about remaining steadfast to belief in the face of the worst hell imaginable, and it makes the relentless on-screen onslaught of booming bombs more than just noise. Gibson has crafted a very unique war picture with HACKSAW RIDGE, one with a different type of story with a different type of soldier; the type that we would want sitting next to us when things go wrong. And those are the best characters.

BOTTOM LINE: See it

A Reel Preview: The Year In Film 2016 - Episode XI

This has been a year of many cinematic disappointments and disasters, but 2016 is looking to finish off strong by starting with a packed month of November. Reel Speak’s Big Bold Prediction of the year is this; our Best Picture winner will be released this month. Here is a preview of the notables:

HACKSAW RIDGE – Mel Gibson, director of the Oscar-winning BRAVEHEART, returns behind the camera for the first time in a decade to tell the true story of a WWII medic who refused to carry a weapon and single-handedly saved over 75 lives in combat. Stars Andrew Garfield, Sam Worthington, Teresa Palmer, Hugo Weaving, and Vince Vaughn.

LOVING – Director Jeff Nichols, who earlier this year brought us the magnificent MIDNIGHT SPECIAL, brings the true story of Richard and Mildred Loving to the screen; a couple who were arrested and sentenced to prison in 1958 because their interracial marriage broke anti-segregation laws. Stars Joel Edgarton (WARRIOR), Ruth Negga, and Michael Shannon.

DOCTOR STRANGE – If you need a break from the awards contenders, Marvel Studios is back with another chapter in their growing universe of films. Benedict Cumberbatch (TV’s SHERLOCK) plays the mystical Dr. Steven Strange, and he is joined by Tilda Swinton, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, and Mads Mikkelsen (TV’s HANNIBAL).

ARRIVAL – Denis Villeneueve, who last year brought us the powerful SICARIO, returns with this sci-fi drama about aliens arriving on Earth. The cast includes Amy Adams, Jeremy Renner, Forest Whitaker, and Michael Stuhlbarg.

BILLY LYNN’S LONG HALFTIME WALK – Ang Lee (THE LIFE OF PI, BROKEBACK MOUNTAIN), uses new filming technology to adapt this book of the same name, in which a U.S. Army soldier recounts his tragic wartime memories while on a promotional tour across the country. Stars Joe Alwyn, Chris Tucker, Vin Diesel, Steve Martin, and Kristen Stewart.

USS INDIANAPOLIS: MEN OF COURAGE – This often-delayed epic about the historic USS Indianapolis, the ship immortalized in JAWS (1975), finally sees a theatrical release this month. Nic Cage stars.

ELLE – Paul Verhoeven (BASIC INSTINCT, ROBOCOP), directs this erotic thriller in which a woman who is raped stalks her attacker.

FANTASTIC BEASTS AND WHERE TO FIND THEM – Another break from the awards race, which brings us back to the magical world of HARRY POTTER; taking place over 50 years before Harry was born in which a case of magical creatures is lost in the muggle (non-magical) world. Stars Eddie Redmayne, Katherine Waterston, Ezra Miller, Jon Voight, Ron Perlman, and Colin Farrell. Shitty director David Yates, who brought us THE LEGEND OF BORE-ZAN this year, is behind the camera.

THE EDGE OF SEVENTEEN – Hailee Steinfeld, who was nominated for an Oscar for TRUE GRIT (2010), plays a high school junior whose world is turned upside down when her best friend begins dating her brother. Co-stars Woody Harrelson and Kyra Sedgwick.

BLEED FOR THIS – In this true story, Miles Teller (WHIPLASH) plays Vinny Paz; a world champion boxer who refuses to retire despite a spinal injury. Co-stars Katey Sagal and Aaron Eckhart.

MACHESTER BY THE SEA – In this drama, Casey Affleck plays a man who is reluctantly made legal guardian of his nephew. Co-stars Michelle Williams and Matthew Broderick.

NOCTURNAL ANIMALS – In this psychological thriller, an art gallery owner is haunted by her ex-husband’s novel, which she sees as a threat against her life. The heavyweight cast includes Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, Laura Linney, and Michael Sheen.

ALLIED – Robert Zemeckis, director of BACK TO THE FUTURE, FORREST GUMP, and FLIGHT, directs this WWII drama about two assassins who fall in love, and later suspect that one may be a double-agent. Brad Pitt and Marion Cotillard play the assassins.

LION – Dev Patel (SLUMDOG MILLIONAIRE), searches for his long-lost family using Google Earth. Rooney Mara (THE GIRL WITH THE DRAGON TATTOO) co-stars.

MISS SLOANE – In this political thriller, Jessica Chastain (ZERO DARK THIRTY), plays a politician pushing gun control. Co-stars Mark Strong, Michael Stuhlbarg, John Lithgow, and Sam Waterston. It is directed by John Madden (SHAKESPEARE IN LOVE).

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Next month, the final episode of 2016.

A Reel Review: INFERNO

Despite the talent involved, author Dan Brown’s series of novels involving Professor Robert Langdon, famous symbologist, have not translated well to the big screen. Using ancient and obscure history to drive the stories, a ton of backstory is needed at all times, and for the screen, the history lessons tend to bog things down, and leaving the backstories out leaves a shallow and pointless film. Such is the challenge for director Ron Howard and actor Tom Hanks in their third time out with Prof. Langdon.

Langdon (Hanks) wakes up in a hospital with amnesia. He and his doctor, Sienna (Felicity Jones) narrowly avoid an assassination attempt and find themselves on a trail of clues involving Dante, the famous medieval poet…with the clues set down by Zobrist (Ben Foster), a billionaire activist who has a solution to the world’s overcrowding.

Much like, if not exactly like its predecessors, INFERNO spends all of its time with Langdon and a female counterpart bouncing from one ancient place or museum to another, deciphering hidden clues on paintings which lead them to yet another old place with even more clues. In a paperback novel, it makes for a nice page-turner, and for a film it seems like it would make for a fun point-by-point adventure. Structure is everything in a movie like this; characters have to move from one place to another in a way that makes sense. But director Ron Howard and screenwriter David Koepp seem to be overburdened with the weight of the source material. Characters do indeed race from one place to another while being hunted by mysterious parties, but inbetween every point there are long monologues/history lessons which comes across as baby-garble. Nothing is made very clear, and as each new location comes into frame, it’s easy to wonder why exactly characters are going there. Worse, the film relies on a ton of convenience (characters just happen to be in the right place at the right time for no logical reason), and by the time the film ends, there are several plot-threads that are never wrapped up. Characters do things for no reason other than plot…which makes INFERNO a muddled, messy, confusing soup-sandwich of a movie.

Howard has some serious pacing issues in the editing room. Things click along nicely for a spell but then grind to a halt one too many times for another history lesson; lessons which confuse and smear the lens more than tell a story. Howard’s camera does some neat things and the worldwide locations look beautiful, and in a nice touch, often films scenes with crowds upon crowds of people to drive home the message of world overcrowding. Hans Zimmer’s score recycles some of his old themes from the previous films while throwing in some retro 1980’s-era cues.

Acting is a snore all around. Tom Hanks feels like he should have grown into the role in his third time out as Langdon, but he comes across as Tom Hanks and not Langdon. Felicity Jones is fine, and her character has some interesting turns, but she has zero chemistry with Hanks. The supporting cast, which includes Ben Foster, Omar Sy, Irrfan Khan, and Sidse Babett Knudsen are all fine.

INFERNO wants to present itself as a thinking-man’s intellectual thriller, but despite all of the showing off of its knowledge of history…ends the film with a bunch of fist-fights. It doesn’t work, although the characters punching each other is (ahem) symbolic of INFERNO; a talented group of actors and filmmakers beating the snot out of what should have been a true brain-burner. INFERNO is an ugly, incomplete film which makes no sense. Throw this one into the fire-pit.

BOTTOM LINE: Fuck it

A Reel Review: 31

Stylistic and colorful director Rob Zombie is one of those filmmakers who makes movies for himself. All of his favorite things, from classic horror, rock n’ roll, and vintage art have a strong presence in his films; either acting as a backdrop or the driving force. Long-time fans of Zombie and horror eat it up, but the most casual viewer is often left out in the cold wondering what the big deal is. Looking at Zombie’s catalog of films, he seems to be at his best when he lets those casual viewers in, even if it’s just a peek into normalcy. Such is the task of 31.

On Halloween night in 1976, a group of carnival workers (Sheri Moon Zombie, Meg Foster, Jeff Daniel Phillips, Lawrence Hilton-Jacobs, and Kevin Jackson), are ambushed off the road and held prisoner in an old refinery by Father Napoleon Horatio Silas Murder (Malcolm McDowell), where they have 12 hours to escape before being murdered by a group of killers…including the master-killer Doom Head (Richard Blake).

Low in concept and simple in plot, 31 is only concerned with the five kidnappees surviving the night and getting out of the maze-like refinery alive. The film plays out like an old 1980’s side-scrolling video game where players venture from one deadly level to the next, having to take out or evade a “level boss” before moving on to the next boss.  With not much going in the way of story, the film is balanced out by the wild killers, ranging from a knife-wielding dwarf-Nazi (Pancho Moler ), two chain-saw wielding clowns (Lew Temple and David Ury), and a pair of sex workers (Torsten Voges and Elizabeth Daily). There’s a balance that Rob Zombie is working with here, as the batshit-crazy surroundings and zany characters (each murderer is a demented clown with a nickname to match) are balanced out by the simple story-goal of survival. For the most part it works, as the craziness is equal to the plot.

31 is first and foremost a horror film, and Zombie holds nothing back in reminding us of it. There’s bloodshed by the gallon as heads and limbs are lopped off and there’s more stabbing and hacking than in a slaughterhouse. Characters are put into situations which are grotesque, and the jokes and gags are equally gross. Horror fans have a lot to feast upon. But like most horror flicks, Zombie paints his characters very broadly, doing just enough to establish them before throwing them into the meat-grinder. There’s also too much of a rush going on; the characters are barely established before the killing begins and they have no time to react or go through any sort of an arc.

Zombie does present one hell of an explosion of color. The sets are magnificent and would look right at home at an old carnival or an outlandish Halloween production. 31 is packed with film references that cinema geeks will love (the group that kidnaps the workers are dressed like Black Bart’s men from A CHRISTMAS STORY), and the classic rock tracks are well-timed.

Acting is decent. Sheri Moon Zombie doesn’t have a lot to do as an actress with no real dramatic moments, but she, like the rest of the cast, have an extraordinary amount of physical torment to go through. Everyone handles their tasks well, but the show is stolen by Richard Blake, who puts in a startling and stunning performance as the master-killer Doom Head. He is creepy and unnerving, and his opening (black-and-white) scene in the prologue is breathtaking. Elizabeth Daily puts on a great Harley Quinn-ish performance, and her big scene under a strobe light has to be seen to be believed.

Like most horror movies, there is a lot to buy into, like how a group of crazies can be so organized…and why the game is even being played is only hinted at. There’s a feeling that a director’s cut of the film would improve those holes, but they are minor. Zombie has created a gruesome film here that works for fans of the splatter-fest but never for the casual viewer; but the casual viewer wouldn’t come within a mile of this anyway. It isn’t perfect and isn’t for everyone, and that’s exactly how Rob Zombie wants it.

BOTTOM LINE: See it

A Reel Opinion: The Top 20 Horror Films

Horror movies are not for everybody. Not only do people dislike having the shit scared out of them, but the genre as a whole often asks us to buy into some high-concepts, most of which border upon ridiculous. This Blogger has always been neutral on the genre; neither a disbeliever or a die-hard fan…but that doesn’t mean an appreciation for a good horror flick can’t be found. Like any other film, a horror flick should be judged by story, characters, acting, and technical merit…with a few added factors such as scariness and rewatchability.

Why 20 films? Due to the large fanbase out there, and the relatively low-production costs, there is an (over) abundance of horror movies every year…and it wouldn’t seem fair to mention only ten. The bottom-half of Reel Speak’s Top 20 shakes up like this:

20. THE SILENCE OF THE LAMBS (1991)
19. THE OMEN (1976)
18. SAW (2004)
17. AN AMERICAN WEREWOLF IN LONDON (1981)
16. THE OTHERS (2001)

15. HALLOWEEN (1978)
14. THE RING (2002)
13. THE BRIDE OF FRANKENSTEIN (1935)
12. POLTERGEIST (1982)
11. THE THING (1982)

Now, do you want to see something really scary?

This list is a combination of objectivity and of this Blogger’s favorites over the years, and that opens the creaky door for WITCHBOARD (1986). A story about a woman who gets obsessed with a spirit (or two) connected to a Ouija Board, this film scared the pants off this Blogger when the ultimate evil baddie, called Malfeitor, shows up out of the shadows in the form of a creepy old guy with a white beard, followed by a bowel-moving evil laugh. Mostly forgotten and basically obscure, WITCHBOARD is a night-terror for this Blogger and an easy entry into his Top 10.

M. Night Shyamalan’s THE SIXTH SENSE (1999) gets a little too much attention for its big-wow twist at the end which turns the entire viewing experience upside-down. It’s great, but it often overshadows how good of an old-fashioned ghost story it really is. Heavily influenced by the great Alfred Hitchcock, M. Night creates plenty of scares, and most of all, a mystery…which keeps the audience engaged at all times.

It may not be the scariest film ever made (although it has its moments), but Francis Ford Coppola’s adaptation of BRAM STOKER’S DRACULA (1992) has a lot of strong points as a film. It is visually stunning, beautifully scored, has an iconic look in Gary Oldman’s Count Dracula…and as a Dracula/vampire story it draws heavily and faithfully from the book, and also pulls material from nearly aspect of the vampire legend. Above all, it serves as a love story…which also makes it one of the most unique entries in the genre.

Rob Zombie’s THE DEVIL’S REJECTS (2005), is an easy entry into this list because it is one of the few horror flicks that make it into this Blogger’s annual October rotation. A gritty throwback to the brutal and bloody 1970’s era of blunt filmmaking and backed by classic southern rock tracks, REJECTS tells the story of a family of serial killers who spend the film becoming some of the most despicable screen-villains in history. And then, in a genius move, the finale suddenly finds a way to make us feel sorry for them. It’s a flip-flop that is effective and makes the film memorable and noteworthy.

Isolation is a scary thing. But what’s even more scary is being isolated with a killer beast hunting you. And what’s even more scary is being isolated with that killer beast in a place where there is nowhere to run or hide…and that’s makes Ridley Scott’s ALIEN (1979) a perfect horror flick. A nice mash-up of sci-fi and Horror, ALIEN brought about some of the most memorable scares and gut-bursting scenes in history.

Prior to 1984, there was Dracula, Frankenstein, the Mummy, and the Wolfman…and then the late and great Wes Craven introduced Freddy Krueger to the world in A NIGHTMARE ON ELM STREET. A killer who only exists in people’s dreams, Craven capitalized on the isolation factor, while inserting some real scares (Freddy’s creepy stretching arms and the body bag moving on its own scared the shite out of this Blogger) and a character which stands the test of time.

Alfred Hitchcock’s PSYCHO (1960) is the great-granddaddy of horror films. Based on the best-selling book, Hitchcock solidified his legend as the master of suspense with some chilling scenes involving a staircase and a shower (simple things masterfully turned frightening), and is the earliest example of the slasher-genre. Coupled with a mystery and some shocking twists and turns, PSYCHO is a scare-fest and an exquisitely crafted movie.

Stanley Kubrick’s adaptation of THE SHINING (1980) often gets criticized for not being faithful to Stephen King’s book of the same name and for having an ending which Horror fans and cinema buffs debate to this day. These criticisms don’t mean much, because Kubrick creates an atmosphere which creeps those shivers down the spine at all times. From a creepy little kid, ghostly twin-girls, spectral bartenders, a gut-twisting score…and a performance by a young Jack Nicholson, who exerts pure evil with just one glance, THE SHINING is a finely crafted film which still has a presence in pop-culture.

Pop-culture may have been forever altered by Steven Spielberg’s JAWS (1975) as well, but that’s not the only reason this film, about a killer shark which terrorizes a resort town, makes the list. JAWS is often overlooked as a Horror movie because it takes place during the bright summer and doesn’t involve slashers or any supernatural elements. But the scares are genuine. In 2015 this Blogger celebrated the film’s 40^th anniversary by seeing the film on the big-screen, and the crowd, which contained many newcomers, jumped out of their seats in all the places Spielberg intended 40 years ago. JAWS hasn’t aged a day.

Having grown up in a religious family which truly believed that the Devil existed and could arrive at any moment, this Blogger was not allowed to watch William Friedkin’s THE EXORCIST (1974) as a child, and that was probably a good thing. THE EXORCIST, which tells the tale of a young girl possessed by the Devil and does battle with two priests, taps into that primal fear deep inside…that feeling and knowledge that pure evil does exist. The film takes that feeling and gives it a body, a face, and a voice…making for a frightening experience as good tries to do battle with the ultimate evil in the universe. Faith is shaken, beliefs are tested, and pants are pissed in as the scares come in doses. Friedkin somehow creates a film in which even during the quieter times, there is always a feeling of something being off, of something being wrong. It is un-nerving, disturbing, and gets everything right in Horror and in film. THE EXORCIST is the top of terror.

REEL SPEAK’S TOP 20 HORROR MOVIES

1. THE EXORCIST

2. JAWS

3. THE SHINING

4. PSYCHO

5. A NIGHTMARE ON ELM STREET

6. ALIEN

7. THE DEVIL'S REJECTS

8. BRAM STOKER'S DRACULA

9. THE SIXTH SENSE

10. WITCHBOARD

11. THE THING

12. POLTERGEIST

13. THE BRIDE OF FRANKENSTEIN

14. THE RING

15. HALLOWEEN

16. THE OTHERS

17. AN AMERICAN WEREWOLF IN LONDON

18. SAW

19. THE OMEN

20. THE SILENCE OF THE LAMBS