Possessor.

Review #2131: Possessor.

Cast: 

Andrea Riseborough (Tasya Vos), Christopher Abbott (Colin Tate), Jennifer Jason Leigh (Girder), Sean Bean (John Parse), Rossif Sutherland (Michael Vos), Tuppence Middleton (Ava Parse), Kaniehtiio Horn (Reeta), Raoul Bhaneja (Eddie), Gage Graham-Arbuthnot (Ira Vos), Rachael Crawford (Dr. Melis), and Gabrielle Graham (Holly Bergman) Written and Directed by Brandon Cronenberg.

Review: 

“I never made a conscious decision to embrace horror specifically. It’s just where my instincts are right now. I’m making films that are honest and creative impulses. One of the things that I like about horror is that it explores parts of the spectrum of human emotion in a way that other genres don’t. That’s satisfying to me. I don’t want comfort food when I’m sitting down to watch a film. I want to be pushed into a different headspace."

Okay, to get it out of the way: like father, like son. Brandon Cronenberg was actually interested in books growing up in Toronto as the first-born son of David Cronenberg and Carolyn Zeifman. He thought about being a writer, painter, or a musician, but he soon found that film was his real interest in terms of study. As such, he studied it at Toronto Metropolitan University. He made his first feature with Antiviral (2012), a Canadian/French production that came out of his 2008 short Broken Tulips involving injecting viruses harvested from celebrities that was inspired by an infection he had when in film school. The time between that film and this one saw time spent developing the script to the latter along with doing a short film with Please Speak Continuously and Describe Your Experiences as They Come to You (2019). The idea for the film essentially came from his experiences in promoting his first film in public (and a few other things) that had him think about personal identity within public personas in the media self with its own life without oneself. 

Oh sure, you could probably say that you've seen films before that engage with acting in someone else's body, such as say, Being John Malkovich (1999). But it is a fascinating subject when in the hands of someone who clearly is interested in showing a horror far beyond just being wrapped in someone else's body: the reality that is to befall the one who ends up actually keeping control of said body when all is said and done. You have an assassin with an interesting relationship with violence (specifically when it comes to methods of choice or in general) to go with a wandering grip on reality. Oh, and there is a handful of practical effects utilized for wonderful execution. The opening sequence isn't the big highlight of the film, but it gets the film on the right foot as a testing ground for what is next to come in terms of clinical effectiveness of possession in the ideal sense of chills on the inside (complete with a tear right before a suicide by cop). It is a grisly and bleak film set in a distinct type of setting where the best assassins are left to their devices to basically serve as actors for a time in the most cynical and clinical way imaginable for the clean kill. Just like in life, the best type of actor really does endure the longest above all, I suppose. In that sense, Riseborough and Abbott have the best type of challenge possible for a film like this, since by the time we are introduced to the latter (not particularly too long into the 104-minute runtime), one is seeing a mesh of puppeteer and puppet that jumps in definition depending on who looks in control. It might feel like a bad case of phantasmagoria, but it is a very apparent nightmare for our lead focus. The most interesting sequence to show this challenge might be the "data mining" sequence involving Abbott's character that is trying to do descriptions involving drapes in the background of certain videos, which at one point involves zooming past sex. The assassins and data miners are more alike than they wish to admit when it comes to paring people down to simple data points. I also particularly like the sequence involving Riseborough trying to practice the dip back into mother and wife for a couple of (on-screen) minutes that is full of great artifice. One can only be playing with fire when it comes to how long they spend acting as someone else right before they violently kill that part off, especially when they undergo evaluation each and every time when one finishes a job (in this case to see if they still regret killing and mounting a butterfly when they were young). Leigh makes a suitable logical master of puppets, if you think about it, since one never sees a veneer of grimace at the very nature of the character besides wanting the best in a certain type of labor. Bean isn't exactly in the movie too long, but he makes the kind of craven type that would find someone to kill off as a threat just as much as he would be a target of himself. Of course, the sequence involving the melting of one's face to reveal the other when it comes to that fateful possession is a damn great one in squirm-inducing curiosity that throws you in the right loop. Regardless of what you would expect for its ending, it makes for a suitably satisfying note to close such great horror in terms of identity that has managed to find just one thing at the end of confronting attachments and logic: death. Possessor is the kind of body horror film that makes you wonder aloud just what you possess about yourself as a person and the people that you associate with in labor and beyond. 

Overall, I give it 9 out of 10 stars.

Next: Cronenberg-Cronenberg for the big 40. 

It Comes at Night.

Review #1579: It Comes at Night.

Cast: 

Joel Edgerton (Paul), Christopher Abbott (Will), Carmen Ejogo (Sarah), Riley Keough (Kim), Kelvin Harrison Jr. (Travis), Griffin Robert Faulkner (Andrew), David Pendleton (Bud), and Mickey (Stanley) Written and Directed by Trey Edward Shults.

Review: 

"With this one, I think I jumped into it as the audience would. The way it’s written is the way I jumped into it. I let it spew out of me. Also, it stemmed from something super personal, so it started from that and spewed out from there. I don’t build out this whole, huge world and start writing. It comes from this personal, little space and let it build out. And then I have my logical reasons for everything else, but I intentionally keep stuff out."

Never count out seeing a young voice find their place in resilient prominence in cinema, whether for drama for horror, particularly from a name that could prove quite useful to know in the future in Trey Edward Shults. The native Texan already had a love of films by the time he was a teenager, but his chance to move into the work of filmmaking came at the age of 19 when he was hired to work in the camera department on The Tree of Life (2011), directed by Terence Malick (a visionary director to discuss another time). The experience shaped his decision to drop out of Texas State University (having been at school for business management) and do work interning for Malick (which resulted in work on Voyage of Time (2016) and Song to Song (2017)). He made three short films as a director from 2010 to 2014, which includes Krisha - he would convert it into his feature debut the following year with members of his family participating in the film, which was a hit with the festival circuit. The basis for the film came from his reaction to his father's death, in which he tried to help his dad find some peace with the regrets he had, with the film being about the process of grief and regret that is torn by fear, reflecting his biggest fear - mortality. He found inspiration with films such as Night of the Living Dead (1968) and The Shining (1980) alongside works from directors such as John Cassavetes and Paul Thomas Anderson.

I'm sure you have heard this before, but sometimes it is what you don't see that is more scary, which can be drawn right in the open from the prominent featuring of Pieter Bruegel the Elder's painting The Triumph of Death. If one is expecting a slow burn involving paranoia wreaking havoc over all as opposed to a monster movie, you might be in for quite a tense winner. It relies on pulling the strings in stress and doubt for the majority of 91 minutes, and the enjoyment is in exactly how one feels about seeing fear play out like this, seeing people trying to survive despite the threat of sickness while cooped up away from the world (or at the very least trying to escape the problems the world can bring), because fear is one thing, but death is another. Edgerton is dependable here, capable of reacting to his surroundings with the conviction required to move in fear without seeming brazen about it. Abbott does just as well here, expressing his own control on the situation as it grows, maintaining the other side of tentative balance of family just fine. On the other side of reflected families, Ejogo and Keough each do well in matching the surroundings needed that keeps the doubts in check. Harrison (having been in small roles of film since 2012 before having a breakthrough here) proves the key piece of the main group, capturing a yearning fear and growth that makes for a usefully different kind of youth horror story. It builds a carefully-planned atmosphere of quiet doubt to longer on who and what one knows and doesn't know that makes for delicate human nature drama that works best within the details (such as during its dream moments, for example), relying on one's patience to make an efficient time (with an equally appropriate ending to go with said buildup). It won't merit the best for everyone in delivering everything in horror, but it is a quietly effective film of family and fear to match the moment needed to ponder on its content after the screen goes to black and one goes back to their normal life behind the screen.

Overall, I give it 8 out of 10 stars.

First Man.

Review #1146: First Man.

Cast: 
Ryan Gosling (Neil Armstrong), Claire Foy (Janet Shearon), Corey Stoll (Buzz Aldrin), Pablo Schreiber (Jim Lovell), Jason Clarke (Ed White), Kyle Chandler (Deke Slayton), Christopher Abbott (David Scott), Patrick Fugit (Elliot See), Lukas Haas (Michael Collins), Shea Whigham (Gus Grissom), Brian d'Arcy James (Joseph A. Walker), Cory Michael Smith (Roger B. Chaffee), and J. D. Evermore (Christopher C. Kraft Jr.) Directed by Damien Chazelle.

Review: 
Well, this film is a bit different from the horror focus for October, but I find this to be a necessary diversion that I hope you will enjoy. 

It is only fitting that this film includes a snippet from President John F. Kennedy and his famous speech on September 12, 1962 about going to the Moon in the decade, saying "not because they are easy, but because they are hard; because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one we intend to win, and the others, too." In a sense, the decision to make a biopic covering the years leading up to Apollo 11 and its mission to the Moon through the lens of the commander of its mission, Neil Armstrong is like that speech - using a great deal of creative energy and skill to try and make a film to take the audience on a journey to one of the greatest achievements for mankind from the Earth to the Moon. This is an adaptation of the autobiography First Man: The Life of Neil A. Armstrong by James R. Hansen, written in 2005, with the screenplay by Josh Singer, who has written films such as Spotlight (2015). We know what the final result will be with the mission, but there is never a moment where you feel bored at what the movie wants to show in the years beforehand. One of the first things that I was reminded of during this film was The Right Stuff (1983), which covered the Mercury Seven astronauts alongside others such as Chuck Yeager (after all, there are some people that are depicted in both films such as Deke Slayton, one of the Mercury Seven and the Director of Flight Crew Operations for NASA that chose Armstrong to be the first man) and both films inspire curiosity and excitement for a past age with depth and skill to make a great experience in entertainment. Obviously the film isn't a complete adaptation of the book it is adapting, but it always manages to inspire interest to want to know more about what makes a man such as Armstrong and others to do what they did.

For the most part, the cast all do their respective roles pretty well, all seeming to blend into the people that they are playing with no real distractions. Gosling, playing a man whose family described upon his death as a "reluctant American hero who always believed he was just doing his job", manages to bring a sense of modesty and carefulness that is always watchable and down-to-earth. Foy does a pretty fine job as well, managing to play her scenes off fine with Gosling that generally keeps the movie with some focus on the Armstrong family that tries to make the film have more than one prism of focus. The highlights in the rest of the cast are Stoll, Chandler and Clarke, who each manage to be pretty effective and interesting to follow alongside with that don't get themselves lost in the spectacle. It shines more on a technical level with its depiction of the journey into space than its level with Armstrong and his family, but it ultimately proves to be entirely worth every second of its 141 minute run-time. It isn't a perfect film, mostly due to the fact that it can nearly come to a quiet lull with its family sequences, which are occasionally effective in drama. The film flows smoothly enough, covering pivotal events such as Armstrong's command of Gemini 8 to the Apollo 1 tragedy, each shown with care and respect that resonate quite clearly in the pursuit for space. The music by Justin Hurwitz is well-done, and the cinematography by Linus Sandgren is excellent, with the film having a look and feel that always seems authentic. For me, the best part is the Moon landing sequence, which is simply wonderful to process from launch to the pivotal breathtaking moment. The film builds itself up to a momentous climax and earns the patience taken to get there with good judgement taken by Chazelle to make sure things go as smoothly as possible. This is a very enjoyable biopic for anyone who is curious about some of the details of one of the greatest moments for mankind that will leave its audience eager to pursue further about space and exploration, of which there are numerous films and books to help serve that purpose. In closing, I will include a short quote from Armstrong that I feel is fitting for this review: "Mystery creates wonder and wonder is the basis of man's desire to understand."

Overall, I give it 9 out of 10 stars.