10 Cloverfield Lane-2016

Director-Dan Trachtenberg

Starring-Mary Elizabeth Winstead,  John Goodman

Scott’s Review #643

Reviewed May 11, 2017

Grade: B+

10 Cloverfield Lane is a 2016 psychological thriller that is billed as somewhat of a successor to the 2008 hit, Cloverfield, though I fail to see the apparent correlation between the films.

Furthermore, the two stories seemingly have little or nothing to do with one another.

Despite these pesky details, 10 Cloverfield Lane is a very good, edge of your seat type film that is unpredictable as well as thought-provoking.

It is a film worthy of discussion by the time the credits roll- a very good quality for a film to have.

Without any dialogue during the opening sequence (a clever move), we meet Michelle (Mary Elizabeth Winstead), a twenty-something woman presumably on the outs with her boyfriend, who we never see.

Alone, she flees their residence and drives into the night to parts unknown. The couple is metropolitan, living in central New Orleans. Now in the middle of Louisiana, and hearing radio reports of strange blackouts, Michelle is soon involved in a terrible car accident. When she awakens, she finds herself chained to a bed inside a small bunker inhabited by two men, Howard (John Goodman), and Emmitt (John Gallagher, Jr.).

They insist that the outside world is no longer and all human beings are dead as a result of a catastrophic attack. Michelle, initially skeptical, slowly uncovers various clues that leave her baffled as to what the truth is.

10 Cloverfield Lane may very well be John Goodman’s best film performance.

He plays Howard with gusto and mystery and the audience is largely left baffled whether or not to trust this man. Is he a vicious abductor, creating a make-believe world to keep Michelle hostage-or is he telling the truth? He plays the character as both creepy and surly, but with a tinge of vulnerability and sadness.

I certainly was both fascinated and confused by Howard and could not determine his true motivations.

Winstead also deserves credit for portraying a female character that is strong yet sympathetic and she is never reduced to playing a victim, a testament to the actress’s ability.

Over the years Winstead has appeared in several duds (Black Christmas and The Thing) so it is nice to see her in a film worthy of her talents.

Michelle is smart and determined to deduce her true surroundings and formulate a clever escape- though in a nice twist by filmmakers, does she want to leave the safety of her bunker after all?

In this way producer, J.J. Abrams weaves a story layered with twists and turns, which does wonders to keep the tension and the interest at a high level throughout the film. The major question that reoccurs is “what on earth lies outside of the bunker?”

I enjoy how this film is not the typical, cookie-cutter type fare where we root for the female victim to escape the clutches of a male maniac- the film is much deeper and complex than that.

Most enjoyable is how events slowly unfold and we, the audience, begin to question thoughts we have harbored throughout the run of the film.

A perfect example of this comes in the final chapter when events take off in an entirely different direction than the rest of the film. Feeling a bit suffocated inside the bunker, what a relief to finally have some action occur outside of this location and into the fresh air.

But what lurks in this new setting?

One small oddity is how the film chooses to include famous actor Bradley Cooper’s voice as Michelle’s boyfriend Ben, heard via telephone only. This went unnoticed by me until the credits rolled and seems like a silly and unnecessary inclusion.

Also, we never know what the turmoil is between Michelle and Ben- is their domestic trouble simply a plot-driven antic, or is there further meaning?

In a nutshell, 10 Cloverfield Lane is a film best watched when knowing not the first thing about the plot or circumstances surrounding events.

The film was so enjoyable to me because I did not know the twist, the conclusion, or even who starred in the film. In this way, the film kept all of the elements of surprise away from me and I found the film all the more enjoyable because of this.

Nocturnal Animals-2016

Director-Tom Ford

Starring-Amy Adams, Jake Gyllenhaal

Scott’s Review #640

Reviewed April 30, 2017

Grade: A-

Nocturnal Animals blurs the lines between fantasy and reality in a revenge-themed thriller directed by Tom Ford, in only his second directorial effort- 2009’s A Single Man was his first.

While not always hitting the mark and at times very difficult to follow, the film is both unusual and mesmerizing, as well as lovely to look at from a visual perspective. Some scenes blur together splendidly so that the scenes seem interposed-a brilliant touch.

The film is influenced by David Lynch in tone and style.

Events are divided between “The Real World” and “The Novel”.

The film begins strangely as a bevy of nude, obese women prance and dance on video screens during an art exhibit opening.

The gallery is owned by Susan Morrow (Amy Adams), a successful woman living a glossy life in Los Angeles. We quickly learn that Susan is involved in a loveless marriage with hunky Hutton (Armie Hammer), a businessman who is inattentive towards Susan.

Before Hutton, Susan was briefly married to Edward (Jake Gyllenhaal), a novelist, who dedicates his latest manuscript to Susan received via mail. As Susan reads the manuscript, she is transported down a dark path of memories and fantasies concerning Edward and their past.

The locales of the film are split largely between Los Angeles (the real world), and western Texas (where the novel takes place). This, in itself, is a compelling aspect of the film and separates the two different worlds.

Los Angeles is featured mainly at nighttime as Susan, presumed to be suffering from insomnia, is compelled by her reading. She also rubs shoulders with sophisticated artist types and colleagues at her studio.

Conversely, the setting of western Texas is worlds apart from the Los Angeles setting- like night and day. In Texas, we are introduced to the protagonist of the story that Susan reads.

Tony, traveling through Texas with his wife, Laura, and their daughter, India, are accosted and terrorized bypassing local motorists.

Clearly from out of town, the family is stranded in the middle of nowhere and kept at bay by the rednecks- the story has a tragic ending. The stories intersect interestingly as we see the differing worlds.

I found the scenes in western Texas to be frightening and fraught with tense moments- so much so that my heart was beating very fast. I pictured myself as Tony in a situation faced with peril and danger.

As the family attempts to reason with the thugs, they get deeper and deeper into trouble. The feeling of being vulnerable and unsafe with no help around is tremendously in the film.

The acting in Nocturnal Animals is excellent all around, no surprise with the tremendous cast. Adams and Gyllenhaal are especially worthy of mention.

Their scenes playing via flashbacks, we find them both sympathetic and vulnerable (at first)- he is a sensitive writer, she a college girl with aspirations of love and family life.

As the plot thickens both characters become more nuanced and complex- the subject of betrayal and revenge certainly comes into play, and both characters, now older and more pessimistic, intersect again as mature adults.

Michael Shannon, though believable as Detective Bobby Andes, assigned to Tony’s case, and suffering from stage four lung cancer, is not the standout for me, and I disagree with his Oscar nomination for Best Supporting Actor.

Certainly a fine performance, I would have much rather Gyllenhaal or Aaron Taylor-Johnson (as one of the rednecks) be awarded the nomination.

I was reminded of David Lynch’s masterpiece, Mulholland Drive, largely during the Los Angeles scenes. The slick, night air and the trials and tribulations of the wealthy mirrored each other quite readily. There is a gothic, haunting, moody vibe that the sequences contain.

The central theme of revenge comes into play in both worlds- Tony and Bobby seek revenge on the criminals in western Texas, while revenge also is a focus on Los Angeles, though much more subtle.

A hint is given a couple of times in Susan’s art gallery as a large exhibit entitled “Revenge” is a focal point. What the Los Angeles revenge is, however, is not revealed until the very last scene.

One thing is certain about Nocturnal Animals- the film is dreamy, complex, and worthy of a good conversation.

Tom Ford is an up-and-coming director with visual sensibilities and a dream-like vision. I hope we see more from this fascinating director.

Oscar Nominations: Best Supporting Actor-Michael Shannon

The Girl on the Train-2016

Director-Tate Taylor

Starring-Emily Blunt, Justin Theroux

Scott’s Review #493

Reviewed October 12, 2016

Grade: B+

The apparent must-see film of fall of 2016, with seemingly everyone flocking to see the blockbuster, I happily was able to see it shortly upon release.

While containing some flaws, The Girl on a Train is a very good thriller- and a great companion piece to Gone Girl- similar in style, tone, and in a way, story. A whodunit with psychological, almost Hitchcockian elements, it navigates twists and turns to an unfortunate disappointing finale.

Still, a more than adequate offering that does not bore.

Based on the hit novel of the same name, which I understand is superior to the film.

First and foremost, how gorgeous was the scenic eye candy of suburban New York City, where the train chugs along the Hudson River in breathtaking beauty?

Affluent houses are nestled along the river banks hidden with secrets- which is the point of the film. Beautiful neighborhoods are often riddled with affairs, drama, and back-stabbing.

The setting was perfect as was the element of the train- peering through windows to witness smoldering events.

The standout of the film is Emily Blunt, who gives a compelling, sometimes heartbreaking turn as a boozy, jobless, young woman fraught with heartbreak after heartbreak. She finds solace on the Metro-North train as she peers into a particular well-to-do house, making up stories about a young woman she re-names daily, usually while inebriated to the state of blackouts.

Though The Girl on the Train is not the typical “Oscar type film”, I’d argue that a potential nomination is warranted for Blunt, who is brilliant on her emotional roller coaster.

Rachel fantasizes about being the stranger’s friend, revealing her desperation. We quickly learn about her life circumstances and feel empathy.

I anticipated an experience like Hitchcock’s classic Rear Window- Rachel Watson noticing a crime occur and somehow becomes involved in the situation. This is partly true, but different altogether. I was, however, treated to a film that never lags or waivers and the action is plenty- not in bombs or car-chase way, but instead a circulating array of plot twists and emotions.

How wonderful to see Allison Janney, Lisa Kudrow, and Justin Theroux in a big-budget, mainstream film, rather than independent small films (certainly not a knock, but good to see some wide recognition).

All three knock the material they are given out of the park, and kudos to the writers for making Kudrow- in little more than a cameo- a major part of the great reveal.

Arguably, Janney’s character of Detective Riley is the weakest written and seems to change motivations depending on the story shift. This is perplexing and too plot-driven.

In a way, the same might be said for Theroux’s character of Tom Watson, but, alas it is a thriller and this sometimes does happen in this genre.

Without giving much away, the conclusion to the film is unsatisfactory. We are given an ending that is wrapped up in a neat, tidy bow, which contradicts the rest of the film.

The film is confusing, dream-like, and muddled- in a good way. We are disturbed by Rachel’s thoughts and wonder what the reality is. The climax is too clear and instead of leaving much to the imagination, we are fed a linear, straightforward, story ending, almost geared for a Hallmark television movie (gag).

Wise would have been to write Rachel as still vague about her surroundings, but this does not occur.

The Girl on the Train will not re-define cinema or go down in history as fine art, but it is not intended to-it is the type of film designed to keep you on the edge of your seat and does so.

The story is above average and slick, but Blunt is worth heaps of praise and is head and shoulders above the rest of the film- and the cast- no small feat considering the talent involved.

Great acting job, but the writing could have been slightly better.