In the Earth

Release: Friday, April 16, 2021

👀 Hulu

Written by: Ben Wheatley

Directed by: Ben Wheatley

Starring: Joel Fry; Ellora Torchia; Reece Shearsmith; Hayley Squires; John Hollingworth; Mark Monero

Distributor: Neon

 

 

 

 

***/*****

Cabin fever never sounded so appealing after “getting back out there” in the new psychedelic experiment from avant-garde British filmmaker Ben Wheatley. His tenth film In the Earth is a thoroughly disorienting and unsettling venture through the woods, one set against the backdrop of a global pandemic.

Filmed over the course of just 15 days and during a locked-down August 2020, In the Earth may be horror done on the cheap but it doesn’t particularly look or feel like it. What admissions there are chiefly surface in some character interactions that feel rushed, while later on the more abstract passages can feel indulgent to the point of being filler. Impenetrable though it may become, you have to be impressed with the fact Wheatley has wrangled together such a crazy movie amidst creatively infertile conditions.

It’s what he manages to pull off with setting and atmosphere that leaves a bruising mark and that serves as the best distraction from the film’s financial limitations and, quite frankly, the barriers to comprehension it tends to build, particularly towards the end. A stone monolith with a perfect hole in the middle watches over all. You’ll spend almost the entire movie trying to get in its good graces so that it may allow you to understand what the frikk it is. The table-setting (and plain old setting) is reminiscent of Annihilation (2018) but this time the foolish entrants aren’t loaded with pistols and rifles and thingies that explode. Nope, just backpacks and research materials. And, as with so many characters in this kind of story, plenty of arrogance.

Stripped of the basic comfort of likable protagonists — they’re not unlikable per se, but hard to get a read on — In the Earth is a trippy, gory and at times perverse horror that follows a scientist and a park ranger into a forest laced with threats, some natural and others inexplicable — a surreal and dangerous ecosystem with its own rules, its own creepy mythology and maybe even its own agenda. Martin Lowery (Joel Fry) arrives at a lodge that’s been converted to a research facility on the edge of a dense forest just outside Bristol, England. He’s here to check in on a colleague and former lover, a Dr. Olivia Wendle (Hayley Squires), who hasn’t been seen or heard from in months.

Upon arrival he’s whisked through a rather serious sanitization procedure and meets a few researchers hanging about the place, all of whom seem physically and mentally worn down. Martin is to make a two-day trek to her research base deep in the woods, accompanied by experienced park guide Alma (Ellora Torchia). With all his focus on rescuing Wendle, he has no time to really care about the strange painting on the wall of the lodge, a depiction of an apparent woodland creature known around these parts as Parnag Fegg. That’s nice. It’s just cool artwork though, right?

The journey starts off with a bad omen as Martin confesses with annoying nonchalance to a lack of fitness and experience roughing it. Then a midnight assault in which both campers lose all essential equipment, including shoes, forcing them to continue barefoot. (Does this style of hiking ever end well?) Eventually they cross paths with a grizzled loner (Reece Shearsmith) who after a tense standoff introduces himself as Zach and offers to help and heal. It is at this point your brain might recall that early childhood lesson: Do not drink the mushroom milk offered by strange men in the woods.

All of this, including the unholy and stomach-churning sequence that soon follows, remains predictable for a horror flick buried deep in the deciduous. Especially when you have nervous doctors back at the lodge foreshadowing the shit out of people’s tendencies to get “a bit funny” in the woods. On another level, for those better traveled in Wheatley’s exotic and weird brand of filmmaking you know the film is, sooner or later, going to walk off a cliff.

Avoiding of course the literal precipice, In the Earth frustratingly descends into an edit-fest, assaulting you with aural and visual menace in massively churned-up chunks of footage that feel pieced together from the weirdest acid trip you could possibly have. Dissonant sound overwhelms while strobing lights penetrate the eyeball like knives. Encroaching fog presents a terrifying new challenge while the stone monolith continues to breathe and sigh. The final act is something to behold, if not quite believed or even understood. Like the film overall, it becomes something to admire rather than enjoy.

Stoned out of your mind

Moral of the Story: Though appearing to be set in a time similar to our present miserable reality, this appears to me to be as much a movie about man’s relationship with nature as it is one about man and virus. Far from a crowd-pleasing good time, In the Earth is a novelty horror for the more adventurous. 

Rated: R

Running Time: 103 mins.

Quoted: “Let me guide you out of the woods.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; www.movieinsider.com 

Hurricane

hurricane-movie-poster

Release: Wednesday, August 31, 2016 (Vimeo)

[Vimeo]

Written by: Christiano Dias

Directed by: Christiano Dias


This short film review is my latest contribution to Mr. Rumsey’s Film Related Musings. A tip of the hat to James, who runs the show over there.


Hurricane is the brand new film from Christiano Dias, an experienced short film director who has managed to fit 20 writer-director credits under his belt in the span of a decade. His latest puts a humorous spin on anti-Communist sentiments running rampant in 1950s America.

It tells a darkly comic tale of a couple, Oslo (Corey Page) and Eva Alduars (Lisa Roumain), experiencing some strange happenings during the course of dinner. A tense argument over the meal soon focuses on the radio they have playing in the background, which crackles in and out before eventually going silent. It reminds Oslo of a similar incident that apparently happened at a neighbor’s house, in which a man had discovered a wiretapping device inside his radio. Supposedly that same man had disappeared from the area not long after that. Oslo suspects the Commies got him.

Moments later, a knock at the door. A boy introduces himself as Benjamin Shaw (David Jay), and appears to be selling newspaper subscriptions. But something just doesn’t add up. Oslo begins to think the timing of these events is no coincidence. Meanwhile, a storm closes in on the house outside. Dias challenges us to consider all of the possibilities here, including what seems most unlikely.

What’s most apparent with Hurricane are the production values. Crisp colors and retro shapes and objects transport you back into the Cold War era, a physical sense of time and place conjured from wisely chosen props and set decor, not least of which is that pesky radio — virtually a character unto itself. Thick curtains drawn across large windows occupy considerable space within the frame, a not-so-subtle nod to the Red Scare.

It’s not just visual cues that tip us off, either. There’s a lot of strong eye-acting going on here, whether it’s an accusatory stare from over the top of Oslo’s glasses or the intense look of irritation, borderline anger, in Eva’s. Watch as the look turns from one of disgust to concern as she watches the man steadily come undone. The period details even is evident in the tones of voices used, the cadence with which the characters speak. Paying attention to these little nuances is more important than to the acting itself, which can be pretty shaky.

Those details add up to a unique and at times disconcerting experience that plays with notions of how paranoia and mistrust can lead us to make poor decisions and act irrationally. The set-up is simple but effective, making for a short film that I really kind of have to recommend.

Recommendation: An interesting take on the atmosphere of paranoia, fear and mistrust in the years leading up to and certainly including the Cold War. Juggles comedy with dramatic beats pretty effectively, even if the acting is at times a bit shaky. On the whole, though, these are 14 minutes very well spent. I enjoyed the strangeness of it all and this makes me really want to check out more of Dias’ work. An easy recommendation to make. 

Rated: NR

Running Time: 14 mins.

[No trailer available, sorry everyone . . .]

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.screencritix.com; http://www.vimeo.com

Bridge of Spies

Release: Friday, October 16, 2015

[Theater]

Written by: Matt Charman; Joel Coen; Ethan Coen

Directed by: Steven Spielberg

The Red Scare may be long since over but in Steven Spielberg’s 29th feature (!) we’re thrown right back into the thick of it as Tom Hanks is tapped to negotiate the swapping of two major (human) pawns caught in a protracted and ugly chess match of intel gathering, fear mongering and society dividing.

Bridge of Spies, the collaborative effort of almost too many Academy Award winners (is there such a thing?) — directed by Spielberg, brought to life by Hanks and penned by the Coens in conjunction with relative unknown Matt Charman — has all the makings of another Spielberg classic. While it certainly does no harm to anyone’s reputation — to state the obvious, this is a thoroughly enjoyable picture — it falls just shy of greatness. Then again, that’s a bar set so high it becomes paradoxical: not even Spielberg can top Spielberg at his finest.

In 1957 Brooklyn, suspected Soviet spy Rudolf Abel (Mark Rylance) is arrested at his apartment and taken into custody. The American public, having been rattled by the recent Rosenberg conspiracy in which an American husband and wife had been found guilty of selling secrets to the USSR about the Americans’ development of an atomic bomb, demands Abel be sentenced to death. Insurance lawyer James B. Donovan (Hanks) is called upon to represent Abel for reasons that are still bewildering to this critic. I suppose it’s enough that Donovan’s firm knows how seriously he is committed to his duties, or maybe it’s because everyone else who was asked said no. It’s not exactly clear either way, though fortunately his meteoric rise to national prominence isn’t clumsily handled.

Of course no one, not even Donovan’s family — most notably his wife Mary (Amy Ryan) — expects Donovan to seek Abel’s acquittal; the assumption is Donovan would facilitate a fair trial as a kind of courtesy to the currently most-hated man in the country. The atmosphere is such that Abel’s fate is all but a foregone conclusion, yet Donovan seeks a lighter sentence, a 30 year stretch in prison, which would all but ensure Abel’s death anyway. He finds himself at the mercy of the Supreme Court after trying to argue evidence gathered against the Soviet (whom Donovan has curiously been sympathetic to from day one) has been tainted by an invalid search warrant. He loses the case, 5-4.

Meanwhile, an American pilot by the name of Francis Powers (Austin Stowell) has been shot down over Russian soil while on a reconnaissance mission, captured, convicted and imprisoned by a somehow less empathetic government who subjects him to torture as they similarly assume him to be a spy. Following his perhaps predictable defeat, Donovan is asked to negotiate the release of Powers in exchange for Abel, putting him at even greater odds with his fellow Americans. To further complicate matters, Frederic Pryor (Will Rogers), an American graduate student studying German economics in East Germany, is captured when he finds himself on the wrong side of the newly constructed Berlin Wall.

As we shift into the middle third of the film the environment becomes decidedly more chilly, and tension begins to build in earnest. What was supposed to be a simple, though by no means easy, exchange of one American for one Soviet, devolves into a circus of lies and misdirection, with Donovan receiving none of the hospitality overseas that he extended to Abel back home. It’s against a backdrop of post-World War II devastation and the bitter European winter our embattled lawyer has to have the toughest conversations yet. After much deliberation and with his patience wearing thin, he bluntly tells Wolfgang Vogel (Sebastian Koch), Donovan’s German equivalent, there will be no deal between the U.S. and the Soviets if they can’t negotiate the release of both Powers and Pryor for Abel. If there’s anything to be gained from such a hugely risky request, it’s our appreciation for why he is the man for this job — I don’t even think Hanks, the person, is quite this principled.

To reiterate, Spies isn’t vintage Spielberg and because it isn’t, it’s all too easy to dismiss as a minor entry. There’s nothing minor about a private citizen brokering this historic deal, though. There’s nothing forgettable about the way the Coens and Charman manage to create a clear dichotomy between Russian and American sentiments, even if the Coens have to censor themselves more than usual here. Spies could have been a truly dark picture, yet it understands that often violence is more potent when suggested rather than demonstrated. That’s not to say the film isn’t a sobering reminder of the state of the world in the late ’40s through the ’50s. The rampant paranoia is best captured in an early scene in which Donovan’s school-aged son is preparing for the inevitable dropping of the atomic bomb, while struggling to understand why his father is trying to protect “one of them.”

As per usual, the Spielbergian approach encompasses several different genres — historical drama, loosely-defined biopic, espionage thriller — and it’s compelling in each capacity, combining historical elements while exploring the many layers that make human beings what they are, regardless of nationality. Once more he delivers a wholesome product that’s equal parts entertaining and informative. It’s a quietly powerful picture and one well worth visiting.

Recommendation: Reliably strong work from Tom Hanks and Steven Spielberg makes Bridge of Spies an unexpectedly warm and enjoyable outing. Though not quite top-shelf stuff, this Cold War-set thriller should please fans of either camp and American/European history buffs. Perhaps its biggest shortcoming (maybe it’s more of a disappointment than a flat-out failure) is that the Coen brothers’ signature quirky, dark humor gets lost in the shuffle here. There’s comedy to be found, sure, but this doesn’t really feel like a product of their writing. 

Rated: PG-13

Running Time: 141 mins.

Quoted: “The next mistake our governments make could be the last one.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com