A troubled couple, Ray and Joanne (Sam Worthington, Lily Rabe), stop at a petrol station where their daughter’s arm gets Fractured in a fall. They rush to the nearest hospital, but something is terribly amiss. Pushy staff keep mentioning organ donation. And when daughter Peri (Lucy Capri) and Joanne disappear during an MRI, the hospital deny they checked in — or even exist at all. Ray must fight to save his family and prove his sanity.
A kind of horror Flightplan, we are kept guessing until the end: abducted family, or imagined family?
Unsettling, thrilling, but slightly shlocky. A good romp.
the characters didn’t feel like cut-outs waiting to be killed, but like real people.
Six strangers from very different backgrounds have been invited to take part in an escape room together. Escape rooms are a chance for people to come together, build social skills, be creative, and have fun — win or lose. But it soon becomes apparent that when it comes to this particular escape room, losing is not an option.
A strong concept piece featuring a motley assortment of characters, Escape Room felt like a horror movie in the model of a classic Twilight Zone episode, an exciting mystery. It had shades of movies I’ve enjoyed so much, such as Cube (1997) and Saw (2004), but very much did not feel derivative. Escape rooms themselves are all the rage now, probably because, as one of our players Danny (Nik Dodani) enthuses, they’re like real life computer games. And so this feels a very 2019 twist on those older movies.
Escape Room had plenty of well-judged humour, scares, moments of real tension interspersed with genuine mystery and a sense of the marvellous, and the characters didn’t feel like cut-outs waiting to be killed, but like real people. This definitely elevates Escape Room above most other examples of the survival game subgenre where character, motivation, and plot are so often very much secondary to the creativity of the games and the kills.
The movie began with a bang and then slowed right up in order to introduce all of the characters and the setting. But then the pace kicked back in and didn’t let up. Thrilling. I particularly enjoyed this playing with pacing and also of realism; the movie stretches and snaps back like a rubber band, never breaking nor going too far, but pushing the viewer to the limit.
Escape Room isn’t the first movie based on this concept — for example, we have the confusingly named and dated Escape Room (2017) dir. Will Wernick and, err, Escape Room (2017) dir. Peter Dukes –, but it’s the best so far. It really felt like I was watching this generation’s Saw. And like Saw, there were twists and turns — although, admittedly, none as shocking as that twist from the original Saw. Just as in Saw, each room / trial is brilliantly imaginative; you almost feel yourself “playing along” at home. And just like Saw, I felt myself thinking, “This could easily be a franchise. I think they could make more! I hope they make more! Although any sequel would be milking this concept dry” As it happens, the films ends not with the hint, but the definite confirmation, of a sequel. I felt excited, but also a little sickened by the self-assuredness of this film: gone are the days of teasing the audience and hoping for the box office receipts to make a second movie profitable, now are the days of the five film Netflix deal. None-the-less, the set-up for the sequel looks anything but milking the concept: it promises to be a thrilling and wonderful development, and it’s to be released in 2021.
A great concept, entertaining and real-feeling characters, thrilling, horrific yet fun, Escape Room was both familiar and yet refreshingly different. I loved it, and I cannot wait for the sequel.
When the Devil’s near … Toast falls jelly-side down
Devil is a murder-mystery concept piece set mainly in the confines of a lift. Five strangers enter said lift together only to get stuck between floors. Bad enough, you might think. But when one of the five is murdered during a momentary blackout, all Hell breaks loose. Meanwhile outside, our intrepid damaged-goods Policeman tries to solve the unfolding lift-based mystery whilst keeping his shit together.
Devil could have made a good episode of The Twilight Zone (albeit, without the scenes outside the lift). As it was, Devil made for a tense and entertaining horror-mystery. Coming from the mind of M. Knight Shyamalan, there is of course a twist ending, which is reasonably effective, although not totally unforeseeable. And being an M. Knight movie, we can play some Shyamalan Bingo™:
there was some flabby and ridiculous dialogue (“When he’s [the Devil] near, everything goes wrong. Toast falls jelly-side down, children hit tables, and people get hurt.”),
a somewhat awkwardly shoehorned religious aspect (handled clumsily with the gibbering Mexican Catholic expositor),
cheesiness (the awkward mattress salesman and his banter),
and a damaged protagonist suffering from a traumatic loss.
Despite this, the story was lean and tightly plotted. The characters were fairly believable. The performances were all decent. The movie had a kind of Eli Roth vibe to it, which is good or bad depending on your viewpoint, and a TV serial feel. Perhaps the film benefited from M. Knight sharing the writing duties.
Very enjoyable, albeit not Oscar-worthy. A middling Shyamalan movie: no Sixth Sense, but thankfully no The Happening, either.
there is a line between teasing the viewer and being a pricktease … frankly, this movie will leave you with blue balls.
Lorenzo is a middle-aged artist who is about to have a baby with his much younger, sweetly vulnerable wife Sigrid. But as soon as she falls pregnant, her behaviour becomes more and more distant, sinister even. Or– is it all in Lorenzo’s head? It’s only when the baby is born that Lorenzo and the viewer truly plunge headlong down the rabbit hole.
The film starts with a hot sex scene. Usually a bad sign. However, not so here: The Son was a tense psychological thriller, brilliantly acted by all. Lorenzo’s headspin into wretchedness and/or madness is masterfully constructed by Joaquín Furriel who is almost unrecognisable. Heidi Toini, who plays his Norwegian wife Sigrid, gives a brilliant performance which, like the candlestick-silhouette illusion, could equally be read in two completely different ways depending on perspective; is she an innocent and worried mother or is she a sinister evil plotter? Lorenzo’s best friends Julieta and Renato are equally magnificently played by Martina Gusman and Luciano Cáceres.
I couldn’t breathe throughout I was that spellbound.
This is honestly one of the best movies I have seen in the last year or two.
It could also be one of the worst.
Despite being almost perfect, the ending lets it down. But not because it was obvious or forced or too twisty or too straight-forward. Rather, the film just ends. Abruptly. You’ll understand when you see the film, but it’s like it’s missing the last two minutes. All the plot threads are pulling together when the final incident happens and — we don’t get to see the resolution. I had to think about the ending. That’s not a bad thing, the old thinsky ambigui-ending. And I think I know what happened. No spoilers, of course. But then again, judging from other people’s comments, everyone seems to have interpreted the ending differently. There is a line between teasing the viewer and being a pricktease, and with The Son we’ve crossed it; frankly, this movie will leave you with blue balls. It’s actually unacceptable that a movie this brilliant in so many ways should end with the cheap, “We’re not gonna show you!” shot at ambiguity. The writer and director should have had the balls to pick one of the possible outcomes and go with it. I have to warn you: this film is magnificent, but the bad ending — no, actual lack of an ending — is pretty disgraceful and will be, for many a viewer, film-destroying. Perhaps the book on which it is based can shed some light.
So, four stars out of five, or two out of five? I’ll have to give it a three, the weirdest and most atypical three star movie ever.
… would have made a cracking little episode of The Twilight Zone.
In the Tall Grass is based on the novella co-written by one-man-novella-industry Stephen King and his son Joe Hill. It’s a high concept mystery-horror-thriller that seems like it would have made a cracking little episode of The Twilight Zone.
We meet a dilapidated and forsaken church, as much a character in this story as any of the humans, whose carpark is a de facto layby for weary travellers. This is the only thing for miles around apart from motorway and countless acres of thick, tall, grass. When heavily pregnant Becky (Laysla de Oliveira) and her brother Cal (Avery Whitted) stop to rest, they hear a small lost boy (Tobin, Will Buie Junior) stuck within the thick growth pleading with them to help him get out. So far so simple. But when they enter the tall grass, they find themselves trapped in a nightmarish and constantly-changing maze where the very grass seems alive with an evil presence which is determined to keep them captive.
Such a high concept could backfire (see M. Knight Shyamalan’s The Happening). But In the Tall Grass initially worked quite well, particularly since it seemed like we were watching the marvellous Triangle (2009) but rebooted on a farm instead of the open sea. A silent, evil presence at the centre of the shifting grass maze had serious shades of King’s own The Tommyknockers and was quite convincing.
Unfortunately, what wasn’t convincing was some of the acting, particularly that of the usually great Patrick Wilson. Wilson hams it, chewing up the scenes like a demented Ash from Evil Dead III. Unfortunately, that acting did not sit tonally at all well with the rest of the film. As my wife put it when Wilson cracks open the can-o’-ham, “This is just silly now”. She left the room.
From this point onwards, the film really struggles with its own lack of source material, although this needn’t have been a problem: King’s own novella Rita Hayworth and the Shawshank Redemption proves that a novella can be weighty enough for a magnificent film treatment. Sadly, this novella just didn’t have enough to it. The whole venture descends into a shlocky slasher movie. There is some surreal and disturbing body horror, however, which was gruesome and great!
The film does manage to just about pull itself together for the conclusion which is satisfying. And, Wilson and Whitted aside, the acting is compelling and convincing. But the whole thing just about careens off the tracks as it finishes. It would have benefited greatly from curtailing its length from 101 minutes to an old school 90, maximum; 81 would have done fine. Even if Wilson hadn’t channelled Army of Darkness, there’s no escaping that this film was a Twilight Zone episode spread too thin. A very uneven, albeit enjoyable, result.