Netflix Film Review “In The Tall Grass” (2019) @Netflix #Horror

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.

3/5

© 2020 Bryan A. J. Parry

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The Inevitability of Being (Poem)

stephen-king

Poems are never completed, only abandoned, and I think I’ve just about given up on this one (it’s been fifteen months since I was able to edit it). So here we go! Constructive criticism is quite welcome (you might help kickstart my mind!).

The Inevitability of Being
Stephen King was asked: why the horror voice?
He replied: why d’you think I have a choice? 

Writers write ‘cos they don’t know how to not.
Pigs root in shite, and smile, for it’s their lot.
And time ticks down till end of all—just ‘cos.
But it’s not bad to revel in the what
You have unchange-inevit-ably got.

So hear me, world, this proclamation!
—declared outside of Barking station!

I make up languages no one can speak!
I love Sci-fi, lattes, and ancient Greek!
I crave cliff top vistas yet I hate heights!
The snoozing city stirs my soul at nights.

Hear me, world!
I need a pillow ‘tween my legs in bed!
Hear me, world!
I inevitably was — and now dead.

© 2013-2015 Bryan A. J. Parry

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