Netflix Film Review “Obsessed” (2009) #NetflixReview

Things couldn’t be better for Derek (Idris Elba). He’s got a beautiful, adoring wife Sharon (Beyoncé), a healthy, happy toddler, and has just received a massive promotion which has sent him stratospheric. However, his world comes under threat when femme fatale temp Lisa (Ali Larter) goes a-hunting in her new office and decides to put Derek between the crosshairs.

Obsessed is a very standard psycho-stalker thriller. It draws obvious comparisons with Fatal Attraction (1987). But where Fatal Attraction would still have been daring and bold in 2009, Obsessed would have been staid and trite for 1987. Obsessed was not only paint-by-number, it was rather restrained: Derek never allows temptation to spiral his life out of control. But that itself could have been an interesting angle. Elba, Beyoncé, and Larter all give convincing, characterful performances. Sadly for Larter, the script makes no attempt whatsoever to explain Lisa’s obsession nor her crazy behaviour. Not a hint. Nothing. She’s clearly attracted to him, he is friendly but doesn’t lead her on, she randomly tries to bang him in the toilet. And she doesn’t let up. The lack of any kind of motivation is bizarre. Did Derek lead her on? No. Was she bullied by Sharon at school and now wants to ruin her life? No. Does she have a crushing Faberge Egg habit to support that only a senior manager’s salary could enable? No.

Larter and co make the best of finding a throughline. And I must say that the final show-down was genuinely exciting and enjoyable. Sadly, the script is the big problem with this film, and that is a big problem with a film, indeed.

2/5

© 2020 Bryan A. J. Parry

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Netflix Film Review “A Stranger Outside” a.k.a. “Babysitter’s Nightmare” (2018) #NetflixReviews @britt_underwood @JakeHelgren @MarkGrossman @JetJurgensmeyer @ShanicaKnowles

A baby-sitter finds herself trapped in a house playing cat and mouse with a masked serial killer. Sound familiar? A Stranger Outside is standard ’90s Scream-style shlock, albeit without the self-awareness. But it wins points for some interesting plot ideas. For example, the baby-sitter is really a nurse who has taken the gig as a way of getting some easy cash after suffering a career and confidence crisis due to the death of a vulnerable child in her care.

The first half of the movie was trite, and the acting was a little over-the-top, although our lead Brittany Underwood was giving a decent turn. The less said of the performances by her co-stars Mark Grossman (boyfriend Jeremy),  Michael Chandler (incompetent Dr Mixer), Jet Jurgensmeyer (baby-sittee Toby), or best friend Kaci (Shanica “No Relation” Knowles), the better. Things really fall apart in comedy style when the killer starts a-killing. The Scary Movie-like knife thrusts, slicing through pieces of paper, cowering beside counters, and hysterical screaming were beyond absurd; imagine a Scary Movie where the wonderful Anna Faris and Regina Hall actually thought they were giving solid dramatic turns.

This film is also oddly disjointed. The first half, a 90s throwback cliché, albeit mildly entertaining. The second half, a spoof movie not realising it’s a spoof movie. Indescribably awful, but in its awfulness, thoroughly enjoyable nonsense. A jumble of decent scenes and terrible scenes, passable acting and insanely awful acting, make for a diverting 90 minutes.

So bad it’s almost good. But not quite.

2/5

© 2020 Bryan A. J. Parry

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Netflix Film Review “The Son” a.k.a. “El Hijo” (2019) #NetflixReviews @JoaquinFurriel @martinagusman @cianocaceres @heiditoini @leodago_ @leoysubrayo

check out my film review blog at www.moviereviewsblog.com

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.

Candlestick, or silhouettes? The Son masterfully plays with our perception of reality.

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.

Why?

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.

3/5

© 2020 Bryan A. J. Parry

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Netflix Film Review “The Occupant” a.k.a. “Hogar” (2020)

In the 1990s, Javier Muñoz (Javier Gutiérrez) was a world-eating advertising executive. But twenty years later, he is washed up, yesterday’s man, and a joke to all in the profession. With mounting debts and no prospects, and in spite of the pleas of his suffering wife (Ruth DÍaz), Javier desperately clings to the scraps of his former enchanted life: the dream apartment, the car. But you can only run for so long. For most people, facing the music is a wake-up call to adjust their lifestyle and their expectations; for Javier, it’s a call which wakes up something far more sinister, an obsession which will not die.

The film is beautifully acted throughout, and our leads are deeply convincing. Not only Gutiérrez and his on-screen wife played by Ruth DÍaz, but also the supposed dream couple Tomás (Mario Casas) and Lara (Bruna Cusí). Javier’s journey is front and centre, dramatic, and thoroughly believable. He manages to remain somewhat sympathetic, despite clearly sociopathic tendencies. It’s a testament to both the writing and the acting, not just of Gutiérrez but of his co-stars, that we retain a kind of complicit, twisted, semi-loyalty to Javier, and believe his character arc completely. The other characters’ journeys are no less important, and are equally convincing.

Where once he sold manufactured dreams to the masses, he now craves that dream himself, a truth beautifully referenced through the first and last scenes of the film. The film had a poetic elegance. It was hard-hitting without moralising, and unambiguous as to where right and wrong lie whilst still drawing us in to sympathise with the wrong.

A really wonderful movie, albeit with a somewhat sour ending which may not sit well with a Spielbergian audience. Not sure about the title “The Occupant”; the Spanish title Hogar “Home” fits much better.

4/5

© 2020 Bryan A. J. Parry

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Netflix Film Review: “Eli” (2019) #150WordReview

Eli (Charlie Shotwell) is a boy with a rare life-threatening autoimmune disease which effectively renders him “allergic to the world”, as one character puts it. His parents (played by Kelly Reilly and Max Martini) take him to a remote medical facility where renowned specialist Dr Horn (Lili Taylor) promises to save him. However, all isn’t as it appears, and Eli might not be in the safest place for him, after all.

This are-the-doctors-bad-or-is-it-all-in-the-boy’s-head thing worked very well for the first two thirds of the film. Sadly, the script not so much careens off the tracks in the final act, as it blasts into outer space with the most unlikely and film-destroying plot twist ever. A far less obvious twist, or no twist at all, would have rendered this film better.

Good acting, a tense film up until the last third, I can think of several endings that, whilst less twisty, would have been more in keeping with the tone of the film and done justice to it.

2/5

© 2020 Bryan A. J. Parry

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Netflix Film Review “Time Trap” (2017) #NetflixFilmReview

A group of adolescent friends go on a jaunt to a hidden cave in the woods in order to find their missing teacher. It’s an accident waiting to happen, something the characters themselves point out several times. And yes, they inevitably do end up getting lost in the cave network themselves. But this Goonies gone awry quickly becomes The Descent-with-teens; what they find down in the dark is beyond any of their imaginations and will change their lives forever in ways they couldn’t conceive.

Time Trap is basically a B-movie which was shot on a limited budget of $1,000,000, a paltry amount — especially for a Sci-Fi flick. Yes, this is a sci-fi movie. However, the special effects weren’t bad at all, and the make-up was impressive, too. The acting wasn’t amazing. But despite being a bit teen movie, it worked.

The film felt like an over-extended episode, perhaps the pilot, of a 1990s Sci-Fi show. Which is both good and bad. Action, drama, thrills, but a total reset by the end of the episode. Which was a bit of a let-down.

Despite a lack of budget and a ’90s TV vibe, it was an absolute mind-bending pleasure. It dealt with huge themes, which totally shocked me. As pretentious as it sounds, I was reminded of Olaf Stapledon’s magisterial 1930 novel Last and First Men, an aeons-spanning epic like no other which inspired many, including the great Arthur C. Clarke. That really does sum up the themes hit upon in this movie. Awesome stuff. However, the film starts out with no hint of such a direction. It begins as a kind of teen adventure movie in the mould of the Goonies (which was meta-ly referenced by the characters themselves), but transforms into a truly terrifying science fiction horror. This tonal shift worked quite well; much better, in fact, than the campy tonal shift back to adventure comedy at the very end. This ending, a happy ending of sorts, felt like it thoroughly undermined the true mind-melting horror of what happened in the caves. Hence the “90s Sci-Fi show” vibe.

B movie, yes, but a true delight.

3/5

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Netflix Film Review: The Hole In The Ground (2019) @SeanaKerslake @Netflix #HorrorMovie

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

100 word review here

The Hole In The Ground is the remarkably well-accomplished debut feature from Irish writer-director Lee Cronin. Single mother Sarah (Seána Kerslake) has upped sticks to the remote Irish countryside with her eight year old son Chris (James Quin Markey). After Chris goes for a mysterious midnight stroll in the nearby forest, Sarah begins to notice disturbing changes in his character. Is this even her son at all? Cleverly, rather than Cronin have Chris’s behaviour deteriorate, the opposite occurs; where once he was sullen, withdrawn, and shy, he becomes calmly positive, controlled, and popular at school. But there’s just something off about this change of character, something that only a mother would notice, and I have to say wonderfully sold by young actor James Quin Markey. Seána Kerslake also convinces.

A gut-churning slowburn, this horror-thriller reminds me distinctly of 2014’s equally nerve-shredding The Honeymoon. It also shares DNA strands with The Babadook; has her son really been replaced, or is it all in her own mind? Just as in The Babadook, we start to fear for what this tormented mother might do to her own child, whilst also fearing that she is right.

The dank forest is beautifully shot and feels ancient, like nefarious creatures from Celtic myths might indeed dwell there, every tree seeming to have its own personality. The sinkhole in the centre of the wood projects an eerie and malevolent presence.

We are kept guessing until the very end: has Chris been replaced, or is his mother losing her mind? Credit again to Lee Cronin for eschewing any of the tempting and obvious potential twist-endings that the film could suggest. Rather, I found the ending befitting and equally horrifying. Without giving the game away, I can say that this family will never be quite the same again.

Genuinely disturbing, the psychological horror builds slowly but powerfully. How does it compare to other “forest horror” films? Fans of The Honeymoon should definitely watch this, fans of The Blair Witch Project might like it, and fans of Cabin Fever could probably give this movie a miss.

4/5

© 2020 Bryan A. J. Parry

featured image from https://image.tmdb.org/t/p/w1280/wTnFy6B5QCeRgjgCGBGlZaDESJ1.jpg

Netflix Film Review: The Hole In The Ground (2019) #100WordReview @SeanaKerslake @Netflix #HorrorMovie

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

The Hole In The Ground is the remarkably well-accomplished debut feature from Irish writer-director Lee Cronin. Single mother Sarah (Seána Kerslake) has upped sticks to the countryside with her eight year old son Chris (James Quin Markey). After Chris goes for a mysterious midnight stroll in the nearby forest, Sarah begins to notice disturbing changes in his character. Is this even her son at all?

A gut-churning slowburn, this horror-thriller recalls 2014’s equally nerve-shredding The Honeymoon and shares DNA with The Babadook. Convincing central performances and potent sound design and cinematography.

We are kept guessing until the very end: has her son really been replaced, or is it all in her own mind? A true delight.

4/5

© 2020 Bryan A. J. Parry

featured image from https://image.tmdb.org/t/p/w1280/wTnFy6B5QCeRgjgCGBGlZaDESJ1.jpg

Netflix Film Review: Unforgettable (2017) #100WordReview @netflix @thefilmreview @kermodemovie @theisabellakai @rosariodawson @KatieHeigl @geoffstults

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

Julia (Rosario Dawson) has just clawed herself out of a violently abusive relationship. Her reward: super job and wonder-man David (Geoff Stults). But her new life is shattered by David’s “tightly wound” ex-wife Tessa (Katherine Heigl) who cannot, and will not, accept that she has been replaced. Julia battles the demons of her past to overcome everyone’s doubt and her new foe.

With a title like Unforgettable, this film is almost asking to fall on its face. The truly compelling central performances by Dawson and Heigl stop this being a waste of time, but a classic it is not. Trite, boring.

2/5

© 2020 Bryan A. J. Parry

featured image from https://image.tmdb.org/t/p/original/8kOFx8MjZZzBYcf85qfsf9UBsJD.jpg

Netflix Film Review: Fractured (2019) #100WordReview @netflix @thefilmreview @kermodemovie @fracturedfilmUK @_SamWorthington @lilrabe

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

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.

3/5

© 2020 Bryan A. J. Parry

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