When young mother Katie flees an abusive relationship with her newborn, she settles in a new town where she befriends another mum Angela. Katie seems like just what struggling Angela needs: a new best friend to help support her in her own moving on from a troubled period. But when Angela starts to notice strange things about Katie, we’re left to question is Katie all she makes herself out to be?
Inconceivable is an entertaining psychological thriller. It features good performances from Oscar winners Nicolas Cage and Faye Dunaway. However, the pacing felt somewhat plodding, the runtime seeming to stretch beyond its 105 minutes, and the key twists were resolved too early and thus deflated the tension. The main issue seems to be that the script isn’t sure what it’s trying to do. Is Katie the protagonist, or Angela? Do we live the journey of Angela’s descent into madness, or not? Is it an is-she-isn’t-she-crazy film, or not?
A good psychological thriller which is somewhat short on thrills.
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.
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.
Veteran 911 operator Jordan (Halle Berry) receives a call from a teenage girl, Casey (Abigail Breslin), who has just been abducted and is currently locked in the boot of her kidnapper’s car. As would-be killer Michael (Michael Enklund) drives Casey to an unknown location for a certain death, Jordan must battle her own demons and find the Casey — before it’s too late.
The Call is a tense, non-stop, thoroughly riveting thrill-ride. The performances all round were great, Michael Eklund giving a big but convincing turn as murderer Michael, and the direction was accomplished and what we would expect from Brad Anderson. The use of different kinds of minority characters, without rubbing our faces in the production’s self-righteousness, was actually refreshing and empowering and not at all distracting.
The very last moment of the film was admittedly somewhat forced, although only if we take our characters’ word for it, which I didn’t (no spoilers, so sorry for the vaguery). And some critics have poo-pooed the third act, but I found it a believable and natural development of the story. Frankly, The Call is the exact kind of film that the critics love to hate: it’s just straight-up, thrilling cinema with no pretensions.
Samantha (Brooke Newton) has no family whatsoever apart from her mother who was herself adopted. So when her mum suddenly dies, pregnant Samantha’s world is plunged into chaos only to be saved by the unexpected arrival of her grandmother (soap stalwart Robin Riker) who is looking to make up for lost time. But does Granny have ulterior motives?
Lineage of Lies, also colourfully known as Psycho Granny, is classic network TV movie stuff. Low budget, over-acted, melodramatic, massive spoiler in both titles, and with things that make no sense. For example, how is our psycho granny able to lug 200lb dead bodies about, in public, without being seen or putting a hair out of place? Why does she only look just old enough to be Samantha’s mum, let alone grandmother? Why does someone who is self-evidently so brilliant at deception make the most rudimentary and careless errors, such as leaving dead people’s mobiles lying around for our protagonist Samantha to find? We also had plot dead-ends: why don’t the people from her past deceptions, who we are introduced to, catch up with or threaten her or her schemes in some way?
Having said all that, I loved it. This is typical student / unemployed / housewife / hungover / late night / corona furlough guilty-pleasure viewing. As for the plot, we know from the outset what Granny’s game is, and the fun is in seeing how she goes about bringing her plan to fruition. What I particularly liked about the film is that granny is after emotional not financial enrichment. Very human.
There’s no way this film can be considered “good”, but it’s enjoyable nonsense, none-the-less.
Kathy Rhodes’ (Molly Hagan) seven year old daughter Michelle disappeared on the way to school. Now, twenty years later, the arrival in town of twenty-seven year Michelle Jacobs (Sofia Mattsson) sparks off an obsession: has Kathy’s little girl somehow returned to her?
The Mystery of Michelle a.k.a. Long Lost Daughter is an entertaining TV movie and feature length debut from writer Joe Ryan Laia. The characters are generally sympathetic and believable. However, Kathy’s obsession with Michelle generally lacks the edge or menace required to make this movie really pop, except suddenly and therefore somewhat jarringly towards the end, and I feel this is a missed opportunity for Laia as it would have been easy to fix in a redraft. The movie therefore often plods along rather than zips.
The ending is fairly satisfying but also curious: what was apparently meant to be the cherry on the cake showing the sweetness and humanity of Michelle Jacobs instead comes across as giving her rather sociopathic tendencies. A bit of a discordant misstep to end the story with. But the most curious aspect of the plot, as it would be so easy to sort out and would have multiplied the drama tenfold, was Michelle’s age when she disappeared. She was seven. Not three. Not four. Not even five. But seven. The tension of the films depends on believing that Michelle’s own early memories of her real family could be confused and blurred. Yet it is totally unbelievable that anyone that age would not remember their own parents clearly.
None-the-less, there were some great scenes with neat writing and lovely acting, such as the tense dinner between Kathy, her husband, Michelle, and Michelle’s husband-to-be. This scene was very relatable, somewhat humorous, vaguely menacing, and the performance from Hagan really exuded guarded motherly love.
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.
A man wakes up in a hospital bed, bandaged from head to toe, and with no memory or who he is. But when our nameless protagonist (Jonathan Rhys Meyers) learns that he is a wanted serial killer, something just doesn’t sit right, and he won’t stop until he finds out who he really is and what happened to him.
Awake is a tense, fast-paced crime mystery with twists. Rookie writer Elana Zeltser makes a solid if not ground-breaking screenplay debut. The script, whilst not as clever as Memento (1999) or as taut as Taken (2008), is well-written with believable plotting and dialogue. Our leads, Meyers and Francesca Eastwood, also really sell the film, although the acting from Malik Yoba (detective Frank Ward) had a tendency to veer off into TV movie territory.
Please ignore the 5.0 IMDb and 14% Rotten Tomatoes scores. This film is much better than that. Riveting, fast-paced, not overly obvious albeit not earth-shakingly original, this is a lovely little movie to spend 92 minutes with.
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.
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.
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.
Film and Writing Festival for Comedy. Showcasing best of comedy short films at the FEEDBACK Film Festival. Plus, showcasing best of comedy novels, short stories, poems, screenplays (TV, short, feature) at the festival performed by professional actors.