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 “Calibre” (2018)

check out the 150 word review here

check out my film blog here

Two thirty-ish childhood friends, Vaughn (Jack Lowden) and Marcus (Martin McCann), meet up after a few years for a weekend away in Scotland to celebrate Vaughn’s impending fatherhood; a kind of paternity stag do. Ironically, to hunt stags — all at Marcus’ expense. But when an incident happens, their trip is turned into a nightmare that which will change their lives forever.

There’s an awful sense of inevitability from the very start of the film, even before the truly shocking and gut-wrenching inciting incident. We know something awful is going to go down. The film gripped me with a suspense I haven’t felt for a while.

The countryside, almost a character itself, oozes Britishness and is both beautiful and haunting. Indeed, the cinematography is beautiful and effective throughout, never drawing attention to itself but is quite magnificent. I particularly enjoyed one shot of Vaughn’s dinner. The sound design is understated but truly powerful and sells the film magnificently. 

The writing is tight and fat-free but never feels shoehorned or with an inevitable end-point. The film is marked by highly convincing motives and actions and reactions from all of our characters throughout. This is sold by some truly phenomenal acting, including from supporting characters.

Vaughn, a shy but nice bloke; Marcus, his larger-than-life but slightly unbalanced friend. We get the impression that Vaughn had emotionally distant parents and was a bully victim; Marcus seems to have the self-confidence and slightly self-destructive side afforded by a more privileged upbringing. But almost all of this was subtly and carefully implied rather than being explicitly stated. It felt like our two leads had a lot of backstory to work with and were therefore able to deliver a very convincing throughline. The film’s first act sees them having a highly believable lad’s bonding session. If you’re a man, this kind of sesh will definitely be familiar, true man-on-man bromantic bonding.

The finale was satisfying and totally appropriate with a final shot which made us feel complicit.

Calibre reminded me of the excellent Eden Lake: a tranquil countryside retreat, an incident in a forest, local townsfolk who seems a little on edge and present a constant threat. But in recalling Eden Lake, a truly gritty and realistic movie, Calibre made me realise how theatrical Eden Lake was by comparison. I was fully gripped and absorbed, whereas Eden Lake now seems a little bit “horror movie”, emphasis on “movie”.

This was writer-director Matt Palmer’s first solo feature length film after several horror short films. So the title “debutant” seems a little inappropriate. None-the-less, this is a debut solo feature, and it a remarkable accomplishment.

This film was tense and boding from the outset. It’s hard to think of how this could have been improved. Everything was magnificent. I am sorely tempted to give this a five star rating, but I only give five star reviews to films that I immediately think, “Wow, this will go down as one of the greatest movies in history”. Calibre was too simple a story and too simply told to ever be classed as one of cinema’s greatest works. But even though Calibre may not have changed the cinematic game, it is, none-the-less, a phenomenal movie which I cannot recommend highly enough.

4/5

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Netflix Film Review “Calibre” (2018) #150WordReview

Two 30-ish year old childhood friends, Vaughn (Jack Lowden) and Marcus (Martin McCann), meet up for the first time in a few years for a weekend away in Scotland to celebrate Vaughn’s impending fatherhood; a kind of paternity stag do. Ironically, to hunt stags — all at Marcus’ expense. But when an incident happens, their trip is turned into a nightmare that which will change their lives forever.

There’s an awful sense of inevitability from the very start of the film, even before the truly shocking and gut-wrenching inciting incident. We know something awful is going to go down. The film gripped me with a suspense I haven’t felt for a while.

The cinematography was beautiful and the countryside oozes Britishness and is both beautiful and haunting.

A true gem. Watch it.

4/5

© 2020 Bryan A. J. Parry

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Look Away (2018) Review

Maria (India Eisley) is a quirky and lonely teenager, bullied and suffering a barely-fleshed out eating disorder, her only friend is merely using Maria as a personal side-kick and as a kind of depressive foil to make herself look good. A depressed mother (Mira Sorvino) and a philandering plastic surgeon father (Jason Isaacs) make home life equally unbearable. But everything changes when Maria looks in the mirror to see that her reflection is alive. The reflection is called Airam (because, ya know — I mean, work it out for yourself!) and claims to have Maria’s best interests at heart. But does she/it really? Things take a turn for the dark when they swap places.

There’s no real tension regarding who or what the reflection is, the very first shot of the movie spells it out: Airam is Maria’s twin sister who died at birth. There also isn’t any real tension to the way Airam gets justice for Maria. Justice would be served, and I would just go, “Oh, okay, so that’s happened, I guess.” There felt like minimal pay-off. There could have been a slow build-up to key scenes of “justice”, there could have been a creepier tension built between Maria and Airam. Jason Isaacs does steal the movie, however, with his off-kilter and complex portrayal. The film missed another pay-off with certain revelations regarding Airam’s true fate/identity; this twist was shocking, but I was more shocked at how poorly the film played this strong card. There’s an awkward aggressively sexual scene between Maria and her Dad, but this, too, felt like it could have gone in a more interesting direction.

This was an entertaining film, but it kept me wondering why they didn’t explore the concept more. What happens to Maria when she’s in the mirror? Is there a whole other dark world in there, like ours but the opposite? Or is it happy and light, making her not want to come back while Airam is unhappy in Maria’s world? Why wasn’t justice performed more ironically; for example, why was Maria’s school tormenter not, despite having a secret crush on her, punished in a way fitting his relationship with Maria? He just gets kyboshed. And why isn’t Maria made to be more likable? Self-deprecating sense of humour, perhaps. An interesting hobby, maybe. She’s just pathetic and characterless.

Nice idea, some good acting, an entertaining albeit mindless way to spend 103 minutes, but devoid of tension. A Horror-thriller without much of either. The ending also felt incomplete. This film is a wasted opportunity.

2/5

© 2020 Bryan A. J. Parry

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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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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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