Erik takes Hanna to Utrax, hoping to save the other girls held at the facility.
Like a playbook version of Donald Trump's MAGA plan. Complete with Russian murder tourists. Prescient much?
The second RAMPAGE film isn't near what the first was, nor does it do anything different whatsoever.
Maryland (also billed as Disorder). 2016. Directed by Alice Winocour. Screenplay by Winocour & Jean-Stéphane Bron.
Starring Matthias Schoenaerts, Diane Kruger, Paul Hamy, Zaïd Errougui-Demonsant, Percy Kemp, Victor Pontecorvo, Franck Torrecillas, Chems Eddine, Philippe Haddad, Jean-Louis Coulloc’h, Rachid Hafassa, David Colombo, & Rabia Elatache. Dharamsala/Darius Films/Mars Films.
Rated PG. 98 minutes.
There have been plenty cracks, as of late, at tackling PTSD through cinema. Some good, some not so good. It’s all in the way you go about it. You can show many sides. Each person suffering with the disorder can experience it much differently, depending on the event which triggered the symptoms. Along comes Alice Winocour, writing alongside Jean-Stéphane Bron, giving us Maryland; a film that so deftly handles PTSD with suspense, tension, and a few good thrills.
All the elements are in place here to have made a proper thriller, filled by interesting interpersonal drama and a couple heady doses of action. First, there’s Matthias Schoenaerts, whose talents at doing more with his face, expressions, body language than many actors can manage to do with their entire repertoire. Second, Diane Kruger gives her character more weight than simply being a poorly written female character tossed in to give the plot a feminine angle. And finally you can’t deny Winocour’s talent as a director. Personally, I’ve not yet seen anything else she’s done so far. Shame, really. Because clearly she knows how to make magic on the screen. Not only is there a great look, Winocour combines the visual aesthetic with one impeccable aural feast, from sound design to the soundtrack itself by Gesaffelstein. Honestly it’s one of the better movies of its kind in the last few years. Like I said, the PTSD film has really become more of a thing again since the Invasion of Iraq, and everything soldiers have been mixed up in since. But Maryland offers up a look into that type of mind, one fractured deeply by the horror of war (and perhaps later the necessity for a life filled with violence). We don’t get all the typical moments you’d expect. Rather, Winocour shows us the genre we’re convinced is in front of our eyes, then makes it into something else more interesting.
One of the immediate elements of the scripts is the paranoia. A technique Winocour uses that we’re given often in a film that leans towards a psychological story is that for the better part of the whole runtime we’re right alongside, behind, near Vincent (Schoenaerts). Sometimes we follow behind him. Others we’re at mid-range, as he talks to others, interacts with Jessie (Kruger) and the various people at the Maryland estate. Further than any of that, Winocour uses the cinematography of Georges Lechaptois to draw us into the sometimes hallucinatory headspace of Vincent. We’re not always sure exactly when reality ends and the PTSD working overtime within Vincent’s poor head begins. In fact, the very final shot has such impact due to the fact we’re consistently drawn into a place where the reality we witness is undermined by Vincent and his penchant for hallucinating. While the major events of the plot are clearly real, that final shot begs to question exactly how unstable is Vincent, as well as whether he’ll ever be able to fully heal again. Or maybe it’s real. You can never be sure. Although my two cents? I think the final moment is a hallucination. Essentially, he retreats into that world inside his mind when he’s all alone. Aside from seeking out violence, or violent situations, because of his time in the war – who knows what happened to him over there – Vincent likely works in security still due to the fact he needs to be near people, he has to have noise to occupy his brain. You’ll notice that while Vincent does have a couple moments of intense stress, most of the party is a distraction to him. It’s only once he gets to a quieter, less populated area of the party does his paranoia get into overdrive. Interesting little distinction.
The music from Gesaffelstein pushes certain scenes to the limit of psychological suspense. A tension ratchets at times until you think either you or Vincent are about to burst. People will pass off the music as “derivative of ’80s synth-pop” (something I actually read online if you can believe that) when it’s just electronic excellence. Plus, as I said, the music then works in conjunction with the cinematography and Winocour’s directorial choices to make the mental state of Vincent a thoroughly visceral experience. That sequence at the beach? The heavy electronic notes ramble until Vincent’s able to calm himself. And that whole minute or so is an exercise in how to draw out a tense scene. This of course leads up to another wild moment, which confirms for sure if Vincent is seeing things or if it’s all real. Nevertheless, on numerous occasions the visual and aural elements of the film combine to make the action and the drama exciting in equal measures.
Schoenaerts is beyond a good actor. He has all the wonderful energy of a De Niro or a Pacino, a Hackman, a Hoffman (Dustin or Phillip Seymour), a Vincent Cassel or a Jean-Paul Belmondo, anybody you can think of really. He’s got the physicality to play any number of tough guy characters, already proving that in spades through his performance in my favourite film, Bullhead. However, he gets to show even more of his acting chops here (even though I still prefer that one). The way he paves a path into the world of Vincent, that inner paranoid inside the hulking exterior, is fascinating. His vulnerability is always present. He’s this big time security guard, and at the same time he has this gaping wound in his soul that comes out from time to time, piercing the outer shell of his military swagger, that built up, constructed masculinity. Again, as in the aforementioned performance, he taps into that side of masculinity, what it means to be a soldier in modern times/what it means to be a man, as well. It lifts the film up with how deep the performance goes, right to the last drop.
Likewise, Kruger does a pretty solid job, too. She plays a woman wrapped up in something that she doesn’t exactly understand. At first, she’s hesitant to treat Vincent with much more than awkward, casual conversation. Then, as events evolve and change her perception, she’s forced to rely on a man she does not know. Moreover, she has no idea of his real personality, the PTSD he deals with on a regular basis. So to watch her performance along with what we know, it makes for good excitement. Jessie isn’t a character just left helpless, she’s a mother also ready to shield her child from any danger. Added to the fact Kruger doesn’t play her as helpless, nor is she a waif-like woman. The bravery in her comes out after she plunges into a dangerous world with a man charged to protect her against whatever comes next, as she never gives up or hesitates to do what’s necessary.
I can’t say it enough: Maryland is a god damn amazing movie. I’ve not stopped raving about it since getting the chance to watch it recently. There’s a soft spot in my heart for filmmakers who take a chance on subverting genre expectations. While many think this is a typical story from seeing the trailer, once you get into the mix and let Alice Winocour take you for a pulsing, frantic ride right next to Vincent, the irreparably damaged soldier, you’ll find out this film is something more than its foundation suggests. Schoenaerts and Kruger sell the characters, giving us more to latch onto than any number of recent movies trying to ride off the success of stuff like Taken. This film shows us the tough guy protecting the woman we’ve seen all too often in a different light. The well written screenplay takes on PTSD, using sight and sound to push the envelope. All the while serving up some piping hot action and thrills in the midst of its engaging drama.
And if you don’t find yourself impressed by the surprise of Maryland, you may have an empty chest. Not an empty head; this isn’t a cerebral drama in that there’s anything utterly life altering being presented. But the excitement is such that by that last shot, if you’re like me, you’ll want to watch the whole thing over again to pay closer attention.
Using a fake country as the setting for a brutal revolution, director & writer John Erick Dowdle's NO ESCAPE is pure action-thriller to the core.
Carnage Park. 2016. Directed & Written by Mickey Keating.
Starring Ashley Bell, Pat Healy, James Landry Hébert, Michael Villar, Bob Bancroft, Larry Fessenden, Andy Greene, Alan Ruck, Graham Skipper, & Darby Stanchfield. Diablo Entertainment.
Unrated. 90 minutes.
Ever since seeing Ritual, I’ve been hooked on Mickey Keating. His directing and writing are a sight for sore eyes in the world of indie cinema. These days there are lots of talented people coming out of the independent scene. But Keating has an old school sensibility, a practical effects-driven manner of taking on horror specifically. The way he directs has a wonderfully rock n’ roll-style feel. The atmosphere of his movies is always wildly palpable, no matter what the ultimate main genre. Most recently Keating wowed me with Darling; a trip down the rabbit hole of guilt, murder, shame, and more.
Carnage Park does not come with anything overly original. It’s the way in which Keating gives the material over to us that’s exciting. Best of all, like Darling and its Roman Polanski vibes, this movie – via Keating admittedly – is fashioned after the Sam Peckinpah, machismo-filled 1970s films about dangerous men running wild on the fringe with guns and knives and big steel balls. At the same time, the movie switches genres, transforming from action-thriller into something more horror oriented as the various characters collide out in the eponymous park.
The opening sequence, while deranged in its own right even in comparison to what comes later, is a lot of fun. It has an energy that kicks the story off right. We get a taste of Wyatt Moss (Pat Healy) right off the bat, then it switches into us spending time with Scorpion Joe (James Landry Hébert), his soon to be dispatched buddy Lenny, and the kidnapped Vivian (Ashley Bell) in the trunk of Joe’s car. Keating keeps the pacing solid, moving fast. Everything gets really interesting then once the different characters come together, and the movie shifts gears.
Isolation is the key here. Under the cinematography of Mac Fisken the desert looks like a gaping, open wound, a vast and dry sore in the earth. Watching Vivian try to make her way through the large lot of privately owned land is akin to somebody wandering a giant hedge maze, but instead of any hedges it’s all sand, shrubs, rundown billboards, so on. The isolated hills in between which Vivian finds herself lost are so huge and far reaching that it’s impressive the way Fisken and Keating create a claustrophobic sense of that isolation. Like The Thing or any similarly remote set script, Carnage Park takes us out into the open while simultaneously bringing us deeper into our own minds, into the head of Vivian who’s faced with outrunning a maniac in the vast desert.
What I love is that this story Keating draws out, the characters and their respective plots, is all a disturbing little slice of Americana from the late ’70s. The unstable Army veteran at the centre of it all, Wyatt, has so clearly been affected negatively by the war. Meanwhile, his brother is the local sheriff, whose ideas about his brother seem pretty clear despite what he tells himself, and especially despite anything he admits to knowing. Within these two characters there’s wrapped a whole bunch of socioeconomic significance, as we consider everything from the dishonesty of those charged with serving and protecting, to the right of land owners in America (in certain states) to shoot anyone that comes onto their property, to the concept of all those men coming back from Vietnam, devastated emotionally and mentally, not receiving any proper care other than some cash and a pat on the back. Instead of a simple setup of a madman with no backstory there’s the fact Wyatt has been psychologically traumatised in the war, which sort of ups the ante on the usual scenario. Watching the various, hideous bits of American life unfold out across the sprawling hills on Wyatt’s property is a tense nightmare that’s hard to predict re: where it may head next.
The performances really help sell the whole thing. Bell does a nice enough job with her character, especially considering all the back and forth moments we see, going from being Scorpion Joe’s hostage to being at the fingertips of a demented ex-soldier, to the shocking scene where she stabs the wrong person than who she intended. She does well showing us the breakdown this woman experiences while going through the most trying day of her life. But best of all, Pat Healy – the god damn man, as far as indie movies are concerned. He’s been in lots of stuff, though never better than when working on something daring, something small, things like Cheap Thrills and The Innkeepers, among more. As Wyatt, we see him become a truly scary individual. At first you almost don’t know if he’s going to be some kind of anti-hero, the sort we’d expect out of a neo-noir-Western hybrid like this becomes now and then. Then when it’s becoming clear that Wyatt is the big evil in the situation there’s a feeling you start to get each time his eerie, smiling face comes into the frame that tells you: this guy is bad, bad, bad news. This is a great role, one that might end up as a load of generic garbage were it left to a less talented actor. Rather, Healy gives us lots to enjoy, as he touches all corners of the spectrum, creeping about, charming a little, and above all else terrifying his victims.
I do prefer other Keating films about this one. However, Carnage Park is a good time; through and through. The performances are one thing. The adrenaline pumping pace is what kept me glued. I can sit through all sorts of films, but a great effort usually has me consistently stuck to each scene, wondering where exactly things are about to move. Not once did I know for sure where the plot might go, or which characters would go on to survive. The ending didn’t totally eclipse me in any way. Still, it is a fantastic finish to a nicely executed bit of indie cinema. Whereas other filmmakers could have gone in vastly different directions throughout, Keating sticks to his old school style, his simple though beautiful way of directing. This way nothing strays too deep into familiar territory so as to bore the viewer. Ultimately, the cat-and-mouse thriller that frames the entire film is jammed full with suspense and the tension you’ll feel is like a chokehold. Keating takes you into the darkness fully, never once really letting you go. Take the ride, even more so if you dig his other directorial efforts. This one is yet another top notch instance of his talents.
Minority Report. 2002. Directed by Steven Spielberg. Screenplay by Jon Cohen & Scott Frank; based on the short story of the same name by Philip K. Dick.
Starring Tom Cruise, Max von Sydow, Steve Harris, Neal McDonough, Patrick Kilpatrick, Jessica Capshaw, Anna Maria Horsford, Colin Farrell, Samantha Morton, Tim Blake Nelson, Lois Smith, Mike Binder, Jessica Harper, & Peter Stormare. Amblin Entertainment-Cruise/Wagner Productions-Blue Tulip Productions.
Rated PG-13. 145 minutes.
Steven Spileberg is one of those directors whose work usually calls me back to a specific time in life. The memorable cinematic experiences of my early days were informed by Jaws which is the reason for my fear of deep water, Close Encounters of the Third Kind and its long lasting effect on my strange interests (aliens, paranormal, so on; even though I’m a major sceptic), as well as the adventure and thrill I found in Raiders of the Lost Ark and of course the emotional ride that is E.T. the Extra-Terrestrial. So many times, Spielberg wowed my young mind, as he did to so many, many others long before me. And yet even while I grew up the classics kept on coming. Jurassic Park changed my life in terms of how I saw movies, that they could be action-oriented and full of science fiction, that the adult and childhood interests in dinosaurs could find a way to fuse in one exciting bit of fiction. On top of everything, Spielberg has dipped his talent into producing a vast number of projects, many of which are classics in their own right without him having taken the reins as director. So usually if his name is attached, I’ll watch a movie simply for that sake, no matter how it turns out.
Minority Report didn’t get ravaged by critics, in fact it generally received a positive turn out. Furthermore, the movie did well domestically and overseas; the profit was more than triple its budget of just over $100-million. At the same time, I feel it’s not as well remembered as it ought to be when considering how great a movie it is, from acting to the direction to the overall look and atmosphere. Reason being that 2002 was a massive year in film, including releases such as The Lord of the Rings: The Two Towers, Harry Potter and the Chamber of Secrets, Spider-Man, Star Wars Episode II: Attack of the Clones, Men in Black II, Die Another Day, Signs, The Count of Monte Cristo, and those are just the big ones. Getting lost in the cracks, Minority Report is one of Spielberg’s best post-2000, and one of the last legitimate dives into sci-fi that he took (until taking on duties for Ready Player One). There’s enough excitement and intrigue in this movie to fill a few of them. Cruise gives a solid performance, and Spielberg keeps us on the edge of our seats while we roam the futuristic landscapes of an America that feels not too far off. Ultimately, Spielberg and the writers explore Dick’s story while asking if the technological advancements our society is capable of can manage to outwit the corruption and moral weakness at the hands of the people tasked with using that very technology. The bottom line of Minority Report concerns morality, humanity among the advancements of science, and the will of man to do evil, despite all odds.
The entire process of the Precrime system is a ton of fun. Spielberg really went to town on coming up with the whole thing. I’d like to know more about how the design was decided. Just that room where Cruise’s character does his thing with the screens, those tailor-made wooden, varnished balls, every last detail is incredibly fun. Of course part of this most likely comes from the original short story by Philip K. Dick, though as I understand it the story’s been changed a good deal. I don’t doubt Dick’s story definitely has plenty of the detail Spielberg then used to come up with the look of his Washington, D.C. law enforcement facility of the future. However, part of it is definitely the master filmmaker himself putting his mark upon the adapted material.
One thing I’ve always loved is the design of the roadways, even the cars themselves. The chase scenes are incredible. Funny how certain reviews out there, by professional critics, have claimed these scenes are silly. Really? Are we watching the same movie? Because these chase scenes are perfectly science fiction and every bit the epitome of action. Totally exciting. That first sequence where Cruise is jumping down across the various vehicles is heart pounding. As far as the visual effects go, there are only one or two slight missteps. When you’re not dealing in practical effects, CGI and the like can sometimes let you down. Luckily, these moments are seldom, only one or twice throughout the over two hour runtime. The large majority of the effects look great, keep the pulse thumping, and add another nice element to the dark, gritty nature of the story and its feel.
A huge part of what interests me is the idea of the surveillance state. We’ve almost got this amplified version of the CCTV-laced streets in the U.K. in this future vision of Washington, D.C. and other areas. For instance, as Anderton first tries to get away he moves through the malls and the subway stations, and every screen nearby is flashing his name, speaking to him through personalised advertisements, the newspapers in other passengers’ hands read pop-up headlines about John and his Wanted status. Overall there’s a really great riff on George Orwell’s Nineteen Eighty-Four in that Dick, as well as the screenwriters here, further explore the concept of the ‘thoughtcrime’, the idea that basically forms the foundation of the Precrime Division and their precognitive awareness/action on crime.
This entire angle makes for incredibly interesting plot developments. The fact Anderton is tagged in every way to be recognised by all the various computer systems makes for a tough predicament. There’s an optical recognition system around the entire city, which heightens the police search, as it’s not as simple to just hide away when every street corner, every sidewalk is seemingly rigged to scan your eyeballs and go straight to the source for your identity. Eventually, John finds a doctor whose talents lie in the black market – eye surgeries, to be exact. That’s actually one of my favourite sequences, including a cameo for one of the best character actors Peter Stormare; the whole thing is dark, gritty, weird, it’s an awesome bit that adds to the atmosphere, and turns into a nice addition to the chase elements of the screenplay. What I love most about this whole part of the film is that it speaks to the loss of privacy, the great lengths to which some will go in the future to avoid all the intrusion on their personal lives by way of technology, and so on. Before the film released, Spielberg talked about the technology he envisioned for the movie, and it’s also interesting to note he usually consults a lot of technical experts when making science fiction in order to try and bring some degree of realism to the subject matter. So go check out the TED talk with John Underkoffler, a scientific adviser who worked with Spielberg on the film. Then try and tell me we won’t see more of that in the future. In turn, we’ll watch our privacy disappear, more and more. Online ads are already tailoring themselves to our Facebook and Twitter accounts, our personalised information that’s floating around inside the internet. Soon enough, we’ll walk down the street, just like Anderton, and find the screens looking out at us, scanning, tailoring their ads to who we are as people. Most of all, Minority Report isn’t merely thrilling action: it’s a scary vision of a future world towards which we are headed, if we’re not too careful.
The performances are good, from Cruise in the lead to Farrell and Max von Sydow in their respective supporting roles. Above anything, the atmosphere is what makes this one for me. I love Spielberg’s movies and every one of them feels different, though each of them also has that same magic. Despite moving from genre to genre, as well as through many types of characters and stories, Spielberg always retains that classic style. No matter if the subject material and themes are dark, friendly and youthful, or if they explore a world completely foreign to our own, his films are all capable of transporting us into a sacred space, one beloved by many cinephiles around the globe. Minority Report is one of his best in recent years. There’s a constant excitement, even in the more low key moments. The pacing is exceptional and keeps the whole thing going, allowing Spielberg to stop between his big chase scenes to flesh out a deeply personal, emotional story involving a father and the loss of his son, the crumbling of the relationship with his wife, all of which is folded up in a wonderfully compelling sci-fi tale. Don’t sleep on this one. If you’ve yet to see it, get out and do yourself a favour. Especially if Spielberg gives you the nostalgia feeling in your stomach the way he does for me.