Month: September 2021

Covid killed my go-to neighborhood movie theater so now I'm starting to frequent the brand new fancy movie joint they shoved into our local mall. It's all right I guess, maybe even a little easier to get to via subway but I'm not welcoming the place into my heart just yet. There I was sitting down in the perfect seat that I acquired from the do-it-yourself kiosk when a very large dude sat right next to me with a huge tub of popcorn he was devouring in the style of notorious muppet Cookie Monster. This was not going to work for me as I can barely stand sitting next to friends and family let alone a complete stranger. No offense to the zealous popcorn fan but I had to change seats. Sadly, that new seat turned out to have already been selected by a gaggle of teen girls and eventually I ended up in an awkward corner too close to the screen wondering if a semi-full theater was even remotely safe and reminiscing about the good old days when ya just sat anywhere and matinees were three bucks instead of ten.

Anyway, I had a psychic feeling that the non-flashy, unassuming THE NIGHT HOUSE would be a good bet because I was so impressed with director David Bruckner's excellent take on Adam Neville's novel THE RITUAL. It didn't hurt that I am also a big fan of star Rebecca Hall's earlier film concerning a haunting, THE AWAKENING (2011). As it turns out, THE NIGHT HOUSE is an impressive collaboration between a remarkably skilled director and a truly talented actress. It's a film that's haunting in every sense of the word and I'm still kind of stunned at the level it unflinchingly stares into the abyss. There's a visual, almost subliminal M.C. Escher meets HOUSE OF LEAVES aspect to the flick that is nearly maddening and yet exquisitely subtle. This flick somehow finds the perfect uncanny pitch for a haunting tale and even in a crowded theater, I have to admit to getting legit spooked.

Much like THE RITUAL, THE NIGHT HOUSE is a deep dive into the treacherous waters of grief and the undercurrents of guilt and anger lurking within. Hall portrays Beth, a woman who has recently lost her spouse in the darkest and hardest to process of ways. Now her every night is spent wondering why her husband killed himself, why was he building a mirror image of their house across the lake and whether or not she's going insane as her dreams begin to overlap with her reality. Hall is brilliant and relatable every step of the way and her character is refreshingly impatient, testy, snarky and seemingly all around exhausted with existing. We come to find that Beth herself had once been in an accident that left her dead for several minutes and the nothingness she encountered exasperates her grieving process even further. This is some fascinating existential horror that profoundly chills to the bone. Is it worth risking your own life to see in a theater? Maybe not. The good news is that THE NIGHT HOUSE will be arriving on VOD services in early October and this is one movie that may actually be better watched at home, late at night, under a blanket, preferably during a storm.

I realize it's not the best time to be going to the movies gratuitously but I've got an itch to sneak back and catch Nia DaCosta's sequel/relaunch to Bernard Rose's 1992 masterpiece (yeah, I said it) CANDYMAN again. Ya see, I'm pleased as punch with it and that's saying a lot because something deep down inside me was kind of giving it a secret cynical side-eye ever since it was announced and I think I'm now beginning to understand why. I unabashedly love the OG, it hits me right in my soul, it brought tears to my eyes and remains one of my favorite film-going experiences of all time. Although the trailers for the reincarnation gave me goosebumps (a usually flawless indicator of quality), I remained worried that the newfangled take would condescend to or blaspheme the original. I'm happy to say my fears were unfounded. In fact, this film, while always offering its own original viewpoint, truly honors and respects the 1992 film I love and its sincere appreciation is what makes it work so well. It's sad that such an obvious element would be so rare but now that I think of it, every time I've seen a sequel in a franchise stumble hard it's usually because the filmmakers failed to hold its precursors in proper esteem.

Yahya Abdul-Mateen II, stars as coasting painter Anthony McCoy who finds inspiration that rapidly turns into obsession when he hears the legend of Candyman from his art gallery director girlfriend Brianna (Teyonah Parris)'s brother Troy (Nathan Stewart-Jarrett: incidentally, as Candyman was originally conceived by a gay man (Clive Barker), it's nice to see a central gay character like Troy who is more than just cannon fodder). Anthony's new artwork spreads the legend like a virus and soon foolish people are playing foolish games and winning foolish prizes (that involve plenty of bees and throats slashed with hooks). As it turns out, the Candyman we know and love is just one of many because just as in real life, horrendous acts and atrocities ripple through generations causing waves of suffering until they are properly confronted and addressed. Fittingly, the franchise now works as a cinematic game of urban legend telephone with new dimensions added by each additional storyteller, i.e. Barker conceived him, Rose added the Black heritage and American setting, DaCosta & Peele expanded the universe to allow multitudes of wronged individuals to more acutely mirror the reality of racial injustice.

Imagine a film with all the artistic integrity of an A24 flick (outstanding cinematography, innovative score, a storyline that can be interpreted infinite ways) but without the semi-snooty need to alienate half the audience by moving at the pace of honey dripping off a hook in January. I mean what else can you ask for? I'm still processing it all but I can say overall it was a perfect blend of touching base with the original (an incredibly effective cameo by Vanessa Williams reprising her role, audio recordings and newspaper clippings of Virginia Madsen's Helen Lyle who is presented with appropriate reverence and spot-on references to Phillip Glass' classic score) and groundbreaking, mythology boosting, world expanding creative brainstorming that could power an entire cinematic universe.

I can understand not going to the theater right now but trust me, there's one pull back shot of an asking-for-it, rude art dealer getting just desserts framed inside her window as the building she resides in grows smaller and smaller that I fear may only be fully appreciated on a large screen. Anyway, I'm more than just happy with the results here, I'm profoundly relieved. This is the sequel that Candyman, Helen Lyle and the audience have always deserved and I feel like a great wrong (parts 2 and especially 3) has been corrected and avenged. This sequel says Candyman's name properly, with honor and respect.