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Written by Matthew Toomey

Created: 24 October 2018

There’s no shortage of long-running film franchises but one which ranks highly (in terms of output) is Halloween.  The original was one of the highest-grossing films of 1978 and was followed by 9 sequels between 1981 and 2009.  There was a problem though.  Given there have been 7 directors and 16 credited writers, the series has struggled when it comes to continuity.  If you watched all the movies back-to-back, many plot developments wouldn’t make sense.

For that reason, the screenwriting team behind this new Halloween flick have pressed the “reset” button and gone back to the beginning.  It’s a little odd given they share the same title but Halloween (2018) is intended to be a direct sequel to Halloween (1978).  You can forget about the other movies and ignore the fact that Jamie Lee Curtis’ character has died twice previously!

To provide some quick background information for newcomers, the original Halloween was about a mute, mask-wearing serial killer named Michael Meyers who escaped from a sanatorium and brutally killed a bunch of people in a small American town on Halloween night.  This sequel picks things up 40 years later and we learn from the pre-credits sequence that Meyers has spent all of that time in a maximum security prison.  More than 50 psychiatrists have tried to diagnose Meyers but the general consensus is that he’s “pure evil”.

A plot twist is required to accelerate the drama and it arrives when a prison bus, escorting Meyers to a new facility on the night before Halloween (not exactly a great idea), unexplainably crashes into a ditch on the side of the road in the middle of the night.  Meyers escapes and the bloody mayhem is about to begin again.  As you’d expect given the genre, don’t get too attached to the characters as many will not survive.

Halloween (1978) was the first on-screen role for a then 19-year-old Jamie Lee Curtis and, after a lengthy and successful career, it’s nice to see her reprising the role of Laurie Strode.  Laurie was a naïve babysitter in 1978 but we now we see her as a very different person – a paranoid grandmother who lives in constant fear of Meyers’ return.  She’s created secret hiding spots in her well-fenced home and her front door has at least three locks.  Some see her crazy but her 40 years of preparation have value during the film’s big climax.

Characters are always going to make dumb decisions in horror movies to help prolong the story but those in Halloween lack credibility.  Audiences at my packed preview screening were laughing at the stupidity of some scenes and the incompetence of local police officers.  I won’t spoil too much but as an example, I don’t know why Laurie doesn’t reveal her strong suspicions about Meyers’ return when she breaks into the house of her daughter (Greer) to complain about her lax security.

Despite the not-so-perfect screenplay, Halloween still delivers as a cinematic experience.  It pays homage to its predecessor through its unsettling opening titles and the unforgettable film score created by John Carpenter.  It’s also not afraid to be gruesome and gory.  There are a few sequences that will catch audiences off guard as Meyers makes his move on unsuspecting prey.

Director David Gordon Green (Pineapple Express) is a newcomer to the genre but he’s clearly done his homework.  He makes great use of light and camera angles to heighten tension at just the right moments.  Considering the movie just had the second biggest box-office opening for an R-rated horror film in the United States (it made $76 million in 3 days), you’d like to hope that Green will be involved for more instalments to come.

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Written by Matthew Toomey

Created: 07 October 2018

Spoiler alert!  This film ends with Neil Armstrong making a “giant leap of mankind” and becoming the first man to step foot on the surface of the moon.  I make that comment sarcastically because it’s one of the most widely known events in human history (well, unless you’re a conspiracy theorist).  The take away from First Man is therefore not a bleedingly obvious history lesson but rather, insight into who Armstrong was as a person and the decade of hard work that led to the famed Apollo 11 mission in 1969.

Oscar-winning screenwriter Josh Singer (Spotlight) faced an unenviable task in encapsulating Armstrong’s story inside of two hours.  Given he couldn’t speak to the subject himself (Armstrong passed away in 2012), he interviewed family members, advisers and former astronauts.  The most important source material came from writer James R. Hansen who spent more than 50 hours interviewing Armstrong before publishing his official biography in 2005.

Perhaps the most surprising detail we learn about Armstrong is that he while he was extremely driven in terms of career, he was a quiet, reserved individual.  I don’t think there’s a single scene in the movie where we see him raise his voice or express profound emotion.  When spoken to by the hungry media at a pre-launch press conference, you’d think Armstrong was simply on a mission to walk across the street such was his level of enthusiasm.  Ryan Gosling (Blue Valentine, The Big Short) delivers a restrained but powerful performance that captures these personality traits.

The focus is Armstrong but there’s still plenty to be learned about other characters in this big ensemble.  Claire Foy gives a heartfelt performance as Armstrong’s wife, Janet.  She’s supportive of her husband’s career but at the same time, she’s worried about the experimental, high-risk nature of the space program.  Corey Stoll is also great as Buzz Aldrin, Armstrong’s co-pilot on the Apollo 11 mission, and the film doesn’t shy away from their frosty, fractured relationship.

There’s a broader perspective too.  The film delves into the public’s opinion of the American space program and how it wasn’t universally appreciated.  There were protests (including chants of “Whitey’s on the moon”) by those who felt it was a significant waste of taxpayer money.  We also get to see what went on behind the scenes at NASA in terms of training and preparation.  As an example, there’s an eyebrow raising moment where a NASA director drafts a press release to be used if the astronauts don’t return safely.

33-year-old Damien Chazelle will add to his power in Hollywood with another outstanding directorial effort.  His last two movies were both nominated at the Academy Awards for best picture (Whiplash, La La Land) and First Man is odds-on to continue that impressive streak.  It’s beautifully shot.  The use of handheld cameras by cinematographer Linus Sandgren creates an enaging, documentary-like feel.

The film’s momentum is a touch sluggish during the middle stages but the emotion ramps up during the final act as Chazelle dispenses with all other perspectives and shows the entirety of the Apollo 11 flight from only Armstrong’s viewpoint.  There are no shots of his anxious wife or the busy mission control team.  It’s as if we’re in space and watching events unfold against the backdrop of a grand, memorable film score from composer Justin Hurwitz.

It’s “go for launch” in terms of this year’s Oscar season and First Man will be spoken about frequently over the coming months.

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Written by Matthew Toomey

Created: 14 October 2018

A remake of a 1937 film starring a woman with limited acting experience and a director who has never made a movie before?  Nope, I’m not talking about a 5-minute short film from a first-year college student.  This is the latest big-budget release from Warner Bros. Pictures.  Of course, I’m being mischievous with that simple overview and there are many reasons why this terrific project, which has started well at the U.S. box-office, is in line for multiple Oscar nominations.

A Star is Born is a proven story with audience appeal.  You’d think it was written by William Shakespeare given the desire by studios to retell it again and again.  The 1937 original starred Janet Gaynor and Fredric March and that was followed by the 1954 remake with Judy Garland and James Mason and then the troubled 1976 version with Barbara Streisand and Kris Kristofferson.  Bollywood even gave it a crack in 2013 with an Indian adaptation starring Aditya Roy Kapur and Shraddha Kapoor.

Bradley Cooper, in addition to his lead performance, pulls on the reins as the film’s director and while this marks his debut, he’s hardly an unknown quantity.  He’s a three-time Academy Award nominated actor who has worked under the guidance of directors including Clint Eastwood, David O. Russell, Cameron Crowe and Susanne Bier.  He’s also familiar with the subject matter.  Cooper has previously discussed his addiction to drugs and painkillers during his 20s and how it almost destroyed his promising career.

The casting of a renowned pop star as co-lead may sound like a “cash grab” to lure her millions of music fans but again, you can push those cynical thoughts to the side once you’ve seen her outstanding performance.  Lady Gaga has created a delicate, likeable character who serves as the film’s emotional barometer in that as her feelings change, so too will those of the audience.  Her work also goes far beyond what’s seen on screen as she co-wrote most of the original songs.  It’s her film as much as it is Cooper’s.

In terms of the narrative, Cooper steps into the shoes of Jackson Maine.  In the opening scene of the movie, we see him do two things – sing in front of thousands of adoring fans at a concert and then drink hard liquor in the back of a limousine.  That pretty much sums him up.  He’s a successful singer-songwriter but his love for alcohol threatens to permanently derail his career and destroy his relationship with friends and colleagues.  It’s a story that’s been seen countless times in real life within the music industry.

It’s through a chance encounter in a bar that Jackson meets Ally (Gaga), a struggling singer who is yet to catch her “big break” and who lacks the courage to perform her own songs.  I’m not sure which carries more weight but it’s clear that he is attracted to both her beauty and her talent.  He also enjoys her frank nature and the way in which she doesn’t fawn over his celebrity status.  Within a matter of days, the pair have become inseparable with Jackson dragging Ally up on stage to introduce her to the world and showcase her amazing voice.

The first half of A Star is Born is jaw-droppingly good as we watch Bradley Cooper and Lady Gaga interact and write songs together (highlighted by a scene outside a convenience store).  It’s not a musical but the song lyrics still serve a valuable purpose as they allow the characters to express their feelings.  The second half isn’t quite as strong.  Ally has valid problems of her own (e.g. a manager trying to change her style) but these are pushed into the background as the film focuses more on Jackson and his increasing issues with alcohol.

Great performances mixed with great music.  A Star is Born is a must-see!

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Written by Matthew Toomey

Created: 05 October 2018

Four American college students break into a library at a prestigious university in Kentucky and attempt to steal a number of rare, extremely valuable books to sell on the black market.  That alone makes American Animals sound like a cool heist flick but there’s so much more to this fascinating piece of cinema that makes it essential viewing.

Firstly, as we’re told during the opening credits, this is a true story.  The planning began in 2003 and the actual robbery took place in 2004.  Secondly, we know things didn’t go to plan and the guys were caught.  This is made clear from the outset and so as we watch events unfold, we know there’s no slick Ocean’s Eleven style finale where they walk off into the night with a sack full of gold.

The most intriguing element to the movie is the decision of British writer-director Bart Layton (The Impostor) to make it part re-enactment, part documentary.  We watch actors bring this compelling story to life but in between, we are treated to interviews from the real life students who committed the crime.  There’s even a point where an actor and his real-life counterpart sit in a car together in the same scene.  It’s very creative.

There’s a lot to take away from American Animals.  Through the interviews with the real students, we understand their respective mindsets and you may be surprised as to their motives.  It wasn’t all about the money and other factors came into play.  The film also makes commentary about how memories change over time and how the stories from those involved are not consistent.  I’m reminded of the great line from the 1998 film adaptation of Great Expectations – “I’m not going to tell this story the way it happened, I’m going to tell it the way I remember it.”

Layton has done a terrific job balancing up the film’s different tones.  The first half is quite comedic as we watch the students bumble their way through the planning phase.  They know nothing when it comes to crime and it reaches a point where they rent heist movies from a local video store in search of ideas.  The mood shifts significantly in the second half as we follow the robbery and its aftermath.  A line had been crossed and there was no going back.  You can sense the regret and remorse from the real-life people involved (who would spend time in prison).

American Animals is anything but your ordinary crime thriller. 

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Written by Matthew Toomey

Created: 10 October 2018

There are plenty of recognisable names on the film’s poster but the real star of Bad Times at the El Royale is the hotel itself.  Inspired by an actual hotel that once existed, the El Royale straddles the border between California and Nevada.  Each guest is given a choice – they can enjoy the “warmth and sunshine” of a room located in California or the “hope and opportunity” that comes with a room on the Nevada side.

It was once “Tahoe’s best kept secret” but the El Royale has fallen on hard times following the loss of its gaming licence.  With next-to-no guests, they have just a single employee, Miles (Pullman), who collects the money at the front desk and cleans the rooms when he has time.  He’s not particularly motivated as evidenced in the film’s introduction.

With the hotel completely empty, Miles is surprised by the arrival of a string of unrelated guests.  Jeff Bridges is a priest from Indiana on official business.  Cynthia Erivo is a struggling singer on her way to an unpaid job.  Jon Hamm is a busy appliance salesman who loves a chat.  Dakota Johnson is a young woman looking to keep a low profile.

Written and directed by Drew Goddard (The Cabin in the Woods), Bad Times at the El Royale is the kind of movie where the less you know going in, the better.  It’s an entertaining thriller where it’s clear that every character is hiding something and it’s up to the audiences to put the pieces together.  The performances are top-notch and there are some great one-on-one conversations.

Goddard has structured the film in a way that creates maximum intrigue.  It’s split into chapters where the focus is on a different person.  Just when you think you’ve got your head around a particular character, the film is quick to throw in an unexpected twist and change perspective.  A great example is the first major transition between the Jon Hamm and Cynthia Erivo narratives.  The fluid timeline will also keep viewers on their toes as the film slips back-and-forth between different periods of the day.

My only minor quibble was the arrival of Chris Hemsworth who, showing off his perfect abs at any opportunity, has a key part to play during the final act.  I could understand the motives of everyone in this ensemble but the Hemsworth character, without giving too much away, is too much of a goof.  The film wants to portray him as a tough, cunning individual but his poorly thought out plans don’t fit with that image.

The 140-minute running time might sound off-putting to some but Bad Times at the El Royale is fun stuff.