Jake’s Review of Crimson Peak

Director Guillermo Del Toro is widely known for his crafty and artistic vision on dark or relatively dark films. He also clearly has an eye for fiction and fantasy. What I’m starting to gather is that he has great concepts and ideas, but when it comes to working out the kinks and details of his story, not all comes together. His largest claim to fame (for those who have seen it) would be Pans Labyrinth. However, he did give us a few hits with the Hellboy films, bookending Pans. The Devils Backbone was well received and Pacific Rim had it’s moments, but all in all I think we’re waiting for him to give us this master class work that we all know he has in him (again exclude Pans). Crimson Peak unfortunately doesn’t give us that said masterpiece. Hopefully one of the dozen projects he works on will turn out to be the diamond among all the, not necessarily ruff, but say, metal alloy. Still pretty and looks good, just not the highest quality we all know is capable of being produced.

That being said, his visuals in Crimson Peak are undoubtedly diamond status. Everything on the actual grounds of Crimson Peak, as well as the nineteenth century setting is captured with great sets, costumes, make up, and overall crisp and clear effects. The entire film is very visually appealing to the eye, something straight out of a painting even. Like previously mentioned, the movie is very moody in its lighting, set design, and captures Del Toro’s iconic gothic feel. If he’s mastered anything, its that.

Other than perfectly capturing the gothic and dark tone of the film, there are a few issues I have overall. The ghosts, as crafty as they look, they aren’t scary. I went in to the movie expecting a drama with horror elements to it, and thats what I got. But even still, the story isn’t anything new or something we’ve never seen before. The new things Del Toro tries to bring to the table are either not given to us enough, or could simply be taken out of the story entirely. Without giving examples due to spoilers, there are just simply a few components to the film that could be exempt from the story and virtually nothing would change. I recently watched an interview with Del Toro, and it seemed that he had a specific vision for the movie, which confuses me even more so. It feels very misguided in its story, and as far as structure goes, the first act, although necessary, does not flow with the following two acts very well at all. They almost feel like two entirely different movies. The film undoubtedly picks up upon its second act in terms of story, as well as getting a look at these ghosts so often brought up. Like the set and costumes, the ghosts have a very unique look to them too.

Like this years action extravaganza Mad Max, the ghosts are given a pretty vibrant and almost gooey red to go along with the color scheme and stick out to the viewers. I enjoyed this, but it still doesn’t do enough to scare you. Despite unoriginality, its still interesting and layered. Just told a few times before. There are many mysteries to keep you hooked throughout, and it unfolds in a decently paced fashion. This unfortunately leads to another flaw. Parts of the story are revealed to the audience here and there, but a lot of it can be foreseen, so when the information is no longer a mystery, the outcome is not nearly as exciting as it should be. It’s almost like beating a video campaign for the third time. It’s enjoyable and exciting, but you already know whats coming.

But I will say this, Jessica Chastain is quickly cementing herself as one of the best actresses working today. Nothing Oscar worthy in this film, but what it does do is add to her resume of well acted roles. She’s been nominated before, but expect her name to rise very quickly to the Hollywood “A” list. Her character Lucille Sharpe is a troubled woman with a rough past, but very clever in her plotting ways. Her backstory is fascinating and adds a lot to her already compelling character. Definitely the most intriguing and well acted in the film. Her brother Thomas Sharpe, played by Tom Hiddleston does a good job here as well. An unsuccessful entrepreneur of sorts, traveling from town to town with no buyers or even interest, is filled with desperation and passion as well as a close connection with his sister. The two actors have good on screen chemistry, and each add to the mysteries of the story with their acting. Our protagonist is Edith Cushing, played by Mia Wasikowska, who marries Thomas Sharpe and moves with him to Crimson Peak and is immediately curious of its creepy ways. She has her moments as well, in fact, its really just Charlie Hunnam who I wasn’t a fan of. He really needs to work on his accents. His good looks will only get him so far. He plays Dr. Alan McMichael who grew up with Edith and has a love for her before and after she is swept off her feet by Hiddlestons character. He isn’t bad, but damn it lose the accent.

Overall the all have good on screen chemistry and play their parts from decent to very well. The main flaw is the story itself. The writing isn’t overall bad, the plot and backstory as well as the characters are all layered and interesting. It’s mainly just a tale we’ve all seen or heard before with an identity crisis. Other than the gothic eye candy, Del Toro’s Crimson Peak lacks anything original, but is still an enjoyable work of cinema nonetheless.

Rating 7/10 

October 29, 2015 by Andrew Auger Categories: ReviewsTags: 7/10, Charlie Hunham, Guillermo Del Toro, Horror, Jake, Jessica Chastain, Mia Wasikowska, Review, Romance, The Middle Seats Season 4, Tom Hiddleston Leave a comment

Jake’s Transcription Review of “The Visit”

SO TONIGHT, WE ARE REVIEWING THE LATEST M. NIGHT SHYAMALAN FILM. THE MAN WHO MOST PEOPLE IN AMERICA CONSIDER TO BE A COURT JESTER AMONG KINGS, AS FAR AS FILMMAKERS GO FOR OVER THE LAST DECADE. LADIES AND GENTLEMAN, I AM HERE TO TELL YOU THAT IF HE CAN CONTINUE TO MAKE MOVIES SUCH AS ‘THE VISIT’, HE WILL NO LONGER BE A COURT JESTER, BUT MORE OF A CREATIVE AND OBSCURE TOWNSMAN WHO, FOR THOSE VERY REASONS, EVERYONE KNOWS BY NAME AND HUMOR HIS IDEAS FROM TIME TO TIME.

IT SEEMS AS IF SHYAMALAN MAY BE GOING THROUGH A BIT OF A REBIRTH, AND STICKING TO HIS ROOTS, THE THINGS THAT MADE HIM A HOLLYWOOD NAME IN THE FIRST PLACE. THERE ARE MANY REASONS WHY WE COULD POTENTIALLY BE LOOKING AT A SHYAMALAN UPSWING. HE’S GETTING CREATIVE, HE’S USING MORE DIRECTORIAL TRICKS TO EMPHASIZE THE MOOD RATHER THAN LET THE BIG BUDGET DO THE WORK, HE SUCCESSFULLY BUILDS TENSION (WHICH WE HAVEN’T SEEN IN SO, SO LONG) AND HE TIES IN AN EMOTIONAL AND MEANINGFUL SIDE STORY TO THE BIGGER PICTURE AT HAND. ALL THINGS HE DID IN THE SIXTH SENSE, UNBREAKABLE, SIGNS, AND THE VILLAGE, WHICH IN MY OPINION WERE THE ONLY DECENT FILMS SINCE HIS LATEST.

SHYMALAN HAS DECIDED HERE TO ADD HIS OWN TAKE ON THE HAND HELD/FOUND FOOTAGE GENRE, BUT DOES IT TO A GREATER AND MORE REALISTIC DEGREE THEN YOU WILL FIND IN MOST OTHERS. INSTEAD OF A NEED TO SHOW THE WORLD, OR BLATANTLY SHRUGGING OFF THE “WHY ARE YOU STILL RECORDING” QUESTION, HE TELLS IT THROUGH A DOCUMENTARY STYLE. THE DAUGHTER, BECCA (OLIVIA DEJONGE) HAS DECIDED TO DOCUMENT HER AND HER BROTHER TYLER’S EXPERIENCE (ED OXENBOULD) FOR THEIR MOTHER TO SEE. THE MOTHER (KATHRYN HAHN) HASN’T SPOKEN TO THE GRANDPARENTS SINCE SHE WAS IN HER LATE TEENS AFTER AN UNSPEAKABLE FIGHT AND LEAVING FOREVER. BECCA WISHES TO FIX IT BY MAKING A VIDEO FOR HER MOM.

THE FIRST ACT (WHICH EXPLAINS ALL OF THAT) IS INCREDIBLY DULL. THE FIRST TWENTY MINUTES ARE OUTRIGHT BORING AND ARE SIMPLY THERE TO EXPLAIN THINGS TO THE AUDIENCE. NO SCARES. AND EVEN THE COMEDY IS AWKWARD AND UNSURE OF ITSELF. THE MOVIE DOESN’T GET INTERESTING UNTIL THEY ARRIVE AT THEIR GRANDPARENTS HOUSE. NANA AND POP POP ARE PLAYED BY DEANNA DUNAGAN AND PETER MCROBBIE. AWKWARD AND PRETTY OUT OF IT FROM THE GET GO, IMMEDIATELY LEAVES THE AUDIENCE WONDERING WHAT THEIR DEAL IS. IT’S FIRST BRUSHED OFF AS “THEY’RE OLD” WITH EXCUSES OF LOST MEMORY AND FREQUENT ILLNESS DUE TO OLD AGE. BUT THE KIDS IN THE STORY DON’T BUY IT. AND THE AUDIENCE CERTAINLY DOESN’T BUY IT.

THE MAJOR REOCCURRING RULE THE GRANDPARENTS HAVE ARE TO NEVER LEAVE THE ROOM AFTER 9:30. NOT EVEN TO OPEN THE DOOR. OBVIOUSLY THEY DO. (SO WOULD I). BUT THAT’S WHEN THEY START TO REALLY REALIZE THAT SOMETHING ELSE IS GOING ON HERE. THIS IS ALSO WHERE SHYAMALAN DECIDES TO TAKE THE HORROR GENRE FOR A RIDE WE DON’T OFTEN SEE. HIS COMEDY HORROR BLEND IS MUCH MORE THAN COMEDIC RELIEF. HIS TENSION BUILDUP IS WELL DONE. FROM CREEPY NOISES AND CONVERSATIONS FROM THE GRANDPARENTS, TO CHASE SCENES, TO FLAT OUT MYSTERIES, OFTEN END COMEDIC. AS IF THE SCENE’S TENSION BUILDS AND BUILDS, AND ONCE YOU’RE AWAITING THAT BIG SCARE TO END THE SCENE, SHYAMALAN TWISTS IT TO MAKE YOU LAUGH OUT LOUD. IT’S A VERY ODD AND INTERESTING VISION BUT KIND OF WORKS.

SPEAKING OF TWISTS AND THINGS THAT WORK, YES THERE’S A TWIST. AND YES IT WORKS. MANY PEOPLE HAVE PROBLEMS WITH SHYAMALANS TWIST ENDINGS IN THE PAST, BUT THIS ONE IS TOO SIMPLE TO HATE ON. IT COMES WITH ABOUT THIRTY MINUTES LEFT, AND THE DELIVERY AND EXECUTION MAKE THE WHOLE AUDIENCE GET ENGAGED AND ON THE EDGE OF THEIR SEAT. SHYMALAN BUILDS TENSION AND BLENDS IT WITH COMEDY, BUT IN A PARANORMAL ACTIVITY FASHION. HE HAS ODD THINGS HAPPEN DURING THE DAY, AND EVEN CRAZIER THINGS HAPPEN AT NIGHT. BASICALLY, THE THINGS DURING THE DAY CAN BE EASILY EXPLAINED. BUT THE THINGS AT NIGHT SEEM TOO INSANE TO JUST BE BRUSHED OFF WITH AN EXCUSE. EACH NIGHT BRINGS SOMETHING ELSE TO THE TABLE, AND HE CAPTURES IT WELL. WHETHER IT’S SETTING UP A CAMERA OUTSIDE OF THE ROOM (FOR WHEN THE KIDS TRULY DECIDE NOT TO OPEN THE DOOR) OR JUST GIVE YOU A QUICK GLIMPSE OF WHAT THE HORROR IS BY OPENING THE DOOR OUT OF CURIOSITY, THEN QUICKLY SHUTTING IT OUT OF FEAR.

SHYAMALAN ALSO LETS IT LAST JUST LONG ENOUGH TO THE POINT WHERE WE START TO BECOME IMPATIENT WITH UNANSWERED QUESTIONS, ONLY TO THROW THE TWIST OUR WAY, AND IMMEDIATELY UP THE STAKES. IT’S NOT AS CLEVER AS ‘THE SIXTH SENSE’ AND THE STORY ISN’T AS GOOD AS ‘UNBREAKABLE’ BUT IT’S DEFINITELY HIS BEST WORK IN A DECADE. AS FAR AS THE WRITING GOES, IT’S GOOD NOT GREAT. THERE’S PLENTY OF PLANT AND PAY OFF, AS IN GIVING THE AUDIENCE SOMETHING TO THINK ABOUT CONCERNING THE CHARACTERS, AND HAVING IT COME BACK IN A MEANINGFUL WAY LATER. SOME OF IT WORKS. SOME OF IT IS FORCED AND DOESN’T FLOW WITH THE OTHER SCENES. AND SOME OF IT DOWN RIGHT FEELS LIKE HE ALMOST FORGOT TO PUT IT IN, AND IF HE HAD THE STORY WOULD’VE MADE ZERO SENSE SO HE QUICKLY ADDED IT SOMEWHERE TO AVOID PLOT HOLES. ALL IN ALL THE ACTING IS GOOD, THE WRITING IS SOLID, IT’S A FRESH TAKE ON HAND HELD FILMS FOR THE HORROR GENRE AND IT’S WORTH THE WATCH. BUT IT’S NOT PERFECT, AND IT’S CERTAINLY NOT HIS BEST. I HOPE HE CONTINUES TO EXECUTE HIS CREATIVITY IN A SUCCESSFUL MANNER AND AVOID ANYTHING LIKE THE HAPPENING FROM HAPPENING AGAIN.

Rating: 6.5/10

September 24, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6.5/10, Horror, Jake, M. Night Shyamalan, Review, The Middle Seats Season 4, The Visit Leave a comment

Andrew’s Review of “The Visit”

A lot of times in the film industry, reality mirrors a compelling narrative. The trajectory of certain actors and directors play out precisely like a film. The career of M.Night Shyamalan is one of the ideal examples of that emulation. Shyamalan was quickly deemed by his peers as the next game-changer after the successes of The Sixth Sense, Unbreakable, and Signs, and idea that the director swiftly bought into himself. But like any sort of swelling hubris, the downfall was inevitable. Still, it was shocking how fast Shyamalan fell. His downright atrocious last half decade had studios fearing the toxic reputation of his name, a name that was once proudly presented above the title of every one of his films. Could this once prodigy son be saved from the burden of ego and expectations?

His newest release, The Visit, is at least a step in the right direction. As those giving counsel to those in need of it have said, sometimes the best place to escape your demons is to go home. The Visit is Shyamalan going back to his roots, embracing the things that made him great in the first place. Part horror creepfest, part sardonic comedy, and Shyamalan works with the conventions that he basically trademarked in the late 90’s-early 00’s while also embracing how the genre has changed in the time he’s been gallivanting off with other projects. Not enough of it works for it to be an unqualified success, but there’s real effort present in The Visit, which is at least more than The Last Airbender and After Earth wrought on the world.

When I say Shyamalan is embracing what the genre has become, that’s my way of saying that The Visit is a found footage, for better and worse. Aspiring documentary filmmaker Becca (Olivia DeJonge) and rapping/needs a haircut little brother Tyler (Ed Oxenbould) are on their way to meet their grandparents for the first time, as their mother (Kathryn Hahn) became estranged from them years ago. Determined to get the truth of what happened that day, Becca and Tyler discover there are other problems afoot. Nana and Pop-Pop (Deanna Dunagan and Peter McRobbins) aren’t quite “all there”; Nana spends her nights throwing a fit outside their door, and Pop-Pop has a tendency to become randomly hostile. It’s not long before their distressing behavior escalates to threatening for the two siblings.

As with all the best Shyamalan films, there’s a third-act kicker. This one’s a doozy, and the moments that follow are the only real moments where The Visit becomes the comedy-horror juggernaut it could have been throughout. The first twenty minutes struggle with setup, both with endearing the characters and with making the found footage aspect plausible. Sparingly throughout the film hits a comedic beat or inspires a bit of dread from creepy and startlingly gross ideas (germaphobes may want to beware of a couple scenes). The moments are just a bit too few and far between; M. Night clearly has to shake off some of the rust.

As that third act hits, however, Shyamalan and the performers kick it into third gear. The revelation that comes not only conceivably works, but also it’s a solution that you might be kicking yourself for not thinking about before the rug was pulled out. The intensity ratchets up from that moment on, as does the dark comedy. The actors, both young and old, are at their best in those moments. In particular, Oxenbould shows some strong comedic chops in the moments that are asked of him. DeJonge and Hahn work hard to mine some emotion out of an otherwise schmaltzy core.

I believe we are reaching the third act of M. Night Shyamalan’s career. If The Visit is the beginning of that third act, it’s a good start. Being forced to go back to square one may have humbled Shyamalan, and he’s decidedly more focused and invigorated here than he has been in years. The first act was the rise; the second act was the fall. What will the third act twist bring? I have no clue, but hopefully it involves redemption.

Rating: 6/10 

September 23, 2015October 24, 2015 by Andrew Auger Categories: ReviewsTags: 6/10, Andrew, Horror, M. Night Shyamalan, Review, The Middle Seats Season 4, The Visit Leave a comment