Trailerblazing -- Firestarter (2022)

Firestarter (2022) - May 13, 2022 - directed by Keith Thomas - starring Zac Efron, Gloria Reuben, Ryan Kiera Armstrong, Sydney Lemmon, Michael Greyeyes

 

Stephen King is one of the most prolific authors of the past century. Adaptations of his works abound, so it was only a matter of time for a remake of Firestarter. This version is helmed by Keith Thomas, director of the critically acclaimed The Vigil, and it feels much more somber than the 1984 movie. While dark in themes, it does look successful in capturing the concepts of family love, the father-daughter bond and growing up. Armstrong seems to be finding nuance and curiosity in her portrayal, as well as wisdom beyond the character's years. Following great work in a variety of genres, Efron is once again doing something new and is a great choice for Andy, while Gloria Reuben and Kurtwood Smith appear to have deliciously villainous turns. This version looks like an engaging thriller with lively dramatic elements and it will be interesting to see how it compares to the original movie and the popular novel.  

Trailerblazing -- Men

Men (2022) - May 20, 2022 - directed by Alex Garland - starring Jessie Buckley, Rory Kinnear, Paapa Essiedu

 

Somewhere between Us and You Should Have Left, in a world of shadowy figures apparently ruling the countryside, lies Alex Garland's latest. The creepy teaser is one of the best teasers in recent years, hinting at a story about... well, knowing Garland's work, there is mystery, philosophy and subtle critique at humanity in store. Buckley, who is having quite the moment with her Academy Award nomination for The Lost Daughter, has shown an incredible power of transformation over the course of her career. Her collaboration with Garland should be special and the same goes for Essiedu, who was brilliant in the heart-wrenching "I May Destroy You". We also see Garland's frequent cinematographer Rob Hardy's unnervingly bright and pulsating hues here, which will undoubtedly contribute to the scare factor. Even in a 90-second trailer, Men boasts an intriguing tale and some beautifully haunting shots, so it should be a fascinating watch. Movies that make the audience think are a rarity nowadays and cinematic enigmas even more so. I am looking forward to diving deeper into the puzzle of Men.   

Stop. This. Madness.

People protest injustice. People protest human rights violations. People protest inaction against climate change. People protest political abuse and power-mongering.

What is currently happening in Ottawa and in so many other Canadian cities is not protesting. These events are a slap in the face to the people of Canada who have done the right thing from the beginning of the pandemic, meaning most Canadians. They are an affront to the health care workers who have dedicated hours upon hours, sacrificed time with their families and often their own lives to prevent COVID from killing their patients. They are offensive to the thousands of Canadians who have lost their lives to the health crisis. These “protesters” are showing utter disrespect to Canada and its values.

It breaks my heart to hear the words “Ottawa is under siege”. It breaks my heart to hear that the Manitoba Legislature employees’ safety is in question. It breaks my heart to see Canada in this dark and somber state.

But my optimism is unwavering. Canada will find a way out of the present perils, regroup and recover, while the fringe will remain the fringe. Canadians are an unbreakable bunch. We are armed with heart, humor and resilience. We take care of one another and do not let someone’s misguided anger stand in our way. We believe in humanity and science. In an ever-changing world, we are a beacon of hope, goodness and a better future. 

And that, my friends, is what real freedom is all about.

Review -- The Invisible Man (2020)

                                      The Invisible Man (2020) -- What would you do if you were invisible?

It is a question that comes up in casual, jokey, friendly conversations, and the answers are usually along the same lines -- ooh, superpowers! Eat all the candy! Travel the world! However, knowing the human race's propensity for abusing knowledge to fulfill selfish needs, it would not take long for the ability to be weaponized. In the same vein, Leigh Whannell's The Invisible Man looks at what happens when a whole lot of power is misused, this time by a gaslighter ex-boyfriend. A slow burn if ever there was one, the film explores the tale's genre-hopping ability from a previously unseen angle and through the lens of the Me Too movement.

Cecilia Kass (Elisabeth Moss) is a woman traumatized. Having escaped her controlling partner (Oliver Jackson-Cohen), she is literally frightened of leaving the house and unable to live again. After her ex -- a scientist who was apparently working on some ominous optic designs -- dies of suicide and leaves his fortune to her, Cecilia is surprised and immediately suspicious. True to form, it does not take long for bizarre things to start happening. Isolated and alone, Cecilia has to fight for the unbelievable truth to come out...

With The Invisible Man, Whannell shows a different side of his work. I have never been a fan of the Saw or the Insidious franchise, finding the first Saw excruciating and literally panic-inducing and the latter series much too downcast for my taste. However, this new version of the familiar story is a fresh and chilling re-imagining, with some shocking and unexpected moments. Three words -- the restaurant scene. That is all you need to know. Additionally, there is some ominous camera work that fits in nicely with Stefan Duscio's melancholy cinematography, along with a number of good twists and turns. It is a movie that you should know as little about as you can before watching. It is also a subtle thriller that makes you wait and simmer for the scares, and the wait is worth it. 

 

On another note, those effects! They are terrific and the hospital showdown is a sight to behold. Kudos to the special effects department; nothing like that suit has ever been seen in cinema before. Benjamin Wallfisch's music adds another dimension of fright, with the score alternating between dark, foreboding electronica and a full-on audio explosion.

The cast is well chosen. Moss is fantastic as an ordinary woman who finds strength through an extraordinary experience. Cecilia's ordeal is, unfortunately, that of a number of real-life women who had fallen prey to powerful men and whose truth was not validated. Jackson-Cohen is appropriately vile and menacing as one of the worst villains in recent years. Aldis Hodge provides quiet reliability as Cecilia's friend and Michael Dorman radiates sleaze as Adrian's brother.

In closing, how strange it is that one of the last theatrical releases under pre-pandemic circumstances was one about an invisible stalker. It is a coincidental oddity about The Invisible Man that must have caught the filmmakers off guard when the crisis started. Thankfully, the film is a strong enough genre piece to overcome its hapless context. It is a relevant and engaging thriller which will keep you guessing and in suspense throughout.

9/10