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“Split” movie review

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splitIntensely captivating! M. Night Shyamalan stages a successful return to the horror-thriller genre in the brilliantly intriguing motion picture Split. When Universal Pictures, arguably the king of the American horror film, Blumhouse Productions, and Shyamalan combine their respective visual storytelling skills, the result is a dynamic thriller full of outstanding twists and turns. Shyamalan, long known for surprise or bizarre endings, provides audiences with the biggest surprise of all: he is back, and it’s a completely satisfying cinematic experience! Beginning with 2015’s The Visit, Shyamalan has been working on a comeback; and Split is the final evidence needed to support his successful return to the silver screen. James McAvoy delivers an outstanding performance–or should I say performances–every minute of the film. Although the concept of building a suspense-thriller around a character with dissociative identify disorder (DID), formerly known as multiple personality disorder, is not a new one–after all Norman Bates is the most iconic example. M. Night Shyamalan puts his own spin on the character-type by adding his special blend of what can only be referred to as “shyamalan-ness.” You’ll definitely want to see it again in order to catch everything that you missed the first time.

A film that many psych majors will find fascinating! While the mental divisions of those with dissociative identity disorder have long fascinated and eluded science, it is believed that some can also manifest unique physical attributes for each personality, a cognitive and physiological prism within a single being. Though Kevin (McAvoy) has evidenced 23 personalities to his trusted psychiatrist, Dr. Fletcher (Betty Buckley), there remains one still submerged who is set to materialize and dominate all the others. Compelled to abduct three teenage girls led by the willful, observant Casey (Anya Taylor-Joy), Kevin reaches a war for survival among all of those contained within him – as well as everyone around him – as the walls between his compartments shatter apart. (IMDb).

Just when you think the movie is going one direction, it throws you for an unpredictable loop. Split provides audiences with the same level of captivation as M. Night delivered in Signs or even in The Visit. Very much character-driven, this film could have easily taken a turn for the campy or par-for-the-course approach to a central character with DID; but Shyamalan proves that a familiar premise can be crafted into a whole new experience. After the incredible success of 1999’s The Sixth Sense, audiences everywhere set the bar for Shyamalan quite high–in fact he was prematurely compared to a 21st century Alfred Hitchcock. While it is highly unlikely that any director will reach the iconic status of Hitchcock, Shyamalan was seen as a director who would provide a similar experience to that which earned Hitchcock the moniker the master of suspense. Evidence of his admiration of Hitchcock can be been in the title sequence of Split. It bares a striking resemblance to the opening title sequence from Psycho. 

However, the danger in prematurely setting expectations too high is that you may likely be setting yourself up for disappointment. And that is precisely what happened with Shyamalan. From killer plants to invisible supernatural entities, he began to lose the cache he earned in the early 2000s. M. Night would spend years disappointing audiences to the point that he became a joke–a parody–perfect material for Family Guy. Then just when all hope for Shyamalan to regain the admiration of movie patrons–especially those who enjoy horror/suspense/thrillers–he gives us The Visit in 2015. That film was the glimmer of hope he needed to begin to rebuild his status as a thriller/suspense/horror filmmaker. And with the incredibly satisfying Split, M. Night Shyamalan is BACK!

Films like Psycho and Split only work as well as their respective director and cast–primarily the villain. Obviously, Psycho stands up to the test of time and will forever be a favorite of many cinephiles and a testament to the power of visual storytelling, Split had to be a new experience while still channeling the director that Shyamalan admires and patterns himself after. The success of Split rested upon the performance of McAvoy as Kevin (and the 23 others with a 24th on the horizon). McAvoy’s performance in this film is quite possibly the best of his career. Each identity is clearly seen as individuals. From his facial expressions to his gait to the manner in which he carries himself, every identity is unique in voice and appearance. Even in the middle of a conversation, one identity goes away while another surfaces into “the light.” Although there are only a few identities that have prominence in the diegesis, the others give audiences just enough nuance to register them as having a presence in the subconscious of Kevin.

For all the excellence in cinematic storytelling Split has to offer, there is no denying that it may be controversial in that it uses DID to construct a “beast.” There are already members of the mental-illness community who have expressed disdain for the subject matter and context of the film. However, prematurely dismissing this film as offensive to those suffering from cognitive disorders would be ill-conceived. After screening the film, it is clear that the focus is not on DID itself (or any other cognitive disorder that Kevin may have), nor is Kevin crafted to be an unredeemable monster; but, this film uses DID and the character of Casey (one of the young ladies who is captured at the beginning of the film) as tools through which to explore childhood trauma, abuse, and coping mechanisms. Isn’t that what films do? Push the envelop in an effort to provide a different perspective on an issue, problem, or circumstance? Horror is often concerned with “other” scenes–revealing that which should remain hidden–and Shyamalan does precisely that in Split.

If you enjoy horror, suspense, or thriller films, then you are definitely going to enjoy Split. There is so much to take in, that you may want to watch it again in order to catch everything that you may have missed the first time. Even if you are skeptical or think the content may be offensive to the mental-illness community, you may be surprised that there is a lot that can be gleaned from the narrative. With brilliant performances, excellent writing, and outstanding direction, Split should be on your radar of films to watch this weekend.

Written by R.L. Terry

Edited by J.M. Wead

“A Dog’s Purpose” movie review

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adogspurposeYou’re going to need tissues! Ever wonder what your dog was thinking? You’ll find out in Universal, Amblin Entertainment, and Walden Media’s glorified Hallmark movie that follows the soul of a loving dog. As such, A Dog’s Purpose is one of those films that is so simple yet emotionally touching. Based on the novel written by W. Bruce Cameron, this movie will tug at even the toughest of hearts. Although the film does not follow a traditional diegetic arc, three-act structure, and is filled with constant verbal exposition in the form of a voiceover, it is still enjoyable and works as a great date movie. No critical thinking required. Still, the author’s tagline “a novel for humans” can be seen in the social commentary on primarily human relationship dynamics followed by the relationship between a pet and his or her owner. Filled with moments of laughter and tears, A Dog’s Purpose is a film that everyone who either has or has ever had a dog should see. If you’re a cat person like me, then there isn’t much here for you–sorry. However, I was moved to tears during a scene in which the focus was on a human romantic relationship getting rekindled. You will never look at your dog the same way again and will likely go home and hug him or her just as a friend of mine did after she screened the film with me.

A Dog’s Purpose is about a dog who discovers the purpose for his existence as he is reincarnated into different dogs over the course of his life. Finding himself part of different families–or as he likes to refer to them–as packs, Bailey does his best to affect humans by influencing their respective needs to laugh and love.

Despite the rather two dimensional nature of A Dog’s Purpose, there is a deeper theme within the mostly shallow story if you examine the film closely enough. Not shallow in that there lacks emotional appeal or enjoyment, but shallow in that there is very little that is complex and dynamic in the narrative. Although Bailey spends most of his on screen life with Ethan (K.J. Apa), Bailey’s soul finds itself in other dogs who are part of their own respective family. Doing a close reading of the film reveals that each family unit represents a different kind of relationship dynamic or lack thereof. I won’t spoil it by describing each type of relationship, but knowing that there is social commentary on human and pet relationships could likely increase the appeal and enjoyment of the film for those who prefer movies with a more cerebral plot. Interestingly, the movie includes families/human relationships that represent a good cross-section of the types of relationship dynamics that exist in our lives.

For those who typically enjoy Hallmark movies, then you’ll definitely enjoy this one. Last January we had glorified Lifetime movies and this year it must be Hallmark’s turn. As I have not read the novel, I cannot comment on differences between the book and the film adaptation.

Written by R.L. Terry

Edited by J.M. Wead

“La La Land” movie review

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lalalandSimply dazzling! A beautifully produced motion picture musical that is sure to delight audiences around the world. Ryan Gosling (Sebastian) and Emma Stone (Mia) shine brightly in this self-reflexive modern romantic film set on the backdrop of a classically composed movie musical echoing the song and dance numbers that Busby Berkeley brought to the silver screen through Hollywood studio system powerhouse Warner Bros. Summit Entertainment’s La La Land will have you laughing one moment and crying the next in this roller coaster of emotions. Every aspiring professional who has the dream of a substantive career as an artist in the visual and performing arts–or just an artist in general–needs to watch this film. If you have ever been discouraged on your career path, or lack thereof, this film will aid in reigniting the flame that fuels your dreams of writing, acting, playing, or whatever your passion happens to be. Whereas many films similar to this one would have shot it as a period OR modern piece, this film is nothing short of a masterpiece that harnesses the nostalgic appeal of the classic musical with the power of modern cinematic storytelling.

Stories of struggling to reach your dreams are nothing new, but there is so much more to the story of Mia (Stone) and Sebastian’s (Gosling) respective goals of successful careers in the city of angels. Following a chance meeting at a night club in LA where Sebastian was playing a set list of traditional Christmas carols, Mia and Sebastian continue to bump into each other at parties and in the work place. The focus of this musical is on the everyday life of two struggling artists trying to make it in a city notorious for shattering dreams and breaking hearts. Mia and Sebastian must learn what is more important: chasing dreams of being in the spotlight or a once-in-a-lifetime opportunity for a beautiful love unmatched by any other.

Best part about Damien Chazelle’s La La Land? The old-school movie musical feel from the moment the film opens. From set pieces to matte paintings to the manner in which the cameras capture the story as the drama unfolds, this is both a modern story of romance and conflict and classic Hollywood musical. While some may find the cinematography, lighting, and editing to be nothing remarkable, the fact of the matter is that it required great skill and hundreds of hours of effort to capture the essence of an old Hollywood musical. To recreate a nearly extinct film genre, is an outstanding achievement in cinematic storytelling and deserves all the 9s and 10s this film is receiving from critics and fans alike. La La Land takes pages right out of the books of Busby Berkeley (Footlight Parade) and Gene Kelly (Singin’ in the Rain). Such a gorgeous combination of a classically structured and choreographed musical within a modern Hollywood. And the film could have easily rested its laurels on the technical and artistic achievements alone, but the film also possesses an incredibly beautiful love story between two aspiring artists.

In a modern studio system who appears all too often to be more concerned with franchise building, merchandising, theme park integration, and rebooting, this film is fresh, real, gritty, and endearing. In a climate so predisposed to the Star Warses, Harry Potters, Jurassic Parks, and Avengerses, this film brings with is a breath of fresh air that is nearly unmatched by any other film this year. While many are concerned with the lack of original stories coming out of Hollywood, may this film be a testament that masterpieces can still make their way into cinemas nationwide and not simply the art house theatre of the US’ largest metro areas. Although film is a visual medium and should not rely upon the score or songs to carry the bulk of the film (i.e. Frozen), this film is very much about the music. However, unlike films that integrate music in order to cover up poorly structured and developed writing, La La Land embraces the music as much a part of the story as the writing itself. In many ways, the film plays out like music and flows like a musical score. The way the cameras moves, the editor cut, and the blocking of the characters is very much like a musical staff, like the way music is composed and performed. But at the same time, the movie is not simply about the music but about the relationship between Mia and Sebastian; and furthermore, about their aspirations for the spotlight. Solid writing and a solid score.

The casting of La La Land could not have been more brilliant! Both Stone and Gosling successfully bring about that 1940s feel in a modern story. That could be due to the successes of both in 1940s era films prior. Stone in Magic in the Moonlight and Gosling in The Notebook. While both can successfully carry a period piece on their own respectively, together they are a powerhouse couple like Fred Astaire and Ginger Rogers. Their performances in this film were so incredibly natural, so real, and believable. At the same time, the actors are also very much contemporary–just like the film: classic yet contemporary. Even though the audience is well aware that Stone and Gosling are anything but struggling artists, they play their respective parts so convincingly that you’d swear that we were actually watching a pair of struggling artists who do desperately want a substantive piece of that Hollywood pie. A great screenplay possesses protagonists that the audience will love or love to hate, and the characters in La La Land connect so incredibly well with classic and contemporary audiences.

Inspirational. This film will help to inspire those who have a talent for storytelling, music, or writing to continue to work hard and remain dedicated to one’s craft because that is the only way that a career can pay off. The moment you stop trying is the moment that the dream dies along with settling for less. Not that day-jobs aren’t important. Certainly the importance of a day job is shown in the film, but it’s imperative that the day job never cause an artist to sell out or give up on the dream. Day jobs should fund imaginative dreams not eclipse them. There is much to love about this film; so much so that you will likely find yourself with a desire to watch it again. This IS definitely my pick for Best Picture as we head into award season with the holidays coming to a close.

“Passengers” movie review

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passengersAn intriguing journey with lots of potential but ultimately fails to pull into the space dock. The highly anticipated visually stunning science-fiction film starring Jennifer Lawrence and Chris Pratt proves one thing: Pratt and Lawrence have excellent on screen chemistry and play off each other very well. With films like this one, it’s hard to know where the fault lies. Typically, a film with such potential and a powerful cast is weakened by either the writing or directing. Since the director principally works with the cast, it can be concluded that the writing lacked the drive that this film needed. On a more positive note, this film depicts deep space travel how it could likely be in the not-so-distant future. From the centrifugal force created by the rotating space craft to simulate how artificial gravity could be generated to the onboard technology to the sickbay, this film does a fantastic job of providing audiences with a science-fiction that is almost tangible. Having such a limited cast in one location can spell disaster for cinematic storytelling; but, the film is quite interesting to watch and sufficiently keeps the audience’s attention. Furthermore, the audience mostly connects with Aurora (Lawrence) and Jim (Pratt) well enough. But, the film fails to truly provide audiences with a new adventure because it amounts to a glorified Castaway set in the Disney Springs of shopping malls in outer space–just completely empty of scooters, strollers, and other park guests. Lack of surprise pretty well sums it up.

Welcome aboard The Avalon on the Homestead Company’s routine transport to Homestead II, a new earth colony. All is going well until two passengers find themselves awakened from suspended animation about 90 years too early during a cascade of ship wide malfunctions. Faced with living the rest of their respective lives on board and only the company of an AI bartender (Michael Sheen), Jim and Aurora must cope with the challenges of living together in a world that is merely 1000 meters from stem to stern. When the ship begins to increasingly malfunction and life support at risk, Jim and Aurora much solve the mystery of what originally caused the problem that began the cascade. Just as the ship is keeping a secret, there are other dark secrets on board the ship as well. Meeting with psychological, emotional, and engineering challenges, Jim and Aurora have 5000 other passengers and crew to save while maintaining their own sanity and psycho-social health.

As the movie faded to black, I began discussing it with the friends who accompanied me to the cinema last night. And we shared a mutual reaction of hmm, not exactly sure what this was or how to read it but it had some interesting components. And that pretty well covers it. The film will likely keep you entertained but with few surprises, it lacks anything to make it memorable in a positive way. Forgettable is what this movie will become in the no-so-distant future. Essentially, Passengers is what you would get if Gravity and Titanic were to have a baby. Star-crossed lovers on a ship that is self-destructing in the vacuum of space. One of the most intriguing components in the plot of the film is also highly disturbing. While love and infatuation causes many to go to great lengths in order to see desire become reality, it is a double-edged sword that can cause one to behave selfishly if not displaying signs of sociopathy. While Pratt’s performance is what is to be expected from one of the most bankable actors in Hollywood who is equally a dedicated family man, his performance is never quite on par with his Castaway counterpart. However, Lawrence delivers an intense performance as she plays off Pratt,the bartender, and The Avalon itself.

The cinematography and editing are excellent. In fact, the technical elements of the film are impressive! Not quite as groundbreaking as Gravity or Interstellar but still outstanding. There is one scene in particular that still has me puzzled as to how it was able to be achieved so flawlessly. The set design, albeit spartan, is beautifully sleek and functional. As film is a visually driven medium of storytelling, the camera often pulls in close to characters to establish intimacy but juxtaposes that against pulling back to reveal the oppressive loneliness of being alone on a massive ship in space. For a brief moment, I experienced the dread that is created in Kubrick’s The Shining when Jim meets Arthur the bartender. Interestingly, the music (composed by Thomas Newman), camera direction, dialog, blocking, an set design all work together seamlessly to establish that unparalleled sense of dread, loneliness, and self-destructive despair that are so iconic to The Shining. Unfortunately, that powerful sense of dread is lost in weak writing. Had the film embraced the potential to channel The Shining, it may have played out more memorably. But, this is a love story so the horror plot devices that could have helped the film were not integrated into the plot. Although there are may significant contributors to a film’s success, the success of a film often relies upon the direction, writing, and cast. As briefly mentioned in my opening paragraph, the director (Morten Tyldum) of a film principally works with the cast and is responsible for blocking, delivery of dialog, and perception; so, it is likely the screenplay by Jon Spaihts that is responsible for the weak story. A director and cast can work hard to makeup for a weak screenplay, but in this case, the lack of developed story showed through.

Despite sharing the screen with Aurora, this truly is Jim’s movie and others simply happen to appear in it when necessary. As a side note, I could easily see how this film could be translated into a stage production. Perhaps on stage, the story could evolve to leave more of an impact on the audience.

“Rogue One: a Star Wars Story” movie review

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rogueoneJust when all hope was lost, the force has awakened this time. After the disappointingly stale installment last year, I did not have high hopes for Rogue One. To my surprise, the first standalone Star Wars franchise film exceeded expectations. Although the public is accustomed to Star Wars films coming in threes, Lucasfilm and Walt Disney Studios took a risk in creating an original single story to successfully setup A New Hope. Unlike when the force tried to awaken last year, THIS feels like a new Star Wars film. With twenty-some-odd years to fill between Revenge of the Sith and the original movie, how was one film going to do it? Focus on what was ultimately important. Not that the development of the Empire would be uninteresting, but the white elephant in the room was “how did the rebels get the plans that setup the events at the beginning of A New Hope“? And that is precisely what director Gareth Edwards did, and it paid off! Rogue One is as exciting as the original film; and furthermore, is built upon a solid plot that is mostly new with a little nostalgia and Easter Eggs (visual references to A New Hope) in the form of locations, props, shots/frames, and familiar featured characters and a surprising cameo. One of the elements that plagued Episode VII was the simple fact that it was little more than a remix and mashup of everything that had been done before, including main plot points, subplots, and predictable behavior. Rogue One feels fresh and new. Yes, there are obviously appearances and references to characters and settings from A New Hope, but that is to be expected since this film ends where the original film begins. Thematically darker than the original film but not as dark as Empire Strikes Back, this installment strikes a balance in the force that makes it interesting to watch. We all know that the rebels get the plans in the end, but this film makes the adventure worth watching as it unfolds.

With the old republic in ruins and the senate all but disbanded, the Galactic Empire has  its eyes set on a feat of engineering never seen before. But they need to attach the right scientific talent in order to create that which would become known as the Death Star. Galen Erso (Mads Mikkelsen) is a brilliant scientist and former Imperial officer, devoted husband, and loving father. Director Krennic, head of the secret Death Star project, arrives at Erso’s home to forcibly recruit him to head up the science and engineering divisions. When recruitment does not go as planned, Erso is separated from his family and taken away. Escaping to the caves, his daughter evades capture. Many years later, Jyn (Felicity Jones) finds herself a criminal and angry that her father never came back for her. When an Imperial pilot allegedly defects and claims to have a message from Galen for the Rebel Alliance, Jyn is recruited by the rebels to lead them to a former rebel turned rogue and ultimately to her father. With Captain Cassian Adnor (Diego Luna) at the helm and lead of the small band of rebels accompanying Jyn to her father, they uncover a secret that thousands will die for in order to attempt to make things right in the galaxy. All the while, they have no idea that this clandestine mission will spark events that they could have never imagined.

Already, this film seems to have sparked arguments among fans of the franchise and those who enjoy them but may not be fanboys. Even this morning, I noticed many comments on social media that commented on the film positively or negatively. Interestingly, at first glance, it seems as those who liked Episode VII: The Force Awakens did not like Rogue One, and those–like me and the friends I went with last night–who thought The Force Awakens was garbage but found Rogue One to be exciting, dynamic, and refreshing. Of course, there are plenty of people who like both films released under the Disney banner, either because the Big D can’t possibly do anything wrong or because they are true fans for better or worse of the nearly forty-year-old franchise and staple in the future fantasy genre (notice I did not say science-fiction–no real science here). At this point, I am unsure why those who liked last year’s film may not have liked this weekend’s installment; however, it appears to be clear from multiple comments and reviews that the reason why those who did not like Episode VII enjoyed Rogue One is the newness of a film that embodies the spirit of the original but provides audiences with a new adventure that connects well without redundancy. One of the reasons for the success of the original film–aside from a great cast–is the focus on the drama between characters and camps. There is the drama between Rebels and the Empire but also drama within the camps themselves. Rogue One borrows from A New Hope in that the focus is more on the drama than resting its laurels on the technical elements. Not that this film lacks in the technical category. Rogue One comes complete with great direction, color grading, cinematography, and impressive editing (especially with some rather surprising CGI that will definitely cause you to do a double take utter delight).

For all that this installment did well, the beginning of the film following the prologue was dreadfully ill-conceived and mostly unnecessary. Unlike all the other Star Wars films, this one did not open with the trademark scrolling written prologue offering exposition to setup the movie. Instead, after the “A long time ago, in a galaxy far far away” the film cuts to the opening scene of Krennic recruiting Galen. Following the prologue and rather PowerPoint-looking Rogue One title card, is a rapid, incoherent, and confusing sequence of montages. Honestly, I am still unsure why that whole sequence was necessary. Between the PowerPointy title card and this sequence of montages, I did not have hope for the film at all. Obviously, I ended up enjoying it immensely, but I look back and feel strongly that it could have been left out. The settings/planets that were depicted did not play into the plot at any level of significance. Felt like filler. Thankfully, the scenes following the prologue are but a small portion of the film and the film really begins to take off after Captain Cassian and his team rescue Jyn from a prison transport vehicle. After Jyn’s rescue covert operation, the rest of the film is nicely paced and developed. Other than knowing the ending, the majority of the film was unpredictable. Unpredictable in that you know the direction it’s going and ultimately what’s going to happen but you don’t know HOW it all happens and works together to setup A New Hope.

Just the right amount of nostalgia and Easter Eggs. For those who are fans of or simply familiar with the movies, there are cameos, references, and shots taken from the chronologically preceding films (mostly A New Hope). Just enough nods to and direct connections to provide the audience with a film that IS as much a part of the Star Wars saga as the official Star Wars cannon. It’s no surprise that the Death Star is a big part of Rogue One, Senator Mon Mothma is seen leading the rebels, Darth Vader (still voiced by James Earl Jones) makes several brief appearances, and a couple other nostalgic cameos; but there are some characters who are included in the diegesis of this film who will delight old and new fans alike–one in particular that will incite an eruption of cheers! Beyond the human characters, there are other appearances by iconic ships and war machines that aid in cementing this story in with the rest of the franchise. While the film contains some lighthearted, witty dialog between the core group of principle and supporting characters, the film also contains some dark moments. Personally, I think the film should have been a little darker since it sets up the installment all about hope reborn; but, the atrocities of war are definitely not hidden from the audience and events transpire that are atypical of future fantasy films between heroes and villains. In a manner of speaking, and as I mentioned in my opening paragraph, the film’s diegesis strikes a balance in the force in terms of the light and dark content.

Rogue One: a Star Wars Story is an exciting narrative that successfully sets up the film that started it all. If you’re a fan of the original trilogy but did not enjoy Episode VII, you will most likely enjoy this installment. If you are a fan of the original trilogy and liked Episode VII, then there is moderate chance that you may not like this story. It will be interesting to see how this film plays out amongst mild, moderate, and hard core Star Wars fans from both the Disney and Fox camps. I had my doubts of Disney taking the reigns of the franchise after last year; but this film gives me a new hope that Disney may be able to successfully navigate the rest of the franchise.