Prime Time: Identity (2003)

Sometimes people forget some really great movies. They're still around, and they're not derided, but they're not celebrated for being as great as they truly are. Identity is one of those films. It's a great film from James Mangold. It has a great cast. It's a whole load of fun. And you could argue that it was a precursor to the fancier and more sophisticated whodunnits that have achieved more success, and critical acclaim, in recent years. Am I implying that part of the reason for Identity being forgotten/overlooked nowadays is sue to a certain snobbery? Maybe. The film is trashy, but it's absolutely happy to revel in the trashiness while proving to be consistently entertaining for a perfect 91-minute runtime.

A bunch of people all end up at a motel on a dark and stormy night. They don't know one another, but someone seems to know them. People start to die, and each corpse has a motel room key assigned to it. Not necessarily the room that the deceased was occupying. The room keys signify a countdown. 10, 9, 8, you get the picture. The killer seems intent on getting their way until you can state "and then there were none."

Written by Michael Cooney, who seems to have been figuring out the best way to tell this story before he took a hard left turn into writing/directing movies about a killer snowman (Jack Frost and Jack Frost 2: Revenge Of The Killer Mutant Snowman), Identity is a load of pulpy clichés all treated with care and unnecessary seriousness by Mangold and his cast. And, let's face it, as good a director as Mangold is, his cast here take everything to another level.

Who should I spend time praising first? John Cusack before he stopped caring about his work? Ray Liotta having a fine old time, especially when he responds to any potential threat by reassuring those around him that he will shoot anyone or anything coming for them? Amanda Peet being sassy until she starts to pine for some orange grove that she hopes to see in the near future? John Hawkes getting much more screentime than John Hawkes usually gets in something so mainstream? Rebecca De Mornay? Clea DuVall? John C. McGinley? Alfred Molina? Jake Busey? Pruitt Taylor Vince? Nobody does a bad job, even if (in fact . . . especially if) they're allowed to chew the scenery for a while. The material can handle such grandstanding melodramatics, and everyone in the cast is happy to oblige. There are also small roles for Holmes Osborne, Marshall Bell, Leila Kenzie, Carmen Argenziano, William Lee Scott, and one or two others.

I know that I started this review by stating how great this is, and I know that people will have assumed that was hyperbole. They'll be waiting for a bit of balance here, some criticisms to show that I still have my faculties intact. Sadly, that's not ever guaranteed when it comes to me. If the big finale had been played out in a way that felt serious or earnest then the film would have failed completely (just look at something like Serenity), but Mangold and Cooney don't make that mistake. The ending is ridiculous. They know it's ridiculous. They also know that ridiculous can be ridiculously entertaining.

I love the script, I love the music by Alan Silvestri, I love the cinematography by Phedon Papamichael, I really do love everything about this. While I don't expect many to love it quite as much as I do, I implore you all to revisit it. Or, at the very least, remember it for the fine filmic fun it is. With respect to the fine Kenneth Branagh, I'll take this over any star-laden Poirot remake any day of the week.

9/10

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Mubi Monday: Me And You And Everyone We Know (2005)

Some films are destined to be festival darlings. If you've been to just one or two film festivals, and if you've been trying to add some random selections into your schedule, then you will already know this. They can be films where character actors get some time to shine. There's sometimes some uncomfortable comedy mixed in with the drama. And you very rarely get a solid and definitive ending. Some films can be festival darlings AND find life after festivals, but those are few and far between. Me And You And Everyone We Know is one of those films, but I am very much aware that I may just be projecting my own appreciation of it here.

Writer-director Miranda July, making her feature debut here, also stars as a performance artist named Christine. Christine is trying to get her big break, in between a job that has her driving around the elderly (with her main client being Michael, played by Hector Elias). John Hawkes is Richard, a shoe salesman who isn't interested in any kind of break. He's struggling to deal with a separation from his wife, figuring out how to best enjoy the time with his children, Peter (Miles Thompson) and Robby (Brandon Ratcliff). Meanwhile, two young girls (Heather and Rebecca, played respectively by Natasha Slayton and Najarra Townsend) are receiving some highly inappropriate messages from a man (Brad William Henke) who should know better. Coincidentally, Peter and Robby are also sending some very rude messages to someone, but they don't know who it is they are speaking to, thanks to the wonders of the internet. Last, but not least, there's Nancy Herrington (played by Tracy Wright), a woman who has the power to actually give Christine her big break, if she is impressed by her work.

Obviously not full of spectacle and complicated flourishes, Me And You And Everyone We Know could be easily dismissed by viewers frustrated by what is "just" a low-key character piece with various people on journeys that have their life paths intersecting with one another. There's nothing here that necessarily makes this better than so many other films like it, with the notable exception of the cast. 

July is a great female lead, and she does herself a huge favour by casting the absolutely brilliant Hawkes opposite her. Hawkes is the kind of actor who rarely gets a role with this much screentime, and this is a reminder of how much he deserves to be a lead, and how watchable he is. Thompson and Ratcliff are both very good indeed, with the latter having the advantage of being sweet and innocent for many of his scenes, and Slayton and Townsend handle the difficulty of their particular plot strand with surprising ease. Herrington, Henke, and Elias are as good as everyone else, and I also have to mention JoNell Kennedy, Ellen Geer, and Carlie Westerman, who do well in lesser, but no less important, roles.

What else should I mention? Perhaps the music from Michael Andrews. It's not up there with his best work, but it's a nice accompaniment to the visuals  and (lack of) style of the film. Everything feels as if very adult themes are being presented and explored with a child-like naïveté, which is a strange and enjoyable juxtaposition that works for me as much as I can understand it not working for others.

A love or hate movie that I happen to have a soft spot for, Me And You And Everyone We Know is not one I will ever rush to recommend to others, unless I am talking movies with someone who loves John Hawkes as much as I do. If that is you then join me in the small fanbase area right here. If it's not . . . move along, nothing to see here.

8/10

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Freaked (1993)

Alex Winter is a douchebag. Not in real life. In real life, he seems to be one of the nicest people you could ever hope to meet. But in Freaked he is a massive douchebag, and also the main character.

He plays Ricky Coogan, a celebrity who is about to accept a huge payday to promote something that isn’t really that good for people. He gets first-hand experience of just how bad it can be when the crazy Elijah C. Skuggs (Randy Quaid) uses it to turn Ricky into a horrible freak, after making him witness the splicing of his friend (Ernie, played by Michael Stoyanov) and a young woman (Julie, played by Megan Ward) into one conjoined individual. All three are then thrown in alongside past victims of Skuggs, including the likes of Sockhead (voices by Bobcat Goldthwait), the Bearded Lady (Mr. T), Ortiz the Dogboy (Keanu Reeves), and a few others. Will Ricky and co. ever be able to free themselves, and reverse the effects of the mad freakmaker, or will they just have to learn to live with their new bodies?

As well as having a central role onscreen, Winter also co-directs here (alongside Tom Stern) and helped to write the script (with Stern and Tim Burns). Everyone behind the camera does a great job to deliver something very funny and wildly imaginative on a budget that probably wouldn’t cover the wardrobe costs on a Bill & Ted movie (and they aren’t exactly megabudget blockbusters). It would be easy to give all of the praise to Winter, who seems to have helped things along by making use of every connection and favour that he could (ensuring a number of fun cameos dotted throughout), but no individual makes a film alone, and everyone who worked on this deserves to get their share of kudos.

The practical effects are wonderful throughout, whether they are making people look as wild and weird as possible or just creating an extra visual gag (the cowboy, played by John Hawkes, is wonderful), and Kevin Kiner provides an enjoyable and appropriate musical score.

The performances are generally over the top, but that doesn’t mean they’re bad. Staying in line with the whacky sensibility of the material, everyone feels just right in their roles. Winter is a lot of fun, Stoyanov and Ward work well together, and Quaid keeps things lively with his demented “ringmaster” turn. As well as the people already mentioned in the collection of freaks, Derek McGrath does great work in the role of Worm, Jeff Kahn is Nosey, and Lee Arenberg is The Eternal Flame (another character complemented by an effect that allows for the gag to keep working). There are others, all doing well, but I decided not to go through the whole cast here. Oh, I should also mention Alex Zuckerman though, who plays a young Coogan fan/stalker named Stuey Gluck.

Still not as well-known as it should be, as far as I am concerned anyway, Freaked is the kind of film destined to retain a relatively small, but very loyal, fanbase over the years. I am happy to count myself as a member of that fanbase, and I would love to see more people discover this little comedy gem, especially if it involves some kind of anniversary disc release that allowed fans to own it with a few nice supplementary features.

8/10

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Contagion (2011)

Yes, I was as curious as everyone else who had been watching Contagion over the past week or two. So I caved in and gave it a watch for myself. It had been sitting on my shelves for a couple of years, to be fair, and I figured that now was as good a time as any.

It's the tale of a global pandemic, as unbelievable as that sounds, which is all inadvertently started by a bat (I know, I know, impossible). The first person to be affected by things is Gwyneth Paltrow, getting such a dose of the virus that not even a vagina-scented candle can heal her. She is married to Matt Damon, and they have a teenaged daughter. Other people who end up closely working with the virus include Laurence Fishburne (as Dr. Ellis Cheever), Kate Winslet (Dr. Erin Mears), Marion Cotillard (Dr. Leonora Orantes), Elliott Gould (Dr. Ian Sussman), and an Australian (?) blogger, played by Jude Law.

Written by Scott Z. Burns and directed by Steven Soderbergh, allowing him to utilise the kind of interweaving and fractured narrative style that he seems to prefer for stories with a BIG picture, Contagion is a film that most definitely feels more like a documentary right now. The timeline shown at every step of the way is scarily close to what we're going through here and now. That may prove some comfort, but may also worry some people more who are already worried, so I am not sure if it's one to recommend at this time or not. Interestingly, the one main factor not explored enough in the movie is the HUGE economic impact, something many of us (who have lost jobs or income) are all acutely aware of right now. People being told to self-isolate without sick pay, people being laid off, many venues eerily empty, cinemas, galleries, and museums closed, and if you think folks are rushing out to buy a car or house in the middle of a global pandemic then you can think again. Contagion conveniently forgets to show us that massive upheaval, because these kind of things never affect the Matt Damons of the world.

The performances are all generally very good, especially Fishburne, Winslet, and Damon. The jarring exception to that rule is Law. I don't know who decided that his character needed an accent, and I still am not entirely sure where it was supposed to be from, but it's so bad that it ruins what could have been an absolutely fine, if unnecessary, addition to the plot. His character is there to antagonise those in charge, and to pull back the curtain, in a manner of speaking, while showing what is being hidden from the general public. The point being that it is often hidden because a) those who are in charge aren't much further ahead, in terms of knowing how to deal with the situation, and b) protecting the general public from their own actions is as important as curing the virus (something I think we can all agree on after having seen the disgraceful behaviour of many in recent days). I just wish that point could have been made without using Law's character.

Engrossing from start to finish, and with a nice balance between standard thriller tension and something far more grounded than you might usually get from this, Contagion is the global pandemic equivalent of The Andromeda Strain. Both are riveting without aiming to sensationalise things too much. And you get some scary facts interspersed throughout, although finding them out now may just be enough to help us consciously change some of our behaviours/habits when they most need changed.

It's also worth remembering the tagline: "nothing spreads like fear". Take heart in something fictional, even if it is hewing VERY close to where we are right now, and do so while taking whatever precautions have been deemed necessary to protect people from a particularly nasty bug doing the rounds right now. Then follow it up with Osmosis Jones. It's the virus/Laurence Fishburne double-bill you never knew you needed.

8/10

Contagion is available digitally, which saves you battling to the shops to buy it.

Three Billboards Outside Ebbing, Missouri (2017)

I HOPE that anyone who knows me, even a little bit, knows that I am never a contrarian just for the sake of stirring the pot or getting people into a state of anger. In fact, I try as often as I can to ignore the extreme negatives and positives you can find everywhere on the internet and continue to just form my own opinion about movies, which is the way everyone should do it (then you can have more fun later discussing things with those who agree, and those who don't).

So I didn't make the decision lightly to label the much-loved Three Billboards Outside Ebbing, Missouri the worst film directed by either of the McDonagh brothers. You have to remember two things here. First of all, I am one of the few people who really enjoyed War On Everyone. Second, I am not saying this is a terrible film. It's still better than Transformers: The Last Knight, for example. Just not by that much.

The plot revolves around Frances McDormand's character, Mildred. She has been waiting too long to get any justice after her daughter was raped and murdered. So she decides to use three billboards situated on a fairly quiet road to question the work ethic of Sheriff Willoughby (Woody Harrelson). This upsets Willoughby and his staff (particularly the dim and abusive Dixon, played by Sam Rockwell), it upsets Mildred's son (Lucas Hedges), and it starts to turn the town against Mildred as they fail to understand why she would make such a statement.

The performances in this film are, for the most part, pretty great. McDormand does brilliant work, Rockwell is as great as ever, and Harrelson does well (when he isn't delivering lines in voiceover like he's reading the back of a packet of Coco Pops). Caleb Landry Jones is also very good, playing the lad responsible for leasing out the billboard space, Hedges is excellent as the teenage son watching his mother make a stand he doesn't see as being of any use, Peter Dinklage is a lot of fun as someone hoping to take Mildred out on a date, and John Hawkes is an a-grade asshole. The main weakness in the film is Abbie Cornish, who gives what feels like a half-hearted performance, hampered by the fact that she is also given the worst of the dialogue in the film and just seems far too young for her character (she plays the wife of Harrelson's character).

Direction is good enough, with McDonagh really pulling out the stops in a couple of moments that hammer home (almost literally) some of the damage that characters are willing to inflict upon one another, and there's definitely an interesting theme being clumsily explored here, but it's all almost undone by the script, surprisingly enough. While there are gems here, especially in the scenes that have McDormand interacting directly with the local law enforcement, there are also lines that drop in the middle of scenes like anvils looking for a Wile E. Coyote to squash into an accordion shape. And that's just individual lines I am talking about (poor Cornish, I felt genuinely sorry for a couple of the lines that she had to deliver, which could have only been made a bit less cringeworthy if McDonagh had given her any decent characterisation beforehand). As the film starts to develop in the overlong second half, everything starts to become more heavy-handed and also a bit, well, implausible and ridiculous. What began as a small, impactful, drama turns into something that feels unsure of how far it wants to take things, and in what direction it wants to go. Yes, this is in line with the main characters but it doesn't feel deliberate or well thought out. It feels careless, displaced, and even rather immature.

There's enough here to enjoy, and I feel sorry for those trying to dismiss the movie as something it isn't (I can't say any more because of spoilers), and I still encourage people to support the McDonagh brothers ahead of so many other writers and directors who never try to engage and challenge their audience, but this didn't work half as well for me as it seems to have worked for so many others.

6/10