Two EMTs shooting the breeze.

(2020) Science Fiction (Well Go USAAnthony Mackie, Jamie Dornan, Katie Aselton, Ally Ionnides, Bill Oberst Jr., Natasha Tina Liu, Martin Bats Bradford, Devyn A. Tyler, Betsy Holt, Lawrence Turner, Shane Brody, Walker Babington, Sam Malone, Hawn Tran, Carl Palmer, Rhonda Johnson Dents, Adam J. Yeend, Ramiz Monsef, Matthew Underwood, J. Lamb, Sophie Howell. Directed by Justin Benson and Aaron Moorhead


One of the advantages of being a mainstay in the MCU movies as Anthony Mackie is, is that he has the option to fill his down time between MCU epics with movies of his choosing. The downside is that people might see him more as a second banana instead of a lead, so when he does spectacular work as a lead, people might be surprised.

They shouldn’t be. Mackie has been a terrific actor for years now, and he shines in just about every role he takes on. Here he plays Steve, a New Orleans EMT, working the night shift with his partner Dennis (Dornan). Steve is a bit of a party animal, never forging any kind of relationship save with Dennis; Dennis, on the other hand, is a family man with a wife (Aselton) who is becoming exasperated with Steve, and teenage daughter Brianna (Ionnides) who is growing more difficult by the day.

The two have been seeing an increase in gruesome deaths which are connected with the designer drug Synchronic. At the same time, Steve receives some bad news and is forced to face his own mortality. And when he discovers that Synchronic has an unexpected quality that has to do with the disappearance of Brianna, Steve realizes he is the only one to get his partner’s daughter back home.

I’m being deliberately vague here about the nature of what Synchronic does and how it shapes the plot because, quite frankly, the less you know going in the better. I will say that a healthy suspension of disbelief is absolutely necessary, and a willingness to accept some lapses in logic. That said, the plot is a doozy and the concept a thoughtful one.  Mackie shines here in a bit of an anti-hero role; Steve is a bit of a curmudgeon and an equal bit of a jerk, but when the chips are down he’s as loyal as they come, so there’s that.

The cast is rock solid and the special effects are, considering the low budget, pretty impressive, but it is Mackie that is the reason you’ll want to see this. It’s fairly thought-provoking sci-fi but as I said there are some “huh?” moments which do bring the movie down some. Benson and Moorhead excel at creating an atmosphere and there is a definitely desperate vibe here, but the movie does take it’s sweet time getting going and the ending is a bit of a groaner. That said, though, this is a pretty solid mid-fall film that is likely to get traction once word gets out about it.

The movie is currently available in select theaters around the country. A VOD release will be coming soon.

REASONS TO SEE: Mackie channels Will Smith in a good way.
REASONS TO AVOID: A bit slow in developing.
FAMILY VALUES: There is profanity throughout, some violence, bloody images and drug use.
TRIVIAL PURSUIT: This is the fourth directorial collaboration between Benson and Moorhead.
CRITICAL MASS: As of 10/25/20: Rotten Tomatoes: 81% positive reviews, Metacritic: 68/100
Six Days of Darkness begins!


The devil wants your coffee.

(2018) Horror (Global ViewMatthew Solomon, John Savage, Tim Drier, Sam Valentine, Caitlin Grace, Kelsey Griswold, Christopher Martin, Sarah Chang, Karan Sagoo, Ethan Alexander, Terumi Shimazu, Sonia Lopez Pizarro, Thaddeus Ek, Gregory Adkins, Doreen Fox Loughlin, India Adams, Blanca Blanco, Kate Romero, Santiago Postigo, David Nesler, JoAnna de Castro. Directed by Antoine Le


We live in an age when anybody can become an Internet star, and it doesn’t necessarily take talent so much as an ability to get noticed in a crowded milieu. Vlogger Mike a.k.a. DropTheMike (Solomon) comes to us from the mean streets of L.A., taking us on a haunted tour of the locations of suicides and murders. However, his numbers aren’t as high as he would like them to be and in order to drive them up so that he can get himself a $250,000 sponsorship, he decides to film a special Halloween edition – from the Lennox Hotel, the most haunted location in the city.

His cameraman Christopher (Drier) who has no problem going to the exteriors of these notorious locations, balks at spending the night inside of one; unlike Mike, he believes in the supernatural. Mike ups the pay and hires Christopher’s crush, Dani (Valentine) to do sound in order to get his DP back into the fold. Add workaholic on-site editor Nic (Grace) to the mix and it’s “let’s put on a show” time, kids.

At first it’s all fun and games, but genuinely spooky things begin to happen, from loud knocks on their bedroom door, to the discovery of body parts in various places in the hotel, to half-glimpsed sightings of people who aren’t there…you know the drill. Eventually, the fear factor is ratcheted up until the crew begin to desert the project one by one and Mike is left to face the unknown alone.

The movie is done in a found footage style, but in a clever way that avoids some of the more annoying tropes of the sub-genre. A framing device of a heavy-breathing presence uploading various segments to the vlog is effective, albeit a bit over-the-top. Then again, horror thrives on over-the-top, the more the better.

There is a subtle, sly satire on the whole vlogging culture. Mike is sufficiently obnoxious – he’s based loosely on real vloggers PewDiePie and Logan Paul – that at times we wish someone would call him on his insensitivity (mostly his mates just give him the eye-rolls of people who are all too familiar with a friend’s remarks, but what are you gonna do) and certainly, there are elements of creepypasta here (most of the denizens of the hotel have that feel. In fact, much of the movie seems to harken back to other movies, from The Shining to The Blair Witch Project to Grave Encounters and so on – you may end up frustrated that so much is borrowed from other films. That doesn’t make the movie any less fun.

Some of the scares are well-executed, but there is a tendency for the scary sequences to be filmed with handheld cameras in dim lighting so that a lot of the sources of the fright are barely glimpsed. I suppose that’s a function of a very low budget – when you can’t afford terrific make-up effects, you hide them by making sure that the audience never gets a clear view of them. I don’t know if that’s what happened here, but that’s where a critic’s mind automatically goes and, I’m sure, many horror fans as well. Also, keep in mind this is one of at least three horror films involving vloggers coming out this month alone.

Still, this is a pretty good horror movie and as were just getting into the season for them, it’s a good start to getting your terror on. The movie played in drive-ins in June and just hit VOD platforms. If you ask your local drive-in (or pop-up drive-in) nicely, they might rent it for you; this is the kind of film that’s perfect for that kind of venue. But it’s not a bad idea to turn the lights down in your bedroom and watch this on your TV screen…or laptop. But if you really want a good scare, do a Google search for the Hotel Cecil. That might just chill you to the bone.

REASONS TO SEE: Some decent scares.
REASONS TO AVOID: Not super original.
FAMILY VALUES: There are some horrific and disturbing images, plenty of profanity, some violence and drug use.
TRIVIAL PURSUIT: The Hotel Lennox is based on the real-life Hotel Cecil, where serial killer Richard Ramirez reportedly stayed and committed some of his crimes; also the Meghan Kim incident is based on the story of Elisa Lam, a Canadian college student who disappeared while staying there and whose actions, caught on surveillance video, were similar to that of Meghan Kim; Lam’s body was later discovered in a hotel water tank.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, iScreeningroom, Microsoft, Vudu
CRITICAL MASS: As of 9/17/20: Rotten Tomatoes: 74% positive reviews; Metacritic: No score yet.

Disappearance at Clifton Hill

Trying to pretend an alien isn’t eavesdropping on their conversation.

(2019) Suspense (IFC Midnight) Tuppence Middleton, Hannah Gross, Eric Johnson, David Cronenberg, Marie-Josée Croze, Andy McQueen, Noah Reid, Dan Lett, Aaron Poole, Paulino Nunes, Elizabeth Saunders, Mikayla Radan, Addison Tymec, Tim Beresford, Janet Porter, Clyde Witham, Maxwell McCabe-Lokos, Kris Hagen, Connor Lucas-Loan, Devon Hauth, Alanis Peart. Directed by Albert Shin


Coming home again is never easy. It’s even harder after a beloved parent dies and you’re there to dispose of her worldlies. How difficult must it be on top of all that when it is the scene of a traumatic act that has shaped your entire life?

Abby (Middleton) is in that latter situation. Her mother is gone and her mom’s one asset, the Rainbow Hotel in the seedy tourist trap area of Niagara Falls known as Clifton Hill, needs to be sold to pay off debts. Fortunately, there’s a taker; Charles Lake III (Johnson), the head of the Charles Lake Corporation (a.k.a. CLC) which owns most of the run-down tourist attractions in town – hell, he owns the town!

What has haunted Abby her entire life was the occasion of seeing a terrified one-eyed boy beaten and kidnapped before her very eyes. When she tells her sister Laure (Gross) what she saw, Laure doesn’t believe her. Laure probes to be justified as Abby embarks on what could charitably be called a checkered life.

But now the events of that Thanksgiving weekend have resurfaced to haunt her and Abby is determined to get to the bottom of it and prove once and for all that she wasn’t crazy. She identifies the boy as Albert Moulin, the son of a pair of second-rate magicians (Nunes, Croze) who at the time were the big dogs in the small pond.

She finds an unlikely ally in Walter Bell (Cronenberg), a local historian/conspiracy theorist/podcaster/line cook at a local themed restaurant called the Flying Saucer Café. Walter also worked with a group called the Diving Bells who recovered bodies from the Falls. “Ever seen someone who jumped into the gorge?” he inquires in a soft but intense voice, “It’s like they swallowed a live hand grenade.”

Bell leads her in the direction of Lake, who has a checkered past of his own and an apparent taste for small boys. Abby is sure that Charles had Albert killed and decides to go out to prove it, which isn’t a very good idea considering that he owns the hotel her mother built and he has the police force and City Hall in his pocket. Still, Abby feels compelled to vindicate herself after all those years in the eyes of her sister, but the cost of vindication could be unbearably high.

Shin is a talented young Canadian director who is very clearly influenced by the work of fellow Canadian director Cronenberg. Casting him here was a stroke of genius because Cronenberg is actually a pretty talented actor as well. He plays Walter as quirky but never a parody of the paranoid conspiracy theorist. His laconic delivery is on the low-key side but it actually adds to the character’s allure.

Middleton, who most know from the Downton Abbey series (I wonder if the character’s name was an intentional in-joke or just a coincidence) gives Abby just the right amount of edge to make the audience call into question her veracity as a narrator. That is really at the heart of the movie; can a congenital liar be believed? Obviously, the audience is rooting for yes, but the final twists of the movie call into question even that.

The score by Alex Sowinsky and Leland Whitty is the kind of dissonant jazz that William S. Burroughs would have loved and serves to keep the audience off-balance. Shin excels at that and it is the movie’s greatest strength. On the weakness end, there are too many extraneous bits of business and characters refer to what are apparently important events that aren’t explained until later. It’s maddening and makes it feel like the filmmakers were winging it ore than they actually did.

All in all, though, it’s a pretty decent thriller that utilizes its Niagara Falls location excellently, even if we get no cliché shots of the famous “horseshoe” falls. Middleton makes an appealing lead and Cronenberg makes a compelling addition. If you’re looking for a good thriller, you could certainly do much worse than this.

REASONS TO SEE: Shin takes his cues from David Cronenberg’s early work; it’s therefore fitting that he cast the legendary director in his film.
REASONS TO AVOID: Gets a little bit jumbled, particularly towards the end.
FAMILY VALUES: There is a fair amount of profanity as well as some sexual situations.
TRIVIAL PURSUIT: The film was originally titled Clifton Hill when it debuted at the Toronto Film Festival last year, but the name was changed when it was picked up by a distributor.
CRITICAL MASS: As of 3/1/20: Rotten Tomatoes:69% positive reviews: Metacritic: 61/100.
COMPARISON SHOPPING: Deep End of the Ocean
Maria by Callas

Murder Death Koreatown

Even the couches are out to get you in Koreatown.

(2020) Found Footage Thriller (Self-Released) Cast unknown. Directed by Unknown

Some movies come to critics with reams of information; pages of publicity notes, director’s quotes, actor and crew bios and so on. Others come to us with much less information to go on. This one came with almost none.

Found footage films are not always received kindly in the critical community and among horror fans in general. There was a time when the market became over-saturated with them and let’s face it, most of them were really bad. The best-known were the original, The Blair Witch Project and Paranormal Activity, both of which would eventually see sequels made by major studios.

=The film centers around an unemployed man who is shocked to discover that a murder has taken place in a nearby apartment in which a young wife suddenly and without explanation brutally murdered her husband (it is implied although not directly stated that she stabbed her husband to death). The man is seriously shaken by the brutal event so close to home, but there are some things that are troubling him. For one thing, there are blood spatters on the sidewalk away from the crime scene. Also, the arrest of the suspect took place nearly a block away from the crime scene.

He takes out his cell phone and starts talking to people around the neighborhood, filming the interviews. At first, most of the subjects know less than he does. As he looks into it, there are a few people who admit to knowing the slain man and his wife and they are baffled by the event; all of them say that the suspect was a real sweet girl, although a co-worker of the husband noted that he hadn’t been sleeping and he thought that the couple were fighting which was uncharacteristic of them.

=The more that the filmmaker delves into the crime, the more dead ends arise. One theory gets squashed and another one arises, only to be squashed also. Leads don’t pan out; then things get creepy. People he talks to begin to disappear. Mysterious graffiti in Korean begin to appear all around him and the filmmaker begins to get unhinged. His girlfriend begs him to drop the investigation, concerned for his well-being at first and then angry when he ignores her. Strange things begin to happen; he hears voices. He sees things that can’t be real. Is the murder victim trying to contact him from the dead, or is he losing his mind? And who are the mysterious Pastors?

Like most critics, I have grown weary of found footage movies but I was pleasantly surprised by this one. Put simply, it is the best in the genre to come out since the original Blair Witch Project way back in 1999. It’s taut and believable; the interview subjects don’t feel like they’re acting and even though the camera is very shaky (it IS supposed to be cell phone footage), there are some really good cinematic moments of bright blue L.A. skies and the palm trees of Paradise in SoCal.

I give the unknown filmmakers props for having the foresight to keep the story simple and stick with it. Even though the movie leads in unexpected directions, all of those shift changes are organically done and don’t feel forced. It does take a little while to get going and the coda is a bit anti-climactic but there is a powerful payoff in the film’s climax.

Sometimes the best movies come out of left field and this one certainly does. They aren’t re-inventing the wheel here; they’re taking a straightforward story and telling it in a straightforward manner. That’s something Hollywood veterans sometimes have a hard time doing.

The best found footage films make you feel as if you might be watching something real, and this one does. You are left unbalanced; is there something weird happening here? Is there a conspiracy going on? Or is this guy losing his mind? There is a disclaimer in the closing credits (what little there are) that state that “No reasonable person would believe this film or its claims are real…Investigations into this project or its subject is strictly discouraged. There is nothing to find. It’s just a movie.” Even given that disclaimer, I was left wondering if it was real. That’s how the film messes with your head. It truly is creepy AF.

The movie at present has no distribution and has played but once. Hopefully a local film festival near you will find their way clear to show this; ask your local art house to look into it. In the meantime, be aware that this is out there and if it does manage to make its way to a film festival, movie theater that is willing to play indie fare, or a streaming service, for sure check it out. This one is solid gold.

REASONS TO SEE: Maybe the best found footage film since the first one. When clicking it feels very real.
REASONS TO AVOID: Loses steam in the middle third.
FAMILY VALUES: This is quite a bit of profanity, some gruesome and unsettling images and terror.
TRIVIAL PURSUIT: The movie made its world premiere on Leap Day at the Unnamed Footage Festival.
CRITICAL MASS: As of 3/1/20: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING:  The Blair Witch Project
Disappearance at Clifton Hill

From Shock to Awe

In brotherhood there are battles.












BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Vimeo
Six Days of Darkness continues!

Bird Box


(2018) Horror (Netflix) Sandra Bullock, John Malkovich, Sarah Paulson, Jacki Weaver, Trevante Rhodes, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, Colson Baker, BD Wong, Pruitt Taylor Vince, Vivien Lyra Blair, Julian Edwards, Parminder Nagra, Rebecca Pidgeon, Amy Gumenick, Taylor Handley, Happy Anderson, Kyle Beatty, Ashley A. Alvarado. Directed by Susanne Bier


The secret to a great horror movie is to never reveal the monster too early. What we can’t see is often the scariest creature of them all.

Civilization has collapsed but it’s not a plague of zombies that has done it; rather, an unseen monster that when it establishes eye contact causes the viewer to commit suicide. Essentially, nobody can go out of their house because once you see the monster, you’re toast within moments. In the early scenes of the movie we see precisely how quickly things devolve into chaos as people ram their cars into immovable objects, stab themselves to death and calmly open the door of a burning car and sitting down in the passenger scene, immolating themselves.

Malorie (Bullock) is a take-charge kind of woman who finds herself in this environment. Pregnant, she is on her way from a routine doctor appointment when things go to Hell in a handbasket. She takes refuge in the home of a curmudgeonly novelist who watches his wife kill herself after she beckons Malorie and other stranded motorists into her fortress-like home. Her husband Douglas (Malkovich) is none too pleased about the new guests but admits grudgingly that they bring special skills to the table, including ex-military construction crew chief (Rhodes) who develops a relationship with Malorie, grandmotherly Sheryl (Weaver), conspiracy theorist and grocery clerk Charlie (Howery) and a few others who come and go, some with less-than-noble intentions.

This culminates in a harrowing journey Malorie takes with her children (identified only as Boy (Edwards) and Girl (Blair) five years after the fact in which she rows a canoe down a river while blindfolded, hoping to make it to a rumored sanctuary in Northern California which is mostly shown in flash-forwards.

Bullock is brilliant here in a rare appearance in a horror film for the actress (she doesn’t like horror movies and generally doesn’t take roles in them – her last horror movie was more than 20 years previously). Malkovich chews the scenery here in typical fashion while Weaver is competent as is Paulson. Sadly, the two juveniles playing Boy and Girl are as bland as their names would suggest; they spend most of the film trying to act rather than trying to project themselves into their characters. This is a problem for many juvenile actors and actresses which tend to lead to stiff performances which we get here.

We never see the creatures responsible although we see the carnage they cause. It is a good thing that we don’t; they are far more terrifying that way. Bier is a respected director having done most of her work in her native Denmark; this is her first genre film and she attacks it as she would any drama, allowing the emotions of the characters set the tone, making the movie more interesting than the average creature feature.

This was one of the most popular films released by Netflix last year; it even inspired another stupid dangerous internet phenomenon known as “the bird box challenge” in which people try to navigate a distance (indoors and/or outside) while blindfolding leading to a raft of injuries, some of which required visits to the Emergency Room. While the tension Bier builds is unbelievable, the story is just the opposite. While this isn’t the kind of horror film that uses creature effects to set it’s gory tone, although there is some gore. This is the kind of horror movies that even those who aren’t fond of the genre can see.

REASONS TO SEE: The tension is unrelenting. Another great concept, even if it is a little bit derivative. Some very smart decisions made by the director.
REASONS TO AVOID: The juvenile actors are a liability.
FAMILY VALUES: There is violence and gore, profanity, adult themes and some sexual content.
TRIVIAL PURSUIT: Bullock is actually blindfolded during the scenes in which her character is (which makes up about half the film) and refused to allow eye holes to be cut, causing her to bump into the camera more than once during shooting.
CRITICAL MASS: As of 6/19/19: Rotten Tomatoes: 63% positive reviews: Metacritic: 61/100.
The Spy Behind Home Plate


A glimpse of a bleak future.











REASONS TO AVOID: The main characters are devoid of personality.

The Discovery

Robert Redford’s let his hair go.













REASONS TO STAY: A very interesting concept is squandered.
NEXT: Hare Krishna!

The Happening (2008)

Mark Wahlberg, Zooey Deschanel and Ashlyn Sanchez find out that it's Taco Tuesday in the craft services truck.

Mark Wahlberg, Zooey Deschanel and Ashlyn Sanchez find out that it’s Taco Tuesday in the craft services truck.

(2008) Thriller (20th Century Fox) Mark Wahlberg, Zooey Deschanel, John Leguizamo, Ashlyn Sanchez, Betty Buckley, Spencer Breslin, Robert Bailey Jr., Alan Ruck, Frank Collison, Jeremy Strong, Victoria Clark, M. Night Shyamalan, Alison Folland, Kristen Connolly, Cornell Womack, Curtis McClarin, Robert Lenzi, Derege Harding, Kerry O’Malley. Directed by M. Night Shyamalan


It’s just an ordinary day in Central Park. People are jogging, people are walking their dogs. Two friends are sitting on a bench and reading a book, talking to each other.. A cold wind blows. The chatter and noise of the park dies down to a whisper. It’s as if the whole world is holding its breath, waiting for something terrible to happen. Then, something terrible does.

In Philadelphia, the horrified teachers at Philadelphia High, including popular science teacher Elliott Moore (Wahlberg) and his friend and peer Julian (Leguizamo) are informed that there has been a new terrorist attack on New York. This time, it was an airborne gas that was fatal within seconds. To be on the safe side, the principal (Ruck) orders the kids sent home. Julian is nervous; big cities are targets and he thinks it’ll be safer to join his mother on her farm in Harrisburg. He invites Elliott and his wife Alma (Deschanel) to come with them. Disquieted, Elliott accepts.

However, all is not perfectly well between Elliott and Alma. A distance has grown between them, built wider by all the things said and unsaid. Alma has been getting calls from Joey (Shyamalan), a co-worker who she went out for a meal with once but who almost certainly wants to take things farther. Alma is confused and adrift, not sure what she wants. However, she knows one thing; she doesn’t want to stay in Philadelphia with terrorists shooting lethal gasses in major metropolitan centers.

Elliott and Alma meet Julian and his daughter Jess (Sanchez) in the train station. Julian’s wife will be late arriving and will take the next train. Julian can’t help but notice the tension between Alma and Elliott and stumbles into it somewhat. Still, the train leaves the station and for the moment, there are larger concerns. Then, as the train travels through the Pennsylvania countryside, those passengers with cell phones begin to get horrifying news. There have been more attacks, in Boston and in Philadelphia. Alarmed, Julian calls his wife, and is relieved to hear she’s caught a bus to Princeton, NJ and will try to meet them in Harrisburg as soon as she can arrange transportation.

Not too long afterwards, the train chugs to a halt and all the passengers are told to disembark. Why is the train stopping, Elliott asks a conductor. We’ve lost contact he replies. With who, says Elliott. Everyone says the conductor in a low voice. As the passengers gather in a small town diner, the true horror of the situation begins to unfold. Not only are big cities being targeted but small towns are starting to see outbreaks of the contagion as well. So many, in fact, that it looks increasingly that this is less the work of terrorists but some other force at work, something even more unsettling. Now, with the countryside becoming increasingly lethal, Elliott must find a way to get his group to safety before the toxins do their deadly work on them.

Wahlberg by this point in his career had settled into a niche, playing much the same character in movie after movie. However, that wasn’t necessarily a bad thing since I happened to like the character he played. Heck, a lot of movie stars – Cary Grant, John Wayne, Gregory Peck – all could get busted for the same crime when it comes right down to it. Wahlberg is more than adequate as the lead. Deschanel, who was at the time becoming one of my favorite actresses which she remains to this day, is given a somewhat fragile character to work with. At times, she does a real good job with it, but at others I think some of the nuances are just missed a bit. It is Buckley, as a somewhat curmudgeonly hermit of teetering mental stability, who steals the show in the few scenes that she has. This is not the Betty Buckley of Cats or even less so, Eight is Enough in any way shape or form.

Some of the best scares in the movie come as a result of the sound crew. As bodies fall from a high rise and hit the ground, the sickening thuds make the scene all the more eerie. Composer James Newton Howard uses his music to ratchet up the tension nicely. Cinematographer Tak Fujimoto beautifully photographs the Pennsylvania countryside, even as something sinister is at work.

The middle third drags a bit and the last third completely loses cohesion, including an ending which is simply facepalm-worthy that has such a flat tone that the viewer leaves feeling curiously unfulfilled, like he needs to watch another movie to get their movie fix. The nature of the Happening is revealed far too early on. Some of the characters do incomprehensible things, which jar the viewer out of the world the filmmakers have created.

The first third of this movie is as excellent as anything Shyamalan has done, which may not be saying much for some, given how at this point in the game his reputation was rapidly eroding. At the time, I found that given the state of world events, the concept of The Happening was extremely timely. There are some genuine scares here, and some scenes that are genuinely disturbing. Think of this as An Inconvenient Truth done in Shyamalan style. Better still best not think of Shyamalan at all. This is very much a formulaic movie for Shyamalan, with lead characters struggling with personal issues while confronting a menace very much bigger than they are able to imagine. I had to this point been a fan of his work, but like many others left the theater disappointed.

WHY RENT THIS: The tech crew helps create some impressive scares. The first third of the movie is some of Shyamalan’s best work ever.
WHY RENT SOMETHING ELSE: The middle third loses momentum and drags along. The final third is an absolute train wreck.
FAMILY MATTERS: There are some very graphic scenes of violence, and most youngsters are going to be on a one-way trip to Nightmare City after seeing this.
TRIVIAL PURSUITS: This was the first R-rated film by Shyamalan and was shot completely in sequence.
NOTABLE HOME VIDEO FEATURES: An interview with Betty Buckley, a featurette on the porch sequence and a gag reel highlight the DVD edition. The Blu-Ray edition allows you to view the film in BonusView mode which flashes trivia factoids onscreen and incorporates the deleted footage into the finished film.
BOX OFFICE PERFORMANCE: $163.4M on a $48M production budget.
NEXT: The Shallows


John Cusack waits for housekeeping to take care of his room.

John Cusack waits for housekeeping to take care of his room.

(2007) Horror (Dimension/MGM) John Cusack, Samuel L. Jackson, Tony Shalhoub, Mary McCormack, Len Cariou, Isiah Whitlock Jr., Jasmine Jessica Anthony, Kevin Dobson, Paul Kasey, Benny Urquidez, Gil Cohen-Alloro, Drew Powell, Noah Lee Margetts, Jules de Jongh (voice), William Armstrong, Emily Harvey, Alexandra Silber, Kim Thomson. Directed by Mikael Håfström

Our Film Library 2015

There are places that have a presence in them, a kind of echo from the past. There are other places that have a feeling in them, one that tells of contented lives – or contorted ones. Then there are places that are just effin’ evil.

If Mike Enslin (Cusack) seems bitter it is with good reason. His career as an author has all but faded into oblivion and the death of his daughter Katie (Anthony) has split he and his wife Lily (McCormack) even further apart. He is intent on doing a sequel to one of his most successful books, Ten Nights in Ten Haunted Houses with a new conceit, Ten Nights in Ten Haunted Hotel Rooms. However, the cynical Mike doesn’t believe in the paranormal. He really doesn’t believe in anything.

He gets a mysterious postcard from the Dolphin Hotel in Manhattan with the cryptic message “Don’t Go in 1408.” He takes this as a personal challenge and heads promptly for the Dolphin. He demands to be given room 1408 to stay in but Olin (Jackson), the manager of the hotel, is reluctant. Mike invokes a New York state law that requires the hotel to rent the room to him so long as it is up to standards. Olin responds that 56 people have died in that room in 95 years and nobody has lasted more than an hour. Mike thinks that Olin is trying to create a mystique that will attract people to the hotel and dismisses his claims. Reluctantly, Olin allows Mike to rent the room.

At first, the room seems like any other room in any other hotel. Then, little things start to happen; the clock radio begins playing “We’ve Only Just Begun” by the Carpenters for no reason. Strange calls from the front desk about food Mike hasn’t ordered. Then, he begins to see spectral visions of past inhabitants of the room and the clock radio begins a countdown from 60:00.

The visions begin to grow more terrifying and his dead daughter appears on the hotel TV set. Mike’s attempts to leave the room are fruitless, the door knob breaking off in his hand. An attempt to leave through the air conditioning ducts gets him attacked by a mummified former guest.

Soon it becomes apparent to Mike that the room isn’t just interested in him; it wants his estranged wife to come to the hotel and enter room 1408. Knowing that he was wrong about the room, that it is indeed an evil place, he must somehow prevent the room from claiming the last vestige of his family.

This adaptation of a Stephen King short story is one of the finest adaptations of his works ever, right up there with The Mist and the first Carrie. Some have compared it (favorably and not) to King’s other haunted hotel story, The Shining although like King himself, I never warmed to Kubrick’s version of the novel and never found it particularly scary. Not so for this one.

Cusack was at his best here, playing an embittered man and failed novelist (a favored protagonist of King’s) who still deep down has love in his heart, particularly when he is forced to confront his deepest pain. Cusack has a knack of making guys like Mike Enslin relatable and even admirable, despite being not the easiest guys to get along with in the world. While you can clearly see why Lily would have given up on their marriage, you still end up rooting for Enslin to survive.

This isn’t as effects-driven as other movies based on King’s works nor does it use as much CGI as popular horror movies. Much of the effects here are psychological and Håfström goes out of his way to implant seeds of doubt that everything happening is occurring in Mike’s head, which leaves you with a sense of not being able to trust what you see which is deliciously disorienting to the viewer.

There are false endings here – scenes that make it appear as if Mike’s ordeal is over but then something else happens and horror movies have had a tendency lately to go to that particular well a bit too often. It works okay here but it did make me grumble a bit, curmudgeonly critic that I am. You may not find it quite as annoying as I did depending on how many horror movies you watch.

Once this gets rolling it is quite a ride, although it takes a good long time to get going as Olin attempts to dissuade Mike from entering the room. Hey, if Samuel L. Jackson is scared of a room, I would certainly think twice about going inside. Of course, if Mike didn’t, we wouldn’t have had much of a movie.

WHY RENT THIS: Leaves us questioning reality throughout. One of Cusack’s best performances ever.
WHY RENT SOMETHING ELSE: Might have gone to the false ending too often.
FAMILY VALUES: Some very disturbing images of violence and terror as well as some adult themes and horror.
TRIVIAL PURSUIT: The axe wielded by the fireman late in the film is the same one Jack Nicholson used in The Shining.
NOTABLE HOME VIDEO EXTRAS: There is an extended director’s cut with an ending different than the theatrical version (which is also included here). There are a couple of brief webisodes here as well.
BOX OFFICE PERFORMANCE: $132.0M on a $25M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental/Streaming), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (not available), Target Ticket (not available)
COMPARISON SHOPPING: The Amityville Horror (1979)
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