About Vernor Rodgers

I have been a movie fan all of my life. But it was in 1972 that I became a bona fide movie nut. I started keeping a log of every movie I have seen, now more than 3,000. Started writing movie reviews for www.dabelly.com in 2000.

This war becomes personal for Caesar in latest “Planet of the Apes”

Dark, touching, brutal with touches of humor and loads of simian compassion, “War for the Planet of the Apes” takes intelligent ape Caesar and his clan to their inevitable fate with tumult, sadness and triumph.

The second film of the latest “Planet” reboot series to be directed by Matt Reeves, “War” has plenty of action amid the quieter moments when Caesar (Andy Serkis) and his nemesis, The Colonel (Woody Harrelson), deal with the intricacies of conflict while battling their own inner demons.

When “Dawn of the Planet of the Apes” ended, Caesar had been warned by his human friend Malcolm (Jason Clarke) that soldiers were coming down from the north, summoned when Koba undermines Caesar and ignites a war with humans.

The apes find refuge in the woods but all too soon a unit of soldiers attacks the apes but is easily defeated. Caesar spares the lives of the captured soldiers so they can go back to The Colonel and  convey the ape’s proposal of peace: Just leave us alone in the forest and all will be fine.

The Colonel responds by appearing himself in the apes’ habitat and conducting a fatal assault that now makes this personal for Caesar.

While Caesar concedes the apes must flee the woods for a safer place, he opts to go out on his own vendetta mission. Naturally, two of his most loyal, Maurice (Karin Konoval) and Luca (Michael Adamthwaite) tag along.

It takes awhile before The Colonel gets some decent screen time. He is definitely a nod to Marlon Brando’s  Col. Kurtz  from “Apocalypse Now.” Except that when the layers are peeled away, Harrelson’s Colonel may be a rogue, but not quite the looney Kurtz turned out to be. His motivations certainly are understandable given the perilous issues he faces. He accuses Caesar of being too emotional, and indeed, despite his own personal tragedies, The Colonel can boast that he is focused not on a mission of revenge but of survival.

Aside from trying to keep his clan and family from being annihilated, while also dealing with traitors, Caesar also struggles within himself, realizing he is close to becoming as crazed with animosity toward humans as Koba had been.

Along the way, before the inevitable bloodshed, two new characters are introduced. One is a mute girl the apes name Nova — an obvious tie-in with the Nova character in the original “Planet of the Apes” movies — befriended by Maurice. The other is a comically memorable zoo ape who calls himself Bad Ape (Steve Zahn). Bad Ape has managed to survive on his own but soon embraces the possibility of new friends with Caesar, Maurice and Luca, even though he thinks these apes might be just a little too eager to fight humans to suit his tastes. Eventually, though, Bad Ape, for all his bumbling around and near cowardice, proves to be a valuable ally.

As always, there is an ominous tone throughout “War,” especially sensed by animal lovers who abhor violence against creatures that are not motivated by anything other than surviving. They are innocent of greed and hate and do not deserve to suffer or die.

Ultimately, the war Caesar must win is the one within himself — to find an inner peace that will always be hard to maintain in the world in which he and his fellow simians exist.

“Wish Upon” a mildly scary cautionary tale

Well, this has been explored before: the down side of a person getting what he or she wishes for. The result may not always be gratifying, or worse, it may extract a hefty price.

“Wish Upon,” directed by John R. Leonetti (“Annabelle,” “Mortal Kombat: Annihilation”) and written by Barbara Marshall, is a nice little film that probably would better be suited for a horror anthology on television. It’s not very scary but it does make a person feel leery about anything that might open an avenue to dreams simply by saying, “I wish.”

Joey King is Claire Shannon, a teen girl who a decade earlier witnessed the suicide by hanging of her mother. Now she lives in a dilapidated house with her father, Jonathan (Ryan Phillippe — where has HE been lately?), who  barely makes a living scrounging around in trash dumpsters. Claire is a talented artist like her mother had been, but definitely among the lower echelon in popularity in high school. She pretty much hangs around her BFFs Meredith (Sydney Park) and June (Shannon Purser), while on the periphery is Ryan (Ki Hong Lee), who seems to have a crush on Claire.

One day Jonathan brings home from his trash hunts a wooden box with Chinese etchings on it. Since Claire is studying Chinese in school, Jonathan figures the box might be of interest to his daughter.

Claire can only decipher some of the etchings, but learns the box is capable of granting seven wishes. Naturally, after a nasty encounter with the typical popular girl/bully Darcie (Josephine Langford) in the school lunch room, Claire wishes that Darcie “would just rot.”

When news gets around the school that Darcie has been afflicted with a skin ailment and might lose a couple of her toes, Claire initially dismisses it as a coincidence. But, by the way, Claire’s faithful old dog suddenly dies.

After awhile, Claire begins to realize that the box indeed seems capable of granting her wishes. And she gives the box some wishes to grant.

Ominously, once a wish is made, the box lid opens for a few minutes and somebody subsequently dies. The deaths take on a “Final Destination” flavor as scenes show the doomed person just engaging in normal life tasks that on this particular day will have fatal consequences.

Meanwhile, Claire enlists the help of Ryan, whose cousin Gina (Alice Lee) might be able to translate the rest of the etchings on the box. When Gina refers to a language expert, this person comes back with some troubling details about the sinister background of the box.

Claire is enjoying some of the fruits of her yearnings even though she is also mourning the loss of some people. She also learns that if you wish for someone to fall in love with you, the byproduct of that might be that person becoming dangerously obsessive.

The fine print on the box includes a couple of rules. If you get rid of the box, all your wishes are rescinded. And if you make that seventh wish, the final price can be horrifying. Claire thinks she has the solution to beat the box. She should know better.

King at the core of “Wish Upon” presents Claire as a likable person, grappling with the usual issues of teen life while also fending off the emotional residue of seeing her mother kill herself.  Once she gets a taste of the good life, she finds it intoxicating, which is the real, and scary, trap.

Be sure to stick around after the credits roll. There is a little addendum that proves how entrapping a box with this kind of power can be.

 

 

 

Wanna see sharks up close? ’47 Meters Down’ is more than enough depth

Let’s see. In 2016, “The Shallows” was a movie about a young woman surfer (Blake Lively) who hits the waves at a secluded Mexico beach and soon finds herself marooned on a rock offshore, along  with an injured seagull, while a hungry Great White shark circles, waiting for her to become its hot meal.

Now in 2017, “47 Meters Down” is about two sisters who find themselves trapped in a shark cage deep in the waters off Mexico while these menacing eating-machine fish zip around.

Do I detect a trend here?

It’s as if an addendum has been added to the Handbook of Horror, right there in Article One that states: Young people who have sex will be pursued and/or killed by some determined, indestructible and armed maniac. Now there’s a new reality: Go into the water off Mexico and a shark or two or three will assume you are on the menu.

“47 Meters Down,” which did an OK $11 million at the box office during its opening weekend, is a tale of survival that keeps the tension level at high amps. With most of the action taking place under water, it is quite an achievement.

Lisa (Mandy Moore) and Kate (Claire Holt) are two sisters vacationing in Mexico. Lisa is having boyfriend problems and decries her boring life, especially in comparison to Kate’s adventurous existence. Little sis Kate has a remedy: We’re in Mexico; let’s hit the night life. They meet Louis (Yani Gellman) and Benjamin (Santiago Segura) and party down with these two guys. The men then entice the women to try an activity not mentioned in the brochures. They know a guy who offers people a chance to get into a shark cage, submerge and have up close and personal (and supposedly safe) encounters with sharks.

Kate’s all for it, but Lisa has reservations. Kate is persuasive, and the next morning the ladies meet up with Louis and Benjamin at a dock. There they are greeted by Captain Taylor (Matthew Modine doing a toned down Quint, a la “Jaws”), and they are boated to a larger vessel several miles offshore on which the shark cage sits, awaiting its next plunge.

An already hyperventilating Lisa is even more apprehensive when she sees the dilapidated condition of the cage and the lifeline winch used to lower it into the sea. Despite this, she lies to Taylor, assuring him she has scuba experience, so that he signs off allowing the ladies to go into the cage.

Louis and Benjamin go down in the cage first and come up exuberant, their enthusiasm infectious. Lisa, still shaky, sets aside her anxieties and climbs into the cage with Kate and down they go.

The movie up to this point is pretty bland, but once Lisa and Kate are under water, “47 Meters Down” revs up. The expected malfunction occurs and soon the cage plummets to the bottom of the sea, 47 meters beneath the surface.

Once Lisa and Kate regain their wits, they begin to realize their dire predicament: first, the cage hatch has been wedged closed by winch debris; they have less than an hour of oxygen left in their tanks; the water at that depth is pretty murky; they are out of radio range of the boat; a rapid  ascent from that depth could lead to the “bends,” i.e. nitrogen bubbles getting into the brain (See: “Jaws 2”). And, oh yeah, at least two sharks are in the vicinity and are even more lethal in an environment of very limited visibility.

What follows is a roller-coaster ride of emotions: fear, hope, despair and downright panic. The clock is ticking, in the form of their oxygen level gauges, and in order to maintain communications with the boat, the ladies have to vacate the relative safety of the cage — once the hatch has been liberated from being blocked — and ascend to a depth within range of the radio.

Director and co-writer Johannes Roberts (who collaborated on the script with Ernest Riera), manages to maintain the tension with a lurking sentiment of “what else can go wrong.” Then, just when it looks like things have been resolved, there is a twist.

So, “47 Meters Down” delivers as a horror/thriller venture. An amusing aspect of this movie is that during the opening credits, there was a seemingly endless listing of executive producers. In all, 21 EPs were listed, with the head honchos being Bob and Harvey Weinstein, proven film chiefs. In addition there were several other just plain “producers.” With all these chefs hovering over the pot, it’s a wonder the movie got made at all.

‘It Comes at Night’ is not what you think it is

The poster for the movie “It Comes at Night” might be dark and foreboding, perhaps with a pair of sinister, glowering eyes of a murderous beast staring at you — an effective illustration for a monster/ghost-type of horror film.

But it doesn’t because it isn’t.

Writer-director Trey Edward Shults apparently attached this title to his film as a means of poking fun at the seemingly endless stream of jump-scare movies that, like it or not, have a solid base of fans, hence continue to be produced over the years with no end in sight.

Shults also challenges the audience to decide for itself what the “it” is in his movie, which by the way would be more accurately categorized as a psychological thriller.

The less said about the plot to “It Comes at Night,” the better it can be for the viewer. This is an example of a movie that is best digested by going in without having any idea what it is about, because this would intensify the mysteries involved and keep one guessing as to where it is going.

What can be said is this: “It Comes at Night” centers around six people —  Paul (Joel Edgerton, who also served as executive producer), his wife Sarah (Carmen Ejogo), their teenage son Travis (Kelvin Harrison Jr), Will (Christopher Abbott), his wife Kim (Riley Keough) and toddler son Andrew (Griffin Robert Faulkner). Also a dog, Stanley.

These people are in a situation wherein death lurks everywhere and the keys to survival include being prepared, being very careful and if necessary, very ruthless and unemotional.

Ah, but what about trust? That is the underlying and haunting fear that prevails in this movie. Every interaction between Paul and his family and Will and his family is magnified by each word, movement and even body language that can be tragically misinterpreted.

While Paul, firmly logical and focused on what is necessary to keep everyone safe, is solidly in charge, the emotional core here is Travis. At a time in his life when he could be immersed in social media, budding love and athletics, he instead is stuck in an existence bereft of friends and fun. Yet he is not a brooding teen. He is a good kid, respectful of his parents and devoted to the care of his dog Stanley. But the poor kid suffers some terrifying nightmares that make him an insomniac and particularly keen at sensing potential danger.

Shults’ script succeeds at keeping the viewer on edge. Even as things seem to settle into a mundane and safe routine, there is a sense of foreboding, a tenuous relationship that is threatened not only by outside circumstances that led these six individuals to their risk-laden existence, but also the constant reminder that other people of whom they are sharing space are essentially strangers and may be harboring a secret and possibly deadly agenda.

Running at a brisk 91 minutes, the movie, as directed by Shults in what is only his second full-length feature, maintains an aura of uneasiness. Whatever dangers these six people face from the outside, they are constantly stalked by the unnerving reality that even within a small fortress they have built, the fragile set-up they have established could go horribly wrong at the slightest provocation. Shults then leaves the ending up in the air, and the viewers must ponder what happens next.

Totaling a modest $6 million during its opening week in release, “It Comes at Night” is not likely to be booked in theaters for long. But this is a movie well worth checking out when it moves to other platforms.

Wyss presents a tragic existence in “The ID”

In the beginning of “The ID,” a movie available on Blu-ray, a voice-over states that if a person purely loves someone, they certainly also can destroy that person.

This segues into a scene in which a woman in her 40s stands before a mirror, humming as she applies lipstick. It is a view of contentment and optimism. Wherever this woman is going, she appears poised to light up the room.

And then, from another room comes the bellowing summons: “Meridith!” The expression on the woman’s melts turns to despair. The caller is Meridith’s elderly and sickly father for whom she is a fulltime caretaker. And he is quite the patient from Hell.

Welcome to Meridith Lane’s life. The sanctuary offered by the vanity table in her room is no match for the grim reality of what she faces every day.

In “The ID,” Amanda Wyss (“A Nightmare on Elm Street”) delivers a wrenching performance as Meridith in an emotionally harrowing story of a woman trapped by circumstances in which she is doing well by simply coping and fending off a demanding and foul-mouthed father who vents the frustrations of his own depressing existence by putting her down and keeping her on the defensive.

Directed by Thommy Hutson and based on a script by Sean  H. Stewart, “The ID” is a horror story in that it depicts a terrifying situation in which two people are trapped in a 24/7 nightmare in from which they both seemingly would love to escape, yet each day do whatever is necessary to maintain this dreary status quo because they believe there is no alternative.

The relationship between Meridith and her father is both dysfunctional and needy. These are two people whose lives have taken a tragically wrong turn. There is no room for optimism. It is a day-by-day, hour-by-hour, minute-by-minute existence. And the truly unsettling aspect is the realization that this dismal arrangement likely has been going on for years.

Confined to their home, Meridith and Father (Patrick Peduto) have no contact with the outside world except for Tricia (Jamye Meri Grant), a bubbly young woman who delivers food to the household. Tricia is a vibrant and caring person who would like to invest more in reaching out to Meridith and Father than just dropping off food every day. But her efforts are impeded by Meridith, who in her skewed perceptions sees Tricia as an intruder and someone who threatens the one thing Meridith can control: making sure that she and she alone takes care of her father.

How did Meridith fall into this depressing life? Well, Father likes to insert the needle here, accusing of her taking the easy way out in everything she ever did. He insinuates that it was disappointment over Meridith that drove away his wife, whereas Meridith in the few times she pushes back, suggests it was his behavior that drove away her mother.

This relationship simmers with the potential of an explosion that both people likely fear and do what they can to veer away from such a fate. It only takes one little nudge to upset this sad, fragile balance.

It comes in the form of a phone call Meridith receives from Ted, her high school sweetheart. After 20-plus years of no contact, Ted calls to say he will be town and would love to see Meridith again. At first, Meridith sees this as impossible, but the abuse heaped upon her by Father begins to embolden her. Naturally, when she agrees to see Ted and informs her father of this, a standoff occurs. They remind each other that neither one is capable of change at this point, so Ted could well be inconsequential.

However, Meridith indulges in recalling fond memories of a time in her life that was energized by youthful love and ambition. This leads to the breaking point that sends Meridith spiraling into the inevitable madness that has stalked her for years, maybe even decades.

Wyss and Peduto give courageous performances that are both emotionally and physically raw. Except for rare instances, Wyss looks haggard as Meridith, barren of makeup, a face of endless exhaustion. Peduto presents an unappealing picture of a man well past his prime. His hairline has receded and what is left there is long and unkempt. Despite being bathed by Meridith he exudes an aura of neglected hygiene. Physically he seems as foul as his language and demeanor.

“The ID” is scary because it explicitly depicts a frightening relationship that can and does exist in reality. Shot within the confines of the home in which Meridith and Father reside, it also is claustrophobic. In any other situation, the home would be pristine and a fertile environment for a content household. But with the residents being Meridith and her father, the walls seem impenetrable, fortified by the hopelessness of two people smothered by an endless love-hate relationship.

 

In ‘Prevenge,’ voices within can be deadly

A delightfully wicked dark comedy, “Prevenge,” now available on shudder.com, proves, among other things, that appearances can be deceiving.

Written and directed by Alice Lowe, she also stars as Ruth, a young woman late in a pregnancy who looks sweet and vulnerable, as functioning that near to child birth certainly is much more difficult.

But by the way, she kills people. This is not a spoiler. The title, “Prevenge” pretty much reveals that something dreadful is about to happen.

“Prevenge” is yet another movie that proves a low budget and tight shooting schedule can be overcome and a nice-looking, well-crafted film can be created. Shot in only 11 days, “Prevenge” also had an astoundingly short pre-production life. The concept behind the movie was thought up by Lowe shortly after she learned she was pregnant in real life. Within two months the script was ready for shooting, and despite being seven and a half months along in her  pregnancy, Lowe took on the lead role.

“Prevenge” begins sublimely with Ruth in a pet store, saying to the store’s owner she is seeking a reptilian pet for her son. The store owner seems borderline sleazy and good at injecting sexual innuendo, but the subsequent sudden and jarring violence seems a bit overkill of the victim. What is the motivation for this brutal murder?

Well, whatever is driving Ruth to her shocking actions is revealed as the film progresses. The father of her baby was killed in a climbing accident, and Ruth seeks out others in the climbing party, particularly the leader, Tom (Kayvan Novak), on who she pins most of the blame for the death.

But there is something else. Ruth is hearing the voice of her yet-unborn baby, who urges her to do the killing. Also, in some funny examination scenes, Ruth’s midwife (Jo Hartley) tells Ruth that the baby in her womb is conducting a “hostile takeover.”

“Just so you know, you have absolutely no control over your mind or your body any more,” the midwife informs Ruth, only adding to her psychosis.

Lowe’s performance is both chilling and comical, as she appears to be befuddled, clearly in over her head — at one point she tries surveillance on Tom that is so inept he easily knows she is tracking him. Yet there is a calculated manipulation to Ruth’s madness.

Not that everything comes off flawlessly. One of Ruth’s potential victims, Len (Gemma Whalen), manages to break away and disappear momentarily, only to reappear wearing boxing gloves. Ruth is like, are you serious?

“Prevenge” is the kind of weird movie that will have its loyal fans. Lowe’s study of Ruth is both intelligent and quirky. She is worthy of sympathy via her mourning and misfiring mind functions, yet she is offing people who are guilty of nothing more than being held accountable for a death that probably was an unfortunate incident of which nothing is to blame but bad luck.

LIFE

The opening scene of “Life,” under the direction of Daniel Espinosa (“Safe House”), is breathtaking, a single-tracking shot within the confines of a space station, as a crew of six people work to capture an incoming space craft that contains some soil samples from Mars.

After that, “Life” becomes “Alien-lite,” a rehash of that classic horror movie’s story of a hostile alien being with no conscience and only driven to survive bringing terror to a crew that cannot exactly abandon ship easily.

The cast is stellar: Rebecca Ferguson, Jake Gyllenhaal, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare and Olga Dihovichnaya. But when the most colorful character is the first to die, the film flatlines as far as human interest is concerned. Of course by then it is a matter of the humans trying to outsmart an increasingly resourceful and menacing being.

Viewing that opening scene on a big screen is almost worth the price of admission, but only if you go to the cheapest matinee.

Bad at-work craziness in ‘The Belko Experiment’

There is something unsettling about the building that houses the Belko company. Located near Bogota, Colombia, it pokes out of the ground like a shrine of unrealized dreams; a structure that seemingly was the first phase of what was going to be a burgeoning business community. Instead it is surrounded by, well, mostly nothing. Lot of grassland, some wild dogs and not much else.

Yet each day several dozen people, many relocated U.S. citizens, converge upon this building for their daily dose of mundane tasks. Do the work, collect the paycheck, go home. The company’s purpose, vaguely, is to help place American workers with corporations throughout the world.

Then one day there are deviations from the norm. Intense security checks at the entrance to the parking lot. A military presence. Workers native to Colombia told to go home. After that the day pushes on. Until the announcement comes.

Writer James Gunn (“Guardians of the Galaxy”) has said in interviews he literally dreamed the concept of “The Belko Experiment.” It is a mix of cold corporate manipulations and perverse social tinkering with the ultimate question being: How far would you go to survive?

The announcement, piped in via an in-office PA system nobody seemed to know existed, delivers a chilling directive by The Voice: kill a few of your fellow workers, or more of you will die. Initially this is dismissed as a sick joke. But when metal shutters slam over the windows and escape is no longer an option, a shocking and bloody emphasis is added; meaning this is not a joke and whoever has hands on the levers definitely is in control.

Tony Goldwyn plays Barry Norris, the boss of this facility, and his stance of maintaining composure and keeping everybody on one path of calm and rational behavior is easily doomed to failure. While most of the employees cower and shudder on the border of panic, others break up into factions. Mike Milch (John Gallagher Jr. from “10 Cloverfield Lane”) and his co-worker and girlfriend Leandra (Adria Arjona) go on a mission to see if they can summon some outside help. Milch logically believes that if the employees bow to this experiment they are all doomed anyway.

Norris is joined by the office creep Wendell Dukes (John C. McGinley) and a couple of others who in their calculated reasoning assume it is best to be armed. This foresight can come in handy when things really get to the down and dirty final chapter of who will be the last ones standing.

Melanie Diaz plays Dany Wilkens, the new employee who is finding that this first day on the job is more hellish than she ever could have imagined. James Gunn’s brother Sean is Marty, a drug-addled employee whose paranoia offers some moments of levity and silliness.

Then there is Michael Rooker as Bud, one of a two-man maintenance staff who unfortunately provides little impact on the bloody proceedings.

The Big Brother element is most chilling. It seems any strategy the workers resort to is detected by the ubiquitous camera coverage in the building, and The Voice, seeing all, coolly advises that these efforts will only lead to more death. Ominously the only ones who seem to be getting free reign over their plans are Norris and his increasingly dangerous and hell-bent-on-surviving group that has all the artillery.

This all is leading to the inevitable fest of spurting blood and a body count that mushrooms. Who lives and who dies offers only a part of this study of human nature. What Gunn also explores is who can maintain any compassion under such dire circumstances.

Adeptly paced under the direction of Greg McLean, “The Belko Experiment” is effective horror, as it taps into a common supposition held by employees that they are seen only as evil and costly necessities by employers who are always seeking ways to find them expendable. Then it takes an uncompromising look at human behavior when it is reduced to its lowest denominator: survival at all costs.

Meeting the parents gets creepy and deeply dangerous in “Get Out”

Jordan Peele may be more known as a comedic personality, being a MADtv alumnus and one-half (with Keegan-Michael Key) of the Key & Peele comedy team, but he has adeptly stepped into the horror realm with his directorial debut, “Get Out.”

Peele has taken an already frightening prospect — a young man meeting his girlfriend’s parents — and injected racial tension and some horrifying ulterior motives into the mix and come up with a very smart and creepy thriller in “Get Out.”

Peele said in an interview he has been a fan of horror since childhood, when he would watch scary movies in the middle of the night while his mother slept. Around 2009 he began formulating the idea that would lead to “Get Out,” speculating on what a thriller version of “Guess Who’s Coming to Dinner” would be like. This classic and award-winning 1967 movie is about how a liberal white couple (Spencer Tracy and Katharine Hepburn) react when their daughter introduces them to her fiance, an African American (Sidney Portier). Rather than doing a rehash of this, Peele wanted to inject the fear of being an outsider in any situation and a feeling that something sinister might be going on.

So: Chris Washington (Daniel Kaluuya), a young black man who’s been in a relationship with a white woman, Rose Armitage (Allison Williams from “Girls”), for four months, agrees to spend a weekend at her folks’ house. She brushes off his concerns that she has not informed her parents Chris is black, assuring him that they are not racist.

Meanwhile, Chris’ best friend Rod Williams (a scene-stealing LilRel Howery), a TSA employee, warns him this visiting-the-parents thing could  lead to trouble.

When they arrive at the house, the young people are greeted by the parents, Dean (Bradley Whitford) and Missy (Catherine Keener), who show no signs of being shocked that Chris is black. Indeed they embrace him, although Missy expresses her disapproval of his smoking habit. A psychiatrist, Missy insists she can cure Chris of his smoking habit via hypnosis, an offer he respectfully declines.

With Dean being a doctor, the Armitage household is definitely an upper-tier display of being comfortably well off. It is also pretty secluded, which of course is a red flag in the horror genre.

The Armitages also have two black people working for them, a gardener named Walter (Marcus Henderson) and a housekeeper, Georgina (Betty Gabriel). Dean tells Chris this is not what it looks like — Walter and Georgina had been hired to care after Dean’s aged parents and after the elderly people died, Dean just did not have the heart to let them go, thus kept them on.

Chris seems to accept this, but he finds himself being increasingly disturbed by the behavior of Georgina and Walter. Peele admitted he injected some “Stepford Wives” sentiment into “Get Out,” and the two employees of the Armitages do seem a little too blissfully content and robotic, as if brainwashes or programmed. When Chris broaches to Georgina the subject of being stuck  into a subservient situation, her reaction is one of reproach.

Unable to sleep that first night, Chris steps outside, but upon returning inside he encounters Missy, who invites him to sit and chat. She starts asking probing questions, tapping into memories he does not want to bring up.  It is all a ploy on Missy’s part.

Haunted by his chat with Missy, Chris has another issue to deal with — the Armitage’s are having what is an annual event, inviting friends for a day-long soiree. Once these people arrive, Chris is subjected to pandering, which he can absorb politely, but then he has an unnerving encounter with one of the guests, the only other black person in attendance.

Chris has phone conversations with Rod, who grows increasingly concerned as Chris relates the strange things occurring at the Armitage home. This motivates Rod to do some investigating.

Peele’s script unfolds in a way that offers hints as to what is going on, and succeeds at a revelation that packs a wallop. One can only hope that Chris can summon of that Final Girl resourcefulness necessary for his survival.

Kaluuya delivers a stellar performance as a man who is accustomed to dealing with racism but soon grows baffled and increasingly alarmed at creepy incidents unfolding around him. As Rod, Howery provides the humor but steps up in the clutch when things seem to be going bad for his buddy.

It is Gabriel as Georgina who really ratchets up the creepy factor. Even though she putters around dispassionately with quiet efficiency (for the most part), something about her just screams: I am not right and the scariest aspect is that I don’t care I’m not right.

“Get Out” is one of those movies that does not hammer the viewers with scares. It simply and quietly taps into paranoia and foreboding. It is quite effective and unsettling, the way a horror movie should be.

Internet stardom goes horribly awry in “Truth or Dare”

Naturally, with a film titled “Truth or Dare” there comes the challenge: I DARE you to watch it. That should serve as ample warning that this little film is not for those who tend to react squeamishly to onscreen violence.

There’s horror, and there’s HORROR. “Truth or Dare” is HORROR.

These are exciting times in the world of scary movies in that women are making their mark in the genre as writers, producers and directors of horror films. Among them is Jessica Cameron, who co-wrote, with Jonathan Scott Higgins, and directed “Truth or Dare” and took it on a successful worldwide tour of festivals in which the movie garnered 19 awards. Among the prizes were the Best Horror Feature at the Arizona Underground Film Festival, Best Feature at the Calgary Horror Con, the Jury Award at the Macabre Faire Film Festival, and three awards at the Shockfest Film Festival: Best Actor to Ryan Kiser and Best Director and Best Actress to Cameron.

Following this kudos-laden global exposure, the film took awhile to get distribution into other platforms (it was made in 2013). Offers to release it in DVD would come with the compromise of cutting its more brutal scenes. But Cameron held firm and finally it has been released on DVD in its raw, uncut form.

For those who waited anxiously for this, the patience has paid off. In a wonderfully gruesome way.

It is an understatement to call “Truth or Dare” a cautionary tale, presenting a terrifying story of the dark, vicious underbelly of fame delivered at the hands of social media. Those who covet accelerated online traffic may have to deal with not only the relatively sane fans, but the downright demented ones as well.

Six college students — three couples actually — have hit the jackpot with their “Truth or Dare” video streams that offer a violent twist. They especially draw attention when one of them, Tony (Brandon Van Vliet) may have been fatally shot by fellow Truth or Daredevil Jennifer (Cameron). The group subsequently appears on a talk show and brings out Tony to show he really was not killed.

In the audience at the talk show is a self-professed No. 1 fan of the “Truth or Dare” videos, Derik (Kiser, who also stars as Charles Manson in “House of Manson”). When he makes a scene in trying to be recruited into the group, he is banished from the building.

Later, the group reconvenes at a secluded home purchased by John (Jesse Wilson), who has set up a studio in which to video the next episodes of their show. Aside from John, Jennifer and Tony, the group includes John’s girlfriend Courtney (Devanny Pinn, so chilling  as Susan Atkins in “House of Manson”), Tony’s girlfriend Michelle (Heather Dorff) and Jennifer’s boyfriend Ray (Shelby Stehlin).

Just as the Truth or Daredevils begin to work on their next show, who should crash in on them but their No. 1 fan, Derik. Armed and certainly dangerous, Derik gets the upper hand and demands that they continue their “Truth or Dare” game, but under his rules.

With one member of the group already “out of the game” (in other words, no longer breathing), the group has no choice but to concede to Derik’s decrees.

Unfortunately, in Derik’s opinion, the show lacks structure and realism and he believes this cheats the fans.So he is here to fix things.

In the first round of the game, the five remaining Truth or Daredevils opt for truth rather than dares. But this turns ugly.

As in other horror movies in which viewers have to dispense with disbelief and accept that killers like Michael Myers, Jason Voorhees and Freddy Krueger never die despite all the weapons and artillery used on them, “Truth or Dare” at this point forces the viewer to believe that Derik has managed to dig up deep secrets the Truth or Daredevils have been keeping from each other (even their lovers). But this is a risk that is brought up —  suggesting the real dangers of too much personal information being accessible to people who are savvy enough to find and exploit it.

Of course, some of these secrets revealed are pretty bad and it leads to, well, discord among the group members. So naturally in the ensuing rounds they opt for dares rather than truths.

And that’s when it gets really brutal.

You can develop a grudging admiration for Derik’s madness. This guy is focused on his mission. As he says, “Truth or Dare” “belongs to the fans” and it is the obligation of the Truth or Daredevils to give them a bloody good show. Derik’s investment in the show — “You’re not just videos,” he declares, “you’re an inspiration, at least to me” — along with his sick creativity help achieve this goal. Each round gets more brutal. And even if these people survive the dares they are irreparably damaged.

Of the group, Jennifer and Michelle are the gutsiest. Indeed, when Jennifer completes a dare without batting an eye, it seems she might be momentarily getting into the gory spirit of the proceedings. Later Jennifer and Michelle are the only ones to actually attempt to physically derail Derik’s efforts.

Kiser’s Derik is a bundle of nervous, misguided and psychotic energy. He is a tragic figure, wrapping his life around something so trivial as people videotaping fake violence to garner hits on the internet.

The rest of the cast is put through such cringe-worthy punishment, and for all that is revealed about them, the fact that they do not deserve the horror they endure makes “Truth or Dare” an effective and terrifying film. Cameron did a superb job of recruiting dedicated people, beyond the cast, who helped her create this film on a small budget. Credit goes out to Carrie Mercado, the makeup artist and special effects makeup artist, as well as the visual effects team of Aaron M. Lane and Adam Lima. Cameron, outspoken in her disdain for CGI effects, brought on board people who share her enthusiasm for practical special effects.

“Truth or Dare” comes with a warning. This is uncompromising violence and not for the casual horror fans who enjoy films that simply make them jump or feel uneasy. This movie does flat out dare you to watch, and even the most hardcore fans of this genre will find themselves of accelerated heart rates, possibly sweating and shaking, at the conclusion of the film. But then dare yourself NOT to watch it again. You might lose that dare.

 

McConaughey goes slob in ‘Gold’

Matthew McConaughey lately has been sacrificing his body for his art. He dropped a lot of weight for his Academy Award-winning performance in “Dallas Buyers Club” in 2013, and now has gone the opposite direction, putting on about 40 pounds for his role as Kenny Wells in “Gold.”

He also shaved his head so he could appear to have a receding hairline, and used false teeth to simulate a bad set of choppers. The end result is a guy with a pot belly, lousy taste in clothing and a general screw-up ambience.

“Gold” is inspired by true events that took place in the 1980s when investors lost a lot of money in a gold mine venture that turned out to be nothing. It’s a story that has been told before about people who go from rags to riches only to be doomed, usually by their own greedy extravagances, bad luck or bad decisions, to fall back into the swamp of financial ruin.

McConaughey’s Wells is a third-generation gold prospector, wherein he has cashed in his pack mule for an office full of salespeople seeking investors. Taking over the business after his father, also named Kenny Wells (Craig T. Nelson), dies, the younger Wells now runs his business from a bar where his girlfriend Kay (Bryce Dallas Howard) works.

But things are not going well and when he is turned down in a bid to bring in a heavy-duty financier, Wells is about to lose it all.

He has a dream, however, about hitting a gold mother lode in Indonesia and follows up by convincing a geologist, Michael Acosta (Edgar Ramirez) to join him in the search for this potential gold mine.

After running out of the initial money raised for the venture, and with Wells nearly dying of malaria, Acosta finally claims there is indeed gold in them there hills.

Well, once you make money, a lot of light shines on you, and soon Wells and Acosta are being courted by people with deep pockets. But these people see Wells for what he is — kind of a goof-up who never seems to be more than two feet away from a pack of cigarettes and a bottle of booze — and they use their financial clout and connections with the Indonesian government to leverage Wells out of the way. But Wells and Acosta are able to make their own deal and regain control.

Then, inevitably, everything collapses.

“Gold” is one of those movies that might be worth sitting through if these kind of business horror stories tickle your fancy. Otherwise, it is also a chance to see McConaughey continue to expand his repertoire of performances. Here he is deeply flawed yet admirable in his desire to be his own man and to pursue his dreams. He’s not the sharpest tool in the shed but he never gives up.

Bryce Dallas Howard has some moments as Kay, a woman who sometimes has serious doubts about Wells, but dang-it, she just cannot help but love the lunkhead.

THE BYE BYE MAN

A decent premise for a horror movie falls way short here.

Three college students — Elliott (Douglas Smith), he girlfriend Sasha (Cressida Bonas) and John (Lucien Laviscount) — who obviously have not kept up with their reading of horror movie primers, decide to rent a creeky old house off campus. And before you can say “I have a bad feeling about this,” bad things start happening.

The three young people unwittingly unleash an evil entity known as the Bye Bye Man (Doug Jones). This guy has a pretty good gig going on. If you say his name, or if you only THINK his name, he is able to wreak all kinds of horrible things.

“The Bye Bye Man” was directed by Stacy Title, whose last directorial effort was the TV movie “The Greatest Show Ever” 10 years ago. So her effort here is a bit rusty. There are some scenes that really needed to be reshot because of seriously bad acting. And the scares tend to be the cheap jump-in-your-seat variety.

Another problem is that the screenplay by Jonathan Penner, based on “The Bridge to Body Island” by Robert Damon Schneck, offers no back story on the Bye Bye Man. Who he is, how he got to be who he is and why he gets his jollies fooling with people’s minds and turning them into killers never is explored.

Thus he really does not present much of a scary presence. Oh, some of the things people do under his influence are pretty terrifying, but the only unnerving aspect at the end of the movie is who might be the next person to carry out Bye Bye Man’s evil deeds.

Find out how it all began with “Ouija: Origin of Evil”

When “Ouija” hit the theaters in 2014, it did not exactly earn glowing reviews. Its Rotten Tomatoes Tomatometer was a dreadful 7% (that’s what percentage of reviews were favorable) and the audience rating was a little better but still a feeble 24%. And its IMDB rating sits at 4.4.

So it really looked like any followup movies were highly unlikely.

That is, until writer-director Mike Flanagan decided to take a shot at it. Flanagan generates a lot of excitement in the realm of horror movies, having entertained genre fans with “Oculus,” “Hush” and “Before I Wake.”

Rather than continuing to explore the fates of the sisters Laine (Olivia Cooke) and Sarah (Ana Coto) following their horrifying experiences with the Zander girls that were unleashed by the use of a Ouija board, Flanagan opted to backtrack and focus on what led to Doris Zander having her mouth sewn up and why Doris’ sister Paulina now as a middle-aged adult is in an institution.

The result is a prequel, “Ouija: Origin of Evil” that far surpasses the original movie.

The film takes us back in time to 1967. Alice Zander (Elizabeth Reaser) is a widowed mother of two daughters, Lina (Annalise Basso), a sophomore in high school, and Doris (Lulu Wilson), a nine-year-old who does not mix well socially. The death of her husband has left Alice in a precarious financial situation. She tries to make ends meet by offering seances to help people contact loved ones now passed on. It’s a scam, really, with Alice enlisting the help of her daughters to pull off the trickery. Though it all is fake, Alice is unapologetic, believing she is really is offering a service of closure.

In order to help prop her struggling business, Alice purchases an Ouija board. While Lina, who is not entirely invested in this seance scene, is not enthusiastic about this acquisition, Doris takes to it right away, claiming she can now contact her late father via the board. But Doris also is having some interaction with a spirit named Marcus she claims is a friend.

But soon it is apparent that Doris, who is a little strange anyway, has a gift of channeling restless spirits. Doris writes several pages of text in cursive style she has not been taught yet at the Catholic where she and Lina are enrolled, and this catches the attention of the school’s principal, Father Tom (ET’s buddy Henry Thomas). Meanwhile, Lina is having some terrifying dreams while also trying to cultivate a budding relationship with a senior boy, Mikey (Parker Mack).

Alice initially finds Doris’ gifts exciting. But then Lina catches Doris energetically scribbling more text, that ends up being in Polish. She takes the writings to Father Tom, who has them translated by a nun who is from Poland. The texts reveal that the house in which  the Zanders reside has a sinister past. And things are not so friendly any more in the spirit world swirling about in the home.

The casting is superb. Reaser is both tragic but strong as a mother struggling with the death of her husband and trying to maintain some stability for her daughters. And with Doris providing a channel to what lies beyond, Alice sees her own beliefs shaken at the same time unnerving things are unfolding.

Wilson is a true find as Doris, looking innocent and vulnerable but capable of projecting a creepiness when under the influence of the nasty entities. Her monologue, when she describes to Mikey what it is like to being choked to death, is chilling to the core.

Basso also holds her own as Lina, being tugged in different directions as she deals with teenage issues, serving as a big sister and struggling as a daughter trying to cope with the loss of a father while being supportive of her mother.

“Ouija” effectively taps into the unsettling prospects of one’s home becoming a conduit to evil and how innocent people just trying to survive are thrown into horrible situations.

In the end, Flanagan, and script co-writer Jeff Howard (who collaborated with Flanagan on “Oculus” and “Before I Wake”) present a scary story, nicely setting things up to help the original “Ouija” make a little more sense.