3 Best Movies To Watch After Blackway (2015)
Fear Street: 1994
Much like the Backstreet Boys or white nationalism in American politics, the Fear Street movies are technically “back” even though they never had a chance to leave. Fear Street Part 2: 1978 is the second in a trilogy of Fear Street films being released weekly on Netflix. While its predecessor was a pastiche of both Amblin and Kevin Williamson horror, this next entry is directly inspired by slasher movies of the late 1970s and early 1980s. The summer camp setting alone makes it so clear that the project is paying tribute to Friday the 13th that one may be surprised Kevin Bacon doesn’t show up for a quick cameo. Continue Reading →
The Night Clerk
Michael Cristofer's first movie since 2001 is a low-key thriller that respects its characters, even if its setup isn't too original. As a general rule, people love to watch what other people do, especially if the person they’re watching isn’t aware of it. It gives us endless fascination to see how someone else acts when they think that they’re alone. But while knowing someone’s secrets can be fun, knowledge can also be a burden. Michael Cristofer returns to the director’s chair after an almost 20-year absence to explore what happens when you see something you shouldn’t in his drama, The Night Clerk. Bart Bromley (Tye Sheridan) likes to watch people not for unsavory reasons, but instead to learn from them. He has Asperger’s Syndrome and, to better understand human interactions, watches the guests of the hotel where he works via hidden cameras that he’s set up in the guestrooms. One night, Bart’s cameras record a woman getting murdered, causing Bart to rush to the hotel to save her. Since Bart was off at the time his appearance at his workplace rouses the suspicion of Detective Johnny Espada (John Leguizamo). While the case is being investigated, Bart is transferred to another location. There he meets and quickly becomes infatuated with guest Andrea (Ana de Armas) and as the duo bond, Bart starts to feel a little less lonely, but Andrea has secrets of her own. Despite featuring a murder and a protagonist who records people without their consent, this is a story about loneliness and connection. Most of the plot centers on the relationship between Bart and Andrea with the crime elements being relegated to Johnny’s subplot until the climax. This isn’t a bad angle to take, but it may be a turn off for audiences who are expecting a taut thriller. Continue Reading →
The Rhythm Section
Though cinematographer Reed Morano shows some directing chops, the Blake Lively thriller is uneven in style & tone. It shouldn’t be a surprise that Reed Morano’s bracing The Rhythm Section follows its own beat. Misleading marketing and the dreaded late January dump positioned it as a gender-reversed thriller in the vein of Liam Neeson’s recent run of revenge thrillers with expert journeyman Jaume Collet-Serra -- but the film is exhilaratingly out of step with the autopilot assassin stylings of the John Wicks of the world. Whereas Keanu Reeves’ multiplex conquering series has largely thrived as moody but absurdist routines of grotesque precision; nothing about the capabilities of Stephanie Patrick (an unusually wan Blake Lively) could be considered automatic. If anything, DP Sean Bobbit and Morano shoot every scene with a life-or-death urgency – all trembling limbs and determined close ups – that refuse to shy away from the physical realities of a brittle frame faced with hardened professionals who won’t hesitate to pull the trigger, let alone, level a young woman with a body blow to the gut. Stephanie isn’t a damsel in distress by any means, but the film has been almost completely drained of the usual power fantasy element that courses through these tales of vengeance to the point that she begins the film coded at her rock bottom as a sex worker and addict beaten down by losing her whole family in a mysterious plane crash. That choice outlines the film’s occasional jarring limits of empathy, but it’s nonetheless telling in placing the first half of the film closer to melodrama than genre film. Continue Reading →