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By midlandsmovies, Oct 3 2019 01:42PM

Review - Movie catch up blog 2019 - Part 4


Now deep into the second half of the year, there's more films being released in cinemas, on video-on-demand and home format than we can keep up with but we have three new reviews of some of the latest releases out there. In this review catch-up post we take a look at SKIN, MA & CHILD'S PLAY.




Skin (2019) Dir. Guy Nattiv


Jamie Bell plays real-life ex-white supremacist Bryon "Pitbull" Widner in this new dark drama asking whether a racist can be reformed. At various white-power gatherings, Bell acts as father figure to new recruits but begins to doubt his own convictions when he meets Danielle Macdonald as Julie Price and becomes an actual surrogate dad to her two children. Based on an amazing true story, Bell’s Neo-Nazi is covered in tattoos, including significant ones to his face and so the drama is punctuated with gruesome flash-forwards of tattoo removal scenes as his past is literally burnt away. The film has dashes of Imperium and American History X as it tries to get under the surface of the ugly face of American fascism.


Starting with eerily prescient scenes from 2009, the film mellows slightly in the middle before Bell makes a desperate call to a man who is trying to help people leave behind their Neo-Nazi past. As Bell denounces his previous life, he erases his tribal ink along with it. Danielle Macdonald (Dumplin’) delivers a warm turn as the empathetic wife, whilst Bell is great as the former skinhead. With a multifaceted performance, he looks for something (or someone) to blame but then takes control of his own life to make it better. With a timely subject matter, Skin delves into themes we’ve seen before but this almost unbelievably true life story gives hope to a better world by erasing, and learning from, one’s past mistakes. ★★★★



Ma (2019) Dir. Tate Taylor


Director Tate Taylor made 2011’s The Help which was nominated for the Academy Award for Best Picture before his adaptation of The Girl on the Train earnt more than $122 million worldwide but what he is doing with Ma is anyone’s guess. Billed as a psychological horror, the film neither provides any depth to the psychological part and little in the way of horror either. In fact, 45 minutes in and all we have is a group of terribly broad and clichéd teenagers partying at a house owned by “Ma” (Octavia Spencer as Sue Ann "Ma" Ellington) who has lured the group to her basement as a place to consume alcohol under the relative ‘safety’ of her adult supervision. However, a humiliating incident from Ma’s past has built up a psychopathic resentment and her initial concern and protectiveness for the teens’ well-being slowly descends into ludicrous revenge sub-plots. Octavia Spencer, who was so excellent in Hidden Figures, does her best to hold the film’s under-developed aspects together but she cannot overcome the film’s rather large flaws. Unlike suggested in the trailer, the horror is sparse and the first terrible thing Ma does is at 1 hour 10 minutes into the film. Given the credits rolled at 1 hour 32 minutes, it really is a missed opportunity for what looks, on paper, to be an interesting set-up. The sewing of a teen’s mouth shut hints upon the gore and nastiness a film like this really should have had more of, but Ma ends up being a pretty terrible and boring film with a solid idea spoiled by its sub-par execution. ★★



Child's Play (2019) Dir. Lars Klevberg


80s video-nasty Child’s Play gets a technological upgrade in this reboot about a killer doll on a murderous rampage. Unlike earlier films in the franchise, the conceit here is rather than a killer’s soul being magically transferred to a toy doll, the recently released “Buddi” is a misfiring high-tech toy that interacts with other products from the Kaslan Corporation who make it. After a suicidal employee at a Vietnamese toy factory decides to disable the safety protocols of one of the dolls on the assembly line, the corrupt product ends up in 13-year old Andy’s hands. Andy (Gabriel Bateman) is a shy youngster who lives with his single mum Karen (Aubrey Plaza) and names his doll “Chucky" (oh-oh). Before long, the doll has murdered the family’s cat and decapitated his mum’s boyfriend after hearing Andy bad-mouth both of them. The film wisely takes broad aim at consumerist culture but the comedy-horror works well in the style of 80s fare like Gremlins as the characters never nod-and-wink to the audience. This makes the dark comedy all the more funny. From table saws, blood spurts and a horrifying scalping, the required gore is present and the film’s young child actors are pleasantly relatable. Some 80s clichés work themselves in too – the investigator, the adults who don’t believe their kids, a finale in a department store – and these help solidify the tone in which the film aims for. Mark Hamill does great with his Joker-infused tones as the voice of Chucky also. Much better than it has any right to be, Child’s Play digital modernisation respects the origins of that first film and whilst it won’t win any high-brow awards, for this sort of thing it’s surprisingly entertaining. ★★★



Michael Sales

By midlandsmovies, Sep 28 2017 09:00AM

The Devil’s Candy (2017) Dir. Sean Byrne


Dark horror The Devil’s Candy tells the story of troubled artist Jesse (played Ethan Embry) who moves to a remote country house with his wife Astrid (Shiri Appleby) and daughter Zooey (Kiara Glasco).


As with all these things, once they unpack Jesse begins to hear voices whilst he frantically paints Francis Bacon-esque demonic pictures that have an eerie premonition-like reality to them. As well as haunting sounds, an awkward loner called Ray arrives at the house insisting he used to live there but is aggressively refused entry by the father.


As a second painting begins to form, the horrific scared faces of burning children are lost on Jesse who uses the mental anguish to return to an art world that shunned him. The film uses broad brush strokes from the genre but adds some metal-music infused excitement to the usual round of killings and disturbed slaughter.


A red Flying-V guitar, which plays a part in the story’s development, resonates with weighty devil-like rock and the constant Black Sabbath-style power-chord strumming is deafening and traumatizing in its repetition. As a fan of that genre of music it was refreshing to see this traditional family entrenched in some good heavy metal – especially as it wasn’t Rob Zombie for a change.


The colour red is prevalent throughout – an obvious trope that plays like some kind of alternative American Beauty – which symbolises future bloodshed, but the film is well shot and the actors believable in their off-kilter family roles.


The film could have done without an even more blatant slide into religious ‘Jesus’ imagery towards a flaming finale but the thrills and intense pleasures come from a genre film well executed with a ‘killer’ soundtrack.


7/10


Midlands Movies Mike

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