We Are Movie Geeks

Oh, oh. It’s Friday the thirteenth once again. So, of course there’s going to be a brand spankin’ new chiller thriller in the multiplexes starting today. And it’s a sequel. But Jason not donning that battered old hockey mask again. It’s a follow-up to the 2010 supernatural spooker from director James Wan. Yes, he’s the same director behind this past Summer’s big surprise box-office smash THE CONJURING. While that flick was set in the far distant 1970’s, the new one is nearly all modern-day (except for a couple of flashbacks and a pre-title scene in the mid 1980’s). And this too is about an average family tormented by malevolent spirits (I’m reminded of the commercial bumpers from a classic TV cartoon “Are they friendly spirits?” no Rock, they certainly are not) and the paranormal investigators trying to send the spooks back. I missed the first one, but hopefully I’ll be brought quickly up to speed in INSIDIOUS CHAPTER 2.

As mentioned above, this installment begins back in the 1980’s as a worried single mother and a researcher call in young Elise Rainier to rescue a grade school aged boy from otherworldly forces. After the opening titles we flash to, I’m assuming, the finale’ of the 2010 original. The older Elise (Lin Shaye) has died after helping the son of the now adult Josh Lambert (Patrick Wilson). She sits upright in a chair, face frozen in mid-scream with several nasty gashes on her throat. The skeptical local police investigate and Josh’s wife Renai (Rose Byrne) is interrogated. While the police inquiries continue, the family moves in with Josh’s mother Lorraine (Barbara Hershey). But the weird stuff doesn’t end. Renai hears strange noises and sees an eerie woman in white who targets the children: the boys Dalton and Foster and particularly the baby Kelly. Meanwhile Elise’s research assistants Specs (Leigh Wannell) and Tucker (Angus Sampson) decide to look into her mysterious death with the help of her old assistant from 1980’s, Carl (Steve Coulter) and Lorrairne. Their journey takes them into the past, exploring deserted houses and a shuttered  hospital, in an effort to stop the spirit of a vicious killer from destroying the Lambert family.

The cast plugs along best they can saddled with a script riddled every “ghost chaser” cliché imaginable. Wilson is the “is or isn’t he the perp” until the second half until he’s doing a “Jack Torrance” Shining riff with a two-story suburban replacing the Overlook (“Here’s Joh..er..Josh!”). Byrne tries to bring something new to the doubting wife/damsel in distress with little success. Luckily Hershey is still a radiant screen presence even when burdened with the strained comedy of Wannell and Sampson (like Scooby and Shaggy without the “munchies” and with better gadgets). I had a hard time accepting that this was the same James Wan that made THE CONJURING such a fun, almost giddy popcorn ride. Perhaps that 70’s setting helped. Maybe he felt to obligated to reference the prior flick. Sure there were standard spook situations in this past Summer’s chiller, but there’s no real energy to these proceedings. The pace isn’t helped by the constant cutting between the hunters and the family. And then there’s the scenes in the netherworld lit in glowing blue while fog hovers inches above the ground. Those spirits we do see mug as if they’re on an auditorium stage. The woman in white screeches as her eyes bulge out of her head like an over-caffeinated mime while another ghost bears more than a passing resemblance to the late, great St. Louis comedienne Phyllis Diller. One particular distraction was the odd choice to overdub the actress playing young Elise with the very mature Shaye’s voice. Wan later tries to goose things up with audio explosions and crashes (has there ever been a toddler’s roller/stroller that was that loud and obnoxious?). Fans of the first chapter will enjoy the nods to it with several trips through time. For the rest of us…well, that first screen case of the Warrens should be out on DVD  fairly soon. Oh, and that pre-end credit sequence…really? What a cheap, tacky tease! Sweet dreams, Lamberts!

2 Out of 5

The theatres get a little quieter after the big Labor Day holiday. The Summer superheroes have rolled up their capes and all the demolished cars have been hauled off those CGI cinema streets. Things will get a bit noisier again in a few months as the studios release their big prestige “award bait’  star-filled dramatic features. Well maybe it’s just the right time for a low, low-budget “indie” drama to cruise in and perhaps generate a bit of award-buzz. This aptly describes the low-key, slice-of-life little jewel SHORT TERM 12. It’s a simple story told by a “newbie” feature film director, Destin Cretton, and acted by a relatively unknown ensemble cast. But thanks to their superb work they won’t stay unknown for very long.  After months of bloated blockbusters, it’s time to enjoy a film that favors real emotions over non-stop property damage. But what’s with the title? Is this the latest in a long running film franchise?

Well, not exactly…The title refers to the length of stay at a foster care facility, many of whose residents deal with emotional and behavioral problems. Helping said residents is supervising staffer Grace (Brie Larson). After a trying day with the kids Grace hops on her bicycle and pedals away to the little cottage she shares with another staffer, her boyfriend Mason (John Gallegher Jr.). They keep their relationship a secret from the other members of the staff (and Grace keeps big medical news a secret from Mason). Life goes on at the facility. They train a new eager staffer, Nate (Rami Malek) and prepare for the departure of the nearly eighteen year-old resident Marcus (Keith Stanfield). And then Jayden (Kaitlyn Dever) arrives. She’s only there through the week (her single father will pick her up for the weekend) and quickly withdraws from the residents and staff. Gradually Grace breaks through her surly attitude and believes that the young woman is being abused in her home. The facility’s director doesn’t share Grace’s concern and opts not to intervene. But Jayden unleashes a flood of repressed memories of her own childhood abuse from Grace, who decides that she will risk everything in order to help her and perhaps help herself.

Much like her co-star Miles Teller in THE SPECTACULAR NOW, this film will be remembered as the breakthrough showcase for the very gifted Ms. Larson. During the film I never realized this was the same actress who was the blond teen queen in NOW and the nearly mute kid sister in DON JON, which should be a testament to her ability to inhabit these different characters. Her Grace is a complex woman whose emotions bubble underneath an often cool surface. At work she must be able to go from nurturing comrade to strict disciplinarian in a heartbeat. But she’s able to switch off at home and relax and be silly (love their portrait drawing game). Grace cares about Mason, but she can’t fully share everything with him. Perhaps she feels that Mason will flee after a look at her inner conflicts. Fortunately Jayden enables her to open up. One of the film’s most compelling sequences involves a children’s’ story the teen wrote about a lonely octopus. As Jayden reads, we see silent alarms going off around Grace’s head (almost like, not to trivialize it, a “spider sense”). Later Grace is all rage as she pleads with the resident therapist who dismisses her (Jayden’s father in an acquaintance of his). Larson is riveting as her frustration turns to violent fury as she brings to life one of the most compelling film characters we’ve seen this year. Much like Mary Elizabeth Winstead in last year’s SMASHED, Larson is the film’s great life-force. Winstead didn’t score a much deserved Oscar nom, but hopefully the Academy will acknowledge what is the first amazing work in a hopefully long screen career.

Of course there are several other terrific young actors and actresses at work here beside Ms. Larson. Gallegher as Grace’s soul mate Mason is the quintessential good guy that young women claim to be seeking. We see the tenderness in his eyes as he delights in cooking for his lady. But Gallegher also let’s us see the frustration, Mason is an open book, while Grace masks her emotions. And there’s the sadness he feels as she continues to push him away. Special mention should be made of the great comic performance Malek as the sweet, but often clueless new hire Nate, The veterans roll their eyes but can’t stay upset at this well-meaning guy who almost always says and does the wrong thing. As for the residents, Stanfield is excellent as the angry, hurt Marcus who counts down the days till his release, but secretly dreads leaving. He protects himself with his tough swagger, but pours out his love while caring for his tiny pet fish. The sequence in which he shares with a stunned Mason a rap filled with rage is heart-wrenching. And then there’s Grace’s kid-sister-in-spirit Dever’s Jayden, who like Marcus puts up front, of apathy not toughness, to keep everyone at the facility away. Quick with the sarcasm and snark (and often very funny), she believes herself above the “head cases”. But when her father never comes to pick her up, she unleashes her pent-up fury and anger. Grace then realizes that by helping Jayden she’ll help her own damaged psyche.

Director and screenwriter Cretton tells this tale in a fairly straight forward method. Yes, a couple of scenes use slow motion, but there’s no wild angles, quick zooms, or showy transitions. He knows that sometimes it’s best to lock the camera down and focus on the actor, as with that rap screed or Jayden’s sea story. There’s a slice-of-life leisurely pace to the film that makes the drama so immediate. And the comedy. The film has a nice sense of humor even as these kids break your heart. SHORT TERM 12 is a great little indie with more passion (and compassion) than most of the big-budgeted fare from the majors. It’s playful, powerful, and actually uplifting. And it’s certainly one of the year’s best.

4.5 Out of 5

SHORT TERM 12 screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre