Tag: Aisling Franciosi

SPEAK NO EVIL – Review

L to R: (from left) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in Speak No Evil, directed by James Watkins. Courtesy of Universal

In the chilling thriller/horror drama SPEAK NO EVIL, James McAvoy delivers another striking performance as character who shifts between charming and aggressive. No one does this like McAvoy, who has played roles from sweet heroes to madmen, a range that means audiences are never sure which McAvoy they will encounter, creating an edgy tension from the start.

In this story, two couple meet on vacation and hit it off. One couple is American, Louise (Mackenzie Davis) and Ben (Scoot McNairy) who have an 11-year-old daughter, Agnes (Alix West Lefler), and live in London. The other couple are British, Patrick (James McAvoy) and Ciara (Aisling Franciosi), and their shy, mostly mute son Ant (Dan Hough), who live in scenic, rural west England. The Brits are fun, lively, and adventurous, particularly Patrick, who goes by Paddy, a breath of fresh air for the Americans. The two families have a great time in Paris, and the kids seem to hit it off too, despite the age difference and the fact that the boy has difficulty speaking, due a problem with his tongue. “Congenital aglossia,” says the British dad, who tells the Americans that he’s a doctor. When the British couple later send the London-based Americans a postcard with a photo from that trip, and invite them for a weekend visit at their home in the west England countryside, it doesn’t take much to persuade Ben and Louise.

SPEAK NO EVIL is an English-language remake of the Danish horror drama of the same name. In the Danish original, the couples are Danish and Dutch, and meet in Italy instead of France, but the Dutch couple lives in the country and invites the Danes one the visit. Like many such remakes, it varies from the origin – for example, in the original the children are about the same age – but in this case several scenes early on follow the original closely, even down the the dialog, although the last portion diverges.

One thing that is different – very different – from the start, and that is James McAvoy’s character. Rather than a harmless-seeming fellow, very like the other couple, McAvoy’s Paddy is alternately charming and a bit unsettling from the start, put us much more on edge from the start. No one does this kind of character like the talented Mr. McAvoy.

McAvoy is a big reason to see this film, which once it diverges from the original morphs into something that plays on a lot of horror tropes. But McAvoy always keeps us off-balance, being unhinged at times, while even touching at others, charmingly persuasive and rational, but always exuding power and a sense he’s in control – even when he’s not. It is thrilling just to see this actor work.

The tension develops slowly, apart from McAvoy’s character’s occasional flashes of scary. In the original, the couples feel more alike, which is a bit part of the appeal for the Danes. In the remake, it is the differences, the hints of excitement and adventure in the British couple, that is part of what draws in the Americans. Chalk it up to cultural differences.

This remake diverges significantly from the original, so they end up as very different films, although starting from a common premise. In both, the first half of this film feels more like psychological horror but finishes up in more taut thriller territory. For one thing, there are more weapons in this one, although not more gore. The original Danish film is more philosophical, more nihilistic, but this remake adds more rationale motives for what happens. It also adds more complicated relationships for the couples, and how those dynamics interact heightens interest, even when the newer film makes a turn into more conventional horror film territory, with a siege reminiscent of the classic STRAW DOGS. The last half is more rational, and the resolution is different, with the characters in American couple undergoing changes that are the opposite of what happens in the Danish film.

What lifts the film in this turn towards more typical horror is the cast. James McAvoy is splendid but the rest of the cast bring it too. Mackenzie Davis and Scoot McNairy as the American couple struggling in their marriage deliver fine performances as their relationship dynamics shift under the challenges they face. Likewise, the kids are both very good, particularly newcomer Dan Hough who plays a larger role in this version despite his near-muteness. Aisling Franciosi is also good as Paddy’s seemingly harmless wife, and she and McAvoy bring a complexity to their relationship too, none of which appears in the first one.

Ultimately, SPEAK NO EVIL is less groundbreaking and unconventional than the Danish original but it is still a well-made, nail-biting, satisfying thriller, that is mostly elevated by its psychological thriller set-up and the strong performances of the cast, who are good on all levels.

SPEAK NO EVIL opens Friday, Sept. 13, in theaters.

RATING: 3 out of 4 stars

THE LAST VOYAGE OF THE DEMETER – Review

Time to put away the toys, the comics, and even the big WWII history book at the old multiplex for this week’s new (but a tad old) release. I say “old” since it springs from a literary classic, one that has inspired so many cinematic adaptations (actually it has left its “mark” on all manner of media). I seem to recall its main character as a possible game show trivia answer as to which fictitious creation has been played by the greatest number of actors (he’s close behind Sherlock Holmes, I believe). So, what’s the “hook” with this? It’s not just a “straight” retelling. No, the filmmakers have taken one chapter of the original novel and have expanded it into a feature film since it’s often just a minute or two in most versions. And so now we’ll get the full “scoop” of how that “king of the vampires”, Dracula. insured that this was THE LAST VOYAGE OF THE DEMETER.


This terror tale takes us back almost to the beginning of the last century, 1897. as we follow a speeding caravan through a twisty mountain pass on their way to a nearby seaport. That’s where the good ship Demeter is preparing to depart. Captain Eliot (Liam Cunningham) is there with his eight-year-old grandson Toby (Woody Norman) to assign the First Mate Wojchek (David Dastmalchian) the task of acquiring more crew members for the journey to London. Several old salts line up for the chance, but none are more eager than Cambridge grad, Dr. Clemens (Corey Hawkins). Wojchek rejects him (“those smooth hands…he’s not been working on the seas”). Then the wagons arrive via that caravan with massive wooden crates that “spook” some recruits. That and a near accident with Toby. prompts Eliot to hire Clemens. The young lad bonds with the doc as they meet the truly “motley” crew, who have dreams of a big bonus if they arrive in England earlier than agreed upon. Ah, but don’t spend that money yet. As the sun sets, strange things occur. The livestock perish, not from rabies but from something that has ripped them apart. When Clements explores the nearby cargo hold, he finds that the crates are filled mostly with dirt. But that’s not as surprising as the discovery of a near-comatose young woman, Ann (Ainsling Franciosi). Clemons attempts to cleanse her diseased blood through several transfusions. But will this weaken him and his shipmates as they discover that the animals were merely appetizers for the night creature that walks the deck under the moonlight? Can they possibly destroy him before his evil overtakes all of London?

For a vampire flick to truly soar (on bat-wings,’ natch) it requires a formidable force for the light, and here, rather than the ship’s captain, it’s the charismatic Hawkins as Clemens. From his first scenes, gambling near the dock, he projects a fierce, steely intelligence as the doctor fighting ignorance on all fronts. But he also has a real charm and warmth, whether bonding with young Toby (almost like a little brother) to his concern for the tragic Anna. Once she’s regaining her strength, Franciosi proves to be a great ally to Clemens as she pushes past her fears and channels her anger over being her village’s “sacrifice offering” to a monster. Cunningham exudes the proper gravitas as Captain Eliot while giving us a glimpse of his desire to be done with sea life. His weary eyes only brighten when he views his beloved offspring. But his other “ship son” is the surly Dastmalchian as the tough, cagey, and ever-alert Wojchek. Perhaps the most colorful of the crew is the entertaining Jon Jon Briones as the ship’s cook whose zealotry and fanaticism are almost as much a danger as the shadowy predator played with sneering animal savagery by Javier Botet.

As I mentioned earlier, screenwriters Bragi F. Schut and Zak Olkewicz have expanded on the “Captian’s Log” chapter of Bram Stoker’s novel. And they “flesh it out” with great imagination, making their crew more than just a transport for the book’s title character. They also do well with tough tasks as they create suspense even though we’re aware of the outcome, much like prequels in an ongoing movie franchise. Along the way they make the usual vampire story tropes fresh, especially in the sequences involving exposure to the sun. Best of all may be their take on the count himself. He has no need to be “wrapped in human skin”, no seducing or deceiving as he appears as a hellish “bat demon” (with perhaps a hint of the classic NOSFERATU vibe), who blends into the shadows before striking like the speed of a cobra. And be warned, no one is safe from his insatiable thirst. Kudos must also go to the costumers and art directors for transporting us back to the turn of that century and making us feel as though we’re on that grimy “working boat”. Director Andre Overdal gives the story a real sense of urgency in the opening port scenes while creating a heavy tone of impending doom. The mood on deck combines the beauty of the pounding waves with eerie foreboding, especially in the cargo hold as the crates become objects of menace. Unfortunately, after we’ve seen several “meals”, the pace slackens and the film’s focus softens (perhaps tighter editing would help). Still, the final showdown is impressive, though the epilogue seems out of sync with the rest of Stoker’s epic. But fans of the horror classics will enjoy this expansion, though the flood of gore isn’t washed away by the sea foam splashed up by THE LAST VOYAGE OF THE DEMETER.

3 out of 4

THE LAST VOYAGE OF THE DEMETER is now playing in theatres everywhere

Win Passes To The St. Louis Advance Screening Of THE LAST VOYAGE OF THE DEMETER

UNIVERSAL PICTURES PRESENTS THE MOST TERRIFYING FILM OF THE SUMMER, THE LAST VOYAGE OF THE DEMETER – only in theaters on Friday August 11th.

Based on a single chilling chapter from Bram Stoker’s classic novel Dracula, THE LAST VOYAGE OF THE DEMETER tells the terrifying story of the merchant ship Demeter, which was chartered to carry private cargo—fifty unmarked wooden crates—from Carpathia to London. 

Strange events befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a merciless presence onboard the ship. When the Demeter finally arrives off the shores of England, it is a charred, derelict wreck. There is no trace of the crew.  

The film stars Corey Hawkins (In the Heights, Straight Outta Compton) as Clemens, a doctor who joins the Demeter crew, Aisling Franciosi (Game of Thrones, The Nightingale) as an unwitting stowaway, Liam Cunningham (Game of Thrones, Clash of the Titans) as the ship’s captain and David Dastmalchian (Dune, the Ant-Man franchise) as the Demeter’s first mate.

Rated R.

Advance Screening is 7PM on Wednesday, August 9th at  Marcus Des Peres 14 Cine.

Note: We suggest a 5:30PM – 6PM arrival to secure seats.

Seats will not be guaranteed.

Enter at the link below.

http://gofobo.com/aHnbP60790

The film also features Jon Jon Briones (Ratched, American Horror Story), Stefan Kapicic (Deadpool films, Better Call Saul), Nikolai Nikolaeff (Stranger Things, Bruised) and Javier Botet (It films, Mama).

 From DreamWorks Pictures and the producers of Zodiac and Black Swan, The Last Voyage of the Demeter is directed by Norwegian horror virtuoso André Øvredal (Scary Stories To Tell in the Dark, Trollhunter), from a script by Bragi F. Schut (Escape Room), Stefan Ruzowitzky (The Counterfeiters) and Zak Olkewicz (the upcoming Bullet Train), based on the chapter “The Captain’s Log” of Bram Stoker’s Dracula. 

The film is produced by Brad Fischer and by Oscar®-nominated producer Mike Medavoy and Arnold Messer for Phoenix Pictures and is executive produced by Matthew Hirsch. 

https://www.demetermovie.com/

(from left) Clemens (Corey Hawkins) and Anna (Aisling Franciosi) in The Last Voyage of the Demeter, directed by André Øvredal.

THE LAST VOYAGE OF THE DEMETER First Trailer From André Øvredal, Director Of TROLLHUNTER

(from left) Clemens (Corey Hawkins) and Anna (Aisling Franciosi) in The Last Voyage of the Demeter, directed by André Øvredal.

Universal Pictures has released the first trailer for THE LAST VOYAGE OF THE DEMETER.

Based on a single chilling chapter from Bram Stoker’s classic novel Dracula, The Last Voyage of the Demeter tells the terrifying story of the merchant ship Demeter, which was chartered to carry private cargo—fifty unmarked wooden crates—from Carpathia to London.

Strange events befall the doomed crew as they attempt to survive the ocean voyage, stalked each night by a merciless presence onboard the ship. When the Demeter finally arrives off the shores of England, it is a charred, derelict wreck. There is no trace of the crew.

The film stars Corey Hawkins (In the Heights, Straight Outta Compton) as Clemens, a doctor who joins the Demeter crew, Aisling Franciosi (Game of Thrones, The Nightingale) as an unwitting stowaway, Liam Cunningham (Game of Thrones, Clash of the Titans) as the ship’s captain and David Dastmalchian (Dune, the Ant-Man franchise) as the Demeter’s first mate.

The film also features Jon Jon Briones (Ratched, American Horror Story), Stefan Kapicic (Deadpool films, Better Call Saul), Nikolai Nikolaeff (Stranger Things, Bruised) and Javier Botet (It films, Mama).

From DreamWorks Pictures and the producers of Zodiac and Black Swan, The Last Voyage of the Demeter is directed by Norwegian horror virtuoso André Øvredal (Scary Stories To Tell in the Dark, Trollhunter), from a script by Bragi F. Schut (Escape Room), Stefan Ruzowitzky (The Counterfeiters) and Zak Olkewicz (the upcoming Bullet Train), based on the chapter “The Captain’s Log” of Bram Stoker’s Dracula.

The film is produced by Brad Fischer and by Oscar®-nominated producer Mike Medavoy and Arnold Messer for Phoenix Pictures and is executive produced by Matthew Hirsch.

THE LAST VOYAGE OF THE DEMETER opens in theaters this summer, August 11.

THE NIGHTINGALE – Review

Baykali Ganambarr as “Billy” and Aisling Franciosi as “Clare” in Jennifer Kent’s The Nightingale. Courtesy of IFC Films. An IFC Films release. Photo by Matt Nettheim

The writer/director of THE BABADOOK, Jennifer Kent, follows up the chilling horror film with a gripping drama set in 1825 Australia, a tale of violence and revenge that is almost Shakespearean. THE NIGHTINGALE is a tale of vengeance but it is also a story of self-discovery, and of finding a common human bond with someone who appears at first quite different.

“Nightingale” is the nickname given to a beautiful Irish convict, Clare (Aisling Franciosi), for her golden singing voice, by the British troops at the remote Tasmanian outpost where she has served out her sentence. Clare is in the custody of British officer Lieutenant Hawkins (Sam Claflin), but she has served her sentence, and with both a husband and baby now, she wants to be released. However, Hawkins, who is both taken with Clare’s beauty and seething with resentment at being stuck at the remote post, refuses to let her go and treats her abusively. When her husband Aiden (Michael Sheasby) demands her release, matters escalate to shocking violence. Hawkins suddenly departs on a dangerous journey north, in pursuit of a promotion, with a vengeful Clare pursuing the lieutenant. The dense forest they must traverse is a treacherous place, in the grips of what became known as the Black War, and Clare enlists an Aboriginal guide named Billy (Baykali Ganambarr) to help her, after no friend is willing to accompany her on the harrowing journey.

THE NIGHTINGALE is a thought-provoking, brilliantly-directed drama but it is also a shockingly violent film, with some sequences audiences are likely to find hard to watch. The film’s themes of violence, vengeance, ambition and lust are truly Shakespearean, but this is also an intelligent, moving human drama about identity and human connections. It also touches, indirectly and deftly, on a host of other issues, such as unequal status of women in the time period, the Irish-English conflict, and the treatment of Aboriginal people.

THE NIGHTINGALE is a more graphic and violent film that Jennifer Kent’s first film, the horror film THE BABADOOK, but it has the same level of nail-biting suspense and tension. The film’s combination of historically-set drama with serious subject matter and violent, pulse-pounding thriller action keeps us hooked but on edge throughout. It is an uneasy combination but it is a worthy film nonetheless.

The cast is superb. Watching Aisling Franciosi transform from submissive convict to a force of vengeance to grieving woman and back is an astonishing experience. Sam Claflin, so often cast as a sympathetic lead, gets to play a true monster as the British officer, and he is excellent as he mines Hawkins’ layers of ambition, arrogance and resentment. Baykali Ganambarr as the Aboriginal tracker Billy has the pivotal role in this tale, transforming the story from a vengeance thriller into something deeper and more complex.

THE NIGHTINGALE is an impressive film, beautifully shot and acted, a gripping thriller but a film with something to say. Hopefully, audiences will not be discouraged by its violent scenes and then miss out on its deeper human message.

THE NIGHTINGALE opens Friday, Aug. 16, at Landmark’s Tivoli Theater.

RATING: 4 out of 4 stars