Tag: based on a short story

THE QUIET GIRL – Review

Most film fans know that this Sunday, just hours away, is the big award night. As a beloved former late-night talk show host used to see, even after he hosted the event, “In Hollywood, Oscar is king.” So, who’s going to wear that crown? While all the chatter is about the actors vying for the prize along with the ten (!) Best Picture contenders, this Friday we’ll get a chance to see a Best International Feature nominee that seems to be under everyone’s “radar”. But then, it’s a truly “soft-spoken” story, much like its subject. But don’t be fooled because the emotion is loud. much like its heartbeat, in THE QUIET GIRL.


And that tile character is nine-year-old Cait (Catherine Clinch) part of an ever-expanding family (another arrives soon) living in a ramshackle house in the mud of 1981 Ireland. She’s teased by her sisters, as Cait tries to hide the shame of being a bedwetter. And, yes she is quite shy, keeping silent while seeming to be always looking at her feet. Things are no better at school as she easily wanders away from the playground. This prompts a call to her surly, boozing Da (Michael Patric), who must drive her home early from school. Cait is so “invisible” that he gives a lift to one of his girlfriends from town, while Cait watches from the back seat. A decision is made. With her classes ending, and Mam (Kate Nic Chonaonaaigh) about to give birth, Cait will be spending the Summer with distant cousins, Eibhlin (Carrie Crowley) and Sean (Andrew Bennett) Cinnsealach at their dairy farm in County Waterford. Da drives Cait there and after a pint or two drives away, forgetting to leave the suitcase with Cait’s clothes. No worries as Eibhlin “makes due” with some stored-away boys’ clothes (the spare bedroom has a masculine feel). In all ways Eibhlin helps the little girl, showering her with attention and kindness. Sean is not so quick to embrace her, acting a tad distant and aloof. That changes when Eibhlin must leave the household for a day. When Cait loses her way while helping with the chores, a frantic Sean finally locates her which forms a strong bond. He even becomes a “coach”, clocking Cait’s run time as she dashes down a trail. She begins to break out of her shell, but when a local tells Cait of the couple’s secret, will this new friendship stop well before the end of the season and Cait’s return home?

In a most promising screen debut, Clinch takes on the demanding role with subtlety and natural warmth, proving to be quite compelling. She draws us into Cait’s world with no histrionics and manic gestures. If she chooses to pursue an acting career, Clinch could continue to impress if she can take on roles as well written as this. Also conveying warmth and a most generous heart is Crowley as the nurturing and gentle Eibhlin, who sees the wounded nature of Cait’s spirit and proves to be the healing force she needs, although both end up helping each other overcome their struggles. Much of that can be said of Bennet’s Sean, though he’s slow to open himself to Cait. He’s still processing his past, keeping his emotions in check, perhaps fearful of the pains of the past. He shows us Sean’s spiritual journey, as he inches toward accepting Cait, and allows her to pursue her passions. It’s the opposite of Patric, excellent as the loutish, derisive Da who offers little comfort to any of his “brood”.

All during the recent pandemic, much was said about treating others with kindness, It’s hard to think of another recent film that really embodied that sentiment. As the story unfolds slowly, at just the proper pace, we see how kindness, along with some attention, and an open heart, can truly change a lonely child’s world. Much of the film’s power must be attributed to director Colm Bairead, adapting Claire Keegan’s story “Foster”, deftly guiding this gifted cast and making superb use of the Irish locales and even the native Irish language, so lovely and lilting. He shows us Cate’s reawakening as she leaves the squalor of the family home (very overcast) and begins anew in the golden sun of the idyllic farm. Although the dramatic secret is exposed, it’s done without unneeded theatrics or fanfare. It all builds up to a truly heartwrenching finale which leaves us hopeful without giving us a heavy denouncement. Just be prepared for some “waterworks” as the end credits role. It’s simple kindness that changes the world of THE QUIET GIRL, and perhaps to those who embrace her story.

3.5 Out of 4


THE QUIET GIRL is now playing in select theatres.

THREE THOUSAND YEARS OF LONGING – Review

220413_TTYOL_g011.0437853_RC Idris Elba stars as The Djinn and Tilda Swinton as Alithea Binnie in director George Miller’s film THREE THOUSAND YEARS OF LONGING A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved

As the seasons march toward Fall, many begin to lapse into the doldrums, since the excitement of exotic getaways is set aside. Perhaps a bit of magic will perk them up, or as with this new film, a whole lot of magic. Well, one of its two central characters is a magical creature of myth, one that’s not unfamiliar to the movie audiences though really a touchstone of the fantasy sitcom “fad” of the 1960s. Now that really began in the “stars” with Ray Walston’s “Uncle Martin” AKA “My Favorite Martian”, followed by Elizabeth Montgomery’s spellcasting Samantha Stevens in “Bewitched”. And then there was Jeannie, of “I Dream of…”, played by the still dazzling (she reached 91 only days ago) Barbara Eden, an all-powerful but sweet sorceress residing in an ornate, rather small bottle. Now these beings are now populating TV again, though now they are called by their original monikers, Djinns (mentioned but not seen in “Ms. Marvel” and a temporary resident of the house in “What We Do in the Shadows”). And this film’s character is closer to those ancient tales, not as whimsical as Eden, or Robin Williams and Will Smith, nor the intimidating Rex Ingram of the 1940 THE THIEF OF BAGDAD, with a pinch of Burl Ives in THE BRASS BOTTLE. But a new element is added as he tells us of his THREE THOUSAND YEARS OF LONGING.

We’re first introduced to the human half of the aforementioned central duo by the narration of celebrated scholar Alithea Binnie (Tilda Swinton) as she travels on a plane bound for modern-day Istanbul. She’s a featured speaker there at a storytelling conference. At the airport, she’s taken aback when an unusual-looking driver tries to grab her bag and usher her away. Luckily her escorts spot her and the cabbie vanishes. After a stop at the plush hotel, she’s off to her first lecture. Her talk is cut short when she spots another odd person in strange garb in the audience, popping up in different seats…and glowing. She faints and is whisked away, and after a check-up returns to her room. After her rest, one of her hosts treats her to a bit of shopping, gifting her an odd-looking, somewhat battered tiny ceramic bottle. Using her electric toothbrush to loosen the cap, Alithea is knocked backward by a burst of energy and mist. Opening her eyes, she sees a large, almost gigantic man in the room’s main space. He introduces himself as a Djinn (Idris Elba), the legendary magic creature of mythology, imploring her to let him grant her three wishes in order for him to ascend into the Djinn realm. Well-knowing the devious Djinns of fables, she’s hesitant and inquires about his past. The Djinn details his love of Sheba, his imprisonment by the aides of Solomon, his release many years later during a familial power struggle in a kingdom, and his time a few hundred years ago with a woman seeking ultimate knowledge. Is Alithea convinced that the Djinn has no trickery up his sleeves of her hotel bathrobe? And just what would be the wishes of a brilliant twenty-first-century woman?

Though many characters flit in about them, either in the “now” in “long-ago tales”, much of the story centers on the two leads conversing. Happily, we’re treated to the interplay of one of the movies’ most compelling duos. As with most of her roles, Swinton brings her sharpened intelligence to the “scholar” while still throwing in a bit of the “off-kilter” wit of her Wes Anderson efforts. Alithea takes some time to get “her footing” as the strange occurrences and images she sees upon her arrival have her questioning her senses. That culminates in her shock at finding that her “stories” are rooted in history. But she quickly hones her focus, curious about what this entity has to say, while never ignoring her logic and giving in to the “gift” (she’s wary of the Djinn’s “wishing cons”). As that truly larger-than-life being, Elba is at his most compelling and enigmatic. He’s ecstatic to be released into this era’s world, but he tempers his frustration over Alithea’s hesitancy. From the sadness in his eyes, we see that he’s eager to leave this realm, though he’s more than ready to share his long, tales of love and avarice. He’s often annoyed at these mortals, but he’s tethered to their desires. It helps that there’s no CGI or elaborate prosthetic makeup (and no body paint) to obscure him, only some interesting frayed pointed ears and his dark eyes under his bald brow. I should single out one supporting cast member in the most riveting “back story”, namely Ece Yuksel as Guiten the “genius” who prefers to learn rather than escape her prison of marriage (and punish her abusive husband).

And let’s give a big “welcome back” to one of the world’s great filmmakers who has dazzled us for five decades and has been MIA since the spectacular MAD MAX: FURY ROAD over seven years ago, George Miller. His keen visual sense hasn’t dulled in the least, as he uses state-of-the-art CGI wizardry to bring several ancient civilizations back to vibrant life. He also makes the magic of Djinn’s life feel both real and dream-like with several imaginative creations (Solomon’s musical device that sprouts extra appendages is remarkable). Plus the oversize Djinn in the first scenes almost bursts through the spacious hotel suite realistically. The “flashbacks” are so full of sensory wonders that make the modern times sequences feel a bit flat as the story stumbles in the final act. Miller co-write the screenplay with his daughter Augusta Gore adapting the short story by A. S. Byatt, which loses much of its narrative power as it takes a turn toward romance and today’s political landscape, feeling a tad “heavy-handed”. Still, this doesn’t lessen the “adult fairy tale” feel of the Djinn’s wondrous history and the superb pairing of Swinton and Elba. They and the gifted Mr. Miller are the true magical ingredients of THREE THOUSAND YEARS OF LONGING.

2.5 Out of 5


THREE THOUSAND YEARS OF LONGING is now playing in select theatres

THE BLACK PHONE – Review

The Black Phone

Ah, the sweet nostalgic dreams of long-gone childhood. Carefree days, full of budding romance, bonds of friendship, and exploring adventures are lovingly recalled. Now, in horror flicks, well…it’s not that endearing. As a matter of fact, so many kids are menaced in terror tales, that it’s almost a “sub-genre”. The wee-ones have been menaced in everything from the classic THE CURSE OF THE CAT PEOPLE to (what they say is) the final season of the streaming sensation “Stranger Things”. Now, one of the “young Turks” of the movie “nail-biters” is ready to put those “brats” through the “ringer”. And his story source comes from an author with a familiar “fear history”. Somehow the biggest creeps come out of the earpiece of a common household device. Do you dare take a call from (creepy announcer voice followed by maniacal laughter) THE BLACK PHONE?

It’s the suburbs of Denver back in 1978, and despite the schoolyard talk of Fonzie and Ritchie, the days are far from happy. Well, the first day we see starts out well enough as fifteen-year-old Finney (Mason Thomas) almost strikes out a batter in the last moments of the big schoolyard game. Almost. But triumph turns to tragedy as a mysterious child abductor called by kids (in hushed tones or he’ll hear) “the Grabber” claims another victim. It’s all the talk between Finny and his devoted kid sister Gwen (Madeleine McGraw). That devotion comes from the “united front” they form trying to deal with their boozy, abusive, surly single father Terrence (Jeremy Davies). Things hit even closer to home when Finney’s protector from a trio of bullies, Robin (Miguel Cazarez Mora) vanishes. And things get more complicated when the police hear of Gwen’s “crime dreams”, complete with details unknown to the public. She’ll make use of her “second sight” when Finney stops to help a bumbling magician (Ethan Hawke) and is knocked out, tossed in a van, and locked in a dingy basement. Nearby the beaten-up floor mattress is a kitchen-style black rotary phone. Of course, it’s unconnected (says the Grabber), but it will ring due to static electricity. But when his captor leaves, Finney is awakened by the repetitive ringing. Out of annoyance, he picks it up…and someone answers. Could the weird voices on the other end be Finney’s ticket to survival and freedom?

Though the twisted images of the Grabber are being used as the film’s big selling point, the power of the production really rests on the young shoulders of Mr. Thomas. Sure, most of it comes from the fact that he’s in nearly every scene, but it all collapses if he doesn’t inspire us to be invested in his struggles, to “root” for him. And we do, from the moment his “big game” takes a lousy detour to his effort to escape his dire straights. In the opening act Thomas shows us that Finney has no sanctuary at home or at school, but he keeps pushing himself forward…leading to his eventual “test’. He’s ably complemented by McGraw, a gifted actress able to shift between comedy (her “prayers’ and police interview) and tragedy as she tries to accept her “dream talent’ even as her papa cruelly tries to drive it from her. Aside from her “visions’, any big brother would be lucky to know she’s “got his back”. Both siblings are bursting with the joy of youth, which makes for a stark contrast to their sullen, inebriated “old man” played with a melancholy rage by Davies. He just wants to quietly crawl into a bottle and drown, but that parental instinct can’t be held down, though his “methods” are often repugnant. Oh, and then there’s the “big bad” himself with Hawke a most unpredictable nightmare-inducer even through the marvelous masks created by makeup master Tom Savini and “legacy artist” Jason (son of Rick) Baker. At times Hawke projects an amiable nature (his goofy charm is part of the “lure”), but the beast explodes when things don’t fall into place as planned. Helping to ease some of the agonizing tension is the comic work of James Ransone as the hyper Max who thinks he can be a great asset to the frustrated cops (“so, we’re working together?”).

Oh, the “young Turk” I alluded to earlier, why that’s Scott Derrickson, who has made a name for himself by helming everything from a HELLRAISER sequel to a Marvel superhero, DOCTOR STRANGE (the first in the franchise). Almost from the start, he’s “toying’ with us, shifting from the “American pastime” right into every family’s worst fear. And then he’ll draw us back in with a wistful recreation of “simpler times” before the “interweb’ and media-savvy kids, but then shock us with a scene of “then accepted’ near-demonic parental abuse. That’s all neatly tied together by the screenplay he co-adapted with C. Robert Cargill based on the short story by Joe Hill. Oh, I also mentioned a “fear history”. That’s because Joe’s the son of Stephen King which may account for the inspirations from IT, STAND BY ME, and even MISERY. But it’s not a series of “touchstones” strung together. Derrickson is a skilled “spookster”, relying on quick cuts and inspired bits of subtle lighting and atmosphere, rather than cheap “jamp scares’ and a blasting music track thanks to the score by Mark Korven. Those wanting their “fright fix” will be more than sated, while many casual genre fans will be “grabbed” (sorry) by the 1970s vibe (though it often feels a few years earlier than the disco days of 78) and entranced by the polished performances by the young leads. And the youngest moviegoers may be stunned to see that their tiny, super-thin devices all sprung from clunky bulky boxes nailed to the walls just like THE BLACK PHONE.

3 out of 4

THE BLACK PHONE opens in theatres everywhere on Friday, June 24, 2022