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The Ascent (2017)
'The Ascent' (2017) is indie film-making at its best
2017 indie film "The Ascent" provides a breath of fresh air in film-making. With a humbling budget of less than $20,000, "The Ascent" delivers a gripping narrative. Phenomenal acting, excellent dialogue, and exquisite writing drive this engaging supernatural thriller.
Seasoned LAPD detective Henry Cardenas (Miguel Perez) is on the verge of breaking a Los Angeles police department record. However, the most challenging case of his career, murder suspect Vince Marins (Stephen Buchanan), is taken into custody with Cardenas as lead detective. But as Cardenas probes the case, more than the present murder comes under investigation.
Marins makes a bold claim that he's something otherworldly, an assertion which Cardenas initially doubts. Meanwhile, budding journalist Regina Parker (Amber Waller) observes Cardenas. Initially, the veteran detective was reluctant to allow Parker to oversee his case, but he eventually conceded.
The film begins with narration from a then-unknown character. It's haunting dialogue: "They say she's buried under a tree," it explains of singer and pop icon Laura Maldonado (Anisha Adusumilli) who was murdered under mysterious circumstances, and her body never recovered. Then, action jumps to present day with Cardenas solving his latest murder case, just before interrogating Marins.
As "The Ascent" progresses, flashbacks periodically relay the tale of Maldonado's rise to stardom and eventual death. Over the course of the film, "The Ascent" focuses increasingly on Cardenas and Marins. Notably, Buchanan as Marins steals almost every scene he's in, infusing it with his quick wit and a frenetic energy.
A bracing thriller, "The Ascent" is not without its humor. Vince runs a website Hollywood Skateboard Tours (and yes, it's a live site). If that domain isn't already taken, it's likely snagged soon. During the investigation, Vince comments on the interrogation room: "No two-way glass?" he wonders. "If this were the movies, there'd be two-way glass." This self-referential moment adds a comedic element which is delightfully meta. Furthermore, Regina remarks that Det. Cardenas' partner, Frank Oslo (Sam Rodd) is the stereotype sleazy cop. When Cardenas queries what his stereotype is, she replies the zen master detective.
Writer-director Tom Murtagh crafts a clever narrative which doesn't show its hand until the final moments. An air of mystery persists throughout much of the film, and it's incredibly dialogue driven. The banter between Cardenas and Marins sustains the movie, acting as a primary driving force. With its simple yet effective sets, "The Ascent" is proof that budget doesn't make a film. With its incredibly modest $15,000 budget, "The Ascent" punches far above its weight class, outshining even major box office releases. It accomplished this feat with mastery of filmmaking techniques, from tour de force performances from Perez and Buchanan to taut dialogue, and an engaging plot that unravels in a sizzling slow-burn.
While "The Ascent" manages to grab the viewer's attention, holding it firmly until the final credits roll, a few moments feel unnecessary. Notably, there are two songs which play in full and though the tracks themselves are fine, it's odd to feature the entire runtime. The first appears while Cardenas and Oslo investigate a murder, and it's mildly distracting attempting to watch them work with the music over top. Sure, it's for dramatic effect and at that, it succeeds. But perhaps only a small snippet needs to play. Similarly, in the riveting conclusion, another song surges forth and plays in its entirety when a snippet could have easily sufficed.
Ultimately, "The Ascent" offers a refreshing dose of indie goodness. With its superb acting, plot, and script, it's a lesson in filmmaking which big-budget box office releases could use.
The Cabin in the Woods (2011)
'The cabin in the woods' (2012) is marvelously meta
Like a phoenix, every few years the horror genre requires a complete strip down and reboot. The category too frequently falls prey to monotony, employing the same tropes repeatedly. Characters are stereotypes, predictable scenarios abound, and the villain is somehow near-immortal. Wes Craven spectacularly lampooned this phenomenon with his horror-comedy series "Scream." However, as "Scream" began in the 90's, and was followed by a string of sequels, it was bound for an update. That came in 2012 as "The Cabin in the Woods," an enchantingly clever, self-aware comedy ripe with references to the horror genre.
"The Cabin in the Woods" opens with technicians Gary Sitterson (Richard Jenkins) and Steve Hadley (Bradley Whitford) in a lab, talking about a ritual. We then meet a group of college kids on their way to a vacation in a cabin, which (you guessed it) is nestled in the woods. There's Dana Polk (Kristen Connolly), the resident good girl. Marty Mikalski (Fran Kranz) plays the obligatory stoner. Curt Vaughn (Chris Hemsworth) is the group's resident jock. We have Holden McCrea (Jesse Williams) representing the nerds, and finally Jules Louden (Anna Hutchinson), the promiscuous one.
It's difficult to describe the plot of "The Cabin in the Woods" without spoilers, so we'll instead concentrate on why the film is so spectacular. Like "Scream," it parodies the horror genre perfectly. Let's be honest, although there are plenty of awesome horror flicks, there are at least twice as many stale imitations. "The Cabin in the Woods" acknowledges the formula, with a familiar set up. A group of college student caricatures representing different factions band together to battle a supernatural force. It's very meta, and elicits a ton of laughs as we're well accustomed with the set up.
However where the film really shines is in its ability to mock, while surprising and serving as a tribute. While certain aspects are definitely intended as a horror mad-libs, where we know exactly what's about to happen, there are several unforeseen happenings, including a major plot line. Furthermore, "The Cabin in the Woods" sought not only to criticize our fascination with gore fests, but also to pay homage to classic genre flicks: there are obvious "The Evil Dead" references, as well as recognizable "Hellraiser" tidbits, a nod to "The Ring," and even "The Shining." Watch the movie several times and maybe you'll pick up on half of the shoutouts. It's this ability to simultaneously question, and celebrate, out obsession with horror flicks that establishes "The Cabin in the Woods" as an utter masterpiece and revitalization of the genre we love so dearly.
-- Mitchell "Moe" Long
It's the Great Pumpkin, Charlie Brown (1966)
'It's the Great Pumpkin Charlie Brown' (1966): the most sincere Halloween flick
With the proliferation of Halloween related movies and TV shows that abound, naming the greatest is a weighty task. Some prefer slashers greats, notably "Halloween," others comedic horror flicks, like "The Evil Dead." Then there's the classic monster variety, preferring Universal and Hammer productions, and even family friendly fare such as "Hocus Pocus." Despite the overabundance of varying festive films, there's one movie to unite us all: "It's the Great Pumpkin Charlie Brown." An undeniably adorable Peanuts, it demands an autumnal viewing each October.
Halloween is upon the Peanuts gang, and Linus (Christopher Shea) is gearing up not for trick or treating, but his annual wait for the Great Pumpkin. Essentially the Great Pumpkin is the Halloween version of Santa Claus. According to Linus he flies around with a sack of toys and delivers presents to the most sincere pumpkin patch. Each year, Linus writes a letter to the Great Pumpkin, much to the embarrassment of his sister Lucy (Sally Dryer).
Meanwhile Charlie Brown (Peter Robbins) accidentally gets invited to Violet's (Ann Altieri) Halloween party. Lucy cruelly explains that he was intended for the list of people not to invite. The kids go trick or treating, but Charlie Brown's sister Sally (Kathy Steinberg) decides to keep Linus company in the pumpkin patch.
"It's the Great Pumpkin Charlie" is the greatest of the Halloween films. The Peanuts cartoon balances comedy and sentimentality wonderfully. The beginning features the recognizable scene of Charlie Brown attempting to kick a football held by Lucy, and falling flat on his back. A hilarious segment, the dialogue about notarized documents is sure to go over kids heads, but adults will get a chuckle.
This cross-generational appeal is precisely why "It's the Great Pumpkin Charlie Brown" has morphed into the seasonal staple it is today. Children will laugh at the jokes, like Linus diving into a leaf pile with a lollipop, and Charlie Brown's trouble with the scissors. Older audiences will appreciate the more mature aspects. There's the WWI Flying Ace side story, which honestly doesn't have any relevance other than Snoopy hams it up considerably. Most of all, however, adults glean the heartwarming message: Lucy and Linus, though outwardly opposite, aren't that different. Linus is compassionate and idealistic, toting that ragged blanket around, while Lucy is boisterous and downright rude, particularly when interacting with poor Charlie Brown. The finale, where Lucy brings a shivering Linus in from the chilly pumpkin patch shows that Lucy's heart isn't as cold as we're made to believe.
Overall, "It's the Great Pumpkin Charlie Brown" is a slice of perfection. There are so many ridiculous, though memorable, lines. During the entire night, Charlie Brown keeps getting rocks while trick or treating. This isn't really explained, and it's riotously funny. Charlie Brown's downtrodden "I got a rock," is devilishly quotable. Even the music sparkles. Vince Guaraldi's score bounces around, setting the tone and offering a toe- tappingly delightful backdrop. Ultimately, with mass appeal and infinite replay value, Halloween isn't official until the annual screening of "It's the Great Pumpkin Charlie Brown."
-- Mitchell "Moe" Long http://www.examiner.com/movies-in-durham/mitchell- moe-long
Se7en (1995)
'Se7en' (1995) brings the horror down to earth
Horror films often pertain to the supernatural, but what's even more frightening is realism. David Fincher's 1995 thriller "Se7en" provides a grounded tense race to catch a serial killer. Slow moving, gritty, and disturbingly plausible, it's a great break from the sequel-ridden franchises filled with villains who won't stay dead.
In an unusual pairing, seasoned Detective William Somerset (Morgan Freeman) teams with newcomer Det. David Mills (Brad Pitt). The two are polar opposites: Somerset is near retirement, and hardened by his years on the force, whereas Mills brings an upbeat enthusiasm. The partners investigate a string of grisly murders, which they discover are based on the seven deadly sins: greed, gluttony, pride, wrath, envy, sloth, and lust.
Several elements complete the terrifying portrait "Se7en" paints. Visually, there are graphic murders, but moreover sadistic and methodical killings. During their investigation, Mills and Somerset reveal that the killer, John Doe (Kevin Spacey), has been planning his attacks for over a year. There's also the stark realism. Unlike pure evil entities like Michael Myers, Doe actually has justification for his crimes, albeit lunatic ravings, but he nonetheless attempts to rationalize his actions. Additionally, Doe doesn't strike in dreams, has no distinguishing traits, and is relatively average, except for the whole psycho killer thing.
Rounding out the haunting genius of Fincher's film is a disturbing, and completely unforeseen ending. No spoilers, but suffice it to say you'll have to pick your jaw up off the floor. "Se7en" scares through mimicking the profiles of actual serial killers, rather than relying on paranormal villains. There's a thought-provoking theme of manipulating religion to validate one's own actions and beliefs, a relevant and adaptable topic. A thrilling scramble, "Se7en" is an unconventional horror flick with the biggest blow arriving just before the screen fades to black.
-- Mitchell "Moe" Long http://www.examiner.com/movies-in-durham/mitchell- moe-long