Review | The Movie Rat

61 Days of Halloween: Halloween III: Season of the Witch

Posted on October 17, 2011 by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Halloween III: Season of the Witch

Bradley Schachter in Halloween III: Season of the Witch (Universal)

The first thing that immediately comes to mind when I think of Halloween III: The Season of the Witch is the old Shakespeare quote “What’s in a name?” Apparently the answer to many a film fan, especially devotees of the horror genre, is a lot.

The fact of the matter is I cannot completely absolve the decision to tag this film as part of the Halloween franchise, however, I do not feel it defines the film. In fact, the first time I saw this film was during a Halloween marathon and I had no prior knowledge so I did keep waiting for Michael Myers and though I eventually realized he would not be there it still didn’t ruin the experience for me.

The sad part is the title cost the film. If it had just been labeled Season of the Witch, which has every bit as much to do with it as Halloween (which is not a great deal), people might’ve been able to judge it for what it is and maybe there would’ve been a sequel to examine the aftermath of the diabolical plan. It also caused Part 4 to be subtitled: The Return of Michael Myers because this film had been lumped into the series.

It’s hard to think of a horror concept more perfectly suited for the 1980s. It all hinges on commercialism and cynicism surrounding consumerism. Yet it is also in a way about the ubiquity of television in a day and age when there was no real choice, which plays brilliantly into the plot.

Like many films in the series, however, it does deal with the countdown concept of the approaching holiday. It does so more effectively though as the countdown to Halloween is an intrinsic part of the story which is embodied in a catchy jingle and as we learn more the jingle becomes more and more dreadful.

Perhaps another place where there is a disconnect surrounding this film is that it operates on a more antiquated notion that explanations are overrated when the occurrences within the tale are frightening enough. What is the goo? Why are there spiders? How can the stones target their victims? These are all questions that you walk away with but the answers are virtually irrelevant. What matters is the impact of the story, which is massive. I’ve seen this film a handful of times and the end still leaves my skin acrawl with goosebumps.

When you get right down to the nitty gritty of horror most people are only concerned about one thing: the kills. Some of them in this film are truly memorable and one, when you learn the nature of the mask, is truly iconic.

While within the chronology the film does get to October 29th rather quickly the information does mount steadily enough from that point on that the pace never does suffer.

The music in this version, though also a departure, is quite successful and the return of Dean Cundey behind the camera assures some brilliant imagery.

What is also interesting is that the city of Santa Mira where the Silver Shamrock factory is located is rendered as sort of a cinematic precursor to Gatlin, Nebraska in the Children of the Corn. Its citizens virtual automatons who are functionaries of the company and who look with disdain on any outsider.

There are concrete facts that could be discussed further but what is most interesting about this film is that it floats many big ideas: How this could possibly be the last Halloween, The size of the cataclysm intimated by what the TV ratings may be and also the notion of simulacrum as a few times on TV you see that the world premiere of the Halloween will be airing.

This is a film that while it doesn’t technically belong within the series is still one that ought not be overlooked or underrated.

9/10

61 Days of Halloween- Child’s Play

Posted on October 17, 2011 by bernardovillela

Child’s Play

Alex Vincent in Child's Play (United Artists)

This retrospective is valuable in part because it has allowed for revisiting of many titles. This particular film was one I’d seen in a very piecemeal manner, which is no way to see any film but especially when dealing with a concept like this. Seeing Child’s Play in pieces will only highlight parts of the narrative which suspension of disbelief will get you through.

Structurally this film works absolutely perfectly. Things move along at a brisk pace and cause and effect up until the climax are very clear. All you really have to get past is your own faculties of reasoning and you see that many things in this film do in fact work.

Now while as a child, who was not technically supposed to be seeing any part of this film, it did scare me, as it should, even removing that it still works whether you are scared by the subject matter or not which is not always the case with horror films.

Disbelief amongst characters is a factor in horror films that can be quite frustrating. When evidence is piling up and events that defy rational explanation are happening but people don’t believe it can be frustrating as an audience member. This film deals with that notion in an interesting way. The reveal of Chucky’s nature to Andy is rather slow. Andy’s not doubted long before his babysitter meets her untimely demise. It’s a kill of a character whom is not disposable, someone who we have met and liked so it’s effective.

Though Andy is refuted both by his mother and the police but his mother quickly sees the light. The reveal of the doll missing batteries after Andy is held for examination is visual and stunning. Similarly Detective Norris’s doubts are allayed when he narrowly escapes death at the hands of the possessed doll but he plays it close to the vest upon re initiating contact with Miss Barclay.

So very slowly but most importantly steadily the circle of believers grows. As the circle of believers grows so does Chucky’s rampaging. Another asset this film has at its disposal is a distinct set of rules, which are blatantly disregarded in the sequel, and the antagonist’s want is clearly defined. Conversely Andy’s need changes, at first he wants the doll then he wants to be believed and wants to be with his mother anew.

All the comedy of the film comes through design. The only things that truly hold it back are that the final showdown with Chucky is overly-long, as he appears to be vanquished twice and comes back to life but it is allowed to be that long because all those fighting him weren’t recalling or acting upon the biggest rule given to them by the dying witch doctor: shoot him in the heart. It’s not until his last stand that attempts are made at that hit.

Otherwise, though it is a truly effective and accomplished work by director Tom Holland and his two co-writers Don Lafia and Don Mancini.

7/10

61 Days of Halloween- Halloween II (1981)

Posted on October 17, 2011 by bernardovillela

Halloween II (1981)

Halloween II (Univeral Pictures)

What is interesting to note about the second Halloween film is that much like the Friday the 13th series it rewinds and replays the end of the previous film. This film does so to great affect because it doesn’t go back too far or splice it up it only backtracks the necessary amount to be able to continue the story in exact chronological order. So in the world of this film it is still October 31, 1978 and the film does a tremendous job in creating a very believable continuity in all aspects.

Much like the first film, and many horror films, there is an homage on a TV and you see clips from Night of the Living Dead.

Part of what makes this film interesting is that it starts with the media not yet having released that it is Michael Myers. So his legend is not yet re-popularized, which does mean you need to make a leap of faith when you see that someone is walking about dressed like him. The first seems to indicate the jumpsuit is acquired from a trucker. This potential hole aside the scene is still tremendously effective because later you do see the medical examination of the charred corpse and also because it ends up being Bennett Tramer, Lori’s crush who is merely mentioned in the first film.

This is also the first real taste you get of the vilification of Dr. Loomis. The police show a lot of, if not infallible, patience in the first film. Here Myers affects them personally and they lash out at Loomis.

The flow of news that’s being disseminated is very well handled from news stand ups to snippets overheard from a boom box. It reflects the widening of Myers’s scope. While this widening is well handled it’s part of what makes this film not quite the first. While it is very chilling throughout there was a certain sense of claustrophobia that was created by focusing on two babysitting assignments on either side of a street in the first film that is better and absent here.

The cinematography in this film is perhaps even better than the first. An advantage of the changed scope is that Dean Cundey is given a wider variety of canvases upon which to paint.

What propels the series in this edition is the twist it provides. It provides Michael both in the original and in this installment with motivation that goes beyond just simple revenge. It is also different as it provides a twist to the nature or identity of the victim as opposed to the villain.

There is more, however, which makes this a truly special film not only in horror but in the realm of sequels. This film also has an iconic moment, more a concept really, and that is finding the word “samhain” written in blood on an elementary school chalkboard.

What is perhaps best about the character of Lori Strode is that she always seems to very genuinely connect with the audience, which is not merely a function of her being played by Jamie Lee Curtis. It is also due in part to the fact that she very often reflects the audience’s thoughts: “He is the Boogeyman,” or in this film “Why won’t he die?” and because it’s Jamie Lee Curtis it sounds like a genuine question and not a punchline from an Austin Powers film.

Lori is also able to distract Michael long enough to get him offguard by showing she knows who he is. In what could’ve been a move that took it over the top Michael is shot in the head and blood runs out of his mask’s eye holes and represent the tears he cannot shed. It does work, however, because his action belies that seeming representation of emotion. However, he was stopped when he saw he was recognized.

This film also makes Loomis, despite all the failings he’s had whether they were his fault or not, its hero as he manages to stop Michael (or so it seems) even in the final confrontation there is a great image and moment to be had.

While it doesn’t quite live up to its predecessor it does do right by the story, concept and its characters.

8/10

61 Days of Halloween- Halloween (1978)

Posted on October 13, 2011 by bernardovillela

Halloween (1978)

At times it can be almost more difficult to write about a great movie than it can be to write a mediocre or terrible one. That, however, is not the case when it comes to John Carpenter’s Halloween.

So much in this film works to absolute perfection. It starts right off the bat with the theme. It is not only one of the best themes in the horror genre but in cinema and furthermore there are variations on it such that the entire score is fantastic.

The film starts, of course, with the brilliant prologue which shows Michael’s genesis. There is tremendous use of POV in this scene and also silently the character is being built. Many a horror villain are too chatty. What separates Myers and Voorhees is their silence which amplifies the fear factor. What sets Myers apart is that he never has anyone acting on his behalf he is always “evil incarnate” as Dr. Loomis calls him. Which helps make the prologue more shocking and why it lands high on this list (don’t follow the link if you haven’t seen the film).

The prologue ends in a near cinematic tableau as we are allowed to absorb the awe of what we just witnessed. The story recommences 15 years later. Loomis is introduced and immediately another brilliantly staged and crafted scene breaks out where you see Michael in his present state.

Following this is where Haddonfield and its characters are introduced. The first two sections are played in darkness but then Loomis chasing Michael, Loomis talking to authorities, Laurie Strode’s day and Michael’s following are played in daylight. Night falls for good in the 35th minute of the film and from thereon in horror film history is made.

It can not be overstated that what makes the most effective horror films nine times out of ten is building character and concept. Loomis both in trying to get people to understand what they’re dealing with reveals some of what his experience has been and how he’s become not so much jaded as aware.

What should not be overlooked is all the talk about the boogeyman. It may be too easy to slough this aside as childish nonsense, however, the film makes it perfectly clear by the end that it’s as good a description as you’re likely to get.

Part of what makes Michael Myers such an iconic figure is that he really does get under your skin. He watches you when you don’t realize it, when you think you caught him he vanishes and he comes out of nowhere with some of the best entrances you can ask for in cinema. It truly is spine-tingling stuff. Furthermore these entrances while accompanied by SFX and music don’t crank the volume up so loud that that’s what scares you. That’s what I call a false scare. In this film music and effects underscore what is scaring you which is Myers.

It’s hard to think of a third act in a horror film which has more memorable, shocking and iconic moments. There is Judith Myer’s tombstone, the double-scare corpses and the shadow lurking. Yet it doesn’t stop there. Right at the end there are four extraordinarily memorable moments which to not give too much away I will similarly label: He is the Boogeyman, The Unscored Moment (where the silence makes the visual even more frightening), Vanish and The Breathing Montage.

It’s about as well-crafted as a film, regardless of genre, can be. It spawned a slew of imitators and it attacks primal fears on so many levels. There’s not much like Halloween and even with the ups and downs of the franchise it is likely the best horror series ever.

10/10

61 Days of Halloween- Satan’s Little Helper

Posted on October 12, 2011 by bernardovillela

Satan’s Little Helper

Alexander Brickel in Satan's Little Helper (American World Pictures)

This is the kind of film that best illustrates the dangers of Netflix instant streaming (Not currently available on Netflix instant). You scroll over to it and click on it thinking “Oh, maybe this will be so bad it’s funny.” Then you start watching it and realize you’re in trouble. It’s just bad and it’s like a car wreck you may want to stop looking but you can’t and sadly I sat through this whole thing if only to warn others so that they may avoid the same fate.

Perhaps the first thing that needs to be stated is that it just may be that Douglas “Dougie” Whooly is the dumbest character in the history of cinema. In this film this supposedly nine-year-old kid walks about obliviously as the Devil himself kills people and he thinks it’s all pretend, a set-up. As if that isn’t bad enough when he finally does get wise to what’s really happening he still makes stupid mistakes, which leads us to our terrible and predictable ending which include two whole lines spoken over a black screen.

The dialogue is absolutely atrocious in this film from the incessant repetition of “That looks so real!” as Dougie is witness and accessory to another murder to the overly frank conversations about how Dougie still wants to marry his sister and the jokes about big sister’s “boomies.”

The score is completely unoriginal and the opening piece in this film sounds like the rendition of “Dies Irae,” which was in The Shining.

There is also bad animation in this film. I mean really bad. I mean like animation that makes Dr. Katz, Professional Therapist looks like MC Escher. As if that wasn’t bad enough we’re supposed to think this animation is a video game. A video game called “Satan’s Little Helper,” oh that’s the title, I get it!

However, this film is also educational. There is so much you can learn like how many times can you get your head slammed into a brick wall and not die and how many points is bowling over and elderly woman with a shopping cart worth.

Also, if your passion lies in prosthetic work you should watch this film to learn how not to make fake guts because this film has perhaps the worst example ever filmed.

As if it wasn’t made clear already that the concept is downright terrible but there is also a few logic flaws. The biggest of which being that everyone on this island both knows how many cops there are in the local PD and that they’re all dead.

About the only positive thing I can say in this film’s favor is that it is good for the occasional laugh, some of which are actually by design that and the mask the Devil wears. All that, however, does not excuse the terrible quality of this film.

I’ve seen some bad movies that looked pretty good. Films where the cinematography at least kept me interested. No risk of that happening here because it video and poorly shot video. The kind of video that shows you why it’s still film’s weak sister.

The cherry on top is that there’s a nice little touch of blasphemy too. I will spare you the details as all that precedes this should be enough to steer you clear. If curiosity gets the best of you, godspeed and get well soon.

1/10

61 Days of Halloween- Children of the Corn V: Fields of Terror

Posted on October 10, 2011 by bernardovillela

Children of the Corn V: Fields of Terror

David Carradine in Children of the Corn V: Fields of Terror (Dimension)

Here we are again in Gatlin, mind you that’s not a complaint. As you have seen and will see later on in the series keeping the geographical ties in this tale are quite difficult. The fact that Urban Harvest works so well in Chicago is nothing short of astonishing. No, this series didn’t have the affinity for Gatlin, Nebraska that Friday the 13th had for Camp Crystal Lake but both those series had a successful airing outs. Here though despite the many possibilities that still existed the returns to nearby towns and Gatlin itself almost always have a bit of staleness to them.

Perhaps no film in this series does more to distance you at the beginning of the film than this one does with the intro it has. Not only do you have the stereotypical college kids on a road trip but to not put too fine a point on it they’re douche college kids. Fantastic. And these are the people I’m supposed to want to see escape the grasp of smarter, more organized albeit crazed zealot children, to quote the great philosopher Ed from Good Burger “Uh, no?”

As if their intro with blow-up doll road markers and typical over-the-top fratboy-jerk-loserness isn’t bad enough we’re supposed to then think that these broad, over-the-top types have dimensions, heart and a conscience and want to save some of the of the children of Gatlin from the fate that’s befallen them. Even if the performances to this point had ridiculously exceeded what was on the written page, the script had already doomed the notion would pass the suspension of disbelief test.

It’s a ludicrous notion to want to save the children because the one thing that has always been somewhat a strength and a detriment to this series, depending on how it’s handled, is that the kids aren’t subtle. Basically, because kids just aren’t usually. They hate b.s. and subterfuge. So in an insular setting with a mob rule/cult mentality they’ll yell “Outlander!” at you and chase you with a scythe no problem. This film is not that different. The children don’t waste a lot of their time telling the students they’re trespassing on private property and that they best be on their way. They proceed to get lost and then trapped there by the children yet there’s still some trust there, some you’re willing to try and save?

Now as mentioned the acting here again is not stellar which you could almost come to expect but what makes it more difficult to take is that there were some weird casting choices. One of the students is played by Ahmet Zappa, now I can’t argue he doesn’t fit the type of character he plays but why Ahmet Zappa would be cast in anything is beyond me.

A bit more unfortunate I feel is the casting of Adam Wylie in the role of the preacher boy, Ezeekial, now I stress that it’s the casting I question here. Adam Wylie in this era was a child actor who’d pop-up in almost anything you can think of, rather akin to Nathan Gamble in as much as you saw him in many things but just likely never placed a name to the face and minus a breakout role now but talented nontheless. Wylie in the realm of a horror film was suited more to be the scared kid you’d be rooting for rather than the flip the switch type: seeming all sweet and innocent until you get on his bad side. A polar opposite of Daniel Cerny in III film.

This film also has a stellar bit of casting that sadly does little to nothing to help the film at all. David Carradine plays the role of an elder guide here. Despite the fact that he gets some decent dialogue that he’s allowed to work brilliantly with his susurrous delivery it adds a weird wrinkle to the story. In the original run of the series The Age of Reason, meaning the age at which children reach adulthood and must sacrifice themselves to He Who Walks Behind the Rows, changes clumsily. In the short story and remake it’s clear why, however, never is it adequately explained why a group with such a rigid dogma would not just allow this man to live among them but act as counselor.

This is one of the cases in this series where the film lost their religion. At certain points it seemed to vanish entirely other times fundamental precepts were change regardless of consequence or lack of sensibility. Clearly installments of this nature suffer more than most.

This film also changes the ritual of sacrifice, which is one that I can forgive so long as one character is the interpreter of the will of He Who Walks Behind the Rows things like that may shift. However, on top of everything else in this film there was a lack of explication.

The very least I can say for the film is that they did create other avenues for leaving town once a car is taken out of the equation but it very predictably goes wrong. However, it does beg the question why is a bus stopping in a ghost town? Other locals may have a handshake agreement to leave the children alone and keep their lives but a bus? Why?

Everywhere you look in Children of the Corn V: Fields of Terror there are head-scratching decisions. Such that my initial reaction was after this installment no wonder they felt it necessary to re-hash Isaac for the next one.

2/10

61 Days of Halloween- It’s The Great Pumpkin, Charlie Brown

Posted on October 10, 2011 by bernardovillela

It’s the Great Pumpkin, Charlie Brown

It's the Great Pumpkin Charlie Brown (United Features Syndicate)

It’s true that it would be hard to twist the philosophies and beliefs held by any character in the Peanuts gang such that you could call it a horror film. Although I must say waiting annually for a benevolent being only you believe in, having your friends mock you for it, and not seeing it is horrific; It’s the Great Pumpkin, Charlie Brown cannot be classified as a horror film.

What it is, is a Halloween staple. What are holidays without traditions and for the triad of celebrations near the close of every year these specials are markers and mandatory viewing for each? There are plenty of reasons why.

Firstly, aside from encompassing much of what we already know and love about the holiday it adds some things to the mix and gives food for thought. Linus’s aforementioned obsession with The Great Pumpkin is the perfect illustration of a child’s elevation of the day.

What’s more despite its being loosey goosey with its pace and plot, its whimsy seemingly belying its 25-minute running time there is still a protagonist’s journey. Linus is subject to ridicule, manages to bring one person over to his side temporarily only to see him defeated in the end.

Yet there is still a humanity to it. Lucy, of all people, sets her alarm for midnight sees he’s not in bed and salvages him from sleeping all night in the freezing pumpkin patch.

The voice casting early on in these specials is great and remained so through the years for Charlie Brown specials came for years and years but the likes of Peter Robbins (Charlie) and the scene-stealing Christopher Shea (Linus) had to be replaced frequently as did the other kids.

Of course, you also have Vince Guaraldi’s music. A testament to his lasting impact is that you hear the first few notes of that theme and even without visual aids you know that’s the Peanuts.

It starts with a wonderful dialogue-free sequence where Linus and Lucy pick a pumpkin but it also folds in Snoopy’s plot line, which is typically no more than comic relief, so neatly. In the end he too has a journey, as many kids do, of wild imagination on All Hallows’ Eve.

There is a sequence of animation that has to it a touch of Disney-like surrealism and the whole thing has a much more refined and well-crafted feeling than the more emotionally involving Christmas special.

Yes, this short little film is a Halloween tradition of mine and I could go on talking about it but the bottom line is that it is the best kind of tradition, which is one that you don’t feel is an imposition but rather one that you relish.

10/10

61 Days of Halloween- The Evil Dead

Posted on October 9, 2011 by bernardovillela

The Evil Dead

Ellen Sandweiss in The Evil Dead (New line Cinema)

If there was ever a horror film in the gore sub-genre that goes for the throat and just won’t quit it is unquestionably The Evil Dead. This is a film with such pulverizing scenes of blood-letting and death that there’s no time to be concerned with much else it just draws you in and you become absolutely enthralled.

At the beginning we see just enough of these characters to differentiate amongst them. They are sketched out just enough such that we don’t hate them and so that their deaths aren’t a relief but sometimes it does come as a pleasant shock.

The use of the subjective camera to represent the spirits make this film and absolutely does wonders to add to the atmosphere. The relentless speed and the bowling over of trees on the part of these spirits who never really manifested themselves in their true form make the film what it is.

Of course, one cannot talk about the cinematography without discussing the score of this film for without it these would have just been cute camera moves. Instead the spirits had their own theme song: a tenebrous, loud yet low-pitched thump that struck fear into my heart every time I heard it.

Another way The Evil Dead is interesting is that it takes some precepts of film and the horror genre in general and uses them masterfully. First, is the Book of the Dead, which may also be known as the Necronomicon, the filmmakers implemented it to unleash unknown powers on these characters and it was done tremendously well.

The Book of the Dead is undoubtedly a piece of work that has been sparingly used but here it is a perfect fit and shows these people have at least working knowledge of the works of Lovecraft. In Lovecraft’s fiction man’s desire to know what they had absolutely no hope of understanding always leads to his downfall a similar parallel can be drawn to this film.

Secondly, this film masters the use of the subjective camera as the villain which was initiated with It’s Alive! and made famous by Jaws, after The Evil Dead it would be foolishness for someone to try and rely so heavily on it because it just wouldn’t work as well.

Third, there is the great use of possession in this film which is no doubt inspired by The Exorcist and comes close to reproducing an equally effective result along that line. Some audiences may look back on this film which is now 30 years old and think it looks dated but they can’t argue with the fact that it works. I happen to think that the special effects are great especially for when they are made. Claymation or Stop-Motion Animation are great techniques and truly lost arts. Granted it is very difficult to film but the results are great especially with The Evil Dead because the clay and whatever other materials they chose to throw in there just added the extra grotesque touch the film needs. I think it is just wonderful!

There is a great debate between people who are proponents of Night of the Living Dead and The Evil Dead. I think all the arguing is futile. Both of these films are their own unique kind of beast and they’re both beautiful in their own way. Enjoy both these films for what they are and the debate should end and everyone busting a vein trying to win the argument should just shut up.

10/10

61 Days of Halloween- Children of the Corn IV: The Gathering

Posted on October 6, 2011 by bernardovillela

Naomi Watts and Mark Salling in Children of the Corn IV: The Gathering (Dimension)

Children of the Corn IV: The Gathering is an absolute dud. If it wasn’t for some of the performances this film might rank lower in the annals of the franchise than it does. It is seriously sluggish throughout and never gets anywhere fast.

The most notable thing about this film is that two of its more prominent players have gone on to bigger and better things and you can see why Naomi Watts and Mark Salling (Glee) are so much better than the parts they play and the film they’re in that they scarcely lift it up but merely make their portions of the film somewhat tolerable.

To get a sense of the issues that this film faces there is yet another noteworthy performance in this film and it is that of Karen Black. It’s actually a shame to see someone like Karen Black in a film like this and it made me think of the Family Guy joke about her just a little bit different, not as an obscure reference but in an obscure film.

This also one of the films in the series wherein the child prophet (Josiah played by Brandon Klayla) is missing through a large majority of the film. Rather than write him scarier he’s disfigured with bad prostheses and doesn’t invoke as much fear as he should, however, he is behind the eight ball due to his screen time.

This film also suffers from the fact that it’s the one that does the most to try and absolve the children of being evil. The corn and its disease plays a major role in this film and though some of the hospital scenes are the better ones in the film it’s a perpetuation of an unfortunate development in the series that thankfully dies after this film.

While this film does only somewhat better in juggling a blossoming romance and a horror story it misses the boat. The problem is romances are exciting and new and you “have” to watch the courtship and have it detract from the reason you’re watching the film, to be scared. Yes, it could help you connect to these characters and raise the stakes but it also introduces a lot of artifice and room for easy exposition, life stories as exchanges and so forth. Whereas in the original, the remake and the latest installment one of the stronger elements in all of them is that the couples have an existing relationship. They have a history they talk, debate, bicker and fight and you learn about them in a more subtle way and have a better chance of rooting for them because they are together and want to get out go on a honeymoon, have kids and what have you. Marriages, and/or committed relationships have more permutations, interest and conflicts than star-crossed love stories.

The other huge issue with this film is indicated by the subtitle, The Gathering. There’s not much more to it than that. It’s likely if not the most, one of the most anticlimactic films in the series. In the other ones, even those that aren’t good, at least deliver a compelling climax, in conception anyway.

I frequently write about the last image, shot and/or scene of a film being very important. After a film such as this one you want that scene to something quick and simple and hopefully not open, I’ll grant it that this one wasn’t an open end but still kind of a gimmicky one but unfortunately fitting considering what preceded it.

3/10

Review- Our Idiot Brother

Posted on September 30, 2011 by bernardovillela

Paul Rudd in Our Idiot Brother (The Weinstein Company)

Our Idiot Brother through its marketing gives you the impression that it’s just going to be a laugh-a-minute-comedy about a slacker brother and his more well-off family’s interactions, while it is funny there is more than meets the eye with this film. That can go both ways but it truly ends up being a good thing in this case.

First and foremost this is a showcase for the comedic talents of Paul Rudd, who rarely finds a vehicle like this where he can really showcase what he can do. From beginning to end in this film Rudd is in top form and there are exchanges whether it’s scripted or he went off-book that only he could make that funny. One of his confrontations with his ex-girlfriend (Kathryn Hahn) comes to mind.

Not to say this is a one man show, quite on the contrary. The aforementioned Kathryn Hahn is hilarious in this film as is her new beau, the good-natured Billy (T.J. Miller). In the family there are strong performances that show a good deal of range from Emily Mortimer, Zooey Deschanel, Elizabeth Banks, Rashida Jones and Steve Coogan. While playing a relatively simplistic character on the surface Rudd displays a different side of himself with each of the aforementioned characters as well as with Jeremy (Adam Scott), his sister Miranda’s (Banks) neighbor/potential love interest, they both share an affinity for Sci-Fi and with River (Matthew Mindler), his nephew, he can see what it is he really wants but never tells his parents.

This film toes the line of drama and comedy very well and in doing so manages not to be overly long. It keeps things funny but also keeps real world consequences involved but doesn’t let the bad things that can and will happen to people put a damper on things. The film like life goes on and it chooses to laugh at it.

Having said all that it is a very funny film indeed and you will likely walk away from it quoting one or two things there are some very good exchanges and some memorable, witty dialogue.

It also has one of Those Scenes. Meaning one of those great scenes by which you will remember the film and Paul Rudd’s performance. I refer to it as The Charades Scene and it is a perfect calling out of all the characters in the film without being too heavy-handed it shows just enough restraint and achieves brilliance due to the writing and performance of it. Naturally, it is also a crucial scene.

The film takes all of its narrative strands and subplots and deals with them rather neatly. Then at the end it meanders a bit and you don’t quite know why. When you find out it’s good for a laugh and a truly happy ending but you’re left wondering if that was truly needed.

Our Idiot Brother is a good comedy with some very good dramatic moments thrown in. Though in the end the results a re bit mixed in some areas, not just the very end, it’s very much worth viewing.

7/10