There’s a bunch of random stuff that ends up at Redbox that never really gets on your Netflix radar so if you’re looking for a quick, cheap rental it’s a good resource to check every so often. Redbox also seems to be attracting, and placing in a more prominent way, some indie titles that are getting overlooked as other outlets balloon. That leads me to 7 Below. This is a horror film which boasts brief turns by both Val Kilmer, very brief, and Ving Rhames, not as brief, however, it’s carried mainly by its as of yet unknown cast. There’s a lack of focus in the early going with regards to the MacGuffin and a lack of detail and an air of mystery about everything. It’s a film that would be better served by not playing things so very close to the vest. There are some good and surprising twists to be had and the results of which I actually enjoy, but the whole film plods towards them such that I waited for them and expected them I just wasn’t sure quite what. It truly is a shame that certain aspects were quite predictable when others weren’t it just required a bit more fine-tuning to get just right.

To start off with the positives on this film: Firstly, on a personal note, I was thrilled to discover I even get Chiller via my cable provider, as I had not in the past. Secondly, any time a fledgling network is branching out into original programming be they series or films I support that wholeheartedly. Thirdly, this is a very ambitious story, even more so when you consider it’s the first production you’re airing so that bodes well for the future, but sadly it feels like a bit of an over-reach here. 

The main issues are with performance and adaptation. For the tale this film entails you need every single person in the cast to have serious chops and to fit the role to a tee and you don’t quite have the depth here. The only two noteworthy turns are Nolan Gould, best known as Luke on Modern Family, in the first truly dramatic piece I’ve seen him do and Trevor Harker, who shows the most promise in the young ensemble. With regards to the adaptation: First, the dialogue issues are rampant, and second, it seems like it might have been a bit slavish structurally and when telling a tale a bit more involved than most it makes the end seem rather abrupt and certain portions disjointed. It’s not an easy task, as there are a few pieces of commentary being attempted but all the more reason to do it properly. Few things are worse than well-intentioned commentary in an unfortunate vehicle.

I don’t know the source material but it seems as if they needed to get a bit creative in structuring and editing material, as well as streamlining events. This also throws the pace way off. There are some issues with production value like the not-quite-so-period costuming and the intolerable scoring.

While the film does end much stronger than it starts it’s still too much of a mess to be passable.

Perhaps what’s most enjoyable about Meeting Evil is that it really plays with your expectations. It’s kind of a down the rabbit hole scenario wherein the protagonist (Luke Wilson) unwittingly gets himself further and further ensnared in a web of murder, duplicity and intrigue. Where we the audience come into play is that the film never cheats but has some really great twists along the way playing into one trope or another and then pulls a switch on us. It’s great stuff because what it does is keep you engaged and stays just a step or so ahead of you but you never feel bamboozled, for better or worse. 

It’s also a film that allows its actors some room to play, Samuel L. Jackson in particular seems to truly relish this part and does great things in this film. Jackson is menacing, funny and truly a character in this tale, there’s a depth and intelligence to his madness. When all is said and done and you look back upon it you’ll see Luke Wilson does well too, faults you may find are more likely attributable to his character, but necessary for the story to function. The film also has a great sequence at a dilapidated farm house. It’s sequences like this and performances in small roles that can sometimes stick out most in a movie, granted the nature of the film makes it memorable regardless, but this sequence is where it shines. The performance in a small role of which I speak is that of Ryan Lee (Super 8) who has a brief but intense interaction with Jackson that stands out in similar fashion to Young Erik’s backstory in X-Men: First Class.

Meeting Evil is a film that does not stand still for long and is memorable for it, and for refusing to be run-of-the-mill. It will be in limited release on May 4th and is available via Amazon, Vudu and iTunes streaming right now.

This film is a perfect example of a translated title that doesn’t quite do the film in question justice. If you were to translate the Brazilian title of Found Memories literally it would be Stories That Only Exist When Remembered. Granted that is more of a mouthful but it gives you a better sense of the kind of film you’re getting I feel, because as I watched the film I realized there was perhaps one of the more subtle Magical Realism tales I’d seen, one with with extreme emphasis on the the realism. Yes, there is a rather mundane, repetitious nature to certain scenes but the equation is skewed as the film progresses by a newcomer. The framing of many shots is wonderfully precise and as the story unfolds you are taken in both by the stories being told by the characters themselves as well as the ones being told about them by the film, which in many cases are parallel but not identical. Found Memoriesis a tremendously subtle, yet at times rapturous, look at small town life in a Brazilian town that should still be able to play anywhere and I highly recommend it.

This is a repost of a review that was included in a round-up. Cold Sweat can currently be streamed for free with ads on Vudu, Tubi, and Plex; rented or bought on Amazon, Fandango at Home or YouTube.

One thing I thought was particularly interesting an effective about Cold Sweat was the implementation of antagonists who just could not let go of the past in a very villainous way. At the start of Cold Sweat there is archival footage that gives you a brief overview of the revolutionary and counterrevolutionary factions at play in Argentina in the 1970s, then you get a very specific incident chronicled. You know this will all come back into play, you just don’t know how. Now, using overt political symbols in horror has been done, most commonly with Nazis in all likelihood. However, the circumstances and players of each countries political past (and seedy underbelly) are all somewhat different, and the refracted ideologies, and reverberations thereof, can still be felt at current, in one way or another. So it is rather fascinating to find this angle in this film because it lends a specificity to the film and a voice; a stamp of a national cinema. Coincidentally, I saw another Argentinian (co-produced with Spain) horror film soon after this one that implemented many similar threads. The horror setpieces and manipulation of given tropes in this film is quite effective, but it its this backdrop of sociopolitical commentary, past and present, combined with the narrative that makes this such an intriguing film.

Apologies for posting this blank earlier today. Am updating it now.

I will be live blogging during the Academy Awards tonight as I have been for a few years.

Red Carpet

Started watching red carpet coverage starting at 4. It’s been a long time since I watched it this early.

Liking Laverne Cox on the carpet and Christian Siriano’s panel.

Ceremony

This year’s plan to bring out former winners to announce nominees is really great.

It’s spectacular to see Mary Steenburgen and Rita Moreno there.

Da’Vine Joy-Randolph’s award was most well deserved indeed and that speech was spectacular.

All the animated shorts should be viewed. War is Over won for messaging and love of the Beatles, but it wasn’t the best film by any means.

Jimmy Kimmel is in full dad-joke mode this year.

ANATOMY OF A FALL!!! Hell, yeah!

Cord Jefferson’s speech is espousing what I’ve wanted from the studios for twenty years.

I was thinking earlier today how awesome it is that John Cena seems up for anything based on his new Amazon movie and now he does the naked bit on the Oscars. 🤣😂😅😂🤣🤣😅🤣

Gonna be hard to top Emily Blunt and Ryan Gosling’s patter before the stunt montage.

RDJ’s speeches this season have been great.

I haven’t seen Michael Keaton’s reprise of Batman but the Oscars might have provided something better.

The Last Repair Shop is a lovely and moving documentary that is streaming on Disney+. Watch it.

20 Days in Mariupol is next on my tough-watch must-see documentary list.

If Bert Sugar is your thing it’s on Netflix. It’s very much not mine, I suggest you seek out the other nominees.

Unusual for a non-action movie to get a Best Sound award but I don’t dislike it. It should happen more often.

OK, “I’m Just Ken” was worth the wait.

Billie Eilish and company sneaking by the Academy president is one of the better moments of the night.

Conclusion

Posts were admittedly a bit light this year because of a small viewing party I had. Thought it was a good show overall.

There actually was some drama because while Oppenheimer winning was not a surprise, the trajectory of the winners didn’t make that seem like an entirely sure thing.

The moment was a bit deflating due to Al Pacino’s slight fumble on the reading of the envelope, though.