by George Wolf
YOU’RE NEXT
It looked like 2013 might be the year of the horror film. First came the visceral thrill of the Evil Dead reboot, then the spectral fun of The Conjuring. With the buzz surrounding the indie fright film You’re Next, it looked like we might be in store for the season’s third solid genre pic.
Nope.
Adam Wingard’s film has been lauded as Scream meets The Cabin in the Woods, which isn’t entirely wrong. You’re Next is a derivative work that copies Scream’s wink-and-nod use of genre tropes and applies them to a home invasion storyline, this time set in an isolated, wooded area.
Pudgy, weak, whitebread Crispian (AJ Bowen) brings his girlfriend to his parents’ secluded anniversary celebration. Uninvited guests in animal masks pick off attendants, but they’ve underestimated one guest.
Wingard is part of a new generation of horror filmmakers, a fraternity style community with members who work together frequently. Indeed, Wingard worked with Ti West on the compilation VHS; Bowan co-starred in West’s House of the Devil; West handles a small role in You’re Next as a boyfriend/filmmaker/victim.
Unfortunately, none of them makes particularly good films.
Not that You’re Next is especially bad. It’s just that, aside from some relatively entertaining sibling bitchiness, most of the ideas are cribbed from better films. Masked home invaders is far scarier in The Strangers; the animal masks saw their debut in 1973’s The Wicker Man ; many of the home invasion defense moves come directly from Sam Peckinpah’s Straw Dogs. It’s a long list.
Yes there’s a twist and some humor, but folks calling this film “a cut above” have clearly not seen some of the competition. Hell, You’re Next is not even the best “cabin in the woods” film released this year. What it is, is safe.
You’re Next subverts tensions before they can generate real terror. Wingard either lets the audience in on the secret or injects a bit of humor every time the film gets honestly tense. He undercuts each scene’s opportunity to scare, falling back on humor or action movie one-upsmanship instead.
One of the many genius moves Wes Craven made with his genre-upending 1996 film Scream was to balance humor and scares, to mine that tension that either bursts with a scream or a laugh. That’s the work of a horror filmmaker who knows what he’s doing.
You’re Next is the work of Adam Wingard. It turns out, that’s not quite the same thing.
THE SPECTACULAR NOW
The Spectacular Now suffers slightly from high expectations. National critics quickly heralded the film the summer’s best, and its quirky indie pedigree is tough to argue. The film marks Shailene Woodley’s first feature since her breathtaking turn in The Descendents. Penned by the duo that delivered 500 Days of Summer, directed by Smashed helmsman James Ponsoldt, and starring the charmingly charismatic, damaged doofus Miles Teller, the film’s buzz certainly felt potentially deserved.
A popular, life-of-the-party high school senior rebounds from a break up by dating a quiet, hard-working, nice girl. Brace yourself, there’s no make-over, no peer pressure, no angst.
No angst – what?!
It’s true. In fact, it is the film’s fresh approach that makes the safe decisions and clichés stand out. For a high school romance with an edge, The Spectacular Now is an engaging dramedy boasting stronger scripting and far superior performances than what you find in other likeminded works. Indeed, it sparkles in comparison to similar genre titles – the sickeningly overrated Perks of Being a Wallflower, for example.
Polsoldt never drapes his high school romance in nostalgia – a common mistake in films such as these – but looks at the situation with the clear view his protagonist lacks. With a handful of exceptions, the writing holds up, and when it doesn’t, credit Teller and especially Woodley for the sheer talent to buoy the occasional weak scripting.
Woodley, who wowed audiences with her turn as the thoroughly modern, cynical teen in Descendents, shows true range that proves her wealth of talent.
Viewers who remember Teller from his recent work in Project X and 21 and Over may see the young actor as a one-trick pony, again playing the likeable screw up with an alcohol dependency. In his performance here, though, we glimpse a bit of the nuance and power fans of his work in 2010’s Rabbit Hole will remember.
Unfortunately, The Spectacular Now falls too conveniently into a formula framed by the dreaded college essay. Ponsoldt lets his crisis off the hook far too simply, and where the resolution should have felt appropriately ambiguous, it instead seems superficially settled.
But cast that all aside and drink in two of the most fully crafted teens ever to hit the screen. The team of Ponsoldt, Woodley and Teller plumb for that bittersweet combination of longing, confidence, vulnerability and potential that marks adolescence. While his film may be merely better than average, his leads are truly spectacular.
BLUE JASMINE
Here’s a news flash: Cate Blanchett can act a little bit. In fact, her performance in Blue Jasmine is so effortlessly great, it’s as if we’re discovering her wealth of talent all over again.
It doesn’t hurt that writer/ director Woody Allen has given her a fantastic character to dig into, and Blanchett gives Jasmine multiple dimensions from the very first scene. Jasmine is bending the ear of a fellow air traveler, her neurotic front of superiority on full display. It is a complex role to be sure, but Blanchett has us hooked from the start.
Jasmine’s marriage to Hal (Alec Baldwin) has crumbled, taking with it a luxurious life in New York. Broke and desperate, she’s forced to swallow some of her ample pride and move in with her sister Ginger (Sally Hawkins) in San Francisco.
Ginger and her ex-husband Augie (Andrew Dice Clay– surprisingly effective) have a suspicious history with Jasmine, while Ginger’s new boyfriend Chili (Bobby Cannavale) tries to stay friendly through the constant, sometimes not so subtle put downs. As we witness Jasmine’s effect on everyone around her, frequent flashbacks slowly provide answers to questions from the past.
Though Blanchett and the excellent ensemble cast do find some humor in Allen’s sharp dialogue, this isn’t funny business. After scoring with wonderful, whimsical, globe-trotting comedies the last few years (Midnight in Paris, Vicky Cristina Barcelona), Allen comes home to craft a finely tuned drama on common anxieties of modern American class warfare.
The film offers plenty to like, but Blanchett’s Oscar-worthy performance sits at the very top of the list. She makes a shallow, obnoxious character so completely human you can’t bring yourself to hate her.
A sublime intersection of character and actor, Blue Jasmine should not be missed.
THE WORLD’S END
After successful romps thru zombie flicks (Shaun of the Dead) and cop dramas ( Hot Fuzz), Simon Pegg and company finish up their “Cornetto Trilogy” with The World’s End, a wild science fiction sendup that will put you in the mood for a cold beer.
Lost soul Gary King (Pegg, who also co- wrote the script) feeds the nostalgia for his youth by rounding up his old gang and convincing them to finish a job their younger selves never could. In 1990, they fell short of competing the local pub crawl known as “The Golden Mile”: twelve pints in twelve bars, concluding at a watering hole called The World’s End.
They meet in their old hometown and begin the task, only to find that things have changed…to the tune of invasions and body snatchers.
While never laugh out loud funny, The World’s End does provide plenty of fun, mixing tongue in check nods to the sci-fi genre with frenetic action and age old lessons about going home again.
If that sounds a bit all over the place, it is. Director/co-writer Edgar Wright can’t seem to find a pace that suits him, instead opting to just try a little bit of everything and see how that works. Though the film sputters a bit getting out of the gate and suffers some misfires in character development, it actually manages to come together pretty well.
Oops, gotta run…our plane just landed in Key West and we’ve got a pub crawl of our own to start.
Read more of my recent film reviews at MaddWolf.com!