Gaslight

The Movie Snob checks in with a new review of an old movie.

Gaslight  (B+).  This 1942 classic stars the beauteous Ingrid Bergman (Dr. Jekyll and Mr. Hyde) as Paula Alquist.  In the opening scene, we see a very young Paula being escorted away from the London townhome where she has just discovered the body of her murdered aunt (her guardian since birth).  Flash forward a few years, and Paula is living in Italy.  She has followed in her aunt’s footsteps by studying music and singing, but we learn she has just been swept off her feet by a debonair foreigner named Gregory Anton (Charles Boyer, Fanny).  Anton is strangely eager to move to London, and into the townhouse Paula inherited from her aunt.  And once they are ensconced there, Paula seems to start to lose her grip on her sanity, and Gregory becomes ever more controlling.  What is happening?  Straight-arrow Scotland Yard detective Brian Cameron (Joseph Cotten, The Third Man) senses something is amiss, but can he figure it out in time to help Paula?  I quite enjoyed this classic old noir.  Watch for a young Angela Lansbury (TV’s Murder, She Wrote) as a saucy housemaid.

Split

The Movie Snob is creeped out—but not in a good way.

Split  (F).  I had not seen an M. Night Shyamalan movie since Lady in the Water, but it sounded like many critics were hailing this as a return to form, or at least the director’s best work in a long while.  And I was curious to see good guy James “Professor Xavier” McAvoy (X-Men: Apocalypse) play the villain.  So I decided to give it a try.  I found that I agreed with the minority of critics who have criticized this movie as a nasty, icky, exploitative piece of work.  McAvoy plays a fellow with multiple-personality disorder.  At the beginning of the movie he kidnaps three teenaged girls and locks them up in some sort of industrial-looking subterranean labyrinth.  He takes some of their clothes.  He ominously warns them that they are going to become “sacred food” for “the beast.”  In short, the threat of sexual violence is omnipresent.  Making matters worse, child abuse and child sexual abuse are alluded to in some very unpleasant flashbacks.  I hope the young co-stars (Anya Taylor-Joy, The Witch; Haley Lu Richardson, The Edge of Seventeen; Jessica Sula, TV’s Recovery Road) find better movies to star in.  Much better.

P.S. I always like to make a note when I am the only person in the theater for a movie, and I think that was the case with this one.  It was a few days ago, though, so don’t quote me on that.

Nocturnal Animals

A new review from The Movie Snob.

Nocturnal Animals  (D).  I knew this movie was supposed to be dark, but it stars all-American girl next door Amy Adams (Arrival), so how dark could it really be?  Very dark, as it turns out, and disturbing as well.  The opening scene is grotesque and disturbing.  Then we dig into the real story–Susan Morrow (Adams) is a miserable Los Angeleno in a loveless marriage.  Then she gets a package from her long-ago ex-husband Edward (Jake Gyllenhaal, End of Watch).  It’s the manuscript of his new novel, Nocturnal Animals, and we see the novel play out on the screen as Susan reads it.  In the novel (and on the screen), a mild-mannered husband (also Gyllenhaal) and his wife (Isla Fisher, The Great Gatsby) and daughter (Ellie Bamber, Pride and Prejudice and Zombies) are terrorized by a trio of west Texas rednecks who run them off the road in the middle of nowhere in the middle of the night.  After this sequence, which is suspenseful AND disturbing, the husband turns to a laconic lawman (an excellent Michael Shannon, Midnight Special) to help him get justice.  Is Susan’s ex-husband trying to tell her something with his novel?  I’m not usually very attuned to subtext in movies, but it seems like director Tom Ford is beating us over the head with one here.  Anyway, this movie was too dark and disturbing, and ultimately unconvincing, for me.  Rated R for violence, menace, graphic nudity, and language — and they mean it.

Morgan

A movie review from The Movie Snob.

Morgan  (D).  Okay, you are probably asking yourself, “Why did The Movie Snob waste his time with this poorly reviewed sci-fi thriller?”  Basically, I saw it because it features Anya Taylor-Joy, who was quite good in the recent spookfest The Witch: A New-England Folktale, and I wanted to see more of her acting chops.  Unfortunately, this movie was not a good showcase for anybody.  Kate Mara (The Martian) stars as Lee Weathers, a corporate honcho sent to investigate an “accident” at a secret research facility under a spooky old backwoods house.  Turns out that genetic experiments have resulted in the creation of Morgan (Taylor-Joy), a freaky smart and strong teenaged girl who is actually only 5 years old.  And we all know how playing God with genetic experiments goes.  There’s very little fun to be had, but it is sort of fun watching notable actors you didn’t know were in the movie pop up unexpectedly.  Hey, there’s Jennifer Jason Leigh (The Spectacular Now)!  And Paul Giamatti (Rock of Ages)!  And that guy who played Agamemnon in Troy!  But the movie is basically a stale retread of other movies, some better (Ex Machina, Hanna) and some not (Species).  The ending is a real howler.  Skip it.

Hell or High Water

A new review from The Movie Snob.

Hell or High Water  (B+).  This is the best movie I have seen in a while–a tense little crime drama about a couple of brothers who go on a bank-robbing spree in various desolate west Texas towns.  Jeff Bridges (The Big Lebowski) chews the scenery and steals the show as the grizzled old Texas Ranger (a few weeks from retirement, naturally) who is on their trail, but his Hispanic partner Alberto (Gil Birmingham, Twilight) has some memorable lines as well.  The bank-robbing brothers are fine too: loose cannon Tanner (Ben Foster, The Messenger) and thoughtful, relatively honorable Toby (Chris Pine, Into the Woods).  What are the brothers really after?  Will the Rangers catch up with them, and what will happen if they do?  It’s rather like Bonnie and Clyde, I suppose, except I liked this movie even better.  Screenwriter Taylor Sheridan also wrote last year’s very good Emily Blunt pic Sicario, so I think he is one to watch.

Nerve

The Move Snob finally makes it back to the movie house.

Nerve (C-).  A suspense flick about about a bunch of teenagers who get caught up in a dangerous web-based game of truth-or-dare (minus the truth part) is not exactly the kind of movie that would ordinarily catch my eye.  But The Weekly Standard‘s movie reviewer, John Podhoretz, called it a “nifty suspense thriller,” so I thought I’d give it a look before it disappears from the big screen.  I should have looked for something else.  Emma Roberts (Hotel for Dogs) plays Vee, a good girl who gets caught up in the thrill of the game, and Dave Franco (Neighbors) plays the sketchy hunk that the game throws in her path.  It’s kind of like a cross between those classic 1990s flicks The Net and The Game.  It’s never terribly believable (or suspenseful), and the ending is ridiculous.  But if you’re a parent of teenagers or soon-to-be teenagers, it might make you even more nervous about what your kids are doing online.  If you’re not, it’s just a cheesy way to spend 96 minutes of your life.

Midnight Special

New from the desk of The Movie Snob.

Midnight Special  (B).  Jeff Nichols, the writer/director of the very good film Mud, is back with a science-fiction/action/suspense movie starring Michael Shannon (Man of Steel), Joel Edgerton (Jane Got a Gun), and Kirsten Dunst (Elizabethtown).  We join the action already in progress—there’s an Amber Alert out in west Texas for an abducted eight-year-old boy named Alton (Jaeden Lieberher, St. Vincent).  We quickly figure out that he has been abducted by his dad Roy (Shannon) and Roy’s friend Lucas (Edgerton).  And we don’t mind so much, because apparently Roy and Lucas abducted Alton from a weird religious cult, and they want him back—bad.  The federal government, personified by Kylo Ren himself (Adam Driver, Star Wars: Episode VII), also has a keen interest in the lad.  What’s up with the boy?  Why does he wear goggles most of the time, and big ear protectors when he sleeps?  And why is everybody after him?  Although the movie felt a little derivative, especially of one other movie that shall remain nameless, I still enjoyed it.