On a Secret Beach, Time Moves in a Blur

Gael García Bernal in "Old"
Photo Credit: Imdb.com

When it comes to writer-director M. Night Shyamalan, it seems like his movies can mostly fall into one of two categories: there’s “How did he think of this?” like “The Sixth Sense” and “Unbreakable,” or “What was he thinking?” like with “Lady in the Water” and “The Happening.”  It’s rare that a movie of his will fall somewhere in the middle, with it not being good, but also not quite being bad.  Such a thing occurs with his latest psychological-thriller, “Old,” where you’ll just about find as much to like as don’t like.

For a final vacation before their divorce, Guy (Gael García Bernal) and Prisca (Vicky Krieps) take their two children to a tropical resort.  When the family and another group of people are invited to a secluded beach, they discover that there’s a mysterious and inescapable force that’s causing them to age through their lives in a single day.

With the cast including talented actors like Bernal, Krieps, Rufus Sewell as a fellow victim, and Alex Wolff and Thomasin McKenzie as older versions of Guy and Prisca’s children, it’s a shame that their acting comes off as wooden for the most part.  Although this issue can be attributed to the dialogue, sometimes it seems like they and the rest of the cast aren’t even trying.  However, the acting becomes somewhat better as the movie goes on, mostly from Bernal, Krieps, Wolff, and McKenzie, who are given a pretty moving scene together in the third act of the film, a scene that showcases the deeply emotional side to this chilling scenario.

Shyamalan’s screenplay, which is based on Pierre Oscar Levy and Frederik Peeters graphic novel, “Sandcastle,” has a significant issue that becomes present within the first few minutes: expositional dialogue.  A good deal of the dialogue in the film doesn’t sound natural because none of the characters speak in such a way that real people do.  The characters explain things about themselves and other aspects of the story, instead of allowing the script to reveal such aspects to us in an organic way.

Despite this issue, it’s hard not to admit that the central mystery is rather engaging.  While some details are just thrown at us as an easy way to explain certain things, there are still some intriguing ideas about how time works on the beach.  This shows that even though the screenplay is weak with the dialogue, it somewhat makes up for it with its “Twilight Zone”-like story and existential themes.

The cinematography by Mike Gioulakis, who collaborated with Shyamalan for “Split” and “Glass,” teams up with him again for “Old.”  Between “Split,” David Robert Mitchell’s “It Follows,” and Jordan Peele’s “Us,” Gioulakis has become a reliable individual when it comes to lensing horror movies.  What’s most notable is his use of long takes that allow us to experience the events of the movie in real time as we feel that time unfolding quickly for the characters.  He also gives us effective closeups that let us see the small, gradual changes in appearance of the individual group members as they begin to display the impacts that the accelerated aging has on them.

While Shyamalan shows a weakness on the character and dialogue aspects of the movie, he still shows that he has the ability to construct a visual uniqueness and creating a sense of dread that’s just as effective in daylight as in the night.  With his eye for creepy imagery and talent for building an unsettling atmosphere, this movie also gives Shyamalan the opportunity to experiment with body horror, particularly in a scene involving an impromptu surgery.

While “Old” doesn’t reach the heights of Shyamalan’s better movies, it’s also far from being one of his worse.  Yes, it can be frustrating at times because there are glimmers of a better version of this movie, but when you think of all of the recycled ideas in most mainstream movies, it’s hard not to be curious of a concept that’s as out-of-the-box as this.  The quality of Shyamalan’s films might come and go like the tide, but whenever he presents an intriguing idea, it can still be worth your time to dip your toe into those waters.

Grade: B-

From the Woods, a Man Sets Out to Rescue a Friend

Nicolas Cage in "Pig"
Photo Credit: RottenTomatoes.com

In his stunning directorial debut, Michael Sarnoski brings us his drama-thriller, “Pig.”  It’s the type of movie where the plot seems deceptively simple at first, but then takes you down some avenues you wouldn’t expect.  And, for Sarnoski to accomplish this on his first movie, it’ll have you excited for what he can do.

Robin Feld (Nicolas Cage) is a former chef from Portland who now resides in the Oregonian forests with his truffle-foraging pig.  When two people break into his cabin and steal his pig, Robin ventures back into the city to get it back.

The work that Cage exhibits is some of the best that he’s done in years.  He delivers a performance that’s beautifully subdued, but still allows him to have one of his “Nicolas Cage” moments from time to time.  We always see a fury brewing underneath, a fury that threatens to come out at any moment.  He does wonderful work in presenting a character who has found peace in his new life, but doesn’t hesitate to leave his surroundings to get his friend back, walking through the city streets with a Terminator-like unstoppability.  In the quieter moments, Cage has dialogue that offers some Robin’s insights of the world and culinary arts, offering us a deep and somewhat tragic view of who this character is.  The emotion and subtitles that Cage uses in this role make you remember the talent of which he’s capable, and it’s a performance that you’ll want to revisit.

Alex Wolff has a supporting role as Amir, a businessman who sells the truffles that Robin unearths.  While his character might seem like a one-dimensional jerk at first, there’s so much more to him that’s revealed as the movie goes on.  There are layers of heartbreak to Amir that Wolff portrays to poignant effect, creating an arc that surpasses your expectations and keeps you wondering how it will unfold in the backdrop of Robin’s quest.  Wolff handles a smooth transition to this part of his character, showing a humanity that breaks through the initial selfishness.

Adam Arkin shows up for a couple of scenes, offering an intimidating presence that keeps you on your guard as you wait to see what his initial meeting with Robin will mean of the remainder of the movie.

While the cinematography by Patrick Scola provides superb imagery of both the forest and the city, the shots of the former are what stand out the most.  Scola shows Robin’s home in the woods with the sunlight streaming through the trees, as well as the morning mist creeping through, and it’s in these shots where we experience the tranquility that Robin has while living in the woods and the life that he’s built for himself.

Sarnoski’s screenplay doesn’t waste any time getting started.  It spends the first 10 minutes establishing Robin’s lifestyle, and then goes right to the break-in at his cabin and him venturing to Portland.  The narrative brings us to an underground world of restaurateurs, giving us a fascinating view into the urban landscape that Robin and Amir must traverse.  Along the way, we meet several characters, each for a short period of time, but are given a clear view as to how they fit in with Robin’s past and present.  It’s an absorbing and mysterious world to which we’re transported, and Sarnoksi offers several layers to his story that has more depth than you would expect.

Sarnoski maintains a strong sense of foreboding throughout the movie, keeping us on edge not only as to what might befall Robin and Amir, but also how far Robin will go in order to get back his pig.  We’re always aware of the potential dangers that lurk within the city, having us feel that sharpness of the transition from the seclusion of Robin’s home to the busy streets of Portland.  In the middle of this, Sarnoksi includes a humorous tone from time to time as we watch the mismatched pairing of the disheveled Robin and the well-groomed Amir go from conflicting with each other to a sense of understanding.  The movie is several things: a dark buddy-comedy, a revenge thriller, a meditative drama, and even a humorous critique on overly trendy dining, and the film’s tonal shifts fit with the intriguing strangeness of the narrative.

For one of the best films of the year so far, “Pig” isn’t just a return to form for an established actor, but is also an announcement for a thrilling new voice in filmmaking.

Grade: A

Top Five Movies of 2021 So Far

From left: Millicent Simmonds, Noah Jupe, 
and Emily Blunt in "A Quiet Place: Part 2"
Photo Credit: RottenTomatoes.com

5) A Quiet Place: Part 2 - Writer-director John Krasinski returns with a masterful follow-up to his 2018 horror smash, which follows Evelyn Abbott (Emily Blunt) and her three children as they venture out from the safety of their home to find survivors of an alien invasion.  All of the performances are strong, but the standouts are Millicent Simmonds, who portrays Blunt’s daughter, and Cillian Murphy, who plays a survivor who takes in the Abbotts.  Krasinski offers a thrilling narrative that expands the ideas of the first movie, introducing us to intriguing aspects of the world within the story, while also providing plenty of emotional character moments.  And, we can’t forget the nerve-shredding opening sequence that shows how the invasion unfolded in the Abbotts’ hometown.  This is a superb second chapter that will get you more than excited for the potential third installment, and if that one comes to pass, Krasinski could end of up making a rare trilogy where each entry is a superb achievement.

Anthony Ramos in "In the Heights"
Photo Credit: RottenTomatoes.com

4) In the Heights - Musicals have always begged to be seen on the big screen, and director Jon M. Chu’s adaptation of the Broadway show was a great way to go back to the movies after a long hiatus.  The film tells the story of a group of people in Washington Heights who work hard to follow their dreams.  Anthony Ramos is terrific in the lead role, and Leslie Grace and Olga Merediz are the standouts in a strong supporting cast.  Seeing this movie in a theater is the best way to appreciate the technical craft that went into creating it, with all of the energy bursting off the screen and treating you to something wondrous.  Between the acting, sweeping story, dancing, singing, cinematography, and art direction, this is a movie that immerses you in its endearing narrative and gorgeous visuals, bringing you an experience that will make you feel as though you never left the movies.

Jim Henson and Frank Oz in
"Street Gang: How We Got to Sesame Street"
Photo Credit: RottenTomatoes.com

3) Street Gang: How We Got to Sesame Street - One of the best movies of the year so far is also the most heartwarming.  Director Marilyn Agrelo delivers a documentary that tells the story of how “Sesame Street” was conceived and includes insightful interviews from the writers, producers, and artists who had a hand in bringing the show to life.  Through this film, we’re given a humorous and emotional view into one of America’s landmark television shows, a show that resonated with both children and adults.  When you learn about how this show came to be and how it evolved over time, you’ll see why it has lasted for over 50 years and continues to make an impact on modern audiences.  Despite there being a long history with “Sesame Street,” this documentary is still able to depict many details about the hard work that went into bringing this groundbreaking show to countless homes, where it has always been welcome.

Clayne Crawford in 
"The Killing of Two Lovers"
Photo Credit: RottenTomatoes.com

2) The Killing of Two Lovers - Writer-director Robert Machoian’s tense drama begins with a quiet bang, and then becomes more unsettling from there.  He tells the story of David (Clayne Crawford) who becomes more and more jealous of his ex-wife, Nikki (Sepideh Moafi), after he learns that she’s been dating a new man, Derek (Chris Coy).  The three central performances provide an abundance of nerve-racking apprehension as their confrontations become more and more strained.  Each interaction has an electricity to it that makes you wonder how these characters are going to reconcile their differences, and you’ll be on edge as the characters continue to collide in their small town.  This accomplishment is helped by Oscar Ignacio Jimenez’s cinematography that provides an up-close-and-personal feel of the animosity within this love triangle.  You’re given a full sense of the stress that’s ingrained between David, Nikki, and Derek, and Machoian will keep you riveted as he brings you along this rocky and startling journey. 

Rachel Sennott in "Shiva Baby"
Photo Credit: RottenTomatoes.com

1) Shiva Baby - Writer-director Emma Seligman makes a stunning feature directorial debut with her comedy-drama, which follows Danielle (Rachel Sennott), a college senior who accompanies her parents to a shiva, where she experiences many uncomfortable encounters and inquisitions with friends and family.  Through her humorous and heart-rending performance, Sennott makes her sense of unease palpable as she tries to make it through a seemingly inescapable gathering.  At barely 75 minutes, there’s so much anxiety built into each scene, and you’ll be recoiling many times from the awkwardness that ensues between Danielle and her acquaintances.  Despite the brief time that we spend with Danielle, Seligman has us understand the depth of the main character’s situation and makes full use of the claustrophobic setting to deliver a film with enough suspense to fill a movie that’s twice as long.  This is a movie that will have you squirming all of the way through, but you won’t be able to get enough of it.