Once Partial to the Woods, an Ancient Evil Returns in a Dingy Apartment

Lily Sullivan in "Evil Dead Rise"
Photo Credit: RottenTomatoes.com

When it comes to horror directors, one of the most distinct visions comes from Sam Raimi.  With his trilogy of films that includes “Evil Dead,” “Evil Dead 2,” and “Army of Darkness” (1981-1992), he gave us a series that reveled in its scares and campiness, creating an enjoyable viewing experience that was bolstered by Bruce Campbell’s iconic performance as protagonist Ash Williams.  Then, in 2013, Fede Álvarez made his feature directorial debut with the series reboot, “Evil Dead.”  While somewhat inferior to the original, I developed a bit more of a liking to it upon a recent rewatch.  It can be appreciated as a notable addition to the series with its shift in tone to something much darker that helped set itself apart from what came before.

For the film’s fifth installment, we have something that maintains the tone of Álvarez’s film with writer-director Lee Cronin’s “Evil Dead Rise.”  Lifted by good performances, a fast-paced story, and disturbing visuals, Cronin’s movie deserves its place in this series.

In Los Angeles, guitar technician Beth (Lily Sullivan) visits her sister Ellie (Alyssa Sutherland), a single mother with three children: Danny (Morgan Davies), Bridget (Gabrielle Echols), and Kassie (Nell Fisher).  When Ellie’s children happen upon a volume of the Book of the Dead in a hidden part of their apartment complex, their family will face a terror unlike they’ve ever known.

Sullivan gives a performance that’s worthy of what Campbell delivered in the earlier films.  She exemplifies a fearlessness when it comes to protecting her family, going all into the horror of the situation and battling an evil that threatens everyone she loves.  Even with the seemingly unstoppable quality of the demonic entity, Sullivan brings out her character’s ferocity that will have you cheering as she uses her on-the-spot ingenuity to dispatch this ancient threat.

Sutherland provides chilling work as a mom who becomes possessed by a demonic force that’s released from the book.  With unnatural body movements and unsettling facial expressions, Sutherland presents a character who’s frightening to behold, a person who goes from being a loving mother to someone who’s enshrouded in evil.

Although Cronin’s screenplay is mostly a same-thing-different-location sort of affair, he still manages to write set-pieces that utilize the change of scenery.  Whether it be the family’s apartment, a low-lit hallway, or an underground parking garage, he creates scenarios that show different ways to view the usual “Evil Dead” template.  Aside from the sequences of horror, Cronin dedicates much of the film’s first third to letting us get to know the characters and the dynamics that they share, ensuring that you’ll care for their plight once it hits.  The concept of a family being tormented by evil is something that we saw in his 2019 writer-directorial debut, “The Hole in the Ground,” and Irish horror film where he focused on a mother and son being haunted by an unknown terror, and that aspect works just as well here.

The cinematography by Dave Garbett uses the franchise’s signature move of the camera sweeping through the setting, acting as the demonic entity as it travels to its next victim, and it’s just as eerie as ever.  He also employs several other standout visuals, most notably a sequence where we view a scene of horror through the peephole of the family’s apartment door.  There are several things that the “Evil Dead” series promises with each entry, one of which is nifty camerawork, and Garbett delivers in this respect.

As a director, this is Cronin’s second movie.  After “The Hole in the Ground,” he makes the confident leap from the low-key horror of that film to the searing, blood-and-gore intensity that we see throughout “Evil Dead Rise.”  He proves his capability with dramatic moments in the film’s first third, but once the film goes full-tilt into the horrors that we’ve come to know with this franchise, Cronin doesn’t hold back.  Just as Álvarez did with his reboot, Cronin does Raimi proud with the levels of blood that are on display, exhibiting creative ways for all of the splatter to hit the screen and giving us a visceral and crazy fun experience.  He maintains the momentum of the film as a quick-moving red-shower horror show, ensuring that you get the most out of the film’s brisk running time.

It’s been 10 years since we had an “Evil Dead” movie, and Cronin and his team have the series return in full force.  Whatever this franchise has next in store, I can’t wait to see it rise again.

Grade: A-

For the Deal of a Lifetime, Nike Lays it All on the Court

Peter Moore, Matt Damon, and Jason 
Bateman in "Air"
Photo Credit: RottenTomatoes.com

Given how many sports movies there are, it’s safe to say we’ve pretty much seen every story there is to tell in the genre, whether it be fiction or nonfiction.  However, one of the best sports films of the last few years had a primary focus that wasn’t the actual playing of the game, but what happened behind the scenes, and that movie was Bennett Miller’s 2011 baseball film, “Moneyball.”  It’s a film that showed what occurs outside of the game can be just as intriguing as seeing it it played.

Director Ben Affleck does something similar with his latest film, “Air.”  Having not released a film as a director in over six years, it’s terrific to see him back with this soaring, crowd-pleasing, biographical comedy-drama that chronicles the making of the Air Jordan shoe.

In 1984, Nike is close to shutting down its basketball shoe division due to low sales.  Soon,  Nike’s basketball talent scout Sonny Vaccaro (Matt Damon) decides to pursue rookie basketball player Michael Jordan for a business deal.  Despite Jordan being scouted by other athletic companies, Sonny will do whatever he can to secure the soon-to-be basketball star and revive the Nike brand.

Damon gives an impassioned performance as a man who relentlessly goes after a long shot that can make or break his career and those of everyone around him.  With determination and ingenuity, Damon has us experience his character’s unstoppable drive to achieve what others think is impossible.  It’s a performance that’s peppered with humor as he clashes with his coworkers and business rivals, but one that never forgets the dramatic stakes behind what he’s doing.  This is your typical underdog character, but that doesn’t mean it’s not effective, and like his other great inspirational performances that can be found in “Good Will Hunting,” “Invictus,” “The Martian,” and “Ford v Ferrari,” Damon has a talent for making us feel the emotional triumph of his characters.

For this film, Affleck pulls double duty once again.  Aside from being behind the camera, he’s also part of the cast, portraying Nike co-founder and CEO Phil Knight.  This is a performance that pushes against Damon’s, as Affleck shows the doubts that his character feels in his company’s output.  You see someone who’s torn between wanting to support his friend, but also must think about the company and what’s best for them as a whole.  Affleck displays the tension Knight exhibits with the current state of his business, knowing his company is at a turning point and wants to make sure that the right decisions are made.

Viola Davis gives an excellent supporting performance as Michael’s mother, Delores.  Davis displays the love that her character has as a parent, and extends that love and protectiveness when displaying the business sense to know what’s best for her son so that he’s given what he’s worth.  There’s a gentleness to her throughout, but also an understatedly stern demeanor, particularly when it comes to a climactic scene between her and Damon when she discusses the terms of their agreement about Michael.  It’s in this scene where Delores shows that when dealing with a business that has her son’s future in its hands, she means business, as well.

As for the rest of the cast, Jason Bateman uses his talent for deadpan delivery as always for playing Marketing VP Rob Strasser; Marlon Waynes appears as George Raveling, a college basketball coach and friend of Sonny’s; Chris Messina is very funny as Michael Jordan’s cutthroat agent, David Falk; Chris Tucker makes an entertaining appearance as the fast-talking Nike junior executive Howard White; and Matthew Maher inhibits the role of Peter Moore, the brilliant designer of the Air Jordan.

The screenplay by Alex Convery offers an engaging business narrative that offers a deep dive into what went on in the middle of all of the wheelings and dealings to make this success story happen.  Given how many characters that the story includes, we’re able to see this business from different areas within Nike and witness how everyone played their part in the making of the Air Jordan sneakers.  With all of the discussions that go on within the film, we see the business side and human side in equal measure, hearing the characters speak about the intricacies of their business models, while also speaking from the heart about the emotional implications of their deal, should it pull through.

While Affleck’s big directorial successes have come from thrillers like “Gone Baby Gone,” “The Town,” and “Argo,” he shows a new side to his directorial talents as he goes for something smaller, yet still impactful.  Just as how Affleck mixed thrills with a crowd-pleasing feel in “Argo,” he does the same here.  The crowd-pleasing comes in full force, but as for the thrills, you wouldn’t expect a movie about the making of a shoe to be suspenseful; however, between the industry competition, meetings with other companies, and tense character interactions, Affleck makes it work.  He uses cinematography by Robert Richardson that offers several long takes as the camera goes around the Nike office, showing the flurry of activity that permeates the halls and provides some apprehension as everyone tries to get the work done before time runs out.  With it all, Affleck offers an entertaining, old-fashioned, feel-good movie.

As you watch “Air,” you’ll be cheering like any other sports film where you witness a home run, touchdown, a goal, or in this case, a slam dunk.

Grade: A

From NYC and Into a Kingdom, Brooklyn Bros. Battle Bowser

Mario (voiced by Chris Pratt) and Luigi 
(voiced by Charlie Day) in 
"The Super Mario Bros. Movie"
Photo Credit: RottenTomatoes.com

Ever since the early 1981, video game company Nintendo has given people countless outings involving plumbers Mario and Luigi, who were created by game designer Shigeru Miyamoto.  From the original Nintendo Entertainment System to N64 to GameCube to Wii, and beyond, we were offered plot-driven games like “Super Mario 64” and “Super Mario Sunshine,” as well as  multiplayer games like “Mario Kart” and “Mario Party.”  There was endless enjoyment one could get from these games, and these characters are still going strong.

We now have the second attempt at a film adaptation of this gaming series after the live-action 1993 film, “Super Mario Bros.,” which failed to capture the spirit of Nintendo’s creation.  Thirty years later, directors Aaron Horvath and Michael Jelenic bring us a computer-animated outing with “The Super Mario Bros. Movie.”  While the movie could’ve been more given the legacy of the games, it’s nevertheless a fun adventure that has its share of laughs.

Mario (Chris Pratt) and Luigi (Charlie Day) are hardworking plumbers in Brooklyn.  When they unwittingly go through a mysterious portal, Mario gets sent to the Mushroom Kingdom, which is ruled by Princess Peach (Anya Taylor-Joy), and Luigi gets sent to the Dark Lands, which are ruled by King Bowser (Jack Black).  When Bowser threatens to take over the Mushroom Kingdom, Mario and Peach set out to find some allies before it’s too late.

Despite the film’s shortcomings, it has a talented voice cast to keep it entertaining.  Pratt and Day are terrific as the iconic duo; Taylor-Joy brings the royal might as the resilient Princess Peach; Jack Black gives a memorable turn as Bowser; Seth Rogen is fun as the pompous Donkey Kong; Keegan-Michael Key gives one of the film’s wittiest performances as Mushroom Kingdom resident Toad; and Fred Armisen makes the most of his brief appearance as Donkey King’s father, Cranky Kong.  There’s a good amount of humor to be had with this cast, and they all have a chance to make you laugh as they work off of each other.

The screenplay by Matthew Fogel could have had a little more to it in terms of the actual story because it really just comes down to Mario and his fiends trying to defeat Bowser.  I know this is the central premise of the “Mario” franchise, but given how there are decades of games with which to work, the story could’ve used some creativity, instead of the bare minimum.  However, while the narrative is lacking, there are enough Nintendo in-jokes that viewers of all ages can enjoy.

One of the film’s stronger aspects is how Horvath and Jelenic employ lush animation that shows their dedication to bringing the look of the games to life, whether it’s the Mushroom Kingdom, Princess Peach’s castle, Bowser’s fire-and-brimstone lair, or Donkey Kong’s Jungle Kingdom.  Even if the screenplay leaves quite a bit to be desired, the details given to these environments offer a couple of thrills, including a fun sequence on Rainbow Road, a notorious race course from the “Mario Kart” games.

Although this movie could’ve put in some more work to be a true celebration of the fun that these games have offered over the years, it’s a modest first step in what will very well turn into a movie series.  If the filmmakers can go further next time around, I’d be willing to take another trip down the pipe to the Mushroom Kingdom.

Grade: B-

In a World of Hired Killers, One Man Finally Wants Out

Keanu Reeves in
"John Wick: Chapter 4"
Photo Credit: RottenTomatoes.com

Ever since Director Chad Stahelski introduced his all-powerful action hero John Wick in his 2014 film, “John Wick,” audiences were introduced to a setting that held many possibilities for where his story could go.  Since then, each sequel has delivered on those possibilities to solidify this series as an action franchise for the ages, one that keeps getting better and more daring with each outing.

Stahelski now brings us his most ambitious installment yet with “John Wick: Chapter 4,” a movie that heightens the action to a blistering degree, offers another in-depth view into John’s profession, and offers what may be one of the best action films of all time.

After the events of the third film, John Wick (Keanu Reeves) is looking to leave the organization known as The High Table when it left him for dead.  However, to become a free man, he’ll have to make his way through armies of highly trained killers as the bounty on his head continues to grow.

Once again, Reeves proves to be one of today’s most talented action stars, putting himself through grueling sequences that show the unstoppable nature of his character.  Given how extensive the action sequences and the fact that they take up a tremendous portion of the movie and Reeves’ screen time, there isn’t a lot of time for his character to engage in dialogue. However, Reeves makes up for this by showing how committed he is to upping his character’s game and making it feel invigorating all over again to see John pummel his way through hundreds of assailants.  A career resurgence for Reeves was certainly unexpected, but as you’re watching this film, you’ll see how this grand-scale action thriller culminates everything Reeves has accomplished in this series, leaving you exhausted as you watch him.

The story comes loaded with supporting characters; not just returning ones, but new ones that open this world in thrilling ways.  As for those who return, we have Laurence Fishburne as the Bowery King, a former underground crime boss; Ian McShane as Winston Scott, manager of the New York Continental Hotel; and the late Lance Reddick (who passed away last month) as Charon, a concierge at the New York Continental.  As for exciting and engaging new characters, this movie spoils us with them.  We have Donnie Yen as Caine, a blind assassin and an old friend of John’s; Bill Skarsgård as Marquis Vincent de Gramont, a top member of the High Table; Hiroyuki Sanada as Shimazu Koji, the manager of the Osaka Continental Hotel; Shamier Anderson as The Tracker, a bounty Hunter pursuing John; Rina Sawayama as Akira, Koji’s daughter and concierge at the Osaka Continental; and Scott Adkins as Killa Harkan, head of the German Table.  While all of these new characters make a lasting impression, it’s Yen who comes out on top.  As a blind assassin who knows his way around the sword and glides effortlessly through this foes, dodging hits left and right, Yen brings a cool-as-ice persona as he enters his fights.  All of the supporting characters fight for our attention and deserve it whenever they’re on screen, but it’s Yen who walks away with most of it.

The screenplay by Shay Hatten and Michael Finch, the former of whom was a co-writer on the third film, expands the complex mythology of this environment.  What’s remarkable is how they take what started as a rather simple revenge story from the first movie, and then balloon it into an epic world of hired killers that this franchise has become.  The narrative takes us through many locations to make the action scenes feel fresh, all while giving us plenty of characters to provide an abundance of intrigue to the story as you see how they interact and play into the bigger scope of the narrative.  With this film being nearly three hours, Hatten and Finch have written a screenplay that’s befitting to how far John has come in his journey, showing that they knew such a story needed this length, and not a minute is wasted in how the events unfold.

The cinematography by Dan Laustsen, who provided the camerawork for the second and third films, outdoes himself to the highest degree with what he offers this time around.  With action sequences that last upwards of a half-hour long, Laustsen is more than up for challenging himself.  Whether it’s a fight at the Osaka Continental, a giant Berlin rave, or the extensive finale in France where we have thrilling confrontations at the traffic circle around the Arc de Triomphe, a large, under-construction townhouse, or a grueling fight up a huge outdoor staircase leading up to the Sacré Cœur, you’ll be drained after each majestic set-piece.  While all of these skillfully crafted sequences are up there with some of the best that this franchise has given, the best sequences is the one in the townhouse.  At one point in this scene, Laustsen employs an overhead camera that follows John from room to room as he takes down his attackers.  It’s all done in a long take that lasts a couple of minutes, giving us a thrilling scene that’ll absorb you in its technical accomplishments.

Stahelski, who directed all of the John Wick movies and is himself a stuntman, continues to use both of those talents to give us exhilaratingly choreographed action sequences.  With the camerawork from Laustsen and the editing from franchise newcomer Nathan Orloff, this team makes sure that every action scene feels different from the last.  This guarantees that from scene to scene, you’ll be wondering, “How could they possibly top what came before?”  But, they manage to do it every time.  They aren’t afraid to start off on a high note because they know how far they can go when it comes to delivering these unforgettable scenes, showing that the ideas with which they can present the action are endless. 

Four films into this series, it has, once again, increased its status as a tremendous action franchise.  With this latest film, another wick has been lit, and the result is absolute dynamite.

Grade: A