Movie Review Flatliners

Flatlines (2017) 

Directed by Niels Arden Oplev

Written by Ben Ripley 

Starring Elliot Page, Diego Luna, Nina Dobrev, James Norton, Kiersey Clemons, Kiefer Sutherland

Release Date September 29th, 207 

Flatliners is a remarkably bad movie. I love Elliot Page; he is a very compelling and charismatic actor. Why has he been marginalized so much that he felt she needed to make this bizarrely dumb movie? What compelled him and the very talented director Niels Arden Oplev, director of the Swedish Girl with the Dragon Tattoo, to think this movie was a good idea? Why did anyone think that remaking a movie as bad as the original Flatliners was a good idea? The Joel Schumaker directed 1990 Flatliners is a terrible movie and somehow this version manages to be worse than that. I’m baffled.

Flatliners stars Eliot Page as Courtney, a medical student who is plagued by the memory of the death of her younger sister in an accident that was her fault. Nine years after the accident Courtney has become consumed by the idea of knowing whether or not there is an afterlife where she might atone for her sin. Wanting to know about the afterlife she conceives of an experiment where she will have fellow med students stop her heart and let her die for a few minutes before bringing her back with the secrets of death.

Joining Courtney for the experiment is Sophia (Kiersey Clemons) and Jamie (James Norton) a trust fund kid who Courtney assumes is just reckless enough to go along with the plan. Dragged into the experiment are Ray (Diego Luna) and Marlo (Nina Dobrev) who jump in when Sophia and Jamie struggle to bring Courtney back to life. If you bought into the idea that Courtney might not come back after her first Flatline you might just be the audience for this movie. The complete lack of suspense in this scene doesn’t prevent lots of heavy breathing and forced tension.

Of course, Courtney must come back to life because her subsequent hallucinations are the source of most of the film’s jump scares. Courtney decides to keep the jump-scare-itis she contracted from flatlining to herself and when Jamie sees her thriving, answering difficult questions, relearning how to play the piano, as if her brain has been rewired by flatlining, he decides he must do it next. The film again must give us the forced fake tension of whether he’s going to come back or not. He does and then it’s party montage time because the last thing this movie needs is to do anything we can’t predict.

Find my full length review in the Geeks Community on Vocal

Movie Review: An American Crime

An American Crime (2007) 

Directed by Tommy O'Haver

Written by Tommy O'Haver, Irene Turner

Starring Elliott Page, Catherine Keener, Hayley McFarland, Ari Graynor, James Franco

Release Date January 19th, 2007

Published January 15th, 2007 

There is a delicate balance at play in An American Crime. At once there is a need to demonstrate the abuse heaped upon the unfortunate young woman at the story's center. On the other hand, you risk losing the audience if you dwell or linger on the girl's suffering. Writer-Director Tommy O'Haver takes a just the facts, scholarly approach that does well not to linger but in the end fails to connect emotionally beyond  the simple demonstration of human suffering.

Sylvia Likens (Elliott Page) was by all accounts a pious, devoted young woman who loved her mom and dad and little sister and never harmed a soul.  When she and her sister Jennie (Hayley McFarland) were left in the care of Gertrude Baniszewski (Catherine Keener) it was thought that they would be there just a few months while their parents made their way around the carny circuit.

Three months turned to four and five and though their parents paid Gertrude 20 dollars a month to care for their daughters, that didn't prevent Gertrude from taking out her many problems on young Sylvia. Initially, Sylvia had bonded with Gertrude's oldest daughter Paula (Ari Graynor) but when they had a falling out, the abuse began. Sylvia is blamed for all of Paula's troubles and soon finds herself the subject of inhuman abuses.

Director Tommy O'Haver presents An American Crime with an almost documentary seriousness. Managing the delicate balance of not wanting to revel in Sylvia's pain but needing to demonstrate it, O'Haver retreats often to a courtroom setting where former West Wing star Bradley Whitford is prosecuting Gertrude for Sylvia's abuse.

The court room set allows O'Haver to keep some of the abuse in description rather than having to show too much. The courtroom scenes are based on actual court records, giving authenticity to the scenes and an extra little emotional punch when you see Gertrude's young son Lester (Nick Searcy) describe not just his mother's abuse of Sylvia but also his own. Searcy's sincere, unapologetic recounting of events is chilling.

Oscar nominee Elliott Page continues to seek the anti-Juno, a role that won't remind people of her indelible, fast talking, pop spewing pregnant teen. An American Crime is certainly far from Juno. Unfortunately, it also lacks Juno's ability to connect emotionally. Page's Sylvia is really nothing more than a demonstrative device. We watch as she is abused and we connect as we would with any child being abused but nothing beyond that. An American Crime fails to deepen the tragedy by giving us a character we really bond with.

The same sense of demonstration over connection affects the performance of Catherine Keener. Like Page we witness her actions but we don't connect with them specifically. We know this is a tragic situation and that Gertrude is a bad person but what led her this way? What made Gertrude commit such a heinous crime? An American Crime is good at demonstrating the crime but doesn't venture to guess why the crime took place.

It has to be more than just Gertrude decided to destroy this beautiful young girl. Was she sick? Was she abused? Did Sylvia do something that set off the situation? There is obviously no justification for the crime that was committed but something motivated this crime and failing to ascribe some motivation to it is a dramatic failure.

Near the end of American Crime there is a device employed by director O'Haver that can fairly be called a cheat or merely O'Haver screwing with the audience. I won't go into the details because it may be a mystery to some who see it, but I was irritated by it. It comes down to a series of seemingly important scenes that turn out to be the director's way of filling time and creating false drama.

If An American Crime was so unfilmable that this device was necessary to invent and inject some drama into the movie, don't make the movie. The crime seems compelling enough to me. The device employed is an unnecessary screw job to the audience.

An American Crime is based on a true story from Indiana in the 1960's. At the time it was the single worst documented case of child abuse in American history. The prosecution of Gertrude was a national story and today would likely be the subject of endless Nancy Grace hours and CNN specials. Writer-director Tommy O'Haver connects with this story better than our drive by media likely would but not by much.

His scholarly chronicling of the crime and word for word courtroom reenactments are better suited to the documentary feature than to the dramatic movie. His approach is too distant. Without the ability to get closer to these characters we are merely left as after the fact witnesses to the demonstration of pain and suffering.

Movie Review: X-Men The Last Stand

X-Men The Last Stand (2006) 

Directed by Brett Ratner 

Written by Simon Kinberg, Zak Penn 

Starring Hugh Jackman, Halle Berry, Patrick Stewart, Kelsey Grammer, Elliot Page, Shawn Ashmore

Release Date May 26th, 2006

Published May 25th, 2006 

Director Brett Ratner is a hack. That is the reputation he has earned over a career of nine features including two Rush Hour films (and soon a third), Red Dragon, The Family Man and After The Sunset. Each of these are examples of the basic mainstream formula pictures that few would call innovative or relevant. Ratner is a mainstream showman who works only from studio approved genre templates and thus, the label of hack, is appropriate. 

Ratner's style is safe, conventional and boring. So it was quite understandable that when Ratner was hired to direct the third film in the X-Men series, X-Men The Last Stand, longtime fans gnashed their teeth and prayed to whatever mutant god that controls such matters that Ratner not be allowed to screw up their beloved franchise too much. The fans prayers have been answered, for the most part. Though X-Men: The Last Stand has plot holes you could drive a truck through and cringe inducing moments unsuitable to the franchise, Ratner has not screwed the thing up too bad. Actually it's not that bad at all.

X3 turns on the idea that a wealthy industrialist has discovered a cure for the mutant X gene. It's a revelation that rocks the burgeoning mutant community at a time when a tentative peace had come between mutants and humans. The President of the United States (Josef Summer) even has created a dept. of mutant affairs headed up by a mutant, Dr. Hank McCoy aka Beast (Kelsey Grammer). The cure while good for some mutants is a divisive and even deadly issue for others.

Standing against the cure is Magneto (Ian McKellen) who, with his brotherhood of mutants, including Mystique (Rebecca Romijn) and Pyro (Aaron Stanford), plans to use the cure as a rallying cry for mutants to renew the war against humanity. Then there are our heroes the X-Men. Conflicted and confused, most are opposed to the idea that mutants are in need of a cure but against any kind of war with humanity, the X-Men are caught dead set in the middle.

In the midst of the controversy the X-Men face an even bigger crisis. Jean Grey (Famke Janssen), thought dead after the last major X-Men conflict, is alive but she is no longer the Jean Grey the team once knew. Her near death experience has released her secondary personality known as the Phoenix, a being of unimaginable and uncontrollable power and rage. With war on the horizon and Jean Grey an even greater danger than that war, X-Men The Last Stand is bursting at the seams with plot. 

Throw in the introductions of several long awaited X-Men characters and you can understand the herculean task that Director Brett Ratner endured in making X-Men The Last Stand. That X3 is as coherent as it is with all of that plot and so many characters is a credit to Ratner. Not that I can let him off the hook completely for the films many flaws but even the biggest Ratner hater out there must cut the guy some slack for the sheer massiveness of X-Men The Last Stand.

Where Ratner succeeds in X3 is in crafting some serious blockbuster action scenes. A fight with Wolverine (Hugh Jackman) and Storm (Halle Berry) facing down Magneto's brotherhood, including Pyro and new members including the super strong Juggernaut (a massively muscled up Vinny Jones) and the empathic speed demon Callisto (Dania Ramirez), is terrific, fast paced action and a terrific lead up to the films most shocking moment.

The ending is the films strongest moment as Wolverine is forced to face off with Jean Grey/Phoenix as she prepares to destroy the entire planet. The scene is exciting and emotional incorporating massive special effects and the entwined histories of these two characters into one powerhouse scene. Predominant amongst the films flaws however, are the younger X-Men, especially Shawn Ashmore as Iceman. The dewey eyed teenage Iceman is an emotional cypher who lacks power and presence. Iceman's main plot function is as the opposing element to Aaron Stanford's Pyro but since Stanford is also an underwhelming presence their time together onscreen is forgettable at best.

The less said about Iceman's romantic triangle subplot with Anna Paquin's Rogue and Elliot Page's Kitty Pride (the girl who can run through walls) the better. I could go on for several more paragraphs picking apart the flaws of X-Men The Last Stand even though I honestly believe that the good outweighs the bad. Brett Ratner's work is not exactly a masters class in direction but it is competent and professional and even thrilling when it really needs to be. The performances of the leads Hugh Jackman and Halle Berry are as good as they have been in the first two films with Jackman's wit becoming more prominent each time out. His work here makes talk of a Wolverine stand alone franchise something to look forward to.

Kelsey Grammer even cuts a surprisingly strong action hero figure as Beast. Fans of the comics have long looked forward to seeing the blue haired monster Dr. Hank McCoy with his unique combination of super strength, agility and erudite intelligence. Embodied by Kelsey Grammer, Beast has the gravitas of Dr. Frasier Crane combined with agility and strength of a classic comic book character. If you can put aside the flaws and concentrate on the terrific performances and often exceptional action scenes and shocking surprises of X-Men The Last Stand you will have a great time. X-Men The Last Stand is big time summer blockbuster entertainment.

Movie Review Inception

Inception (2010) 

Directed by Christopher Nolan

Written by Christopher Nolan 

Starring Leonardo DiCaprio, Marion Cotillard, Tom Hardy, Elliot Page, Ken Watanabe, Michael Caine

Release Date July 16th, 2010 

Published July 15th, 2010 

“Inception” is the best movie of the year. Combining a mind melting metaphysical conceit with a wildly entertaining story, “Inception” from director Christopher Nolan is not merely some exercise in high minded, arty filmmaking, it's also a rollercoaster ride of emotion and action like little you have seen since the last time Christopher Nolan blew your mind with “The Dark Knight.”

”Inception” stars Leonardo DiCaprio as Cobb, a globetrotting con man whose milieu is not seedy bars or corporate boardrooms but rather, the depths of the human psyche. Cobb can enter your mind through your dreams but unlike Freddy Krueger he's not here to kill but to rob you of your deepest, most well protected secrets.

With his team, including Arthur (Joseph Gordon Levitt), Eames (Tom Hardy, Bronson), Ariadne (Elliot Page) and money man Mr. Saito (Ken Watanabe), Cobb sneaks into the subconscious of a corporate heir named Robert Fischer (Cillian Murphy). This job however, is different from the team's usual theft of secrets, this time they are attempting an Inception wherein they planting an idea in Fischer's mind in hopes of influencing his future.

Complicated? It sure sounds complicated but under the skilled direction of Christopher Nolan and the guiding performance of Leonardo DiCaprio, Inception is only rarely mystifying. The story is elaborate and exceptionally well put together and even at 2 hours and 40 minutes it floats by like a dream, one you can't help but remember.

I am being intentionally vague as too much information could spoil the fun. I will tell you that Oscar nominee Marion Cotillard plays Cobb's wife and it's a performance that exceeds even the genius of her Oscar winning role in “La Vie En Rose.” The way Cotillard's character, Mal, is woven into the plot will blow your mind in the most unexpected ways.

”Inception” is exceptionally well directed and intricately plotted and features career best performances from DiCaprio, Cotillard, Joseph Gordon Levitt and Elliot Page. Rounding out this cast are veterans Michael Caine, Pete Postlethwaite and Tom Berenger, all of whom bring something unique and fascinating to this remarkable, epic dreamy adventure. “Inception” will require further examination and discussion but that can wait for the DVD release. For now, avoid the spoilers and experience “Inception” for yourself. We’ll talk more about it later.