Spoiler Alert: Consecration's Unholy Ending

Consecration (2023)

Directed by Christopher Smith

Written by Christopher Smith 

Starring Jena Malone, Danny Huston, Janet Suzman 

Release Date February 10th, 2023 

Published February 6th, 2023 

Consecration follows the slowly cracking psyche of a woman who may or may not be the vessel of an ancient demon. Jena Malone stars as Grace, a boring eye doctor living a boring life in London. Grace's life and comfort is upended when she's told that her younger brother, a Priest, has died. Not only is he dead, he murdered another fellow Priest before taking his own life. The Nuns in the Scottish abbey where Grace's brother lived and work appear convinced that he was possessed by a demon who caused him to commit murder and take his own life. 

Naturally, Grace must investigate over the objection of Mother Superior (Janet Suzman) and the lead detective on the case, DCI Harris (Thoren Ferguson), but with the aid of a Vatican based Priest, Father Romero (Danny Huston), who is also seeking the truth about what happened. Or is he? That bit of snark is aimed at the fact that Consecration isn't a great movie. It's often a quite convoluted mess that at once frames the church as the villains and potentially the heroes. It's perhaps intended to have a twist but I am honestly unsure. 

With this spoiler alert article we will examine the characters and see if we can make sense of the odd ending of Consecration and maybe find where this failed film could have worked. From here on, spoilers for Consecration. I don't recommend the movie but you might prefer seeing it before having the characters and plot ruined. Thus, you've been warned. From here on out, spoilers for the characters and story of Consecration... 

Who is Grace? Jena Malone's Grace lives a comfortable if boring life as an eye doctor in London. Grace was an adopted child, alongside her brother, and grew up in a deeply traumatic broken home. Grace's father was crazed and abusive. Dad thought his daughter was some kind of demon and that stopping her from destroying the world started with him keeping her captive. This leads to him murdering Grace's mother before he's nearly killed himself while trying to kill Grace. 

In reality, Dad was right. Grace is, in fact, a demon in human form. She doesn't know it yet, but Grace is a powerful demon who travels through time to kill who needs to be killed to protect her secret and secure Grace's future for whatever evil scheme is supposed to play out. Grace's brother died when an older Priest figured out that killing Grace was the only way to stop the demon inside her and was endeavoring to kill Grace. Instead, the brother killed the Priest and to show the demon that she wasn't in charge, he killed himself. 

I think that's what happened. Again, Consecration is a deeply confused movie that seems to shift motivations while searching for the next creepy visual element. Grace figures out that she is the demon just as she's about to surrender to Father Romero who wants to entomb Grace and the demon under the newly consecrated church. Grace survives, murders several people, including Father Romero, and pretends to kill herself to throw off DCI Harris. In reality, she's an unstoppable evil demon who can survive anything and kill anyone she chooses. 

The film ends when Mother Superior stops sending minions to try and kill Grace and takes matters into her own hands. Showing up outside of Grace's office, Mother Superior pulls a gun on Grace only to then be struck and killed by a cab. Inside the cab is an angel bobblehead which is viewed just as Grace talks about having had a guardian angel since she was a kid. The Guardian Angel is Grace herself as a time traveling demon Nun who leads Mother Superior into the street to be hit by the cab. 

I think. Again, Consecration is highly convoluted, as you can sense from that description. I think Grace is a demon. I know we see Grace, in demon form, dressed as a Nun, traveling back in time to witness the murder of the Priest, witness her brother's death, she is responsible for saving herself from her father when he tries to murder her as a child. She's there to stab a Nun who tries to kill Grace. And, we see all of the strange, inexplicable and violent deaths that happen in front of Grace, that Grace herself commits the acts, invisibly. 

Find my full length Spoiler Alert at Horror.Media 

Movie Review Consecration

Consecration (2023) 

Directed by Christopher Smith 

Written by Christopher Smith 

Starring Jena Malone, Danny Huston, Janet Suzman 

Release Date February 10th, 2023 

Published February 6th, 2023 

Consecration stars Jena Malone as Grace, a doctor living in America who is called to Scotland when her brother dies under unusual circumstances. Grace's brother, a Priest, is accused of having murdered another Priest before taking his own life. Naturally, Grace does not believe that her brother would have done such a thing or taken his own life. Thus, a mystery unfolds, who killed the Priest and who killed Grace's brother and portrayed it as a suicide? 

Aiding or perhaps hindering Grace's search for the truth is Father Romero (Danny Huston). Father Romero claims to be at the convent where Grace's brother was found to re-consecrate the place and bring it back to God. He claims that he can't do that as long as lies are being told about the death of Grace's brother. So, he offers to help Grace find the truth. Meanwhile, Mother Superior (Janet Suzman) lingers in the back of many scenes looking menacing and admitting that she may have tainted the evidence surrounding the murder and Grace's brother's death. 

Eventually we learn that members of the convent blame a demon for the death of both Priests. A Nun claims that a demon possessed Grace's brother, causing him to murder the other Priest and causing him to take his own life. Whether or not such a demon exists or if the death of Grace's brother was orchestrated by members of the convent is the mystery that drives Consecration as it proceeds through its horror movie story, one bubbling with religious imagery. 

The conclusion of Consecration is frustrating and deeply unsatisfying. The whole thing turns on a Deus Ex Machina that is broad to downright silly. Essentially, one of our characters turns out to be able to be anywhere at anytime and has been orchestrating everything we have seen since the start of the movie. We learn this when we are taken back in time via flashback that shows us everything that the rest of the movie was incapable of implying. 

Jena Malone usually makes better choices than this. Malone is wonderful at playing haunted characters with deep, dark, secrets and yet, Consecration makes her weepy and weak. It doesn't suit her. She ends the movie in a much different place than she began but it feels unearned. Malone is not the wilting flower type, she has a natural strength that she brings to most of her performances. Trying to tamp that down in Consecration via bad wig and weepy eyes simply doesn't work. 

Find my full length review at Horror.Media

Movie Review Sucker Punch

Sucker Punch (2011) 

Directed by Zack Snyder

Written by Zack Snyder

Starring Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jon Hamm, Carla Gugino

Release Date March 25th, 2011

Published March 24th, 2011

"Sucker Punch" is ostensibly a story about an abused teenage girl who is sent to an insane asylum by her evil step father who hopes she will be lobotomized before she can tell anyone about his crimes. Babydoll, as the girl comes to be called for her affinity for pigtails and short skirts, has five days before a doctor will come to deliver her lobotomy.

In those five days the hospital transforms from an asylum to a brothel where Babydoll and fellow inmates, Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens) and Amber (Jamie Chung) are featured performers in a burlesque show. Babydoll quickly becomes the main attraction with her mesmerizing dances.

We, however, never actually see Babydoll dance. For Babydoll, dancing becomes a fantasy world where she retreats into a chimerical world filled with dangers that she and her friends must defeat in order to gather the materials they will need for an elaborate and fiery escape.

Babydoll's dance fantasies are fanboy dreams realized with monster robot ninjas, dragons and Nazi machines right out of a bizarre sci fi comic book. The images that Zack Snyder crafts in "Sucker Punch" are extravagant geek fantasies where gorgeous girls in fetish wear wield swords and machine guns against the kinds of villains only Frank Miller or Neil Gaiman might imagine.

If that sounds cool to you then you are likely in the target audience for "Sucker Punch." For me however, "Sucker Punch" is a confounding exercise in Zack Snyder's typical style over substance filmmaking. As with his "Dawn of the Dead" remake, his interpretation of "300" and his take on "Watchman," Snyder's "Sucker Punch" is yet another impersonal homage to what he thinks the audience wants to see.

Zack Snyder as an artist is a cipher; he has no style of his own. "300" was the vision of Frank Miller taken almost frame by frame from his graphic novel. "Watchman," though disowned by creator Alan Moore, was as faithful to the graphic novel's imagery as Snyder could be while adapting the story to cinema standards.

"Dawn of the Dead" too has little life of its own beyond the 1979 George Romero original. The film has the same beat and energy as the original and while the characters and settings have been updated to modern times, there is little that Zack Snyder brought to "Dawn of the Dead" in terms of subtext that George Romero hadn't brought to the original.

Now comes "Sucker Punch" , a seemingly original effort. Yet, despite not having a literary source, "Sucker Punch" still plays homage, like a movie made for others and not by one visionary artist. The geek fantasies at play in "Sucker Punch" are so market tested to particular fanboy tastes that one could assign "Sucker Punch" as an adaptation of Comic Con, the annual comics and entertainment gathering in San Diego, California.

Comic Con invites fans from across the globe to San Diego where costumed characters celebrate their favorite geek fetish properties from "Star Wars," to the latest comic book movie adaptation to little known Asian import comics and movies. Fans of sci fi, swords and girls in schoolgirl uniforms carrying swords cannot get enough of comic con.

Zack Snyder even announced the planned production of "Sucker Punch" at Comic Con 2009 while promoting his "Watchman" adaptation. Now, there is certainly nothing wrong with knowing your audience but "Sucker Punch" has nothing of substance beyond the demonstration of geek fetish imagery.

Zack Snyder's highly stylized CGI worlds are impressive technical creations but his characters are cardboard cutouts placed inside a computer image and dressed to please the drooling masses. Fans of a well told story will be out of luck watching "Sucker Punch" which can barely be considered coherent at times.

The switch from the insane asylum to a brothel to the fantasy fight landscapes are so bizarre that many will be too confused to bother trying to figure out why person A is shooting robot B while blowing up robot C. There is zero logic in "Sucker Punch" and that leaves only the titillating aspects which, as I mentioned before, will only satisfy the faithful.

Movie Review Saved

Saved! (2004) 

Directed by Brian Dannelly 

Written by Brian Dannelly 

Starring Jena Malone, Mary Louise Parker, Macauley Culkin, Patrick Fugit, Heather Matarazzo, Eva Amurri 

Release Date May 28th, 2004

Published May 28th, 2004 

As fans of Kevin Smith’s Dogma can attest, people do not have a great sense of humor about their religion. This makes the teen comedy Saved! a bold endeavor indeed. A religious satire set in a Catholic high school, Saved! is a savagely witty film about piety and acceptance, about being different and fitting in. Mostly though, it's just darn funny.

Jena Malone stars as Mary, a member of her Catholic high school's most popular clique, The Christian Jewels. The leader of the clique is Hillary Faye (Mandy Moore), a teen who takes her love of Christ more seriously than most girls take their first crush. Hillary has a brother, Roland, played by Macauley Culkin, who is in a wheelchair and she can't tell you enough how much she sacrifices to take care of him, whether he needs it or not.

Mary is an only child whose mother Lillian (Mary Louise Parker) is a dedicated Christian, recently named the number one Christian interior designer in the city. Her job takes her away from home often as does her faith. Also, Lillian has weekly meetings with the school's principal Pastor Skip (Martin Donavon). The meetings are poorly disguised trysts. Pastor Skip happens to have a son named Patrick (Patrick Fugit) who's the head of the Christian skateboarding team and has a crush on Mary.

Mary has a boyfriend, Dean (Chad Faust) who is the source of most of her troubles. While hanging out in Mary's pool Dean confides that he thinks he is gay. Shocked, Mary has an accident in the pool and has a vision of Christ that inspires her to try and save Dean. Her idea however is not the best, she thinks that having sex with him will cure him and that since it is in service of Christ, he will forgive her and restore her virginity. Instead she gets pregnant and Dean is sent to a facility that claims to cure homosexuality.

Also in the cast is Eva Amurri as Cassandra. She is the only Jewish girl at this Christian high school, there only because she has been kicked out of every other school. Cassandra is an absolute outcast and revels in her rebellious role and especially enjoys tormenting Hillary Faye. She really gets Hillary when she takes an interest in Roland and the two begin a tentative relationship. When Mary finds out she is pregnant she turns to Cassandra for help.

It's a terrifically funny setup that leads to a surprisingly softhearted ending. A slight disappointment but because the characters are so likable you can forgive the slight schmaltz. In its smart and savage wit the film evokes a little of the classic black comedy Heathers and the more recent teen satire Mean Girls. The religious setting gives the film some rich targets and it hits most of them with smart, funny observations.

This is a very funny cast of teen actors, especially Jena Malone whose indie smarts will guarantee her a long healthy career. Macauley Culkin is also a standout. Finally coming out of his own shadow, Culkin has a relaxed bemused manner and shows that he may still grow into a good actor. Mandy Moore deserves credit for taking a secondary ensemble role, eschewing her star status in order to take on a tough role.

The film’s best performance however comes from Eva Amurri. For a good portion of the film, Amurri is the conduit for the audience of non-Christians who can't stand the constant milquetoast piety thrust upon them. She savagely rips everything and everyone she sees and is hysterical doing it. By the end of the film she has softened a little but overall it's still the best performance in the film.

First-time feature director Brian Donnelly deserves credit for taking on a tough topic. Religious satire is often demonized and marginalized by controversy, Saved! has been lucky thus far not to have aroused the attention of the religious right. Donnelly, with his co-writer Michael Urban, has crafted a very funny teen movie with an edge that provides some very big and controversial targets. The film however does not rely solely on its setting to provide it's humor but smartly relies on it's talented cast to deliver the laughs. 

Movie Review Pride and Prejudice

Pride & Prejudice (2005) 

Directed by Joe Wright 

Written by Deborah Moggach

Starring Keira Knightley, Matthew Macfadyen, Brenda Blethyn, Donald Sutherland, Tom Hollander, Rosamund Pike, Jena Malone, Dame Judi Dench

Release Date November 11th, 2005

Published November 10th, 2005 

My initial reaction to hearing that Pride & Prejudice would once again be adapted to the big screen was a massive groan. How many times can filmmakers tap this same material for a movie; I whined. I was rather surprised then, in my research, to find that Pride & Prejudice had been adapted for the big screen, in its original form and setting, only one other time. In 1940 Greer Garson essayed the role of romantic heroine Lizzy Bennett opposite Sir Laurence Olivier's stolid Mr. Darcy.

The familiarity that induced my groan of reluctance and apathy was actually related to the various attempts to update Pride & Prejudice over the years. In 2003 Lizzy became a New York college student and in 2004 a Bollywood style song and dance romantic. And let us not forget the many offspring that, while they are not straight adaptations, owe their various romantic cliches and complications to Jane Austen's seminal work.

Movies such as Bridget Jones' Diary, the multiple pairings of Tom Hanks and Meg Ryan and really any attempt Hollywood has made at creating romance on the big screen owes a nod, in one way or another, to the conventions cemented by Pride and Prejudice and Jane Austen.

How this brand new adaptation of Pride & Prejudice overcomes this over-familiarity is extraordinarily simple. The film, directed by big screen novice Joe Wright, remains as faithful as possible to Austen's work and casts exceptional actors to bring the already stellar material to life. The result is a movie that does not redefine Austen's masterpiece on the big screen, but rather allows it to exist anew for audiences who may never have experienced it before.

Keira Knightley stars in Pride & Prejudice in the role of Lizzy Bennet the 2nd of five daughters of Mr. and Mrs. Bennet (Donald Sutherland and Brenda Blethyn). As we join the story Mrs. Bennet is obsessed with marrying off at least one of her daughters, preferably her oldest Jane (Rosamund Pike), because, with no male heir to take over the family land, when Mr. Bennet passes, the family stands to lose all of the land and their wealth upon his death.

Only a rich husband who can provide for the Bennet woman until each is married off, can save the girls from destitution. Thus it is big news when a new neighbor, a moneyed young nobleman, Mr. Bingley (Simon Woods); announces his intention to appear at a formal occasion the next weekend. Each of the Bennet women will have to be on their best behavior to help Jane attract Mr. Bingley whose wealth is far more attractive than his slight and awkward appearance.

At the party Mr. Bingley arrives with his sister Caroline (Kelly Riley) and a fellow nobleman Mr. Darcy (Matthew Macfadyen); a stuffed shirt with an air of superiority that surpasses mere arrogance. Darcy clearly feels everything and everyone is below his standards and even after meeting the spirited and lovely Lizzy; he scoffs that she is not handsome enough to tempt him. Regardless of Darcy's attitude, Bingley is smitten with Jane Bennet and it is Bingley and Jane that keep our antagonistic lovers, Darcy and Lizzy in contact.

The dislike expressed by Darcy for Lizzy is mutual. She overheard his 'handsome' quip; and has vowed to loathe him for all eternity. However, after a number of paths crossings and numerous misunderstandings and missed intentions it's clear that Darcy and Lizzy are meant for one another. The plot, adapted by Deborah Moggach, throws in some well reasoned roadblocks to keep our two lovers apart but it is Austen's shrewd dialogue and the performances of Knightley and MacFadyen that make Pride & Prejudice rise above typical romantic cliches.

Keira Knightley is absolutely radiant in the famed role of one of literature's shining lights of romantic optimism. Helping us forget her misanthropic turn in the ugly and forgettable Domino, Knightley reestablished herself as a star of the future and an actress to be reckoned with.

Matthew Macfadyen, in his first major international role, essays an aristocratic, measured, and intelligent Mr. Darcy whose romantic side is cloistered in a wall of self defense. Darcy's money has made him suspicious of romance and looking toward marriage as an arrangement of interests and not in any way related to destiny, fate or love. Macfadyen, like his character, comes to life in Lizzy's presence and his wall of defenses crumble in a beautifully acted scene where Darcy and Lizzy argue in the rain.

The supporting cast of Pride & Prejudice is equally as delightful as its two leads. Brenda Blethyn is the standout as Lizzy's busybody mother. Her desperate need to see her daughters wed to wealthy men is the film's driving force. Is she annoying? Yes. But, it's part of who this character is and if you accept this story you have to accept her. Each of the remaining Bennett sisters make lesser impressions but not so much that they hurt the rest of the picture. Best of the rest is Jena Malone as the impetuous Lydia Bennett who runs off and marries the foul soldier boy Mr. Wickham.

A period romance is a tough sale to modern audiences, even one with the literary cache of Pride & Prejudice. Look at Shakespeare, his plays have been successful in movie theaters only when updated with modern reimagining's or in the case of Romeo and Juliet, a bumping soundtrack and some cool looking guns in place of Shakespearean-swords.

Pride & Prejudice itself has been reimagined with modern trimmings but as this new film version shows, the original is an untouchable masterpiece. That is because; more important than her romantic ideals, Jane Austen's words are her true subject. It is the way her characters communicate their feelings that is as much or even more entertaining than how they act on those feelings. You can update the plot; it is a clever romantic plot -especially by modern romantic comedy standards- but without the words the impact is lost.

The words of Jane Austen, only slightly altered here by screenwriter Deborah Moggach, are smart, funny, warm and witty. Every word has its own sub-textual joy. There is joy and pain in every syllable, a deep meaning in every phrase and a romantic sigh in every pause. The words of Jane Austen have stood the test of time for a reason folks.

One of the great things about the written word is its ability to last forever. The words of Jane Austen in Pride & Prejudice will, no doubt, last forever because of their beauty, wit, and romance. Now those words are also immortalized in a cinematic form that also can last a lifetime in DVD collections of millions of romantics and fans of great words.

Movie Review Life As a House

Life as a House (2001) 

Directed by Irwin Winkler 

Written by Mark Andrus 

Starring Kevin Kline, Kristen Scott Thomas, Hayden Christensen, Jena Malone, Mary Steenburgen

Release Date October 26th, 2001 

Published October 27th, 2001 

Life as A House starring Kevin Kline and directed by Irwin Winkler has been universally praised by critics and fans which leaves me wondering: did I see the same movie they did? I watched Life as a House in permanent awe of how derivative, obvious, and faux-deep Life as a House is. This is a middle aged man's very obvious, up his own backside, conception of what makes a deep statement about life. Honestly, I am embarrassed for everyone involved. 

Life as a House is the story of George, a depressed divorcee with a son who hates him, and who loses his job early in the film and then finds out he has terminal cancer. Is this a movie character or a biblical tragedy? With all that has happened George decides it's time to build his dream house which, for those who are a little on the slow side, is a metaphor for his rebirth. Do you get it? His life is represented by the house? Does that resonate with you? 

The house he currently lives in is a rundown shack overlooking the ocean in a beautiful neighborhood. Don't even get me started on that implausibility, which, duh, is a metaphor for who he used to be. The screenplay doesn't trust us to figure the metaphors out ourselves. Instead there is dialogue to state the obvious. You see, the rundown house is who he is when we meet him and the new house is who he is going to be. Do you get it? Because the voiceover will explain this if you don't. GAH!!!!! 

Life as a House is filled with such trite dialogue that continuously states the obvious as if leading blind audience members through a story the screenwriter thinks is so deep we won't get it. And it's sad because the actors: Kline, Kristin Scott Thomas as his ex wife, and Hayden Christenson as his son, have the ability to communicate these emotions with subtle acting. But no, instead the film is filled with leaden dialogue and a couple of hundred direct lifts from American Beauty. Yes that's right dear reader not only is the film dull, it's unoriginal.

From the voiceover narration at the beginning and end to the score to George's 'Lesterlike' rebirth, including a kiss with an underage sexpot, Life as A House is like American Beauty filtered through TV's Hallmark hall of fame.

P.S.: I refuse to make any cute housebuilding aside. Honestly, if I hear another critic use a pun title like "House is built on a great FOUNDATION HA HA," I will scream.

Movie Review The Dangerous Lives of Altar Boys

The Dangerous Lives of Altar Boys (2002) 

Directed by Peter Care 

Written by Michael Petroni 

Starring Kieran Culkin, Emile Hirsch, Jena Malone, Jodie Foster 

Release Date June 14th, 2002 

Published November 10th, 2002 

What is your favorite childhood memory? For me it was making out with my first girlfriend Dawn. I was 12; she was 11 and every Tuesday her mother would bring her over while she played cards with my parents. Dawn and I would sneak off to a gorgeous spot right on the Mississippi River bank. The Dangerous Lives Of Altar Boys is one of those films that will make you nostalgic for your childhood, your first love, your best friends, and those moments that only you and those childhood friends will remember.

The film centers around four friends, Tim (Kieran Culkin), Francis (Emile Hirsch), Wade (Jake Richardson) and Joey (Tyler Long). The focus is on their love of comic books and their loathing of their catholic school teacher Sister Assumpta (Jodie Foster). The boys visualize themselves as comic book superheroes and their fantasies are played out in cartoon vignettes throughout the film. Things begin to change for the boys as Francis begins his first relationship with a girl, Margie, played by the lovely Jena Malone. As Francis and Margie's relationship grows, his friends’ sense they are losing their best friend, Tim especially feels he is losing his best friend.

As a way of reasserting their friendship, Tim gets an idea to take revenge on Sister Assumpta for all the trouble she has caused them. The elaborate plan calls for the guys to steal a cougar from a local zoo and unleash it in Sister Assumpta's office. Francis, Wade and Joey go along at first not realizing how serious Tim is about his over the top revenge scheme. In the meantime, Francis is dealing with Margie and her very serious home issues including alleged sexual abuse by her older brother who is a classmate of Francis.

The shocking details of the abuse would seem to be more than any teenager could deal with but Francis isn't an average teenager. Francis reacts to the many revelations from Margie at first like anyone would but his limitless kindness and gentle nature lead him to more philosophical conclusions than you would expect from someone his age. For the most part Francis retreats into his comic fantasies, incorporating his real life torments into his comic drawings and stories.

The film travels a twisted road of comedy and drama and is quite reminiscent of the movie Stand By Me in it's camaraderie between these four young guys and their ever quickening emotional growth. A tragedy near the end of the film makes sense emotionally and intellectually rather than seeming like a shallow heart string tug.

In the hands of a less skilled director, this material could have been a treacle mess. Veteran video director Peter Care, who has worked with the likes of REM, treads the line between smart comedy and drama very carefully. Care never allows his teenage characters to seem smarter than the adult types we get in so many other teen comedies and especially on TV.

Hirsch’s performance really made an impact on me. Looking like the younger brother of Adrien Grenier with his round soulful eyes and olive skin, Hirsch's look projects a budding intelligence necessary to make characters like Francis work. It is a great time for Independent film. My top ten end of the year list is likely to be dominated by them. Will The Dangerous Lives Of Altar Boys be on that list? We will see, it will surely come close.

Movie Review: The Ruins

The Ruins (2008) 

Directed by Carter Smith 

Written by Scott Smith 

Starring Jonathan Tucker, Jena Malone, Shawn Ashmore, Laura Ramsey, Joe Anderson 

Release Date April 4th, 2008

Published April 3rd, 2008 

For the past couple of years we have been saddled with horror porn assaulting moviegoers across the country with the ugliest possible images sick minds could think to film. This has served to both cause many critics to wretch uncontrollably and to distract critics from the other forms of junk horror being dumped onto the other screens. Take for instance The Ruins a goofball horror flick too squeamish to be horror porn but not smart enough or wild enough to be in the intellectual vain of Saw or the freewheeling thrills of Nightmare on Elm Street. Rather, The Ruins settles in to that awkward middle ground inhabited by junk horror like The Ring and The Grudge and other such ’The’ horror films.

Jonathan Tucker stars in The Ruins as Jeff a med student on vacation with his girlfriend Jenny (Jena Malone), her best friend Stacy (Laura Ramsey), and Stacy's boyfriend Eric (Shawn Ashmore). Together they have spent the week lounging by the pool and getting drunker and drunker. On their last day at this Mexican resort they have been enticed by a fellow traveler named Mathias (John Anderson) to get away from the drinks and the pool and get some culture. Mathias has a map to some ancient ruins that is not on any of the sanctioned maps of the countryside.

They will journey deep into the jungle where Mathias expects his brother will be waiting for them. The trip is not all that arduous, they find the ruins with little challenge. However, once they arrive at the ruins the tourists find themselves surrounded by locals who won’t let them leave. Their only option is to climb to the top of the ruins and hope the locals will leave. When the locals refuse to follow them and instead begin to quarantine the area, our heroes quickly realize there is something very wrong with these ruins. The vines and weeds that surround the the giant temple are coming to life and soon the ancient curse will reveal itself.

If we wanted to try and apply a meaning to The Ruins, perhaps, we could infer that he weeds that surround the ruins and begin sucking bodies into them, hissing at our heroes, crawling into and out of their bodies, could be seen as some kind of drug metaphor. The movie kind of reminded me of those extremely lame and heavy-handed ONDCP ads that show kids burning their possessions or building weed cocoons and emerging as middle aged fat guys. It's possible that the makers of The Ruins could be positing an anti-pot message that says if you smoke weed it invades your entire body, eating you from the inside out but that's a big stretch. Nothing in the movie indicates that anything means anything beyond being kind of gross. 

The Ruins is based on a novel by Scott B. Smith, and directed by Carter Smith and is typical of the junk horror genre that has delivered movies like Turistas or Cabin Fever. It features some of the same cardboard characters, the same shallow anti-American stereotypes, and the same Clearasil splashed teen heartthrobs who seem to gravitate toward death by serial killer or supernatural force in movies like this. There is absolutely nothing special, memorable, or remotely interesting in The Ruins. The film enacts a familiar plot in the most basic way, provides a couple of grossout moments and is over so fast you will likely forget you saw it before you get to your car. 

Movie Review: The Messenger

The Messenger (2009) 

Directed by Oren Moverman 

Written by Alessandro Camon, Oren Moverman 

Starring Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone 

Release Date November 13th, 2009 

January 31st, 2010 

There are many jobs to be done in the American military and it is likely a great movie could be made about any of those jobs. Writer-director Oren Moverman and co-writer Alessandro Camon have chosen a particularly difficult job and crafted a great movie from its many emotional and professional complications.

The Messenger tells the story of Will Montgomery (Ben Foster), a recently injured soldier home from Iraq. Though Will is desperate to get back to the war his injuries need more time to heal and his commanding officer (Eamonn Walker) has a temporary job for him to do while he heals.

Will is assigned to work with Captain Tony Stone (Woody Harrelson) in the Casualty Notification Service. It is Captain Stone's duty to inform the families of soldiers who are killed in battle. Captain Stone has been at this job a very long time and has some hard and fast rules for Staff Sgt. Montgomery to live by.

The first and most important rule is being professional. Do not engage emotionally with the family. Stick to the script which informs the family that the Department of Defense is sorry to inform them of the death of their loved one. Never touch the victim's family, no physical or emotional attachments are essential to performing this task.

The rules are practical to military standards but also provide a distance for the men of the casualty service who need the rules to keep the sadness and despair at the heart of the job at bay. Montgomery understands but cannot resist a natural tendency toward helping people. In battle he was often the first to rush to help a downed soldier, and in his new duty keeping his distance from the wounded is difficult.

It was inevitable then that one of the victim's families would get through Montgomery’s shell of professionalism. The wife of a late soldier, Olivia (Samantha Morton), strikes something deep within Montgomery and he cannot help but engage with her, eventually beginning to fall in love with her all the while trying to keep Tony from knowing about his breech of conduct. Of course, Tony is well aware of what is happening and seeing the young man make this mistake leads Tony to his own breech of conduct when he returns to drinking as a way of coping with the job. As these two men bond and battle the story takes on a tornado swirl of emotions.

Director Oren Moverman and co-writer Alessandro Camon structure the story of The Messenger as a series of vignettes strung together with scenes of male bonding through alcohol and immature sexuality. There is an inherent disconnect from emotion in this structure, one that actually plays very well to the overall story.

By structuring the film as a series of beginning middle and end encounters with victims families followed by scenes of Montgomery and Stone getting to know each other off the job, we get the disconnected feeling that Stone urges as the most important part of the job. This makes it even more effective when Montgomery begins to allow the job to bleed over out of the vignette and into the other portions of the story.

By the end, the wall that Stone so carefully crafted as a means of distancing himself from the tragedy of his job is nearly destroyed and it nearly destroys him. Montgomery meanwhile finds himself again through the despair and heartache and finds a renewed purpose that gives the film a hopeful yet nervy end.

The Messenger is a film of remarkable poise, poignancy and empathy. It features performances by Ben Foster and Woody Harrelson that are hard but sensitive, tough yet compassionate. Oren Moverman made his mark as screenwriter in 2007 and now is a full fledged filmmaker with his exceptional work here.

Moverman and co-writer Alessandro Camon were nominated for an Academy Award for this original screenplay while Woody Harrelson earned a much deserved Best Supporting Actor nomination. This film deserved even more than that. The Messenger is powerhouse filmmaking.