Movie Review What Comes Around

What Comes Around (2023) 

Directed by Amy Redford 

Written by Scott Organ 

Starring Summer Phoenix, Kyle Gallner, Grace Van Dien, Indiana Affleck 

Release Date August 4th, 2023 

Published August 1st, 2023 

What Comes Around is a deeply divisive and boldly abrasive drama. Director Amy Redford and writer Scott Organ, adapting Organ's own novel called The Thing with Feathers,' are playing with some big emotions and big themes. The film is about age inappropriate relations that border on criminality. The film skirts close to the line of exploitation in how it uses inappropriate sexual relationships for melodrama. That the film doesn't tip over into an overwrought parody is some kind of miracle that can be credited to a group of terrific actors. 

Grace Van Dien stars in What Comes Around as Anna, a teenager, 17 to be precise, who has begun a dangerous online flirtation with an older man. She thinks he's only college aged, but the reality is that Eric (Kyle Gallner) is 28 years old. He started this online flirtation on a message board for people sharing poetry, when Anna was 16. Then, on the day Anna turns 17, Eric, whom Anna believed lived several states away, shows up at her door. Though she's initially creeped out by Eric, she soon comes around and is eventually sneaking him into her house, under the nose of her mother, Beth (Summer Phoenix) and her soon-to-be stepdad, Tim (Jesse Garcia). 

If this were the only lying going on, it might not be so transgressive. However, Eric has a very, very big secret that threatens to blow up not just Anna's life but her entire family. Eric has a connection to Anna's mother that he has failed to mention in the time they've been connecting via poetry and Facetime. Similarly, Beth has not talked about a traumatic part of her past, Anna was 4 years old at the time and Beth had not met Tim by this point. She'd hoped that her past would stay in the past. That was until Eric arrived. 

Read my full review at Geeks.Media 

Movie Review: Zen Dog

Zen Dog (2018)

Directed by Rick Darge

Written by Rick Darge 

Starring Kyle Gallner, Celia Diane, Adam Herschman 

Release Date June 22nd, 2018

Published June 23rd, 2018 

Zen Dog stars Kyle Gallner from Shameless as Reed, a boring man stuck in a routine. He has a unique job attempting to create virtual reality tours of cities he’s never been to. Reed’s life is upended when his friend Dwayne (Adam Herschman) comes to stay. Dwayne interrupts all of Reed’s well crafted routine, messes up his apartment and generally throws Reed’s life into a general chaos.

One night Dwayne sees Reed having a nightmare, something that Reed admits is a regular occurrence. Dwayne claims to have a solution to Reed’s problem, lucid dreaming. Using a special kind of tea that he curiously refuses to reveal the origins of, Dwayne claims that Reed can control his dreams and get away from his recurring nightmare. Reed is dubious of Dwayne’s claims but tries the drink anyway.

In Reed’s dream, his name is Mud and he’s just quit a job where someone has just taken their life. The revelation sets Mud on a cross country odyssey from Los Angeles to New York City with a bizarre stop in Las Vegas and a fortuitous stop in Denver, Colorado. It is in Denver where Mud meets Maya (Celia Diane), a beautiful French woman with nowhere to go after breaking up with her boyfriend. Maya agrees to join Mud for a day which becomes a week and then a full romantic road trip.

Zen Dog can be confounding if you allow it to be but if you hang in there and get on the film’s unique vibe you will be rewarded. First time writer-director Rick Darge is a cinematographer turned director and his remarkable visual style carried me past my reservations about confusing story threads, including one about a character played by Clea Duvall that goes absolutely nowhere. The style of Zen Dog, the unique use of color saturation and the clever production design and costume pushed me past my reservations or confusion.

Zen Dog is a beautiful, meditative art piece featuring a lead performance by Kyle Gallner that is warm and inviting. Gallner’s unusual face is a great asset to his work here as he sleepiness, his heavy lidded eyes are a lovely way of delineating Reed from the much more lively, smiling and charismatic Mud, even as they are apparently the same person. Gallner’s face is so different yet the same from Reed to Mud that, much like the lively visual style of the film, it helps get you into both stories being told.

There is a legitimately Terence Malick quality to Zen Dog. It’s not nearly as polished or confident as a Malick film like Tree of Life or To the Wonder but the crisp visuals and the exploration of the psyche is similar. Like Malick, Darge likes to use changes in color as a visual shorthand for a memory or a dream. The desaturated look of Reed’s apartment and brightly colored Volkswagen that Mud drives are each lovely in their own way and help differentiate where we are in each story. It’s a lovely way to visually cue a story.

Celia Diane is wonderfully cast as a manic pixie dream girl. Diane’s face and manner have a lovely dream-like quality in the way she moves like a dancer, so effortlessly. Her French-ness is part of the fantasy, especially if you’re a movie fan. There is a 60’s quality to Mud’s journey, from his uniquely styled jacket, covered with 60’s art to his VW’s psychedelic paint job. If you’re a cinema snob of the 60’s then all you wanted in the world was a road trip with a beautiful French out of a Godard fantasy. That’s Celia Diane.

I am reading way more into Zen Dog than most maybe, probably because this kind of movie is right up my alley. In reality, Zen Dog is not a movie for all audiences. If you desperately need a linear story with a conventional plot, Zen Dog is not for you. If you are impatient, Zen Dog is not a movie for you. If you are not someone who gets swept up in beautiful visuals, Zen Dog is not for you. If however, you have a love for great cinematography, costumes and the romance of cinema, Zen Dog is exactly the kind of movie you’ve been looking for.

Zen Dog is available now to rent via most Video On-Demand or Streaming Services and is on Blu Ray in some stores. 

Movie Review A Nightmare on Elm Street (2010)

A Nightmare on Elm Street (2010) 

Directed by Samuel Bayer 

Written by Wesley Strick, Eric Heisserer

Starring Rooney Mary, Jackie Earl Haley, Kyle Gallner, Katie Cassidy, Thomas Dekker, Kellen Lutz

Release Date April 30th, 2010

Published April 29th, 2010 

Lather rinse repeat; simple instructions very easy to follow. I cannot help but speculate that director Samuel Bayer received similar instructions as he approached remaking the horror classic “Nightmare on Elm Street.” Good looking teenager falls asleep, Freddy kills good looking teenager in dream, repeat. This re-imagining of the horror icon Freddy Krueger is like most remakes merely a faded, facsimile of the original. The film is something akin to an “American Idol” contestant's version of a Beatles song; it doesn't sound that bad but lacks the heart, soul, and creative energy of the original.

Jackie Earl Haley replaces the one and only Robert Englund in the iconic role of gardener turned child murder Freddy Krueger. In this version of the story Freddy was a beloved figure who lived and worked at a day school where the kids adored him. That all changed when one little girl, Nancy, told her parents about Freddy's fun cave in the basement. Years later, after Freddy's death, the kids who attended that day school are finally reuniting and with their memories re-emerging, so has Freddy Krueger, who begins attacking and killing them in their dreams. Only Nancy (Rooney Mara) is capable of slowing Freddy's bloodlust.

There is nothing really all that wrong with this version of “Nightmare on Elm Street” from a technical perspective. Director Samuel Bayer, a veteran of music videos, knows how to aim the camera and how to use angle and light for the creation of tension and suspense and he has a good eye for gore. What Bayer is lacking is a story of any depth and characters worth investing in and identifying with. Writers Wesley Strick and Eric Heisserer operate from the recipe detailed in the opening paragraph - cute teen sleeps, cute teen killed, repeat. The settings for the deaths are generally the same; Freddy's creepy boiler room remains a creep-tastic setting even if that steam or smoke is still unexplained.

Heather Langenkamp had a winning combination of earnestness and determination and with that wonderful quiver in her voice she won us over and had audiences rooting for her survival even as Freddy was the more entertaining and charismatic of this deathly duo. Rooney Mara taking over the role of Nancy is basically filler. Someone needed to play the role and Ms. Mara was sufficiently attractive and available to fill the bill. Not much is asked of this mostly unknown actress and she gives just about what she gets from the weak script.

The rest of the cast is made up of pretty faces who line up as victim 1, 2, 3 and so on. The film ends on a strong note but I won't go into that too much other than to say that even fans of the original “Nightmare” will be impressed. It's fair to wonder that as a film critic I have seen too much. I have seen so many horror films and I am hard to impress and even harder to frighten. That's fair but I can recognize technique and I am aware when something works for a mass audience and something doesn't. The engaged audience member will likely recognize, as I did, the dearth of character development and the rerun nature of Freddy's kills.

However, those audiences not in fealty to the original as I am and more inclined to forgive the film its many repeats; those giving in to the legend of Freddy Krueger, well rehashed by the far too talented for this Jackie Earl Haley, may find themselves leaping in their seats and watching the movie through their fingers. If you are forgiving, enjoy “Nightmare on Elm Street” redux. Myself, I am going to watch Johnny Depp get sucked into his bed and explode in a geyser of blood in one of the greatest deaths of all time from Wes Craven's original “Nightmare.”

Movie Review A Haunting in Connecticut

The Haunting in Connecticut (2009) 

Directed by Peter Cornwell 

Written by Adan Simon, Tim Metcalfe

Starring Virginia Madsen, Kyle Gallner, Martin Donovan, Amanda Crew, Elias Koteas 

Release Date March 27th, 2009 

Published March 26th, 2009 

Virginia Madsen is a very talented actress. This assertion on my part is well demonstrated in her Oscar nominated performance in Sideways. However, her name on a marquee inspires the kind of fuzzy, hazy, disconnected state that only Pink Floyd could properly describe. Place her name above the title The Haunting in Connecticut and the combination inspires the kind of yawn that can only be described as jaw breaking.

The Haunting in Connecticut is a movie that commits the cardinal sin of movies. It is not merely bad, it's boring. Not boring merely in the way that one could be doing better things with their time but boring in a way that one is subjected to. As if locked in a room with blank walls and no windows. Gene Siskel put it best 'This movie does not improve upon a blank screen viewed for the same length of time.'

Virginia Madsen is ostensibly the star of The Haunting in Connecticut though one might fairly claim ennui as the film's true marquee element. Madsen plays a country mom to a cancer-addled son, played by Kyle Gallner, who decides to move her family to a suburban home closer to the local hospital. Because the family is not rich she accepts the first home in their price range. This, despite the fact that the home used to be a working funeral home. Poverty is stronger than the darkly ironic, fate tempting idea of moving her dying son into what used to be a funeral parlor.

Dad (Martin Donovan) is forced to stay in the country for work reasons but the rest of the family is coming to the creepy new house. The rest of the family include a toe-headed little brother and a pair of female cousins whose living arrangements are somewhere in the exposition, likely during the onset of my movie-long malaise.

Of course it's not long before the ghosts begin tossing plates and the shrieking musical score begins trying to convince us that all of this is pretty scary. I remain unconvinced. Along the way we greet a few more unhappy clichés including conventional horror movie misdirection where people hear noises that they think are scary but are really cats or birds or relatives.

There is even a brief digression into the child in danger plot as the youngest children are briefly menaced by apparitions. This is thankfully brief but hey if you are going to fly by on cliché you may as well throw them all in there. Clichés at the very least are familiar and even distracting yet somehow even they come off as boring in this film. It's difficult to describe this level of boredom. Imagine Ben Stein in Ferris Bueller mode reading the instruction manual for a ford fiesta. Now take that down a notch and you can imagine something close to what I felt during The Haunting in Connecticut.

This is surprising considering the 'true story' the film is allegedly based on. Al and Carmen Snedeker are a real family who moved into what was a former funeral home in Connecticut back in the mid-80's. After moving in they did indeed report a number of creepy goings on. Their story inspired Ed and Lorraine Warren, the spiritualist con artists who crafted the Amityville Horror legend years earlier, to come and craft an elaborate haunting for the Snedekers.

Not surprisingly, the whole thing became a bestselling book and now this movie. Except that the movie seems to have left out some of the more juicy and entertaining details. Not the ghosts, the bodies allegedly stuffed in the walls, or the alleged séances that may or may not have taken place as a regular bit of funeral home business. That's all in there somewhere, I think, I may have blacked out briefly. 

No. It's the part where Al and Carmen cop to having been raped by apparitions repeatedly over the TWO YEARS they lived in this house. Disturbing on so many levels? Yes, but definitely not boring. This detail was dropped from the movie either in a nod to good taste (Booo) or because writing this detail into the movie would take more effort than the writers were willing to put into it. 

Or, even more likely, it was a commerce over creepiness decision. The film is more bankable as a PG 13 feature not featuring ghostly forced sex. I'm not sure what this says about me but I cannot honestly tell you whether I preferred the boredom or the creeptastic, ungodly alternative left out of the final film. I guess we'll never know. The Haunting in Connecticut is what it is, an utterly mind numbing bore.