Well it's not often I get to walk out of a horror movie, excited by how much I loved it and just glad to be back in the light of the foyer. To do this twice in one week seems unheard of*1.
Ghost Stories is an anthology-format feature film from Andy Nyman and Jeremy Dyson, adapted from their stage play of the same name. In it, Nyman plays Professor Phillip Goodman, a paranormal investigator who specialises in debunking claims of the supernatural and exposing charlatans on the 'stage medium' circuit. When he's called to a dilapidated caravan park in Yorkshire by Charles Cameron, a retired debunker and one of Phillip's similarly-minded idols, our hero is presented with three 'unsolved' cases. Speaking with the originators of each experience, Goodman slowly realises that something connects their inexplicable stories, and that link may be closer to home than he likes...
Now on paper, this should be a pretty standard affair. Although titled Ghost Stories, this is, make no bones about it, a horror film*2. With segments taking place in an abandoned asylum and a car which breaks down in the woods at night, it's not so much that the film is 'textbook' in its approach, more that this is a lesson being taught with that textbook.
The nested storytelling is like an Inception of the macabre, beginning with urban decay, slamming doors and an escalating sense of suffocation. The third tale in Goodman's investigation goes to the windswept moors and a spacious, empty nursery, changing gears with unfettered agoraphobia, reminding the characters and audience alike that they're not safe anywhere*3.
Ghost Stories is, quite frankly, terrifying. Gleefully sadistic in its scares, even though it's a celebration of well-used mechanics in the genre. For the seasoned horror fan, the film acts as its own challenge to the cynical, as we become Goodman, the skeptic being preached to from all sides on the importance of belief, but still stubbornly waiting to be scared by the ride.
The roots as a stage-performance are evident throughout, but this adds to the intensity of the piece. Nyman and Dyson understand on a fundamental level that having someone hear strange noises in a derelict building isn't scary. Horror lies more in fear of the unknown than the reveal (which is why you generally don't show the monster in a first act), but to convey that sense of utter dread, the viewer needs to relate to the character experiencing it. Enter Paul Whitehouse and Alex Lawther, separately recounting their supernatural encounters and assuring the twitching audience that they'd fare no better in the same situations. The performances all-round are an acting masterclass. Martin Freeman is also in the film.
Each story seems to end without a definitive payoff (other than the knowledge that the teller of each tale survived to relay it to the interviewer), but it's all wrapped up in the finale. Ghost Stories' pulling together of the threads is magnificent. Again, there's little actual twist in 'the twist' if you're sitting second-guessing, but the storytelling follows the rules of the genre with absolute distinction.
These are the creative fruits of the tree watered with Hammer House of Horror and books that we were too scared to open*4. A movie which knows the key difference between telling its audience when to be frightened, and just frightening its audience.
Ghost Stories is masterful. As someone who has seen enough mediocre horror to have become thoroughly bored with the genre, I can give this no higher recommendation...
Tales Of The Unexpected, The League of Gentlemen and, oddly enough, Mindhorn.
It is.
All of the above.
It could well be.
We wouldn't disagree about this because you'll love it, too.
Won't you.
*1 I'm afraid I don't really categorise my reviews by genre, so it's more than the work of a few clicks to backtrack and find out, I'm afraid. As regular readers will be aware, I'm as harshly critical on horror as I am comedy (each having a very specific brief), so I know for a fact that me liking two horror flicks within the same half of a year is unusual, never mind in the same week... [ BACK ]
*2 Back in August, I told Mrs Blackout (who doesn't like horror movies) she'd love A Ghost Story as it's not a horror but an actual story about ghosts. Ghost Stories, on the other hand, is co-helmed by Jeremy Dyson, whose televisual and literary work she enjoys, yet she'd make it about seven minutes into this film before having to leave the room... [ BACK ]
*3 Speaking of the audience, there was an advert for Taylor Swift's UK stadium tour in front of this film. That's not an unusual type of product in itself, but there's normally some broad demographic link (a similar promo ran for N*ckleback in front of The Huntsman) - that's generally how advertising works. But the Taylor Swift advert didn't run before A Wrinkle In Time on the same day. Who do the film distributors think is watching Ghost Stories, exactly? [ BACK ]
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
Black Panther (second-pass / 2D / SPOILERS)
Cert: 12A / 134 mins / Dir. Ryan Coogler / Trailer
Perhaps only I could spend half a review wringing my hands about trying to be A Good Liberal™, while at the same time taking seven weeks to re-watch the most culturally-significant Marvel Cinematic Universe film to date. And it only stands out because I'll usually give these movies a second-pass in a week of them being released. But no, I'd spent the time between mid-February and the end of March looking at the listings and saying 'oh good, it's still on next week - I'll catch it then'. What can I tell you? I've had a lot of absolute filler to see in the meanwhile.
But on the plus-side, I've also had plenty of time to let my initial viewing of Ryan Coogler's Black Panther bed-in. And the good news is that the film is every bit as grin-inducing and awe-inspiring as it was the first time. Perfectly cast and brilliantly directed, what stands out is how effortless everyone makes this look (more often than not, the sign of gargantuan amounts of effort). More politically complex than other MCU entries both on-screen and off, some films in the series seem to fade slightly as they're superseded and sequelled; not so much ageing badly but becoming almost quaint in comparison with newer fare. But like Captain America's first outing, this could be could be one of the movies which gets better with each viewing.
But what I, personally, enjoyed the most about Black Panther is that it features the best and most brazen homage to The Phantom Menace you'll see this year (and quite possibly, ever).
To wit…
i. A Prelude To War...
Knowing a decisive battle is imminent and that they're outnumbered, our rag-tag heroic group goes to see the gruff, disinterested leader of an isolationist clan to ask for vital help in repelling an invading force. The leader doesn't want to get involved in what he sees as 'external' politics, but is eventually swayed by realising that co-operation is the key to larger victory.*1.
ii. Death Of The Mentor…
A convention of The Hero's Journey, our protagonist sees their elder and mentor - the last connection with the status of being a student - struck down before them, by a foe they too will have to face. It's at this point that the hero has to branch out on their own, only able to rely on what they've learned, and develop it for the fight ahead.
iii. On The Ground…
The finale begins. Out on the grassy plains, tensions erupt in a clash featuring a mix of melee weapons and energy-shields. culminating in a moment where the aggressors suddenly and unanimously cease their attack.
iv. In The Air…
Meanwhile, a slightly meek and surprisingly-gifted pilot, proves his worth in an impromptu mission that sees him taking out enemy fighters (and in a craft which was previously unknown to him) and landing that one crucial shot, just in the nick of time.
v. …and Blade-to-Blade
The climactic duel between the hero and antagonist takes place away from the ground and air battles, in an underground industrial complex where the combatants get separated mid-fight by an intermittent energy shield.
The Phantom Menaceis great.
I know it, Ryan Coogler knows it*2.
Well, tonight's crowd thought so.
Seven weeks into its run, and with Ready Player One, Tomb Raider and Pacific Rim: Uprising playing in the same building, and Black Panther was still packed out.
At the soonest opportunity, yes.
Maybe best so far, but you know everyone involved is on an upward trajectory here.
No, because you're going to think it's great as well.
*1 Although to be fair, while TPM's Padmé convinces Boss Nass to help on-the-spot, Nakia and Ramonda's plea to M'Baku is met with continued petulant neutrality. When M'Baku and his army do appear at a crucial moment during the ground-assault, that's closer in tone to Han Solo's return in the battle of Yavin from A New Hope. [ BACK ]
*2 By this point, some of you may be thinking "oh, so if it's a film you happen to love then it's 'an homage', but if it's a film you think is rubbish then it's 'a shameless rip-off'?'". Yes. Yes, that's almost exactly how that works. Thank you for noticing. [ BACK ]
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
Black Panther (first-pass / 2D / spoiler-free)
Cert: 12A / 134 mins / Dir. Ryan Coogler / Trailer
There's little doubt about it, 2018 is a busy time to be a geek. The dust has barely settled on Star Wars: The Last Jedi and while Lucasfilm begins (finally) to ramp up publicity for May's Solo outing, their Disney stablemates Marvel Studios are ready to strike with the first prong of the year's theatrical trident. Yes, February sees the hotly-anticipated debut feature of Black Panther.
Based on the 1966 comic hero created by Stan Lee and Jack Kirby, the character made his first Marvel Cinematic Universe appearance in 2016's Captain America: Civil War. As the prince of the technologically advanced but isolationist African nation Wakanda, T'Challa (Chadwick Boseman) saw his father murdered in a terrorist attack masterminded by Hydra during the Sokovia Accords conference in Vienna. Already routinely donning the anonymous Black Panther outfit to protect the interests of his people both home and abroad, T'Challa was suddenly handed the responsibility of being their public-facing king, too.
With the aid of a prelude scene taking place in Oakland, California in 1992 (before returning to the 'present day' setting), this is where co-writer Joe Robert Cole and writer/director Ryan Coogler pick up the thread. Recurring Marvel antagonist Ulysses Klaue (Andy Serkis) has hatched a plot with Erik Killmonger (Michael B. Jordan) to take control of Wakanda and exploit its vibranium resources. T'Challa, barely ready to lead his people let alone defend them from a threat this egregious, will have his work cut out. Perhaps luckily then, our hero has help from his tech-guru sister, Shuri (Letitia Wright), leader of the clan's army, Okoye (Danai Gurira) and warrior and old flame, Nakia (Lupita Nyong'o).
Now, it's probably not unfair to say that throughout the movies of the MCU, the standalone, 'in-between' chapters are more interesting than the climactic Avengers ensembles. But even in a great year like 2017, two of Marvel's entries to the canon were sequels and the third was an in-universe reboot. The general critical consensus came to be that a little variety wouldn't be a bad thing.
From a sociopolitical standpoint, a headlining hero like T'Challa is long overdue, of course. But there's still the feeling that this particular film about a character largely unknown to 'civilian' audiences wouldn't have been made at all were it not for the confidence imbued in Marvel Studios from the success of Doctor Strange and Ant-Man, two other 'fringe' characters made palatable by strong casting and snappy dialogue. Although even with these earlier stories, the structure itself was more than a little familiar (Doctor Strange is basically a retooled Iron Man, while the same goes for Ant-Man and Captain America: The First Avenger).
So what's needed to push the franchise forward is a tale of relatable characters with realistic concerns, in a setting familiar enough to feel natural, but unusual enough to allow for the more fantastical elements of the story. And in this regard, Ryan Coogler delivers masterfully. Black Panther is an intelligent movie which doesn't sport a superiority complex, it's intense without morosity, it's fun without feeling silly. Outstanding work.
T'Challa's character is mentally sharp, but with neither the genius nor arrogance of Tony Stark or Steven Strange. And while he has faith in his physical abilities, this never spills over into the outright brashness of Captain America, Thor or Hulk. Black Panther is merely a costume, a mantle; T'Challa is the focus, and he succeeds because of those who stand by his side. While the movie may bear the Black Panther's name, all heroes are equal here.
Chadwick Boseman gives a fantastic, thoughtful performance centre-stage, but it's the ladies who really steal the show, for two reasons. Firstly, T'Challa's nature is largely stoical, with hints of reticence when it comes to making the big decisions placed at his feet. Shuri, Okoye and Nakia however, are far more gregarious and focused when it comes to combat. Secondly, and perhaps more importantly, Black Panther wears a mask/helmet to fight; the ladies don't. As a result, Wright, Gurira and Nyong'o can be far more expressive throughout, leading a fantastic cast including spirited performances from Angela Bassett, Forest Whitaker and Daniel Kaluuya. Martin Freeman is also in the film.
The neatest part of course, is that Black Panther instantly feels like it's a part of the larger Marvel universe, and not just by means of the returning characters and plot-references. The production-team have the tonal quality of the MCU honed completely by this point so we'd expect little else, but throughout the 134 minutes, there's the feeling that these characters belong firmly in the timeline and we're just surprised we haven't met them before now. The knowledge that some of them will be returning in the upcoming Avengers: Infinity War is welcome, indeed.
Black Panther is Marvel Studios playing another strong hand. The film doesn't necessarily leave the viewer with the same hyperactive buzz as Thor: Ragnarok or Spider-Man: Homecoming, but then it has far more thematic plates to spin. And as usual for this sort of thing, there's far more for the MCU-fan to take in than can be gleaned from the first sitting.
Not that you'll need a reason to watch this more than once…
The business-end:
• Is there a Wilhelm Scream? I'm not sure...
• Is there a Stan Lee cameo? There is.
• Is there a mid-credits scene? There is.
• Is there a post-credits scene? There is.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
I don't always see films in which A-Ha's Take On Me is sung badly by one of the male characters, but when I do, I like to watch two in the same week. Mind you, the same also goes for Martin Freeman struggling under the weight of an accent that's not his own, so Whiskey Tango Foxtrot makes that a double occurrence, too. Especially since Freeman's also the one making Morten Harket spin in his premature grave…
This adaptation of the bestselling memoirs of TV war-correspondent Kim Barker goes the classic melodramatic route of peppering its first act with gags and witty asides, largely to be used as a direct comparison against the third act where all the drama and poignancy is. The problem is that WTF is neither as funny nor poignant as it'd like to think it is, and that's underlined by Tina Fey and Margot Robbie over-acting in almost every one of their scenes. Although the situation in Afghanistan was (is) extreme, gallows-humour requires a delicate touch, and there are many gradations of drama/comedy required in the emotional roller-coaster which is 'the modern war film'. While Fey/Robbie certainly don't de-rail that roller-coaster, their performances are either on one or ten, leaving it to the supporting cast to fill in the blanks. It also doesn't help that Tina Fey has a habit of pulling a comedy-face after delivering each joke*1; you can take the girl out of SNL…
The film works on a bare-bones level, and I did care for the characters (even the aforementioned Martin Freeman's one, despite his vocal performance being a needless insult to Scotland), but I always felt like I should be caring more, somehow. I get the impression that a documentary on Kim Barker's work would be far more affecting, not least because it wouldn't feel the need to try so hard.
While Whiskey Tango Foxtrot skilfully (and thankfully) avoids flag-waving, the film struggles with the humanitarian side of modern warfare, which is pretty much its sole remit, when you think about it.
Co-directors John Requa and Glenn Ficarra do their best of making unlikeable characters valued and unbearable situations compelling, but I can't help feel that a lot has been lost on the journey from page to screen…
The cinema's not going to be essential to enjoying this, no.
Personally, I don't think so.
Although I seem to be in a minority.
No, everyone on-board here has been more focused in other movies.
Probably not.
Definitely not.
Level 2: Alfred Molina turns up in this, and he was in Raiders of the Lost Ark along with that Harrison 'Solo' Ford chap...
And seriously though, look at that…
Whiskey Tango Foxtrot. Seat F14. Bastards.
I saw five movies that day (a new personal record), and all I wanted was seat F12 for my Cineworld Ticket-Stub Bingo win. But not only was that seat taken when I booked, the guy was already in it when I got into the auditorium. The only person in there. Doing a crossword, of all things. Like the fucker had been parked-up all day*2, just so that I wouldn't win the prize.
What an absolute bastard. Because my showings were so close together, I couldn't book them all online as the system classes anything starting within 45 minutes of the previous film as 'overlapping', so only the on-site staff can over-ride that. You can't plan this shit, you know; you only win Cineworld Ticket-Stub Bingo with a combination of luck and skill.
I've heard the prize is fantastic, although no-one there will tell me what it is.
But I suppose there's always next time…
*1 Although Fey's to-camera mugging pales in comparison to the 'Kabul's first female driver' spot, in which she watches the joke occur and then literally explains to the audience why it's funny. And unlike a Stewart Lee routine, it's not given any new level of nuance by this happening.
*2 He hadn't, obviously, as I'd seen Angry birds in the seat between us both not half an hour earlier. But still.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
