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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Peyton Kennedy

XX (2017)

Women be shoppin’. Except not really.

A mother (Natalie Brown) has no clue what to do with herself, now that her son refuses to eat anything, no matter what’s put in front of him; another mother (Melanie Lynskey) tries to throw the biggest and best party for her daughter, only to realize that it probably won’t happen due to unforeseeable circumstances; a bunch of young whipper-snappers head out into the mountains, expecting to have some fun and catch up some history, only to discover something horrifying and dark; and lastly, another mother (Christine Kirk), seems to be hiding something from her troubled 18-year-old son, but he, nor anyone else really knows what.

In case you couldn’t tell, XX is an anthology piece, done by four women, with four different stories, focusing on, above all else, women. It’s a nice angle to take on the horror-genre and shows that it still has some growing to do, in terms of its versatility as well as its acceptance. However, it does also show that it has some growing to do in terms of its quality.

Scared

See, one of the main issues with XX, and as is the case with most anthology pieces in its same vein, is that it’s way too brief for its own good. At nearly an-hour-20, each story has at least 20 minutes each to tell its story, characters, and most of all, give us the chills. But there’s something with the horror genre that, in order for the scares to be smart, effective, and most of all, scary, there has to be some sort of build-up to it all, and at nearly 20 minutes each, none of these tales really have that.

In a way, each one of them feel like they’re fully realized and fleshed-out, but are missing a few reels, either at the beginning, at the end, or somewhere in between. A part of me wonders what the exact want and reason for making these stories actually was, considering that it doesn’t seem to be any reason other than, “Oh, well, they’re kind of scary, I guess. Oh, and they star women, written and directed by women.” Once again, nothing with this approach, as it is definitely something that the horror genre as a whole could and definitely should, work on, but perhaps XX isn’t the brightest, most shiny example of why.

If anything, it proves to be an interesting and mildly entertaining diversion from what we’re used to seeing with horror anthologies, but yeah, it’s been done better before.

And to talk about the four pieces of story here, it’s best to go on about each one of them. First off, “the Box”, written and directed by Jovanka Vuckovic, plays with a lot of visual cues, but ultimately, isn’t about much. It’s about this family, going through a rough time when one of the children won’t eat, and has all the makings of a weird, almost surreal dark comedy, but it doesn’t go that way – instead, it plays itself very serious and dark, and sort of just ends on that note. It’s the perfect piece to start out on, because it literally won’t be remembered by the end.

Petrified

St. Vincent’s tale, “the Birthday Party”, works a little bit more because it does take a slightly comedic-edge to its story, but once again, doesn’t feel like it’s really built upon anything. It’s just sort of weird, wacky, and features a random cameo from Joe Swanberg. If anything is to be taken away from this part, it’s that St. Vincent is a competent enough director to show us that she knows what she’s doing behind the camera, so who knows? Maybe it will be nice to see more of her there.

Anyway, then there’s “Don’t Fall”, by Roxanne Benjamin, that started off promising, but ultimately, doesn’t know what to do with itself. Everything happens way too quick, we get the very smallest, slightest bit of character-detail to work with, and yeah, none of it really matters. The gore and the scares work, but they’re done in about five minutes anyway, so does it really matter at all?

And lastly, there’s Karyn Kusama’s “Her Only Living Son”, which may be the only one here that actually feels like a fully realized and written short movie about a mother, coping with whatever mystery is in her life. It helps here that Christina Kirk is a good actress and an inspired bit of casting for this dark role, but Kusama herself also shows some initiative, with enough mystery, development, and oddness to make it all work. The ending is stupid and doesn’t quite make sense, but hey, at least it is attempting at doing something.

Which, after all, is all I needed and/or could have ever wanted.

Consensus: Though not terrible, XX is more of a mixed-bag, showing why there should be more stories about women in horror, but also showing why they should be longer than 20 minutes each.

6 / 10

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Photos Courtesy of: Indiewire, Joblo

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The Captive (2014)

Hide yo wife, hide yo husband, and most of all, hide yo kids.

Matthew (Ryan Reynolds) leaves his young daughter inside the back of his car to go and pick up some pies for dessert later, and moments later, he comes back to find out that she’s not there and is nowhere to be found anywhere in sight. How could this happen? Better yet, why? Well, that’s when two detectives (Rosario Dawson and Scott Speedman) jump onto the scene and investigate every inch of this case that they can, even if they end up rubbing Matthew the wrong way quite a few times. Still though, they remain dedicated to finding this little girl, even if literally means exploring certain avenues that they wouldn’t normally go down. But now there’s a problem: One of the detectives has gone missing, which not only hinders the effectiveness of this case, but now puts another one at the top of the pile. Meaning that Matthew may never get to see his little girl again. This is when he decides to spring into action and take matters into his own hands, even if that means risking his own life.

I don’t get why people still constantly want to work with Atom Egoyan. Sure, I understand that the guy has made some top-notch films back in his day, but from what I’ve been seeing of him recently, they aren’t well-done. Most importantly though, they contain top-dollar ensembles who, in better movies, would make any film nerd want to get out their cushioned-seats, hop onto their bikes, and get to the nearest movie theater that’s actually playing one of his movies. But sadly, they do nothing but just disappoint. That’s why when I went into the Captive, I expected it to be bad, regardless of how bright and shiny that cast-list may seem.

The beautiful babies I'd imagine these two as having.

The beautiful babies I’d imagine these two as having.

But here’s the real kicker, everyone: I actually enjoyed the Captive.

Although, yes, most of the times, I know I wasn’t supposed to. See, there’s something strange going on with this movie and the way Egoyfan frames it, in that we literally get to see who the villain is in the first five minutes, whether or not the girl is actually alive, and which detective has gone missing. Over time though, the narrative jumps all over its time-line to where the actual abduction is actually somewhere around the half-hour mark, which is, for some odd reason, just after we’ve been introduced to one of the detectives and their job-meeting. This continues on for a good part of the movie to where we’re told to put the pieces of this puzzle together in our own ways, which isn’t necessarily a hard task to complete, it’s just an unnecessary one.

Why Egoyan felt the need to tell this story using a nonlinear method, is totally beyond me. In fact, it makes no sense at all, considering that we’re supposed to have some sense of tension with this case, who did it, why, and when they’re going to get caught. Other than the last aspect, we already know everything and it seems random that Egoyan would choose to use this device.

However, that said, when the film gets going and starts to tell its story in a conventional manner, it surprisingly gets better. But, once again, it got better for me in the way that it wasn’t supposed to. Because, for starters, this movie is quite over-the-top. Sometimes, certain lines that are supposed to hold a great deal of emotional heft, come off as too melodramatic, and we’re watching an episode of One Life to Live. Which isn’t really because of the cast, it’s mostly because the material they’re given is sometimes so goofy, that they can’t help but over-act and dial it up to nearly eleven. Though being unintentionally hilarious is bad thing for any movie to have, it worked for me here with the Captive and at least gave me plenty of chances to laugh-out-loud, even though I knew full well I wasn’t supposed to.

It isn’t like this all of the time, but when it is, I found myself enjoying myself. For better, and for worse.

But then something even stranger began to happen with me and this movie – it got better. And no, this does not mean that the laughs stopped, but more so that the tension that was supposed to be there throughout the whole piece, surprisingly showed itself and made me wonder where the story was going to go next. There’s a neat sequence in which Reynolds’ character may have possibly found his kid’s nappers and decides to sternly confront them, mono-e-mono. Not only is it a nice bit of acting on his part, but it’s then followed by a fun, relatively exciting car-chase that goes all over the snowy streets of Canada, where apparently nobody else seems to be driving. But that’s neither here nor there.

And I guess now would be the part to discuss the cast here and to say that while mostly everybody’s good, they’re stuck with material that’s clearly beneath them. Case in point, Ryan Reynolds. See, as of late, Reynolds has been making a huge effort to break away from the big bucks and the mainstream flicks, and just test himself as an actor, by taking smaller, more indie-based flicks. It’s not only interesting to see his choices, but to see what he does with them and how he’s able to still be his own, charming-self, yet, blend in well with a director’s certain sense of style.

"Yes, ma'am. It's what the kids are currently calling it 'memes'."

“Yes, ma’am. It’s what the kids are currently calling it ‘memes’.”

Here, in Egoyan’s film, Reynolds gets a chance to be funny at certain times, but is still incredibly believable as the grieving father who will literally do anything to find his kid. He’s not necessarily trying anything new that he hasn’t tried before, but he’s still exceptional in a film which, quite frankly, didn’t deserve him or all the effort he seemed to put into this performance. Same goes for Scott Speedman and Rosario Dawson who try their hardest as the two detectives assigned the case, although their characters feel a bit underdeveloped, even though Egoyan focuses his main sights on them and what it is that they’re up to.

Sadly though, not everybody fares as well-off as these three. Like I said before about the script being cheesy and mostly over-the-top, this usually entails certain cast-members to read their lines either by yelling so dramatically, you wonder if they’re making fun of the script, or if they’re just confused about why Egoyan is even bothering with it in the first place.

The perfect example of this is Mireille Enos as Matthew’s wife who has a few break-down scenes where she’s yelling at and beating Matthew because she believes it’s all his fault their daughter is lost. Enos is a great actress and is one I always love to see because of how much she challenges herself, but here, she’s so wacky, I couldn’t hold back my laughter during a scene which, obviously, seemed like it didn’t ask for that. Kevin Durand and Bruce Greenwood are two other victims of Enos’ same problem, except that they have it worse seeing as how they’re the baddies and all, and one of them even has a mustache.

Come on, now! That’s like the oldest trick in the book!

Consensus: Poorly-written, unintentionally hilarious, and a waste of a very talented cast, the Captive may be ridiculous, but it’s fun to laugh at, enjoy for as long as it’s on the screen, and most likely forget that you ever saw.

5 / 10 = Rental!!

The local truck stop. That's usually where all the bad shenanigans go down.

The local truck stop. That’s usually where all the bad shenanigans go down.

Photo’s Credit to: IMDB, AceShowbiz