Here Comes The Night: Review of It Comes at Night

It Comes at Night

Director: Trey Edward Shults

By Alex Watson

Trey Edward Shults keeps the suspense building in his picture It Comes at Night. The premise of a cabin deep in the woods might seem familiar, but Shults' use of the dark keeps us continually on edge. The notion of family and survival are the key ingredients to success, from this the movie develops a wonderful paranoid edge that keeps the lines of reality blurred.

After a highly contagious disease, ravages the nation, Paul (Joel Edgerton), Sarah (Carmen Ejogo) and their son Travis (Kelvin Harrison Jr) live in seclusion. Their lives are one of strict routine and they are always on guard. One day Paul catches survivor Will (Christopher Abbott) try to break into their home. After misunderstandings are cleared up, his wife Kim (Riley Keough) and their son are invited to live in their home. Soon a series of strange misadventures will threat to tear both families apart.

What is perhaps the most effective and scary part of It Comes at Night is what is not told to the audience. Opening on Paul and Sarah being forced to kill their sick and infected father, there are no news reports or explanations as to what the disease is or how it started? What is the mysterious unseen presence that may or may not lurk in the bushes? Is this what causes their dog Stanley to suddenly go berserk? Shults demonstrates a really smart approach to his direction by refusing his audience any straight up answers. His command of the horror is what will stick with audience members. Surrounded by endless lush green woods, there is no hope of escape. Never once yield to the urge to simply scare people, Shults gives such a subtle yet unnerving visuals that will haunt your dreams for quite a time.

Will and Kim are what really throws the cat among the pigeons and this where the movie's paranoia superbly kicks in. Like Paul and family, there are merely trying to survive. Believing in strength in numbers they slowly earn the trust of their hosts. Do they carry the disease? Are they trustworthy? All these questions surround their arrival and both sides cannot seem to shake their doubts. Shults is forever testing us on what we think we know. And every little moment seems to carry a variety of questions alongside it. Travis emerges one of the key characters as his sleepless nights often uncover some clues which could be essential. During his dreams, this is where Shults blurs the line between fantasy and reality. Is what he sees forboding? Or is this a terrible and haunting premonition that will lead to worse happening!

During It Comes at Night's final act the simmering tension boils over. Read as little as you can about this picture before going in- it will ensure the cold-blooded finale will leave you speechless. The front door is the only way in or out the property. Soon this becomes the focal point of tensions as sides become taken. Secretly we question whether Paul and Sarah's overworked minds are just playing tricks on them? Continually Will manages to placate the pair and explain his way out of mysterious situations but his real intentions are left in the air by Shult's. While the lack of explanation may be maddening to some fans, others will marvel at its ambiguity

Joel Edgerton is proving to be one of Hollywood's most effective actors and that trend continues as Paul. Both protector and interrogator, he is a man determined to keep his family safe no matter what it takes. Edgerton is mesmerising whenever he appears and is very much the movie's troubled conscience. Christopher Abbott is also strong as Will and gives his character a likeable yet immensely mistrustful feel. Kelvin Harrison Jr, however, is the one whom the audience will likely remember. A boy being forced into manhood early, Harrison's innocence that he brings to Travis is truly heartbreaking.

It Comes at Night is an experience that few will forget, excellently mixing scares with a post-apocalyptic feel- few horror pictures will beat Shult's effort anytime soon.

Game Over Man: Review of Alien: Covenant

Alien: Covenant

Director: Ridley Scott

By Alex Watson

Ridley Scott's third outing in the Alien universe gets the franchise back on the right lines. Alien: Covenant isn't a perfect blockbuster by any means, but has a far stronger story and greater thrills than the ill-fated Prometheus. While the script by John Ridley does have the odd fault in logic, it's great to see Sir Ridley finally returning this franchise towards its roots again.

Travelling to start a new colony on planet Origae-6, the crew of the USCSS Covenant receives what looks to be a distress signal from another planet. Officer Daniels Branson (Katherine Waterston) is against investigating and insists the mission go on. However, Captain Oram (Billy Crudup) is overly curious about what lies there and the crew isn't keen on going back into hypersleep. When the crew reach the earth-like planet, they meet David (Michael Fassbender), the survivor of Prometheus and immediately his intentions come into question.

Alien: Covenant is given a big opening shake up. Hit by a freak neutrino blast from deep space, android Walter (also Fassbender) is forced to wake the crew early. Demoralised by a death of a beloved crew member, Oram is forced into the Lt. Gorman role and his unpopular decision making is quickly what dooms everyone. What it means to be human is another major subplot touched upon. Opening before the events of Prometheus, David is shown being given a lecture by a young Peter Weyland (Guy Pearce) about gods and creation. While playing an 'anaemic' piano rendition of Wagner's 'Entry of the Gods into Valhalla' the creation points out to tell his wannabe god maker "You will die, I will not!" David is the lynchpin throughout Scott's movie, so memorable before and the real lurking threat here. His appearance at first feels like divine intervention, but after we start viewing his 'amateur zoology' our views becomes very skewed.

When the crew the land on the mysterious planet, it seems almost too good to be true. Although it seems habitable, Daniels is quick to notice there are no birds or animals. Soon things get dark and intense and Scott thankfully gives us the return of some many of our beloved creatures such a face huggers and of course, the Xenomorphs! The creatures in this picture play second fiddle to the jump scares and when crew members start having weird objects bursting out their chests- the body count starts to rack up. Although the frequent kills do offer some genuinely creepy moments, there is a lot of other mumbo jumbo that gets in the way. The side plot of David weeding his influence over fellow droid Walter does make for some fine acting moment's- especially his recital of the poem 'Ozymandias' and their flute playing lessons together. The unnecessary diversion into how their kind was not meant to serve and the dreams that affect them only pushes the film away from where it needs to be.

Another issue is the crew themselves, Daniels while affected and suffering from her loss is not a strong enough character for the film to rely on. Likewise with the blundering Oram who seems to continuously worry that is faith will affect his ability to lead this crew. This issue was also present in Prometheus and this crew just feels like a group that is a buffet meal for the aliens. When Scott plays the hits, the plays them well. One claustrophobic sequence sees crew member Karine (Carmen Ejogo) quarantined while a mysterious creature begins to splatter out of her deceased crewmate! While there some good individual moments, it can't beat feeling formulaic. Scott feels like he is desperately trying to recapture the magic of his 1979 classic. Alien: Covenant is a solid entry into this franchise, but not one its fans will fully embrace- despite Mother finally being back!

Katherine Waterston gives it her all as Daniels but she just isn't the strong female character this movie desires. Taking up the torch from Sigourney Weaver is a tough ask- Noomi Rapace also gave unstuck previously. The problem is her character just feels like a blank page and John Ridley didn't seem too bothered about filling it. Out of the all supporting character only Danny McBride's pilot, Tennessee has any kind of likeability. After playing so many memorable jerks in shows like Eastbound and Down and Vice Principals, McBride seems at ease in the role of supporting hero. Once more Michael Fassbender steals the show, only this time he steals it twice. Both Walter and David are Ying and Yang on the persona front. David comes across as the gift that went spectacularly wrong. Through Fassbender, the movie's true villain is born.

Alien: Covenant does give us some joy seeing some of the touches we know and love. Ridley Scott just cannot fully seal the deal.

Beasts of The New York Wild: Review of Fantastic Beasts and Where to Find Them

Fantastic Beasts and Where to Find Them

Director: David Yates

By Alex Watson

The return to the Harry Potter universe is an enjoyable one by director David Yates. While Fantastic Beasts and Where to Find Them is an adventure that is great to look at, it doesn't quite conjure up the same sense of wonder. Yates draws into a world of unlimited imagination where effects seem to come second to knowing our characters. Eddie Redmayne makes for a capable lead, but JK Rowlings first attempt at a script is slightly incomplete.

Former Hogwarts pupil Newt Scamander (Eddie Redmayne) arrives in New York to promote his work on magical creatures. However, magic is under fire in New York after several recent events. Accidentally crossing paths with wannabe muggle baker Jacob (Dan Fogler) will bring him into the path of ex-Auror Porpentina Goldstein (Katherine Waterston). All the while, a war against magic is being waged by activist Mary Lou Barebone (Samantha Morton).

The creation of the new beasts and a brave step in a new pre-Potter world are what gives Fantastic Beasts and Where to Find Them its success. The new creatures are visually dazzling, top marks go to thieving platypus the Niffler, whose antics are a new ending sources of laughs. From the moment Newt Scamander arrives in New York, trouble seems to find him, During one encounter at the bank, he accidentally swaps suitcases with Jacob. Arrested by Porpentina, she drags Newt back to MACUSA (the US Magic Ministry) as perceives him to be a magical threat. The moment Jacob opens his wrong suitcase, all hell breaks lose and the bulk of the picture is spent chasing down these various beats around the Big Apple. Tina's boss Seraphina Picquery (Carmen Ejogo) is concerned with the effect this will have after the recent attacks by renowned wizard Grimmewald. Sinister MACUSA agent Graves (Colin Farrell) seems to have his own sinister agenda.

Chasing the beasts across a variety of awkward big city locations is definitely a great comic touch. One scene sees them chasing a horny female rhino creature across a frozen New York zoo. The main trouble comes from Newt being a rather weakly written character. A socially awkward and clumsy wizard, this person doesn't really have the needed spark the story requires. Jacob as a 'Non-Maj' dragged into the wizarding world is one we identify with more closely. A good funny relief, he is the audience's vision and like us, he is trying to make sense of it. His love story with Tina's alluring sister Queenie (Alison Sudol) is pleasant but doesn't feel necessary in this type of film. Together Newt and Tina make a good team, but their potential attraction feels drastically underwritten. Graves is a character who has a good sense of mystery about him as he investigates a series of random attacks by an invisible force. The supporting roles seem richer despite less time, particularly Morton's villainous Barebone. Her badly abused son Credence (Ezra Miller) is a wonderfully dark character that lurks in the shadows.

The third does make Fantastic Beasts and Where to Find Them to life. The invisible force has caused havoc throughout, even resulting in the death of an important son of newspaper mogul Henry Shaw Sr (Jon Voight). Finally, during this stretch, Newt gets the chance to play hero onscreen. The numerous creature chase sequences eventually draw out the pictures running time unnecessarily. When he focus on the principle threat plague threatening the city, he emerges as a clever and bold hero who could grow with the right material. Aided by his glorious big bird Frank, Newt shows real brains when the game is on the line, showing that creatures, not humans are his real forte. Unfortunately for all the last act's twists and turns, it contains a big reveal that's far too easy to predict. Although it does boast one of 2016's most unexpected A-lister cameos. JK Rowling's script might not all it wants to be, but it sure is great fun. Yates is able to keep the magic alive where needed and he is definitely the go-to man for this series.

Eddie Redmayne does the best with the material he is given as Newt Scamander. While watching him do an awkward mating dance for a hippo creature makes us cringe, Redmayne is able to bring across the more socially isolated part. Presented your typical bumbling Englishman abroad, Redmayne is able to bring across a depth such as his pining for an acquaintance who once wronged him. More impressively he is given a bravery when the game is on the line and that finally makes us root for him. Katherine Waterston is a talented actress is a rather beige role as Tina Goldstein and while her heart is commendable, she is never given anything to draw us in. Dan Fogler is by the given the strongest supporting role and as muggle Jacob, he is a revelation. Embodying the audiences conscience and desire to see this world, Fogler looks like a kid in a candy store.

Fantastic Beasts and Where to Find Them offers wonderful visual excitement and is another very entertaining piece. Unfortunately, it just doesn't feel different from anything else we've seen in this universe.

Long March To Freedom: Review of Selma

Selma

Director: Ava DuVernay

By Alex Watson

After being controversially overlooked in several key categories at the Oscars (despite scoring a Best Picture nod), Ava DuVernay's Selma is an engaging look at the 1965 Selma to Montgomery march. Although slightly dragging in places, this piece comes alive with a spirit that is undeniable. DuVernay never once holds back from showing the sometimes violent consequences of the Civil Rights movement. But through non violent resistance and determination, a crucial cornerstone in US History is made.

In 1965, Martin Luther King (David Oyelowo) is concerned that although segregation has ended, black citizens are still being denied their right to vote. Bring his thoughts to President Lyndon Johnson (Tom Wilkinson), the big man is reluctant to get involved despite many recent racial related deaths in the southern states. In order to bring about change, King and his supporters descended upon the town of Selma, Alabama and plan to march to the state capital Montgomery. Their mission will be no simple one and all the way there is substantial damage to bring about change.

Smartly picking the story up when Dr King received his Nobel Peace Prize rather than his "I Have a Dream" speech, Selma is a very focused effort by DuVernay who ensures that the story is told in a bold but never lecturing fashion. From the very outset, their work in Selma is tainted. Alabama was a difficult place to make progress and under racist governor George Wallace (Tim Roth), black voters were hindered at each turn. One of the opening scenes sees Annie Lee Cooper (Oprah Winfrey) attempt to register, only for the court clerk to ask her impossible questions until she cannot answer! As King himself points out to Johnson, racist killers are always absolved by all white juries because the black people cannot be part of the process.,.. unless they are register to vote.

Although there are no less than three tense and brutal marches that occur with DuVernay's film, the real story in this film comes from the back room politics. Through these scenes we see the preciseness and subtle power of King's strategy through non violent protests. However, it is these scenes that on occasions derail the film slightly. The power of MLK's oration is present, along with his continually strained relationship with wife Coretta (Carmen Ejogo). Problem is it often seeps into needlessly long monologues that delay the action. A sense of hardship occurred in the marches is also disappointingly absent and this subject feels more tailor made for awards. Although we see King proudly preaching their victory on the steps of the State Capitol, we never truly feel the required power desired for this result.

Where Selma does succeed though is in the unflinching portrayal of the notorious first Selma march where the predominantly white police force horrifically turned a peaceful protest into a national televised nightmare. As we feel the batons club innocent victims and see them run for their lives in the midst of tear gas, a great injustice is unfolding. Though this makes for horrifying viewing, a crucial breakthrough is made. Attitudes in the country swiftly changed and people from all corners of America descend upon Selma! Even Johnson who has been sat on the fence up until this point is finally forced to act.

But the film is carried on the shoulders of the excellent David Oyelowo who with a great subtle skill is mesmerising as MLK. Embodying the required charm and allure, the British actor is fascinating in the quieter moments of this character and is not afraid to give it gusto when it comes to the speeches of King! Cruelly denied a Best Actor nomination, Oyelowo has finally been given the role that he was born to play and from this point onwards, Hollywood should take note of this. Great support is given by Tom Wilkinson as the conflicted Johnson and Tim Roth who makes from a great on screen menace as the narrow minded Wallace.

Many will still complain about Selma not receiving more nominations, and in some ways it is a shame because DuVernay herself does deserve credit. This film is an inspiring one and we will get few civil rights films that match the power of this one. Dr King's victory was one that forever be echoed in history, but it was a fight that wasn't without casualties!