By Tony Beal
Image: Metro Creative Services
IN THEATERS
Presence
A new home puts a young family under surveillance by an otherworldly presence
Presence manages make its audience truly uncomfortable by filming in a way that creates a truly voyeuristic effect of this unique family. As you finally begin to become comfortable looking in on the private lives of the family members, things get scary. Suddenly you are second guessing everything you are seeing and have already been witness too. A terrific cast that rides the line between surreal and realistic, Chris Sullivan providing an “A” game performance. My only minor complaint is the camerawork. It feels a bit too much like a home movie operator, but based upon the movie theme itself, the framework is understandable and fits what Soderbergh is looking to accomplish. Overall, a fascinating film and worth price of admission.
Companion
A woman’s getaway with her boyfriend takes a horrific twist when she realizes just how little control she has in the relationship.
Companion’s theme and execution are understandably going to resonate with many audience members. That said, it’s hard to see what the film itself brings us that hasn’t been said before in other films of the same or similar genres. If anything, the odd tonal balance and pacing ends up hurting the film to the point of almost making it seem amateurish. Roughly filmed starts and stops, exasperated by a scrip that is not overly funny or thrilling, creates what feels like some of the 90 minutes I have spent in one place in quite some time. The cast is solid. Unfortunately, they were not given a chance to showcase their talents with the material provided. At best, I would suggest waiting to see this when it hits your streaming service.
Love Hurts
Love is found in many ways as a salesman’s past comes back in an explosive way.
I had high hopes for this film. Ke Huy Quan is a charismatic actor and brings so much from his stuntman days to the productions he is on. Unfortunately, Love Hurts is true to its name. The movie is unbelievably rushed and has a sense that the editing was left in its first draft/first cut form when released. There’s a smart film about the trials of becoming a better person, but it’s unbelievably half baked. No help was seen by the majority of the characters who ended up as wastes of solid talent pool. I was particularly disappointed in the material provided to Ariana DeBose’s (our fateful co-star). DeBose’s abilities were sadly underutilized. Even the action scenes waiver between solid to choppy and staged. This had all the makings of “what could have been” only to leave you with “what should not have ever been.”
The Monkey
Years after a demonic toy monkey tore their family apart, twin brothers reunite to destroy their tormenter.
The Monkey takes us back to horror movies of yester year. Utterly graphic and over the top deaths are the film’s cornerstone. To its credit, there’s something oddly comforting about the how it handles life and death. Seeing the brothers living their lives in fear, destroying everything they have over past misdeeds, it’s a good dosage of pathos the film needs in light of the overall silliness. Theo James’ running double duty in the lead roles works perfectly within the film’s balance of tragedy and absurdity. As a whole the performances and the script sells you on the idea that maybe this could happen, maybe. The tone and dialogue may not be for everyone, but if you find yourself into Osgood Perkins’ unique way of filmmaking, you will be well rewarded here. A story that helps you laugh at how silly death can be.
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