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Reviews
Insidious: Chapter 3 (2015)
Lacks some tension, but makes up for it with effective scares and a likable central character
By Chapter 2 the exquisite tension of the original was already somewhat diluted; by now we know the rules better than the characters (especially as this is a prequel).
The movie tries to make up for this loss of tension by ramping up the jump scares, fortunately, it doesn't do a bad job.
This series has slowly developed one of the most unlikely stars of any horror franchise: Lin Shaye's Elise, the psychic "woman of a certain age," who in this installment has a journey of her own to go on, in and out of The Further.
That journey involves a bit too much emotional see-sawing of the "No, I can't help...but I must! But I mustn't! But...?!" variety for my liking, but it must be said that Shaye's sheer likability kept me with her all the way.
I *wanted* to see Elise become the embodiment of good that she is in the previous installments (which again, take place later chronologically).
Leigh Whannell's writing is, as often, better textured than it may at first appear; there are any number of ways he could go if he chooses to continue the series. Giving nothing away, the ending of this one, like the last, has me wondering which shoe he'll drop.
The Selling (2011)
The acting is stronger than the script; the script is stronger than the direction.
I particularly want to applaud Gabriel Diani for not overplaying too much
except for one or two scenes where overplaying is, frankly, called for.
Diani also wrote the movie, and working from his script, Etta Devine creates a character who in a bigger budget movie would be a manic pixie dream girl, with whom sex or even the mere *promise* of same would heal and encourage the lead at his lowest point.
Ginger Sparks--it's a movie name, but one I'm willing to let go because she seems like the kind of woman who would change her real name to that- -has a bit more substance.
She's not fully formed yet; we don't get enough hints as to who she is or what her interests are when not serving the plot. But I'd like to see her character return...preferably in a better structured script; in a film directed by someone who better knows how to film a joke.
Credit where it is due: It's a pet peeve of mine when films try to replace dialogue with references to other films. As if characters sitting around paraphrasing movies were inherently funny. This movie contains almost nothing of that, though an early invoking of Ferris Bueller made me tense for a few seconds. Later, when a line comes that does play off a classic movie quote, it caught me *completely* off-guard and made me snort with laughter. Well played.
Unfortunately, it's the funniest part of the script, which otherwise fails to find a satisfactory balance between scares and humor; never quite delivering everything it promises.
A misfire by clearly talented people, whose names I intend remembering (luckily, they're pretty memorable).
God Bless America (2011)
Unpredictable, smart, and amazingly well-acted
However...I wish that both the lead actors' characters had been explored in equal depth. I feel that we are really shown the heart of the Frank character but not so much Roxy's.
Which is a shame, because based on the job she did with the character she was given, Tara Lynne Barr would've been capable of defining her character as well as Joel Murray does. I especially wish we'd seen more (or really any) of what her character's home life was actually like.
As to the larger questions of the movie, of course, there is an inherent irony in presenting the case against rudeness from behind a gun. I think Goldthwait was well aware of this; I don't know if there's any message to be found here.
But if there is, I certainly don't think it's that Goldthwait thinks anyone with opposite views to his should be shot. It's closer to the truth, perhaps, that the movie dramatizes a gaping wound in the world today. It's more a calling for attention to a problem than a suggestion of answers.
In fact, one of the more troubling thoughts the movie leaves with you is that there may *be* no answers: The world's just gonna keep getting dumber.
Which leads me to an even *more* troubling idea. Goldthwait has said that one of his models for the script was the film Network, which upon its release was seen as satire: Surely no TV executives could really be *that* cynical, surely people didn't want to be on TV *that* much, surely the profit motive isn't the *only* motive.
Some 35 years later, we realize that the sort of thing which must have seemed repellent then, is now enjoyed by millions of families several times a week. It's a world where "reality" shows are seen as an acceptable activity for recent Vice-presidential nominees, and girls are celebrated for how much liposuction they've had.
My point is: What if, 35 years from now, the problems at which Goldthwait "takes aim" in this movie...sorry...are thought of as "quaint," with sweet nostalgia? If that happens, there may be part of me (assuming I survive) that wishes Frank and Roxy had one more "call to arms."
Not literally, of course