Tag Archives: Stanley

IT COMES AT NIGHT

“Unafraid to be ambiguous, and as open-ended as it is disturbing, It Comes at Night is a highly impressive piece…”

Wayward Wolf.

 

Each member of a family, wearing a gas mask and protective gloves, carry their grandfather a short way into the woods.

Multiple sores are strewn across his elderly face and body. This, together with a grey complexion and laboured breathing, is a sure indication that he is a very sick man and not long for this world.

One reluctant shot to his head, and the lowering of his body into a ready-prepared hole in the ground, is followed by a hurried cremation of sorts.

This is very much the way of things. An act of both mercy and self-preservation, for a contagious plague-like sickness has stricken mankind. Or so it would seem.

But we are observing only a rather claustrophobic microcosm of humanity here, with no real wider frame of reference or comparison. Who knows what’s already happened,  what’s really going on, and more importantly, what’s still to come?

This is the quandary facing Paul (Joel Edgerton), Sarah (Carmen Ejogo) and their son, Travis (Kelvin Harrison Jr.), a tight-knit family unit ensconced in their now boarded-up wooden family house, deep within a forest – doing their best to ride this whole thing out.

With Paul enforcing a set of strict rules with regard to what can and can’t be done given the extraordinary circumstances in hand, the three of them, along with their pet dog, Stanley, do their best to live some kind of structured life, rich in routine and consistency.

All of this, however, is put to the test one night when an armed intruder attempts to enter their secured home. Is this, as the intruder insists, the desperate action of a man innocently scavenging for supplies for his beleaguered family, from what would appear to be an abandoned building? Or, the uninvited arrival of something far more calculated and altogether more sinister?

More importantly, should Paul and his family take pity on this uninvited guest and offer him and his young family sanctum in their time of need?

A huge dilemma when so much is at a stake.

Refreshingly minimal in its approach, It Comes at Night is the work of director Trey Edward Shults, based upon his own screenplay. It’s very much a psychological horror / thriller bringing to mind 2015’s The Witch as well as The Blair Witch franchise, both stylistically speaking, and through its unnerving ability to generate a true sense of confused fear and foreboding.

Shults successfully manages to blur the line here between reality and imagination, raising significant confusion and doubt as to the true nature of whatever malevolent force is at work, and indeed whether this is all in fact nothing but a heightened sense of paranoia within the minds of Paul and his family, facing, as they do, an unexplainable, encroaching external menace from which they increasingly attempt to isolate and protect themselves.

Unafraid to be ambiguous, and as open-ended as it is disturbing, It Comes at Night is a highly impressive piece that provokes serious questions of trust and resolve, and one that will undoubtedly feed your fears of the unknown.

 

 

 

 

 

 

 

 

 

 

 

 

 

FILM REVIEW: Magic In The Moonlight


I’m a big Woody Allen fan. There, I’ve said it.

Ever since I first watched his slapstick antics in ‘Bananas’, way back when, I’ve been taken by this most unlikely of heroes, both as an actor and director. Admittedly, there have been moments in time throughout Woody’s distinguished career when his film making has occasionally left me a little cold. The output of the last two decades for example has had it’s highlights certainly, but seems somewhat patchy when compared to what most will consider his 1970s and ’80s prime.

Thankfully, it seems that Woody is now entering a most golden of twilights to his career, if the excellent Blue Jasmine and now Magic in the Moonlight, a tale of psychic deception and reluctant romance, are anything to go by.
Colin Firth, wonderfully cast as Stanley, a brilliant yet curmudgeonly magician, has his somewhat fixed and unshakable view of the world tested to its very limits when asked to unmask an apparently fraudulent young psychic, played beautifully by Emma Stone.

Magic in the Moonlight is a period drama, jollied along by a typically charming, 1920s / 30s Woody Allen soundtrack of jazz standards of the era. Is there any director that can so expertly portray the whole gamut of human emotions through such a musical genre? Whilst being nothing new in a Woody Allen flick, it never fails to impress me.

It’s a charming little film that keeps us guessing until the very end and deserves to be considered among his very best of recent times; perhaps not quite a Woody classic, but not too far off.

It’s comforting to know that Woody remains both so prolific and relevant with his output, even to this day. His story telling may often seem as though it’s retreading familiar old ground, yet he always seems able to say something new and thought provoking in doing so. Quite an achievement.

Truly a one-off. Keep ’em coming Woody!