“Late Night with the Devil” (2023)

In the interest of full disclosure, I have not been a proponent of found footage films for many years now. From the intentional shaky camera work, subpar lighting, often laughable acting, and nonsensical plots, they have been one of my least favorite genres of film. “Late Night with the Devil” written and directed by Cameron and Colin Cairnes, is the antithesis of all that I normally grumble about, when it comes to found footage movies. The casting of the actors, and their performances were excellent. The pacing of the film, set decoration, lighting, soundtrack, and wardrobe were all spot on. The plot made sense. It convinced me, through a short, but necessary exposition at the beginning of the movie, that the main character would make the decisions he ultimately does, regardless of the consequences. Everything about the film connected in a seemingly flawless manner. (As an aside, the introduction to the movie is narrated by Michael Ironside (Scanners).

At the start of “Late Night with the Devil” it is revealed to the viewer that Jack Delroy (David Dastmalchian), the host of The Night Owls with Jack Delroy, is in a competition with perennial, late night ratings leader, Johnny Carson. The charismatic Delroy comes across as both amiable and humorous. He has come close to claiming the top spot, but has never been able to unseat Carson. Tragedy has also struck Delroy’s life, with the passing of his wife Madeleine (Georgina Haig) from cancer. Delroy has one last chance to prove his show is a winner, and deserves the top spot. Everything is riding on the show’s Halloween episode, which starts on the Monday of Sweeps Week. Delroy’s guests will include: Renowned psychic, Christou (Fayssal Bazzi); psychic debunker, Carmichael Haig (Ian Bliss), who will pay $100,000, to anyone who can prove that they have genuine psychic abilities; paranormal psychiatrist and author of “Conversations with the Devil”; Dr. June-Ross Mitchell (Laura Gordon); and Lilly (Ingrid Torelli), the teenage girl under her care. Lilly is no ordinary teenager. She was born, and lived among satanic worshipers, headed by Szander D’Abo (Steve Mouzakis). When the FBI raided the house used by the worshipers, D’Abo instructed his followers to kill themselves by setting the house on fire. Lilly was the only survivor. Furthermore, Lilly is believed to be possessed by a demon, that she refers to as Mr. Wriggles.

The Halloween broadcast begins on a light note. There are some tame jokes, a bit of good natured banter between Jack, and his sidekick, Gus (Rhys Auteri), before the first guest, Christou, comes out to wow the audience with his psychic abilities. From that moment forward, however, the evening starts to take a dark turn. Things don’t happen immediately, instead, the filmmakers allow the tension to build. As a viewer, I was wondering when the supernatural would present itself? 

For those viewers who are wondering if the possession scene is the entirety of the film’s horror and supernatural presence, it is not. In terms of what else there is, I won’t spoil it for those of you who haven’t seen the film, but would like to. Off camera, during a commercial break, Dr. Mitchell confides in Delroy, that she doesn’t think that it is a good idea to attempt to evoke the demon to come out of Lilly. Dr. Mitchell insists that Lilly’s hands be restrained to the chair. Delroy can’t risk not having Dr. Mitchell try to bring forth the demon she claims possesses Lilly. He has promised the audience and the viewers watching at home, that the broadcast was going to be like nothing they had ever seen. He also has the single minded purpose of beating Carson, no matter what needs to be done. Will Delroy’s – do whatever it takes to be number one in the ratings – become a decision that he regrets?  

Trivia buffs take note: The character of Carmichael Haig is based on James Randi, who was a Canadian-American author, scientific skeptic, and magician. He was the co-founder of both the Committee for Skeptical Inquiry, and The James Randi Educational Foundation. Randi’s mission was to debunk anyone who claimed to be a psychic. Randi’s institute, by 1996, was offering a million dollars to any person, who could prove that they had special psychic ability. No person, that held themselves out to be a psychic was ever able to win the money. The reason the film is set in 1977, pertains to the talk show plot, being centered during Sweeps Week. 1977 was the only year in the 1970s, that Halloween was on a Monday. Szander D’Abo is based on real life, Church of Satan founder, Anton Lavey.  

The film premiered at the South by Southwest Film Festival  on March 10, 2023. There is no discernible filler in the movie – every frame was utilized to advance the narrative. Each of the characters, for that matter, were well defined, and served a purpose. Thanks to an outstanding lead in Dastmalchian, as well as wonderful performances from Bliss, Gordon, and Torelli, and a plot that borrows from other horror classics, but does not copy them, “Late Night with the Devil” will more than likely, one day, be spoken about in the same breath as other beloved films of the genre.                                                           

“Road Games” (1981)

While recently watching Oscar winning director, Steven Spielberg’s, (Saving Private Ryan), 1971 film, “Duel,” I began to think about another film that involved a truck driver, and the vastness of the open highway, “Road Games.” Directed by Richard Franklin, (Hotel Sorrento) the engaging, stylish, parts drama and thriller movie was released on June 26, 1981, in Australia. Written for the screen by Everett De Roche, (Storm Warning) it is based on an original story that he co-wrote with the director. The 101 minute film has often been compared to BAFTA winner, and five time Oscar nominee, Alfred Hitchcock’s “Rear Window.”

Franklin gave De Roche a copy of the screenplay for “Rear Window,” while they were working on another project together. After he read the script, De Roche made the suggestion to the director that the scenario contained within “Rear Window,” would make for a terrifically similar suspense film on the open roads of the Australian outback. While the film is certainly a derivative of the 1954 classic, it is not in any way a blatant rip-off, and does veer off into other cinematic territory.

Golden Globe winner, Stacy Keach (Hemmingway), gives an effective performance playing Quid. He is an American working as a truck driver, who transports meat to different locations in Australia. Along for the ride, is his dingo, Boswell, who keeps him company. Quid talks to himself a great deal. He comments on his fellow travelers, usually in a humorous manner, as a way to help pass the time. (As an aside, the actor had to learn how to drive a 16-gear semi truck for the role).

Quid stops off at a hotel to get some rest. He is turned away, thanks to a man driving a green van who manages to get the last vacant room. The man is accompanied by a young female hitchhiker, that Quid had seen earlier, but had not stopped to pick up. Quid opts to not drive further that evening. It is revealed to the viewer, from a conversation he has on his CB radio with his dispatch operator, that Quid has been up for two days straight. He stays parked outside the hotel, and sleeps inside the cab of the truck.

Quid wakes at 5:00A.M., and lets out his dingo, who wanders over to some garbage bags. The dingo starts pawing at one bag in particular. At the same time, Quid spots the man from the green van watching the garbage bags from his hotel window, as the garbage truck makes its way down the street. Quid becomes suspicious of the individual. He will grow even more so, thanks to reports on the news about the murders of several young women, that are happening along the route, both he and the man in the green van are traveling. Portrayed by Grant Page, (Mad Max) the man, who Quid refers to as ‘Smith or Jones,’ and his green van, will play a recurring role throughout the remainder of the film’s runtime. (As an aside, the filmmakers originally wanted to cast BAFTA and Oscar winner, Sean Connery (The Name of the Rose) as Quid, but budgetary restraints precluded them from being able to hire him).  

Along the way, Quid picks up Pamela Rushworth. The character is portrayed by Oscar winner, Jamie Lee Curtis (Everything Everywhere All at Once). He nicknames her ‘Hitch.’ While the free-spirited Pamela is a likable character, the duration of her screen time is brief. During the time that she does appear, a relationship starts to form between her and Quid. No sooner does he start to have feelings for ‘Hitch’, it appears that she has been abducted by ‘Smith or Jones.’ (As an aside, Jamie Lee Curtis was not originally cast to play Hitch. Australian actress, Lisa Peers was given the role, but AVCO Embassy pictures, who had invested a half million dollars in the film, pushed for an American actress to play opposite Keach). 

Initially, Quid is panicked at the prospect that Smith or Jones is the killer, and what he might do to Hitch. Certain clues lead him to think that perhaps Pamela is interested in being with the man in the green van. The is she or isn’t she in trouble question, sets up an interesting dilemma for Quid, as he pursues Smith or Jones on the open road. 

Marian Edward, (The Wild Duck) provides a bit of comic relief, as Madeline ‘Frita’ Day. Credit must also be given to the excellent work done by cinematographer Vincent Monton (Thirst). The budget for the film was approximately 1.75 million dollars, which at the time made history for being the most expensive Australian film ever produced. (As an aside, two time Oscar winner, Quentin Tarantino (Pulp Fiction), considers “Road Games” his favorite Australian film).  

Has Hitch been kidnapped by the man in the green van? Is he the killer the news has been talking about? Are Quid’s feelings justified toward Smith or Jones? Has Quid become paranoid from too much time alone on the road? All of those questions and more will be answered by the film’s conclusion.

The filmmakers opted for restraint with this movie. I appreciated the clever way the story was presented, as well as the utilization of suspense. Excessive blood, violence, and shock value scenes would have only served to diminish the quality of this particular movie. Franklin implies a great deal, but he also leaves many things to the viewer’s imagination as to what is not being shown on screen. I recommend this for fans of well done suspense films. As of the writing of this post “Road Games” is streaming on Peacock.                                                                                                                                                                                                       

          

                                                                                                                                                

“Cherish” (2002)

For the seven seasons that the crime, drama, and mystery series “The Mentalist” aired on CBS (Columbia Broadcasting System), I thoroughly enjoyed watching it. I rooted for the series’ main protagonist, Patrick Jane, portrayed by Emmy and two time Golden Globe nominee, Simon Baker (Breath), as he hunted down the malicious serial killer who murdered his wife and daughter – a man who was known only as “Red John.” At the outset of the series, Jane began working as a consultant for a branch of California law enforcement known as the CBI. The unit Patrick joined was the one which was originally assigned to the case of his murdered family members. Through the years, he becomes close to his CBI boss, Agent Teresa Lisbon, a role acquitted excellently by actress Robin Tunney (The Craft). When I saw that the film “Cherish” was going to be on the Sundance Channel, and that Tunney was the lead, I decided to watch it.

Tunney’s character Zoe is a music loving, socially awkward, computer graphics animator. She is unlucky in love. While at work, Zoe overhears her co-workers making plans to get together later that evening. There is even a flyer that has circulated around the office that contains the information as to the where, and what time, the get together is being held. Wanting to join in, she approaches Brynn, (Liz Phair) her boss, and inquires about the event. She is informed that it is an invite only get together. Brynn shreds the flyer with the information for the whereabouts of the event right in front of Zoe. Not to be deterred, Zoe removes the shredded paper from the garbage can, and pieces it back together. She is desperate to attend because Andrew, played by two time Golden Globe nominee, Jason Priestley (Beverly Hills, 90210), her office crush will be there.

At the bar, Andrew seeks Zoe out to talk with her, much to the disappointment of Brynn, and some of the other female co-workers. After a night where Zoe imbibes one too many drinks, he offers her a ride home, which she accepts. Zoe excuses herself to go to her car to get her cell phone. Inside her car, as Zoe reaches for her phone, a man, who has been obsessively stalking her, forces her to start up the engine and drive. While waiting at a red light, Zoe attempts to get the attention of a police officer. She manages to do so with her facial gestures, but when she informs her would be kidnapper that the cop is ordering her to pull over, he puts his foot on Zoe’s foot while it is on the gas. In the process she kills the officer, and crashes the car.     

Zoe is arrested for vehicular homicide, and is found to be driving with a blood alcohol level that is twice the legal limit; a fact which garners the ire of the cops, who want to make her pay for taking the life of one of their own. The man whose actions actually caused the death of the police officer, and the subsequent crash, that landed Zoe in serious trouble, is nowhere to be found. There is no evidence to suggest the would be kidnapper was ever in her car in the first place. No one believes Zoe’s story. To make matters worse, she has a prior DWI, which she received in college. Fortunately for Zoe, her lawyer,  a role acted by Saturday Night Live alum Nora Dunn, manages to get Zoe placed under house arrest, in order to delay the trial as long as possible. She will have to wear an electronic ankle bracelet, and will be restricted to the loft her lawyer has arranged for her to live in. The loft totally lacks in amenities, and is also in an undesirable neighborhood.  

During her house arrest Zoe spends her time roller skating around the floor, blasting music, and watching television. She also makes phone calls in an attempt to get some company to come over and visit her. Zoe eventually befriends her downstairs neighbor, Max (Ricardo Gil). The only problem is Max is disabled, and can’t walk up the stairs to spend time with her. The only other company she receives, besides the neighborhood delivery boy, is Daly, played by Grammy award winner, Tim Blake Nelson (O Brother, Where Art Thou?). Nelson’s character is a technician. He is as socially inept and as lonely in his own private life as Zoe. Daly periodically stops by to make sure that her ankle bracelet has not been tampered with. As much as he attempts to keep things professional, he can’t help but fall in love with Zoe.  

The relationship that’s built up over time between the two, as well as his unspoken love for her, is what leads to her receiving a small window of freedom. Nelson’s character, against his better judgment, manipulates the computer system that monitors the ankle bracelets, and takes the supreme risk of Zoe just taking off, to avoid facing her upcoming trial. He knows, as does she, that if found guilty, she could be facing as much as twenty years to life.

Will Zoe flee and leave Daly to face the consequences of not only losing his job, but receiving his own prison sentence? Does she have enough time to gather evidence against the person she feels has ruined her life by framing her? Is the stalker still watching her, waiting for his opportunity to finish what he started? Those questions will be answered by the film’s conclusion.

Written and directed by Finn Taylor, (Dream with the Fishes) “Cherish” premiered at the Sundance Film Festival on January 14, 2002. The movie is parts comedy, drama, and thriller, and has a runtime of ninety-nine minutes. The acting is excellent, especially Tunney, and Tim Blake Nelson. In addition, the movie features a diverse soundtrack, loaded with hit songs, spanning from 1959 through the 1980s. Furthermore, there are three songs by Noe Venable, who is an experimental pop and folk singer, who has a loyal fan base in her native San Francisco, where the film takes place. If you are fans of either of the leads, then you’ll probably find it worth your time to watch it once.                                                                                                      

                                                                                                              

“The Day of the Jackal” (1973)

August of 1962: French President, Charles de Gaulle (1959-1969), has given independence to Algeria. The action is something which has upset a paramilitary organization known as the OAS (Organisation de l’Armee Secrete). As an act of revenge, the group seeks to assassinate the French leader. As depicted in the opening scene of the film, after a failed attempt by members of the OAS to kill de Gaulle, (Adrien Cayla-Legrand), a three month search is conducted by the top leaders of the OAS to find a professional contract killer. The reason for this, is not only because they haven’t been able to get the job done themselves, but the top commanders are fearful that there are intelligence leaks within the organization. 

Enter the Jackal, portrayed in a convincing manner by three time BAFTA winner, Edward Fox (A Bridge Too Far). He is a well groomed, and properly attired Englishman. The viewer never learns the Jackal’s real identity. In fact, there is no back story given for the character. While watching the Jackal do his work, as viewers, we come to find out how intelligent and resourceful, as well as, ruthless he is.  

There are two requirements that must be adhered to, before the Jackal is willing to accept the job: The sum of $500,000 must be paid to him. In addition, the OAS has to commit to absolute secrecy, in regard to the plans to assassinate de Gaulle. The leadership of the OAS agrees to the Jackal’s terms. In order to pay him his asking price, however, their members must first hold up banks, and ambush armored cars to obtain the money. The foot soldiers that carry out the directives are never told what the money is needed for. This is done as a precaution, in the event they are captured. After the OAS deposits $250,000 in the Jackal’s Swiss bank account, he begins his meticulous preparations. (As an aside, two time Oscar winner, Michael Caine, (The Cider House Rules), three time Oscar winner, Jack Nicholson, (As Good as it Gets), and Golden Globe winner, Roger Moore, (A View to a Kill), were all considered for the part of the Jackal. The filmmakers, however, wanted the role to be portrayed by someone that audiences didn’t already have a connection to). 

The OAS plans are learned by the French government. The movie would be rather dull, if it were an easy task for the Jackal to assassinate de Gaulle. From the moment the OAS plans are discovered, the plot begins to take shape on two levels. There are the Jackal’s painstaking preparations and advancement toward the fateful day when the assassination is to be carried out. Second, is the work being conducted by his polar opposite, the unwaveringly determined, Deputy Police Commissioner, Claude Lebel. The character is played by Michael Lonsdale, who received a BAFTA nomination for his work on the film. Lebel is appointed to the mission of hunting down the Jackal before the assassination can be carried out. At first, his character depicts to the viewer a prevailing sense of unease. Lebel feels that he is not up to the herculean challenge of capturing the illusive Jackal. As the search for the assassin gets more involved, Lebel’s character transforms into an aggressor, who begins to project confidence. When that happens, it sets up the remainder of the movie, in which a captivating game of cat and mouse between the Jackal and Lebel takes place. The Jackal always manages to stay one step ahead of his pursuer.

In addition to Fox and Lonsdale, the supporting cast members are all uniformly competent. In the event of a leak, and as a further safe guard, the OAS assigns a female operative, Denise, (Olga Georges Picot). Her fiancée was killed in Algeria. Denise’s assignment, is to get close to a high ranking government cabinet minister, in order to report on what actions the French government is taking to protect de Gaulle. This in turn will help to aid the Jackal. Cyril Cusack’s (Harold and Maude), character is a gun maker. He assembles the murder weapon for the Jackal, which is an unusual looking weapon. Two time Emmy winner, Derek Jacobi (Frasier), plays the part of Caron. He is Lebel’s dedicated, and indispensable right hand man. Furthermore, there is Scotland Yard investigator, Inspector Thomas, a role acted by BAFTA nominee, Tony Britton (The Nearly Man). He assists with the manhunt. BAFTA nominee, Delphine Seyrig, (The Discreet Charm of the Bourgeoisie), appears as Colette. She is a wealthy woman, who has had a sexual encounter with the Jackal, which may lead to her untimely death. Those are members of the rather large and talented cast that help to advance the narrative throughout the film.

“The Day of the Jackal,” is based on best-selling author Frederick Forsyth’s (The Dogs of War), 1971 suspense novel of the same name. Oscar winner Fred Zinnemann, (From Here to Eternity), directed the film. It was adapted for the screen by BAFTA nominee, Kenneth Ross (The Odessa File). After the first five minutes of the movie, there is no background score. Music can be heard from marching bands, and playing on the radio, but Zinnemann didn’t want a traditional score to distract the viewer. The sound effects that are heard, help to add a greater sense of realism to what is transpiring on screen. Cinematographer Jean Tournier (The Train), did an excellent job of capturing the European locations. The film premiered on May 16, 1973, in New York City. Parts crime, drama, and thriller, the movie has a runtime of 143 minutes.  

Will the OAS get their revenge using the Jackal as their instrument of execution? Does Lebel figure out the true identity of the ghost, who is haunting his every waking hour before it is too late? What circumstances lead to the Jackal’s eventual success, or Lebel’s thwarting of the assassination of de Gaulle? All of those questions and more will be answered while watching the well paced and compelling film.                                                                                                                                                                                                                                                                                                                                                            

“Hearts in Atlantis” (2001)

“Hearts in Atlantis” is shown via flashback from the perspective of Bobby Garfield, portrayed by two time Emmy nominee, David Morse (John Adams). He is a professional photographer who has returned home to Harwich, Connecticut, to attend the funeral of one of his best friends from childhood, John Sullivan (Will Rothhaar). Bobby begins to reflect back to the time of his eleventh birthday. He wanted a particular bicycle, that was on display in the window of a store in his town, but he couldn’t afford it. Instead, he spends the majority of his time with John, and his other best friend, the tomboyish, Carol Geber (Mika Boorem). In addition to being Bobby’s good friend, Carol is his first great love.    

When the film focuses on Bobby’s youth, the character is played by Anton Yelchin (Star Trek). Bobby is being raised by his widowed, working class mother Liz. The part of Liz is effectively acted by two time Golden Globe nominee, Hope Davis (Succession). She comes across as selfish; as she opts to spend money on an array of new dresses, as opposed to purchasing Bobby the bike for his birthday present. The only gift he receives, is an adult library card, that she picked up for him for free. The reason proffered by Liz for his not getting the bicycle – even though she spends money on herself – is that Bobby’s father was never able to pass up an inside straight, so he didn’t leave them any money. It is a story Bobby has apparently heard on numerous occasions. His attempt to gain further insight into who his father was is in vain. It is a subject which his mother refuses to broach.

Into Bobby’s and Liz’s life comes Ted Brautigan, a mysterious older gentleman. The character is poignantly portrayed by two time Oscar winner, Anthony Hopkins, (Silence of the Lambs). Unbeknownst to Bobby and Liz, Brautigan has extraordinary psychic abilities. He moves his belongings in paper bags, as opposed to luggage; much to the chagrin of Liz. Brautigan has come to rent the room in the upstairs portion of the Garfield home. Ted is friendly, attentive, and he enjoys spending time with Bobby. He imparts no information about who he is, and what he has done, throughout the course of his lifetime. Bobby takes an instant liking to him and during one of their earliest conversations, Ted offers Bobby a job. He will pay him $1 a week. It was a good deal of money to a child back in 1960, the time in which the film takes place. All Bobby needs do to earn the money is read Mr. Brautigan the newspapers, since his eyesight is not what it used to be. Bobby is also to keep watch for any ‘missing’ notices posted by the ‘low men,’ as Ted refers to them. They are a group of people, who are hunting Ted and haunt his thoughts whenever he thinks they are getting too close to capturing him. Bobby doesn’t particularly believe Ted, but when he sees the first strange sign, he rips it down out of fear of losing his new friend.      

Liz goes away on a business trip. She views the trip through the eyes of an idealist, who thinks that being asked to accompany the boss and several of her co-workers is a step toward advancing her career. She wants Bobby to stay at the Sullivan’s house, but they’re going out of town for John’s grandmother’s birthday. Ted agrees to watch him. The trip does not go as Liz planned. Making matters worse, Carol’s arm gets dislocated. Bobby takes her to Ted for help. When Liz comes through the door to find Carol lying on her back with her shirt undone, she immediately thinks the worst, which sets the stage for the remainder of the film.

Will Carol be able to persuade Liz that Ted was helping to mend her arm and not molesting her as she assumes? Will she not listen to Carol and decide to get the police involved, or worse yet the ‘low men’? Will the ‘low men’ catch up with Ted, thereby causing Bobby to lose his friend? Those questions and several more will be answered by the conclusion of the film’s runtime.

“Hearts in Atlantis” was directed by two time Oscar nominee, Scott Hicks (Shine). Two time Oscar winner, William Goldman, (Butch Cassidy and the Sundance Kid), wrote the screenplay, based on a book written by Stephen King. While the film is taken from King’s work, the story which it presents to the viewer was called “Low Men in Yellow Coats,” and is the first of five stories contained within the novel; however, the film takes its name from the second of the five stories in King’s book. Oscar nominee, Piotr Sobocinski (Three Colors: Red), cinematography does a more than competent job of showcasing the right look for the world in which the adult Bobby lives, as well as, the  nostalgic reminiscing that pertains to his youth. The film premiered on September 7, 2001 at the Toronto International Film Festival. Parts drama and mystery, the movie has a runtime of 101 minutes.

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Trivia buffs take note: King’s character of Ted Brautigan appears in the seventh book of the author’s epic series, “The Dark Tower.” In the novel, Ted’s powers are fully realized as he leads several characters into a closet, which transports them to another land. One of the characters compares the closet in “The Dark Tower” to C.S. Lewis’s magical wardrobe in “The Chronicles of Narnia.” Hope Davis and Anton Yelchin would again play mother and son in the 2007 film “Charlie Bartlett,” directed by Jon Poll. Jeremy Sumpter, who played J.D. McCoy on the NBC football themed drama “Friday Night Lights,” was originally in consideration to play the character of Bobby Garfield.

My one issue with the film is that it didn’t go into enough explanation as to who the ‘low men’ were and where they came from. All the viewer does learn, is that Ted is being sought out  by these men. They most likely want to exploit his psychic abilities, but for what specific purpose? Do they work for the federal government? Are they members of organized crime? Is Ted wanted by an organization not known to the public at large, or is it something else entirely? I read the book before I saw the movie, but for those who didn’t, and watch the film with no prior knowledge, I could understand the viewers enjoyment being a bit hampered by a lack of explanation.

Overall, I liked the film. The cast was good in their respective roles. I would recommend it for fans of Hopkins, Davis, and those who, like myself, eventually get around to reading or watching anything associated with Stephen King’s fiction. As of the writing of this post, the film can be rented on Amazon Prime, Apple TV, and other platforms.  

                                                                

                    

                                    

                                                                                                                                           

“Compliance” (2012)

“Compliance” originally premiered on January 21, 2012 at the Sundance Film Festival. It is an unsettling, thought provoking film, that regrettably, is based almost entirely on actual events. The well acted and excellently paced movie, that is parts crime, drama, and history, should hold a viewer’s attention from the first frame to the conclusion of its 90 minute runtime. Written and directed by two time Emmy nominee, Craig Zobel, (Mare of Easttown), the film is based on an event that transpired in 2004 at a McDonald’s restaurant in Mount Washington, Kentucky. Unfortunately, that particular incident was not an isolated one; seventy such separate similar incidents occurred from 1994 through 2004.  

The plot is not complex. Perhaps that is what enabled the real life individual, who perpetrated the crimes, to get away with his detrimental behavior for a long duration of time. Each incident, including the one depicted in the film, followed a pattern. A man pretending to be a member of law enforcement places a phone call to a fast food restaurant. In each instance, he would ask to speak to the manager. His reason for interrupting the normal course of business was that he needed assistance in helping to solve a crime. The victim was always a female employee, who the person on the other end of the phone line would ask to be removed from her work duties, and brought to a secure location.  

After the person is brought to a manager’s office or back room that is not frequented by other employees, the female ‘under suspicion’ was told that the police were on the phone. The innocent victim of the scenario in Zobel’s film is Becky. She is a teenage girl, who works at the fictional ‘Chickwich’ fast food restaurant, in Ohio. The character is portrayed, in a compelling performance by Dreama Walker (Gran Torino). While working at the register, Becky is asked to accompany her store manager, the already harried, Sandra, portrayed by BAFTA nominee, and Emmy winner, Ann Dowd (The Handmaid’s Tale), who gives a nuanced performance. Sandra’s thoughts are consumed by a shortage of bacon and pickle inventory, as well as, a potential visit from a secret shopper, who is a franchise quality control person. When Becky asks what is going on, she is informed by Sandra that a customer has complained to the police that she stole their money. The accusation is something which Becky emphatically denies. (As an aside: Oscar winner, Robin Williams (Dead Poets Society), starred in an episode of Law and Order: SVU, that was based on the same events). 

The role of Officer Daniels, as the man refers to himself, is embodied by actor Pat Healy (Killers of the Flower Moon). He is an individual who rarely raises his voice, other than to remind someone that he should be addressed as officer or sir. He asks Sandra to go ahead and have Becky empty her pockets. Daniels also instructs her to search Becky’s purse, but that is merely the beginning. The money is not found. Officer Daniels wants Sandra to have Becky remove her clothes to see if she has hidden the money elsewhere. At first Sandra is hesitant. Daniels, however, is able to persuade her to agree to carry out the mortifying act. Sandra is told by Daniels that if Becky cooperates, it will keep her out of jail. Furthermore, he wants Sandra to know that she will earn the adulation of her regional supervisor, Robert Gilmour (Matt Skibiak). According to Daniels, Gilmour is on the other line, and being given constant updates as to the status of what is taking place. Sandra abandons rational thought. She invites Marti (Ashlie Atkinson), a fellow employee, in to witness the event. Unbeknownst to Sandra, she too is being victimized by Daniels. After Becky’s clothes are removed, which  includes her taking off her bra and underwear, no money is found. Is that the end of Becky’s ordeal? (As an aside: When compared to the actual security camera footage that the film took its story from, Zobel refrained from embellishing the actual incidents that transpired. He had no reason to, considering the disturbing situations that occur as the film progresses).

At its center “Compliance,” asks the following question: How far would you go if you were in a similar situation? If you were Sandra, would you start complying with the requests of someone on a telephone line who informed you they were a police office? Would you ask for the officer’s badge number, or for the name of the station they work out of? Would you have enough common sense to realize that police officers don’t ask civilians to conduct strip searches? Conversely, if you were Becky, how far would you allow acts of humiliation to be performed against you before you said enough is enough? Would you have agreed to be strip searched, or would you have left the restaurant to go home, with the mind-set that if the police wanted you they could find you? For me to pose additional questions at this time might ruin the film for those of you who have not already seen it and are interested in doing so. As of the writing of this post, “Compliance” is currently streaming on Peacock.

                                                                                            

“Duel” (1971)

The harrowing, tension filled movie “Duel,” was originally a seventy-four minute television film directed by three time Oscar winner, Steven Spielberg (Saving Private Ryan). It first aired on Canadian television, on November 10, 1971. Three days later, on November 13^th,  it premiered on American television. Based on a story written by prolific author Richard Matheson (I Am Legend), he also wrote the screenplay. The film would go on to win a 1972 Primetime Emmy for Outstanding Achievement in Film Sound Editing. In addition, it was nominated for the Emmy for Outstanding Achievement in Cinematography for Entertainment Programming.  Furthermore, it won the Grand Prize at the 1973 Avoriaz Fantastic Film Festival.   

The premise of the movie is rather straight-forward. Emmy winner, Dennis Weaver (Gunsmoke), portrays businessman David Mann. He is attempting to get to an important appointment, before his client leaves for Hawaii. If he fails to do so, his company might lose the client’s account. David’s mode of transportation is a red, 1970 Plymouth Valiant. His route takes him through a long stretch of narrow California roadway which alternates between winding and mountainous – and – flat barren desert. He is only on the road for a short time when he gets stuck behind a slow moving, dirty, diesel-fume spewing, Peterbilt truck.

Already under pressure, due to the importance of making it to his meeting on time, Mann decides to pass the truck. It does him no good. The rig speeds up and passes Mann’s car, even though a short time earlier, it had been moving along at a plodding pace. Once the truck passes Mann’s car, it reverts to the speed it had been traveling at before David had moved in front of it. Unbeknownst to Mann, he is about to make a crucial error. David passes the truck for a second time. Once again, moments later, the rig driver moves back in front of David – but soon afterwards, extends his arm out the window, and waves for him to pass. David thinks it is safe. He moves into the lane for oncoming traffic, and begins to pass the Peterbilt, only to discover, to his horror, that another car is headed straight for him. That particular moment is the catalyst which begins what will become a deadly game of road rage, where there is only one willing participant.

Much like Spielberg’s blockbuster “Jaws” (1975), “Duel” is effective because it invests the proper time, in order to build suspense, which should grip most viewers. The movie also presents questions that for the most part remain unanswered. Instead, Spielberg leaves the following questions to the viewer’s imagination: Why does the trucker engage in a deadly game of cat and mouse with Mann? Was he that offended that Mann passed him because he was moving too slow? Who is the truck driver? The best I could ascertain was that he is a hand that waves Mann’s character into a potential head-on collision, and cowboy boots that kick at the truck’s tires when both he and Mann stop off at a gas station to re-fuel – is that all we get – or is it? In one well executed scene, after almost being killed by the truck, after his car has slammed into a fence, Mann leaves his vehicle and enters a nearby roadside eatery named Chuck’s Café.

Upon exiting the washroom, Mann sits down in order to calm his nerves, and order some food. As Mann sits and looks out the window, he discovers, much to his terror, that the trucker has also stopped at the café. He scans the faces, as well as, the footwear of the other patrons in the establishment. Unfortunately for Mann, all of the men are wearing cowboy boots. Each of them at one point or another looks in his direction to give him a good once over. Before he exits the café, Mann thinks that he has at last discovered the identity of his tormentor. He starts an altercation with a man eating a sandwich, only to learn that he is not the trucker. He is merely a guy who stopped off to get a bite to eat.

In addition, a further scene that stands out, due to the breadth of its impact, is when Mann pulls over at a roadside place dubbed the “Snakearama” in order to phone the police. Mann gets through to the operator. He is about to be connected with the nearest police department. Mann thinks he is safe from the demented trucker. The phone booth, however, proves to be one more potential death trap for Weaver’s character. He narrowly avoids being run over as the Peterbilt plows into the booth. While it nearly kills Mann, it crashes into the glass tanks that contain the snakes, which frees them, along with some other creatures.

Trivia buffs take note: Three different red, 1970 Plymouth Valiants were used as Mann’s car during the less than two weeks it took to shoot the movie. Steven Spielberg wanted actor Dennis Weaver for the role of Mann after watching his performance as the Mirador motel night manager in the 1958 film “Touch of Evil,” which was written and directed by Oscar and three time Grammy winner, Orson Welles (Citizen Kane). Oscar winner, Gregory Peck (To Kill a Mockingbird) was considered for the role of Mann, before it was determined that the film was going to be a television production instead of a theatrical release. Spielberg had his pick of trucks to use for the movie, but decided on the Peterbilt because he felt that the cab of the truck resembled a face.

The majority of the movie is devoid of dialogue. It does, however, contain several interior monologues, which allow the viewer to know exactly what Mann is thinking, as he fights for his survival. Some fans of the film opine that it is supernatural in nature, thus the reason why we never see the face of the driver, who is using his truck as a murder weapon. Those same fans feel that perhaps the driver is a demon, who has been replicating the sort of behavior we are watching for a long time now, as evidenced by the collection of license plates of various states that hang on the front of the truck. I don’t believe that was what Spielberg was going for, but nonetheless it is an interesting point of view to consider. As of the writing of this post, “Duel” is available to rent or purchase on Amazon, iTunes, and Google Play.

                                                                                                                                                                                                                                         

“Dreamscape” (1984)

“Alex Gardner has an extraordinary gift. The government wants it. The scientists want it. To keep it may cost him his life.”    

If a person were to die in a dream, would they simultaneously die in real life? If scientists created a technology that gave individuals access to enter the dreams of any person they chose, who should be granted permission to utilize that type of technology? What safeguards would be put in place to prevent corrupt individuals from sending in dream assassins to execute a particular individual? Those are several of the ethical questions a viewer might ask themselves as they watch “Dreamscape,” or think about afterward. 

Two time Golden Globe nominee, Dennis Quaid, (The Special Relationship), portrays Alex Gardner. He is a relatively young, likeable protagonist, who possesses incredible psychic ability. Unfortunately, he is content to squander his gift by betting on horse races for a quick dollar. Two time Oscar nominee, Max Von Sydow, (Extremely Loud & Incredibly Close), plays Dr. Paul Novotny. His character is a brilliant, cutting edge scientist. Novotny is assisted by Dr. Jane Devries, a role acted by Kate Capshaw (Indiana Jones and the Temple of Doom). Together, they oversee an experimental clinic for the study of dreams.

In an attempt to eliminate the dreams of individuals that suffer from recurring nightmares, Novotny seeks out Gardner’s help. The two are familiar with one another. Gardner worked for Novotny as a teenager. He was a test subject, and participated in the ESP (extrasensory perception) experiments that Novotny conducted. Gardner has no interest in once more subjecting himself to experimentation, and is therefore reluctant to join Novotny’s research team. The only reason Gardner acquiesces is because he is on the run from unscrupulous individuals associated with his gambling habit. As a further incentive, Novotny has threatened Gardner that he will contact the IRS, and alert them to Gardner’s unreported winnings. With no other choice, Gardner joins Novotny’s team of psychics at Thornhill College. It will be Gardner’s and the other psychics’ job to inhabit the subconscious of the patients that they work with. The psychics use a state of the art machine in Novotny’s laboratory. The high tech equipment enables Gardner, and his fellow psychics to enter a patient’s dream. While there, the psychics will be able to influence the outcome of the patient’s dream.

After Gardner sharpens his skills on a few simple cases, he encounters his first real challenge. He agrees to help alleviate the fears of a young boy named Buddy, (Cory ‘Bumpy’ Yothers). Buddy suffers from terrible nightmares about a creature that has already killed the previous psychic that tried to help him. The sequence that Gardner encounters, once he enters Buddy’s dream, comes across as a hallucinogenic nightmare. Buddy’s dream takes place during a stormy evening, and is replete with a darkened house, inside of which is a twisting staircase. After Gardner and Buddy descend the staircase, it leads them to a hellish environment, where a serpentine creature, known as the snake-man awaits them.

In addition, part of the film centers on nightmares that the President of the United States, played by two time Oscar nominee, Eddie Albert, (Roman Holiday), is severely troubled by. The President is desperate to make peace with the Russians, and begin nuclear disarmament. His dreams, however, showcase to him, that if he does, the world will be destroyed, and thrust into the apocalypse. Seemingly concerned for the President’s well being is Bob Blair. The character is portrayed by Oscar winner, Christopher Plummer, (Beginners). Blair is a smarmy, sinister mastermind, as well as, a high ranking government power player. He does not want the President to engage in peace talks with the Russians. In addition, Blair is the financier of Novotny’s research project. He arranges for the President to get the treatment he needs at the dream clinic.

Blair has recruited the psychotic, Tommy Ray Glatman (David Patrick Kelly), to be a member of the psychic team. He wants to test Novotny’s theory that death will occur in real life if a person dies in a dream. Like Gardner, the martial arts movie obsessed Tommy Ray has learned how to communicate inside the dream world, and alter the final outcome. Unlike Gardner, Glatman has committed murder in the past.

Does Gardner, or someone else on Novotny’s team learn of the plot to assassinate the President? If they do, will they make it in time to thwart Blair’s reprehensible plan? Those questions and more will be answered by the film’s conclusion.

Joseph Ruben (Sleeping with the Enemy), directed the film, and co-wrote the screenplay with David Loughery (The Intruder),  and Chuck Russell (A Nightmare on Elm Street 3: Dream Warriors). The electronic score, composed by three time Oscar winner Maurice Jarre, (Witness), helped to guide the intensity of certain parts of the movie, especially the nightmarish dream sequences. For those viewers who are fans of the television show “Cheers,” six time Emmy nominee, George Wendt appears in the role of novelist, Charlie Prince. He is investigating the work that the clinic is doing as a basis for his next book. The film premiered on May 13, 1984, at the Cannes Film Market. “Dreamscape” was the second film in cinema history to receive a PG-13 rating. The first was the John Milius’s directed “Red Dawn,” which had debuted several weeks prior to “Dreamscape’s” release. Parts adventure, horror, science-fiction and thriller, the movie has a runtime of 99 minutes.

The two aspects of the film that make “Dreamscape” an often overlooked and underrated gem from the 1980s, are its excellent cast, and interesting premise. As of the writing of this post, the movie is streaming on Peacock.

                                                                                                    

   

                                       

“The Roommate” (2011)

The first thought I had after I watched the tepid thriller “The Roommate,” was that I liked the film a lot better the first time I saw it  when it was called “Single White Female.”  The aforementioned film directed by Oscar nominee, Barbet Schroeder (Reversal of Fortune), was released in 1992. Two time Golden Globe nominee, Bridget Fonda (After Amy); Oscar nominee, and Golden Globe winner, Jennifer Jason Leigh (The Hateful Eight); and Steve Weber (Chicago Med), starred in the film. 

In “The Roommate,” Sara Matthews, portrayed by Minka Kelly (Friday Night Lights), is excited to embark on her new collegiate journey. She is a freshman at a college in Los Angeles, California. When she arrives at her dorm room, her new roommate has not yet checked in. Initially, Sara decides to stay in her room, and wait for her new roommate to arrive. It doesn’t take long before she gives in to some persuasion from several of her other dorm mates. Sara decides to go with them to a frat party. While there, she gets intoxicated, only to be saved from a potentially embarrassing situation by Stephen (Cam Gigandet), with whom she has an instant attraction.

Upon returning to the dorm, Sara discovers that her new roommate, Rebecca Evans played by Leighton Meester (Gossip Girl), has arrived. Unbeknownst to Sara, Rebecca is in need of serious psychological help. One of the flaws of the film, however, is that Rebecca seemingly becomes the most likable character during the first third of the movie. She is highly intelligent, and presents herself as a loyal friend to Sara. The two roommates become inseparable. They gossip, shop, and play off one another as if they’ve known each other their entire lives. Even though Sara is supposed to be Rebecca’s new best friend, when the offer to go to a club is made to her by Tracy (Aly Michalka), Sara leaves Rebecca behind. Later that evening, after Tracy leaves Sara to go off with a guy that she has hooked up with, the only person that Sara thinks to reach out to is Rebecca. Her roommate arrives, and saves Sara from what would have been a long walk back to campus. (As an aside: Leighton Meester was originally cast in the role of Sara, but decided she was more interested in playing Rebecca).    

An event that unfolds a bit later, propels Rebecca to begin to engage in unsavory acts. Rebecca rationalizes her actions as those of a genuine friend, who wants to protect, what she feels is, her extra special friendship with Sara. Attacks in the shower; Rebecca pretending to be Sara, as she engages in what’s presented as a steamy phone call from an ex-boyfriend, (who desperately wants Sara back); blackmail; murder; and kidnapping, will all be shown to the viewer throughout the duration of the film. Unfortunately for the viewer, none of the previously mentioned is scary enough or interesting enough to improve the quality of the film as a whole. Furthermore, instead of offering something new and different to the viewer, the filmmakers took a formulaic approach to the material. This in turn made Rebecca’s conversion from caring friend to obsessive stalker feel forced. I would have liked, and I think the film would’ve benefited from, the insertion of an interesting twist.

“The Roommate” was directed by Oscar nominee Christian E. Christiansen (At Night). Sonny Malhi (The Strangers), wrote the screenplay. John Frizzel’s score is appropriate and creates the right amount of tension in certain scenes. Additional cast members include, among others: Billy Zane (Dead Calm), as Professor Roberts, and Nina Dobrev (The Vampire Diaries),  has a cameo, as Maria, Rebecca’s previous roommate. In addition, Frances Fisher and Tomas Arana play Rebecca’s parents, but their respective roles contribute little of substance to the film. Although critically panned, the movie, which was made for a budget of approximately sixteen million dollars, went on to gross over forty million dollars. The film was released to theaters in Canada and The United States on February 4, 2011. Parts drama, horror, and thriller, the movie has a runtime of 91 minutes.

                                             

There is not much for me to recommend about “The Roommate,” with the exception, that for the most part, the acting is solid; especially from the leads. Overall, however, the pacing is too slow, the plot is contrived, and for a film, which labels itself as a thriller, there was little in the way of thrills. The lack of impactful thrills could have had to do with the filmmakers’ decision to re-edit the movie. The MPAA initially gave the film an R rating, but after it was re-edited, it received a rating of PG-13. As of the writing of this post, “The Roommate” is available to rent or purchase, but is not streaming as part of any subscription service.

                                      

“Black Swan” (2010)

The plot of the film “Black Swan” begins on a familiar note, in comparison to movies of its type. Beth MacIntyre, the aging prima ballerina of a New York City ballet company, played by two time Oscar nominee, and Golden Globe winner, Winona Ryder (Stranger Things) is being replaced. Her replacement is the fresh faced, Nina Sayers, portrayed by Natalie Portman, who won the Oscar for Best Performance by an Actress in a Leading Role for her work in “Black Swan.” The part that Portman’s character, Nina, has been cast in is that of the Swan Queen in Pyotr Ilyich Tchaikovsky’s (The Nutcracker) iconic ballet “Swan Lake.”

Nina is the perfect choice to play the graceful, innocent, and good natured white swan, according to Thomas Leroy (Vincent Cassel). He is the director of the ballet company. Cassel  showcases the workings of the mind of a control freak. He is not convinced that Nina can give herself over to her inner darkness, thereby being able to seduce the audience into believing that she is also the embodiment of the sensual black swan. Will she prove him wrong?  

At its core the film is a case study which examines a person who is spiraling downward mentally, but at the same time the individual’s obsession is desperately pushing her to try and reach for the zenith level of perfection. Although it received a tremendous amount of critical praise upon its release, the film does have its detractors. There are those, critics and fans alike, who consider it to be familiar territory done in a ‘by the book’ formulaic way. I for one, don’t agree with those sentiments.

While the crux of the movie might be viewed as familiar, the setting, as well as the circumstances of the individual characters, is a staunch departure which keeps this film from being a sub-standard retread of previous movies that have dealt with similar themes. Portman’s character is the heart which makes the film beat; her delusional visions, frustrations, and her increasingly destructive insecurities serve to move the story along to a climax that becomes more inevitable with the passing of each moment of screen time.

Emmy and Golden Globe winner, Barbara Hershey (A Killing in a Small Town) plays Erica, Portman’s mother. She is a former ballerina, who is the catalyst from where Nina’s neurotic behavior derives. Erica’s bullying, and ultimately disturbing persona serves as a detriment to Nina, who is under extreme pressure to not only meet expectations, but surpass them. Even when Nina leaves her Manhattan apartment, away from her mother’s watchful gaze, she is confronted at work by the ballet company’s competitive new addition, the uninhibited Lily, a role acted by  Golden Globe nominee, Mila Kunis (That‘70s Show). Her character is the catalyst, who pushes Nina to aspire to new depths of achieving perfection.

“Black Swan” is based on a story by Andres Heinz, who co-wrote the screenplay for the film with Mark Heyman and John McLaughlin. Three time Oscar nominee, cinematographer, Matthew Libatique (A Star Is Born), provides fluid camera work. English composer Clint Mansell, who received a Grammy nomination for his work on the film, incorporates a stylish score throughout the duration of the movie.  Black Swan had its world premiere as the opening film at the 67^th Venice International Film Festival on September 1, 2010. At the time it was the third consecutive film directed by Emmy winner, Darren Aronofsky (The Territory) to premiere at the prestigious festival. The other films were The Fountain (2006), and The Wrestler (2008). “Black Swan” garnered a nomination for the Golden Lion, the highest prize given to a film at the festival. It lost out to Somewhere (2010), directed by Oscar winner, Sofia Coppola (Lost in Translation). Parts drama and thriller, the film has a runtime of 108 minutes.

The germ of the idea which led to the movie began when Darren Aronofsky’s sister studied ballet at the High School of Performing Arts in New York City. He first hired professional screenwriters to rework a screenplay titled The Understudy, which dealt with the lives of off-Broadway actors, and the idea of those people being haunted by doppelgangers. While engaged in the creative process, he looked to novellas such as Fyodor Dostoyevsky’s The Double, and movies like All About Eve (1950), which starred two time Oscar winner, Bette Davis (Now, Voyager). Furthermore, he took inspiration from Oscar winner, Roman Polanski’s (The Pianist) 1976 psychological thriller The Tenant. In addition, Aronofsky sat through various productions of Swan Lake, where he began to make the connections, in order to define the attributes encompassed in the relationship between the white and the black swans.

Aronofsky’s movie is a take on a classic ballet, but it is executed with unyielding passion, as well as hardcore brutality in certain parts, which makes it fresh. The same material in the hands of a less competent director could have made the film come across as very stale. Instead, the viewer is made to intake a volatile cocktail that’s mixed with sexuality, surrealism, and viciousness. This is a psychological thriller, that, especially for those viewers who are fans of the cast, shouldn’t be missed.