Sign in using your account with
Visions: Passable Horror Eventually Delivers in Third Act
While it doesn't take too long before it ends up diving deep down in the abyss of cheap frights and recycled scares, Visions – courtesy of Blumhouse Productions – manages to to introduce a sense of intrigue and interest in a story we've all seen before. Even though it may not be the most compelling or engaging of horror features out there, it's still relatively entertaining to earn itself a passing grade.
After suffering a horrific car accident, Eveleigh (Fisher) and David Maddox (Mount), decide that it's time to turn a new page in their lives by purchasing a vineyard and relocating to the picturesque Californian countryside to live out their dream of running a winery. Hoping that their label will impress the local tastemaker, Helena (Cassidy), the couple – who are also expecting a baby – are excited to get setup in their new home, with Eveleigh quickly befriending another mommy-to-be, Sadie (Jacobs).
However, Eveleigh is finding difficulty in adapting to her new surroundings with the expectant mother soon experiencing frightening nightmares and terrifying hallucinations, leaving everyone - including David - to think that she's gone crazy. Nevertheless, she is determined to find out the truth and discover the secret of the vineyard, which appears to be haunted with a shady past no one wants to speak of.
Told mostly through the eyes of an anxious and seemingly frightened mother-to-be trying to get over a horrific incident and personal loss, Visions is not exactly what you might call an original idea. With creepy shadows, weird sects and ghostly manifestations, it's a premise that has already been explored in numerous variations.
Writers, L.D Goffigan and Lucas Sussman, – and Saw veteran Kevin Greutert manage to pull off a few innovative horror twists towards the end, making it slightly easier to forgive the story's somewhat of a slow and uneventful start - a start in which Jim Parsons and Eva Langoria prove to be terrible casting choices for a horror, not least because their familiarity from The Big Bang Theory and Desperate Housewives, respectively, is incredibly distracting.
However, even though it does go through the first two acts of the movie checking off every single horror trick and supernatural trope in the book – weird neighbours who seem like they are in on the secret, cloaked figures in the mist set on spooking the victim and not to mention the customary furniture-moving– the story manages to pull through in its final act, offering an element of surprise not usually found in these types of productions.
What can you say about the seemingly unstoppable force that is Nicolas Cage that hasn’t been said before? A magnet for the most troubled, muddled and just generally exasperating films to hit cinemas in the last five years, his latest work in USS Indianapolis: Men of Courage does nothing to change his fortunes.
Despite being based on one a true story that has all the makings of a war epic, the Mario Van Peebles-directed USS Indianapolis bleeds all and any gravitas and emotion out of its incredibly dramatic source material.
The story goes as thus: the eponymous US Navy cruiser delivered the first parts of the atomic bomb that would go on to devastate Hiroshima, before being torpedoed by the Japanese navy, leaving some 300 of the 1000-plus crewmen dead and the rest stranded in shark-infested waters. Said sharks, along with dehydration and salt water poisoning, leave just over 300 survivors to be rescued.
At the centre of the ensuing hubbub is Cage’s Captain McVay, who many, very unreasonably, blame for the death of the 700 or so victims – so you see, it’s a very complex story, but one that very quickly descend into and exercise on how not to make a war film.
The occasional laughable CGI aside, Cage is oddly sedate, bordering on placid, in his role – yes, the central character is possibly the flattest element of the film, while seasoned actors, Tom Sizemore and Thomas Jane, are given little to chew on in their respective roles.
While starting exactly as one would expect a war film to, the wreckage part of the film turns into cheap disaster movie, before turning into a courtroom drama in the final act. It’s a muddle of a film that fails to really drum to the beat of McVay’s potentially brilliant arc as a firm commander that eventually buckles under the unjust pressure he receives back at home.
Bad CGI, a mammoth two hour-plus running time and Nic Cage can be forgiven, but what’s at the heart of this film’s mess is the script. Jumping from event to event, plotline to plotline, at a whim, with Cage’s soft murmured speech used to pave over the transitions, USS Indianapolis’s pacing is that of a film hurrying to stuff as many ideas and threads as possible – expect that’s not the case. Van Peebles tries so hard to build the layers of an epic, when, actually, all he needed to do was tell this simple but stirring story as it is.
Don’t be fooled by Shut In’s relatively intense and spooky trailer; the final product is unfortunately, everything that its trailer is not. Directed by Farren Blackburn – see Hammer of Gods - this haunted house thriller of the wearisome is-she-crazy-or-is-she-not variety finds itself completely devoid of any suspense or story, resulting in one of the most painful and unexciting movie going experiences of the year thus far.
The story is set in rural Maine and revolves around child psychologist, Mary Portman (Watts wondering how the heck she managed to get roped into this mess), who is struggling to get over the loss of her husband who was killed in a horrific car accident some time ago. Left alone to take care of their teenage son, Stephen (Charlie Heaton from Stranger Things ), who was also in the accident and was left paralyzed from the neck down and unable to talk, Mary tries to do the best she can and to go about her duties as compliantly and passively as possible.
However, the pressure of taking care of him alone is slowly getting to Mary who tries to find some sort of comfort and solace from her regular Skype sessions with fellow shrink, Wilson (Platt). Her life is soon turned upside down when one of her troubled patients, a young deaf foster kid named Tom (Room’s Jacob Tremblay), shows up at her doorstep late one night before quickly disappearing into the cold without a trace. Wrecked with guilt, Mary soon begins to see evidence of Tom in the house; unable to differentiate between reality and her nightmares, her mind soon begins to play dangerous tricks on her, forcing Mary to believe that there is something else entirely at play here.
Told with an unintentional sense of preposterousness and accompanied by an obscenely sluggish tempo, instead of concentrating on building its own story and generating genuine tension, wastes time borrowing ideas from other, better-executed films. Attempting to ignite chills and creeps through a series of predictable and terribly clichéd jump scares, the story fails to excite, offering very little suspense, energy or reason for the viewer to get invested in its characters. Even the talented Naomi Watts can’t make up for its laundry-list of problems, while Room sensation Jacob Tremblay is disappointingly wasted in his role of Tom.
While the idea may have read well on paper, Shut In’s execution is dreadfully ineffective; uneventful, boring and a total of waste of both time and talent, watching Shut In is just as exciting as watching paint dry. No fun at all.