Sign in using your account with
The Cold Light of Day: Bland, Confusing Thriller
For anybody planning to watch this for Bruce Willis, be warned- he’s barely in it. We instead spend the whole film following Cavill who plays his son Will who is the only member of the family left free to roam the streets of Madrid. Will’s family has been kidnapped due to Martin’s (Willis) work with the CIA. He’d taken a briefcase from the kidnappers and Will now has to find the bag, which he suspects is with his father’s double crossing partner Jean (Weaver), and get it back to them before they murder every last member of his family.
The film is, as a whole, painfully average but there’s one part in particular that’ll have you screaming in frustration; we never find out what’s in the freaking briefcase! People are getting killed left, right and centre over a plain, black bag. And no, this trick doesn’t give the bag some kind of epically dangerous aura; it’s just infuriating. But lack of clarity is a theme with this film. The fight scenes and car chases are murder to get through. In the former, you can barely see who’s hitting who because the shaky camera work and fast cuts, while the lighting in the latter makes it really difficult to tell the cars apart. Everything’s just so dark. The car chase, despite having some pretty cool scenes of cars rolling down stairs, is robbed of its tension because it’s so confusing.
Cavill joins the generation of actors who are beautiful to look at but incredibly bland. He just goes through the motions here as a man who discovers his inner badass when his family is threatened yet never really embraces those powers. Echegui plays Lucia, his shrieking female sidekick who, despite this unfortunate character flaw, is the most likeable person in the film. Rounding of the cast is Weaver’s Jean. She skirts the line between angry, irritated and insane yet never quite manages to form a compelling villain mainly because we don’t know anything about her or why getting her hands on the briefcase was worth selling out her partner. At the very least though, she’s a badass with a gun.
What the ads fail to show is that this ‘film’ is actually a feature length commercial for Audi to the point that in addition to the cars scattered around everywhere, there’s actually a huge billboard advertising the brand in the film. It’s astonishingly unsubtle but again, when a film is this dull and confusing, product placement becomes highly fascinating.
Expanding from his 2006 short film, Oculus: Chapter 3- The Man with a Plan, director Mike Flanagan – along with help from writer Jeff Howard – approaches the subject of the supernatural with a considerable amount of imagination and manages to deliver some scares in the relatively unnerving ghostly thriller, Oculus.
The story follows the troubled lives of Tim (Thwaites) and Kaylie Russell (Gillan); a pair of siblings who witnessed the brutal death of their parents over a decade ago. Tim is convicted of the murders and is sent into protective custody and a psychiatric hospital, while Kaylie remains in a pit of despair without her family.
Years later, Tim is released on his twenty-first birthday and is now looking to rebuild his life and move away from his turbulent past. However, Kaylie has become convinced her brother was innocent and that something unnatural is at play.
Kaylie, who works at an auction house, has recently come across the very same oversized, 400 year-old mirror that she believes is responsible for their parents’ deaths. Moving back to their old house and installing surveillance equipment, Kaylie and Tim hope to record evidence of the supernatural being.
A Blumhouse Productions creation – the same people who brought you Paranormal Activity – Oculus, as luck would have it, steers clear of the increasingly overdone found-footage approach, despite what its trailer might suggest. Instead, director Mike Flanagan seems inspired by the horror films of the 70’s and 80’s, like recent flicks, The Conjuring and Sinister, and paints the mood of the film with a slow-burning tone of dread and an ominous fear of the unknown. The film transitions between the past and present wonderfully, all while keeping you on the edge of your seat.
Gillan, the Scottish-born actress known for her role in TV’s Doctor Who, proves to be a relatively solid lead and manages to paint Kaylie with an equal blend of self-determination and fear, while Thwaites’ doe-eyed qualities comes across as a little too sappy.
Sadly, Oculus is not without faults. The film is never fully realised as a story and although it provides its share of scare, it’s all really rather forgettable.
The follow up to Carlos Saldanha’s vibrant animated feature, Rio – a film that grossed over half a billion dollars at the box office - finds the Brazilian-born filmmaker returning to the pulsating streets of Rio Di Janeiro, before setting off into the wilderness of the Amazon.
Picking up some time after the end of the first film, Rio 2 finds the Blue Macaws, Blu (voiced by Eisenberg) and Jewel (Hathaway), happily married and living a carefree life while raising their three hatchlings, Carla (Crow), Bia (Stenberg) and Tiago (Gagnon), at the Blue Bird Sanctuary.
However, their children’s overly-domesticated habits begin to worry Jewel, who is fearful that her children are slowly losing touch with nature and what it means to be a bird. So, when she hears that there may be a flock of Blue Macaws living in the Amazon rainforest, the family decides to fly across for a vacation and a bit of an investigation.
Once there, not only does the family discover that there is more of their kind in the world, but that the flock is led by none other than Jewel’s long-lost father, Eduardo (Garcia). Jewel soon finds herself toying with the prospect of moving her family there for good, while Blu – who now must prove himself to Jewel’s apathetic and unconvinced father – isn’t too sure whether he’s ready to give up his life in Rio. Meanwhile, Blu’s lifelong nemesis, Nigel the Cockatoo (Clement), who is no longer able to fly, follows the family to the rainforest in search of revenge.
Eisenberg and Hathaway return to reprise their roles as the lovable Blu and Jewel and, although their shared chemistry can still be felt throughout, it seems that their second outing is not as charming as their first. Clement is hilarious as the grouchy Nigel, while all of the supporting characters, excluding Chenoweth’s hysterical performance as Gabi – a poisonous frog hopelessly in love with Nigel – aren’t given much of the spotlight, apart from indulging in a few impromptu sing-offs, including yet another cringe worthy rendition of Gloria Gaynor’s I Will Survive.
Just like the original, Rio 2 dazzles with its vibrant and bubbly tone; the opening scenes of the New Year’s Eve celebration on the bustling streets of Rio Di Janeiro are breathtaking and Saldanha, succeeds in adapting the alluring and captivating magic of Brazil.
The story, unfortunately, is not as engaging the second time around and Saldanha seems to have sent the story on a downward spiral the minute he decided to step out of Rio and move his flock of birds into the back woods of the Amazon rainforest.
There are still plenty of thrills and spills, but had it not been for the infectious Brazilian music and a handful of interesting characters, this would have been a complete washout.