Sign in using your account with
The Raven: Suspense-less Thriller Based on Edgar Allen Poe’s Work
A deranged groupie has taken Edgar Allen Poe’s (Cusack) literature a little bit too literally. He goes on a killing spree using different murders from Poe’s stories as inspiration, where each murder contains a clue to the next. The murderer starts improvising though and kidnaps Poe’s girlfriend, Emily (Eve), to draw the author closer in; taunting him. The murderer orders Poe to write a story and publish it in the newspaper where he works, based on the murderous actions. In the story, Poe both immortalizes the killer and shapes his future actions.
This is a film with a decent concept that just doesn’t work out. Making a murder-mystery out of bits of Poe’s literary tales could have been pretty interesting, but it basically boils down to us hopping from one gruesome murder to the next. There isn’t even much connecting one murder with the next. Also, by having Poe translate the murderer’s escapades into fiction the film has a very strong going-through-the-motions vibe, killing any sense of suspense or tension.
The characters aren’t much better either. Cusack’s character of Poe is a depressed alcoholic with a raging ego and an insufferable sense of superiority – basically a cliché of an artist. Eve’s character Emily is pretty and, unfortunately, doesn’t get much of a chance to transcend that trait seeing as she’s stuck in a box for most of the film. Also, Poe is at least double her age and is probably old enough to be her father. Their relationship is kind of creepy and you wouldn’t be wrong in completely empathizing with Emily’s father who does his best to keep them away from each other. Luke Evans plays Detective Fields, the officer in charge of the investigation and the man who first makes the connection between the murders and Poe’s stories. He does a decent job not least because he isn’t saddled with the ‘artistic,’ heavy-on-the-synonyms dialogue that Cusack has to deal with.
At the very least, the film looks good even though it’s not as extravagant as other period films. It has a very Gothic feel with its bleak palette and reams of fog unfurling everywhere, which does manage to give the film a vaguely foreboding feel. The murder scenes are pretty gory, the costumes look good and are sufficiently showcased in the scene of a ball.
The film is disappointing on two levels: it squandered a cool concept and it ended up a completely by-the-numbers thriller.
If you are in the mood for an uncomplicated, lighthearted and a feel-good romantic-comedy viewing, then Nancy Meyers is the one to turn to for help. Known for movies such as Private Benjamin, Something’s Gotta Give and The Holiday, the 65 year-old writer-director – who is often referred to as the female version of Woody Allen – always delivers and she does so again with The Intern: a likable cross-generation comedy that is kept afloat by a dependably engaging script and a couple of amiable lead performances.
Set in New York City, The Intern is centered on Ben Whittaker (De Niro); a 70-year-old widower who has become frustrated with the retirement lifestyle and is desperate for something to fill that ‘hole’ in his now, mundane and predictable everyday existence. Luckily, his prayers are soon answered, when he comes across an advertisement for a senior internship program at an online fashion company, founded by the high-strung CEO, Jules Ostin (Hathaway).
Ben applies and is soon accepted, ultimately landing a spot as Jules very own personal assistant. However, Jules is not so keen on the idea and doesn’t really know how to deal with the unusually well-mannered senior, deciding its best to keep him at an arm’s length. Nevertheless, Ben – an extremely patient man who may not be particularly tech savvy but knows a thing or two about life– soon finds a way to get closer to his boss and offer her the much-needed support, just in time when her career and position of power is at stake.
There is something awfully comforting about watching a Nancy Meyers film, as not only are her movies pleasing to the eye –her movie sets have ended up wondering onto the pages of numerous decorating catalogues over the years – but there is also something terribly gratifying in knowing how her stories will turn out in the end. Straightforward and extremely likable, the same goes for her latest directorial effort, a movie which may not be on the same creative level as Something’s Gotta Give perhaps, but still has plenty of its own harmless charms – no matter how far-fetched they may seem – to earn a warm viewing recommendation; a stamp of approval aimed mainly at a slightly older audience.
Stuck somewhere between a buddy-comedy and a romantic drama, The Intern is not entirely flawless and Meyers seems to have had a little trouble in setting out an even tone throughout; additionally, the subplot involving Rene Russo – who plays the company masseuse– is never really looked into or explored. However, it’s the two leads that keep The Intern from falling apart as both De Niro and Hathaway bring so much heart and chemistry to their respective roles that it makes it awfully difficult not to be drawn into their white-collar world.
Easygoing, likeable and perhaps a little too safe, The Intern is not Meyers’ best work to date but, it’s reliable and entertaining. What more do you need?
Despite being another seemingly generic entry from the endless production at Blumhouse Production - see Paranormal Activity, Sinister, The Gallows - M. Night Shymalan’s The Visit is an oddly enjoyable and surprisingly affective found-footage horror.
The film follows the story of two siblings, fifteen-year-old Becca (DeJonge) and thirteen-year-old Tyler (Oxenbould), who decide to head out to rural Pennsylvania to spend a week with their estranged grandparents, Nana (Dunagan) and Pop Pop (McRobbie). The last time their mother, Paula (played by the always reliable Hahn), had seen her parents was fifteen years ago when she left home for good and now Becca - an aspiring filmmaker - is hoping to document their entire visit and shed some light on the longstanding separation.
Excited at the prospect of finally getting all of her questions answered, Becca and Tyler - who helps her to make sure that every angle and frame is fully covered - try their best to make the most out of their visit. However, something seems to be off with Nana and Pop Pop who, after the lights go out, begin to show a much darker side to their already peculiar personalities.
Creepy more than scary, The Visit marks the director’s lowest budgeted feature film to date and although it can’t hold a candle to his 1999 hit, The Sixth Sense, for example, it feels like Shymalan has once again found his footing after a series of duds - think The Last Airbender and After Earth.
Tapping into a familiar concept and turning it into a thoroughly frightening and an ominous experience is what makes The Visit shine. Subtle, simple and refreshingly straightforward, Shyamalan also manages to blend in a light dose of humor into the proceedings and, even though some of the scares can be seen from a mile away and the shaky-cam work does get a little disruptive, the overall result isn’t all that bad.
Delivering a couple of convincing performances, both DeJonge - as the intelligent and extremely grounded older sister - and Oxenbould as her wannabe-rapper younger brother are engaging as the victims-to-be, though Dunagan and McRobbie steal the show with their quietly eerie and wildly unpredictable representation of grandparents-gone-gaga.
Never taking itself too seriously, The Visit is a watchable and undemanding faux-documentary thriller that many have attached the word comedy too. There is definitely a lot to appreciate in this creepy little number, however, if you’re not a fan of this particular sub-genre, then you’re probably better off looking for your frights elsewhere.