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Dark Shadows: Beautiful but Dull Comedy
Johnny Depp plays Barnabas Collins, the owner of a very successful fishing business and namesake of the town of Collinsport. After incurring the wrath of Angelique (Green), a maid whose love he scorned, he discovers that she’s a witch and finds himself on the receiving end of one of her curses. Driven crazy by unrequited love, Angelique turns Barnabas into a vampire to make him suffer for all eternity. Locking him in a coffin and burying it, he stays there for two centuries until some construction workers stumble across him. Remerging in the 70s, he finds that the family fortunes have been reversed and business is floundering. It isn’t long before he finds out the still obsessed Angelique has taken it upon herself to curse his entire family in retribution for his lack of love.
To get camp right, you really have to commit which, unfortunately, isn’t exactly what this film does. The cast is mostly adequate with the only true standouts being Eva Green and Helena Bonham Carter as a psychologist living with the Collins. Green is fantastically over the top and incredibly funny with her desperate love for Barnabas. The question though is why somebody as electric as her would be obsessed with someone as boring as him. Bonham Carter sadly has quite a small role though to make up for it, she’s outfitted with the best wig in the film. She’s wry and eccentric and generally a blast whenever she shows up.
Barnabas with his ye old English accent, his Gothic clothes and pasty white makeup would be right at home in a number of Depp’s previous collaborations with Tim Burton. Because of this, Barnabas seems stale and familiar. That’s not to say that Depp does a bad job, but it’s gotten to the point where he’s become one with his specific brand of eccentric characters; they’ve become second nature to him and it drains a lot of the novelty and excitement out of the experience.
The music is another issue. The cuts themselves, which include some stone cold classics such as Curtis Mayfield’s ‘Superfly’, make a pretty great mix tape but there’s something off about their use in this film; the onscreen action doesn’t hold its own against the music. On the other hand though, the film is visually gorgeous. The costumes are beautiful and Collinwood, the family mansion, is absolutely stunning whether decked out in 1700s inspired décor or combined with 70s touches such as lava lamps, furry rugs and psychedelic concert posters.
With a cast this stellar and Tim Burton directing, you’d be forgiven for expecting something far more cohesive than this. The film flops about, never finding its rhythm, and is generally a bit of a mess.
Sinister looking children’s toys – dolls and puppets in particular – are a common feature of many a horror film, often somehow possessing dark demonic powers. Annabelle, the latest horror of such kind and the prequel/spin-off to the last year’s summer hit, The Conjuring, unfortunately is rather dull.
Directed by John R. Leonetti – of The Conjuring, Sinister and The Mask fame – and written by Gary Dauberman, Annabelle is set in the early 1970s and follows Mia (Wallis) and John Gordon (Horton); a young married couple living in Santa Monica, who are expecting their first child.
One night, their next-door neighbours are killed as a result of a satanic cult home-invasion job. Unfortunately, the drama doesn’t end there and they soon end up victims of a similar crime, but after a certain amount of struggle – and blood spilled – the couple manages to come out alive.
Soon after their traumatic ordeal, their home – that they’ve grown to love and care for – begins to suffer a series of supernatural occurrences and after it becomes a little too much to handle, they decide that it’s best to move. Unfortunately, trouble follows them to their new home and John and Mia soon realise that Mia’s prized collector’s doll might have something to do with it all.
Annabelle starts off strong, with Leonetti and Dauberman weaving a decent amount of tension and suspense into the opening. However, although, their ideas are relatively solid – and some of the scares genuinely frightening – the plot soon become repetitive and what little novelty the premise has wears off pretty darn soon.
In terms of performances, both Wallis and Horton managed to sustain a good amount of chemistry; however, their characters – just like the story – aren’t formed well enough to form a connection with the audience.
Riddled with clichés and familiar formulas, Annabelle is little more than an attempt to cash-in on the success of its much more convincing and entertaining predecessor.
Hollywood funny-man Vince Vaughn finds himself stepping into another underachieving man-child role in the latest comedy offering from director Ken Scott, Delivery Man. Typecasting aside, this remake – of Scott’s own French-Canadian indie-hit, Starbuck (2011) – manages to retain most of the original’s quirky charm.
David Wozniak (Vaughn) is a charming yet incredibly irresponsible truck-driver who delivers meat for a living. Working alongside his boss and father, Mikolaj (Blumenfeld), and his two, slightly more dependable brothers, Victor (Delaney) and Alesky (Moynihan), David has always been labelled as the black sheep of the family.
Well known for his tendency of taking stupid business risks, David is not only in hundreds of thousands of dollars of debt to a group of thugs, but he has also just found out that his cop girlfriend, Emma (Smulders), is pregnant with their first child.
David is not given much time to adjust to his newest life-changing circumstances; he soon discovers that he is father to over five hundred children. You see, years ago, David was a regular donator at various sperm banks in exchange for cash and the consequences of his actions have come back to haunt him.
Out of his five hundred and thirty three children, one hundred and forty two have filed a law-suit find their prolific father. Naturally, David ignores the legal advice of keeping a low profile, and soon jeopardizes the legal proceedings by going undercover to meet his biological off springs.
Being his usual fast-talking, humorous self, Vaughn doesn’t find himself venturing out of his comfort zone in Delivery Man. Despite failing to deliver gravity and weightiness to some of the film’s more heartfelt moments, he’s still able to carry the plot with familiar wit and charm. As the supportive best-friend, Pratt is incredibly funny, whilst the rest of the supporting cast all offer reliable and a whole-hearted performances.
Adapted from an indie-feature to a full-blown Hollywood remake, Delivery Man succeeds in delivering just enough to do the original justice; however, those who might have already seen the original may have a few doubts. The jokes are there, and although only a few are deserving of real laugh out loud moments, they still manage to entertain.
Unfortunately, Delivery Man is a predictable, one-dimensional Hollywood production. But then again, it’s also pretty harmless and light-hearted; an easy watch, if you will.