Starring: Will Smith, Edward Norton, Kate Winslet, Michael Peña, Helen Mirren, Naomie Harris, Keira Knightley; Jacob Latimore.
Who doesn’t love watching an intricate set of dominoes fall? But when I realised this was the disintegration of Howard’s (Will Smith) heart, the final crash of those dominoes took on a new meaning.
After the death of his daughter, Howard is falling apart. He does nothing but set up those dominoes only to watch them fall.
Once a successful advertising guru, the company is starting to fail because advertising is built on relationships so when the guru falls, so does the company.
Howard exclaims in a speech at the beginning of the film, the 3 truths of life: Death, Love and Time.
So when his daughter dies, it’s the 3 truths he writes to – posting a letter to each, expressing grief and anger that his daughter has been taken from him.
I don’t know why I always go into a Will Smith film with a cringe. I know he has that frank, openess that has a way to pull the heart strings, and the cast had to be amazing to pull this script into a realm of belief. And you just know you’re going in for a tear-jerker which I’m not a fan of. But at this time of year when maybe you’ve had a health scare, or the family’s not quite right, it’s nice to go into that suspension of reality.
I haven’t seen Edward Norten in a film for a while and have to say I was worried when he showed up in khaki pants. However, I bite my tongue because it got to me, this film about death and fear and love and loss and the great equaliser, time.
The soundtrack had something to do with this. And the all-star cast. Who else could pull off Death but Helen Mirren?
And notice I’m not going on about the directing, cinematography, costuming (although I had a few issue here with those fake blue contacts and khaki pants!) – it’s just not noticeable.
I was absorbed at the beginning with the fall of those dominoes and then held watching well-known actors dealing with stuff we all have to tackle, at some stage.
This isn’t my favourite type of film, but if you’re in the mood, Collateral Beauty is a wonderful escape.
It’s a mixed bag of top 10 films this year, with a top-heavy favourtism for the thriller! From the funny-sweet, Hunt for the Wilderpeople to the ultimate crime thriller, Sicario *
I have to say the biggest stand-out for 2016: Director Denis Villeneuve. More Denis, we want more!
Coming in at number 10 is the New Zealander Comedy / Drama that stole the world’s heart: tongue-in-cheek and heartfelt where the characters are able to take a laugh at themselves ‘cause it’s all heart bro.
At number 9 is a local Drama based on a day-in-a-life in the Melbourne suburb of Footscray.
It would have been easy to get bogged down in the melancholy, but there’s humour here, the focus on the good: a poem written to a beautiful girl in a bookshop, drummers tapping out a heartbeat with the dance of a local in appreciation, the expression of graffiti and the love of a dog.
Pawno shows life in all its complications with the simplicity of a leaky kettle or a favourite mug.
Where Leonardo Di Caprio finally won his first Oscar, and for good reason.
There is a real authenticity here, thanks to Di Caprio, but director, Alejandro has given the film something almost mystical. Nature untouched, is a bit like magic. The Native Americans believed in the will of the trees and the wind, and I think Alejandro managed to capture some of this magic. Not an easy feat and worth watching.
My favourite director of this year Denis Villeneuve has given his Midas touch to a film that really could have fallen flat. The insight Villeneuve has managed to show of Dr. Bank’s character is astounding. If only for this aspect, I enjoyed the film. Then combine the incredible story, soundtrack and pace with that extra flavour that makes the characters so believable, you’ve got a winning film.
I can understand how this documentary, directed and produced by Roger Ross Williams, has won so many audience awards: Telluride Mountainfilm Festival, San Francisco International Film Festival, Full Frame Film Festival and the list goes on…
I laughed, I cried, I smiled and I learnt something not only about Owen and his battle with autism, I also found an opportunity to reflect on my own life journey.
Set in Inebolu, a Black Sea village 600 kilometres from Istanbul, Mustang is about the freedom of five young sisters with wild hair trailing down their backs, with a glance and an innocent smile that can lead to so much trouble.
As her first feature film, Deniz Gamze Erguven has given us a story that feels like it should already have been told, and I congratulate this fresh view of life that is usually hidden behind closed doors.
Director James Wan is genius in his use of not only the soundtrack, but also the trickery of shadows, slips in time, old toys; a focus on the eyes or a terrifying portrait brought to life. Seemingly simple devises, but used so well.
There’s a journey here. An invitation to take hold of a hand – a, Gotcha,then I’ll let you go a bit… then, I gotcha again: This time, I gotcha good.
I liked this film because it went beyond all expectations. The story just kept unfolding to its bloody conclusion. I couldn’t look away: cringing, gasping, hoping and ultimately smiling contently at a well thought-out conclusion. Love a good crime thriller!
There’s not a lot of action here. But the dialogue between the characters is hugely entertaining. The depth of thought put into the characters: Samuel L. Jackson as Major Marquis Warren, Walton Goggins as Sheriff Chris Mannix and Jennifer Jason Leigh as Daisy Domergue was particularly impressive. And the not so subtle gallows humour and O. B’s bad luck is gloriously funny. I had a ball watching this film – good fun!
I couldn’t fault this film. The story, characters, soundtrack, cinematography and editing all combined to create tension and to keep the audience guessing.
If the violence didn’t add to the story, then it wasn’t included. Clever devises used by director Denis Villeneuve used the imagination of the audience to piece the action together giving this film it’s true brilliance. If you haven’t already, watch this film! You’re in for a real treat.
* I know, I know, Sicario was released end of 2015, and I do ask for poetic license being my first ‘best of the year’ list for the website. Being my first reviewed film to earn 5 stars, I couldn’t resist Sicario, at the top, in all its crowning crime-thriller glory.
Starring: Levi Miller, Bryan Brown, Jason Isaacs, Hanna Manga Lawrence, Calen Tassone, Thomas Cocquerel, Kelton Pell and John Jarratt.
Sweet and funny, set on the backdrop of red desert, burnt skies and a story about a red dog named Blue.
Red Dog: True Blue is the prequel to the well-know Red Dog, that received world wide acclaim back in 2011. A neat compliment that made me want to watch the original again.
Shown as a flash-back to the 1960s, True Blue is about young Mick (Levi Miller) who finds himself at a cattle station out in the middle of no where living with his grandpa (Bryan Brown).
Mick is surrounded by all sorts of characters from Jimmy Umbrella (Kee Chan), the Chinese-Australian cook who hates the sun, Bill (Thomas Cocquerel) the larrikin helicopter pilot, Big John and Little John (Syd Brisdane and Steve Le Marquand) who are always fighting, Taylor Pete (Calen Tassone) the budding activist and Durack (Kelton Pell) the Aboriginal stockman who just knows Blue (Phoenix, the dog) is a tricksta spirit.
Blue wasn’t the feature in this film, but he was certainly the main source of humour. Very clever of director Kriv Stenders (also director of the original Red Dog), as Bluealways remained blameless. And the addition of Willy, the crazy, blind-in-one-eye horse who thinks he’s a bull, made the film even funnier.
Aside from the humour, there are themes here to give the story more depth, such as the politics of equal pay for Aboriginal workers, of free love, landrights, punishment of boys who’ve been bad… But what really stood out was the beauty of the landscape and those never ending skies.
Geoffrey Hall has returned as Director of Photography, this time making a conscious effort to keep the colour palette of the landscape authentic. And an anamorphic approach was used for filming giving a narrow depth of field. The result being beautiful, picture card moments with the weather and landscape becoming another character of the story.
At the end of the year when you drag your feet and wonder when summer is actually ever going to begin, it’s great to see a film that has it’s own brand of humour; that evokes laughter bubbling up from the belly; where the story is sweet (without being too sweet) and uplifting.
Yeah, the kid Mick, annoyed me a bit at the start – all private school and precious. But I think that was the point. And the character grew on me through-out the film which may have something to do with the mateship that develops between a lost kid and a cheeky dog named Blue (AKA Marlunghu the tricksta spirit).
And I’m thankful the film didn’t tear my heart out as some of these animal films tend to do. I was left smiling about a story that relates to life while also giving a positive twist making me really, really want to get a pet dog!
Produced by: James L. Brooks, Richard Sakai, Julie Ansell
Executive Producer: Donald Tang
Music by: Atli Örvarsson
Starring: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Haley Lu Richardson, Blake Jenner and Hayden Szeto.
The Edge of Seventeen is a coming-of-age drama with a few laughs thrown in, because teenage angst is funny when looking back. Not at the time of course. Being 17 is all about wanting to die at the embarrassment of it all: pimples, older siblings who seem to have it so together and bestie-best friends who are supposed to be there forever (but never are because they’re human too).
Even though it feels like you’re the only one who feels anything at 17, you (hopefully) come to realise that others feel too.
Nadine (new comer, Hailee Stinfeld) is a girl who’s always felt different. A loner, living in the shadow of her perfect brother, Darian (Blake Jenner, think, Everybody Wants Some!! (2016)). Until she meets Krista (Haley Lu Richardson), who becomes her bestest buddy.
Life is good. She has her mate and her Dad, the only two people in the whole world who understand her. But when Krista hooks up with her brother, Nadine’s bubble bursts. And she’s left in a world where people are fake and nice and she’s the only one who knows it.
It’s teenage angst baby, where you just love that guy and he doesn’t know you exist and you just know that mum’s mad and favours your brother more than you and you just, want, to, DIE.
And just like that self-obsession, the film revolves around Nadine. Thankfully the film was well cast and that annoying whine didn’t grate too much.
Woody Harrelson cast as Mr. Bruner, the ever-tolerant teacher, diluted the hormone fuelled rants of Nadine.
And there were some laugh-out-loud moments.
In retaliation to Nadine’s mum (Kyra Sedgwick) Nadine yells – ‘I’ll do something just as bad! I’ll post on Facebook that you pluck the hairs around your nipples!’
There’s a raw honesty in the script (written by Kelly Fremon Craig; the second draft 4 years in the making) that is genuinely funny and at other times gives a jolt as the secrets of girl-teenhood are revealed.
First time director, Fremon Craig, has given free rein to the protagonist here which cuts both ways.
The audience is given insight and authenticity that only freedom can give. And I praise this honesty. On the other hand, there’s a little too much girl craziness – a fine line between funny insight and the urge to reach for the mute button.
The soundtrack helped to smooth over the emotion. And the deadpan humour of Woody as the history teacher not only balanced the character of Nadine but was a release of pressure for the audience.
Overall the film was entertaining with a great script giving a different feel to a storyline that’s been done many times before. I kept thinking back to Ghost World (2001) but The Edge of Seventeen is more drama/comedy than art house.
So, relatable and honest, but also a film about teen angst, which I’m happy to admit is time past.
Based on the original screenplay by: Robert Siegel
Produced by: Aaron Ryder and Don Handfield
Starring: Michael Keaton, Nick Offerman, John Carroll Lynch, Laura Dern, Linda Cardellini, Patrick Wilson, B. J. Novak.
Business is war. It’s not even dog eat dog, it’s rat eat rat.
A true story based on the uprising of McDonald’s, The Founder is a remarkable story of Corporate America. Of how persistence and will power can create an empire for a man with a mouth and a keen eye for a successful business.
The film begins in 1954, showing Ray Kroc (Michael Keaton) on the road trying to sell five-spindle Multimixers used to make milkshakes to the owners of Drive-In Diners.
After sitting in his car waiting for over 30 minutes for his meal, Ray checks in with the office to get an order for six Multimixes. He decides to drive out west to San Bernardino, California, to see what sort of restaurant would require so many milkshakes. And that’s when the real story begins, when Ray pulls up to the original McDonald’s, to see the lines of people waiting for their meal served not in 30 minutes, but in 30 seconds.
McDonald’s was a vision set in motion by the two McDonald brothers, Mac (John Carroll Lynch) and Dick (Nick Offerman). It was the McDonald brothers creation of the Speedee System, an assembly-line style of food preparation, that made the delivery of food to customers, fast.
The golden arches, the iconic symbol of fast food that’s now dotted across the globe in 35,000 locations was created by Dick McDonald.
The brothers are the true Founders. But without the business acumen of Ray Kroc, McDonald’s would have remained just one restaurant.
The Founder is a character driven story with the crazed look of Keaton matching the perverse determination of Ray Kroc perfectly.
And the story is certainly an interesting one.
What fascinated me was Ray’s fortunate meeting of Harry Sonneborn (B. J. Novak), the financial whiz who came up with the idea to buy the land and then lease to the McDonald’s franchisee.
The idea that McDonald’s is one of the biggest realestate company’s in the world is mind boggling.
But that’s where the fascination ended.
Even with the gumption of Ray, a character to admire from afar as any closer you’d wonder if you’d be left with your wallet, the story just followed from one event to the other.
The monologue of Ray speaking to the camera at the beginning (and the end) added a bit of spice, but I was left wanting more.
The film evoked memories of childhood, of those gherkins flying through the air because no one liked the gherkin. Seeing the 1950s version of the meat patties made me wish McD’s hadn’t changed from the original – thanks Ray!
But isn’t it interesting that McD’s is providing more quality burgers these days, at more expense to the diner? The post-war 1950s pushed for more and faster, and the Speedee System was born. Is it a reflection of today’s society? Quality even if it costs more?
The Founder is thought-provoking but a greater insight into how Ray’s mind worked, like seeing the Speedee System work, would have given the story more flavour.
And I question the calm camera work here, as there’s a vibrant chaos to the McDonald’s restaurants, that brings out the fun of childhood – just think of those clowns! Showing a bit of craziness would have heightened the movie experience.
Based on:Tony and Susan, written by Austin Wright (first published in 1993).
Starring: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, Laura Linney, Andrea Riseborough; Michael Sheen.
A dark emotive story within a story that’s sometimes confronting and always thought-provoking.
Susan Morrow (Amy Adams) is living the life she thought she always wanted: a successful gallery owner married to a handsome husband. But as her marriage begins to disintegrate she begins to think of her first husband, Edward Sheffield (Jake Gyllenhaal), often. When she receives a manuscript from Edward, dedicating the novel to her, the film shifts from the life of Susan Morrow to the story written in the novel.
There’s a stark simplicity in both tales here, yet together they create a delicate knot of tragedy.
The garish setting and understated elegance of costume and character is how director and screenwriter, Tom Ford, shows the reality of Susan Morrow. Art can be trash – ‘It’s trash’ states Susan. A statement of regret and a hint of her feeling of loss. Yet the second story, the novel, is a stark crime novel, set in the desert of Texas. A tale of family, murder, revenge; of the simplistic reality of life. A gut wrenching story compared to her quiet grief and disbelief of the life she’s currently living.
Nocturnal Animals shows the emptiness found in life where priorities made outside ourselves lead to choices that are later realised as mistakes. And living with those mistakes creates an emptiness. What was so important is no longer what life is. Sometimes, it leads to so much trash.
There’s an influence of the superficial world of fashion here, stemming from Tom Ford’s past life as a fashion designer. But he uses the contrast the two stories (the life of Susan Morrow against the story written by her ex-husband), of the beautiful house and extravagance of the successful against the dust and murder in the novel, together, to combine both stories into the complex emotion of loss.
Jake Gyllenhaal plays the ex-husband and character in the novel as a sensitive, complicated yet good man, well. There’s just the right touch here, a subtle and realistic tone.
I remember first seeing Amy Adams in the film Junebug (2005) – those soulful eyes used by director Tom Ford so well here. It’s remarkable how well she plays tragic torn sadness.
And the highlight, Michael Shannon as the down-at-heal Detective Bobby Andes. A likable character. The only truly likable character which makes the story all the more real because the characters are complicated.
The film is based on the novel, Tony and Susan, written by Austin Wright. The novel unsuccessful at first because thought to be too literary, but then enjoying critical acclaim when released in the UK. Then taken up and written for the screen by Ford. An ambitious project. Yet the cast, pacing, orchestral soundtrack (Abel Korzeniowski) and setting frame the story beautifully. But this isn’t a beautiful story, this is a thought-provoking tale, shown to confront the audience because the truth is fragile and delicate.
It’s difficult to rate this film as I didn’t particularly enjoy watching. Yet, the film resonates. It’s not about the enjoyment, but capturing the emotion of regret.
‘I have no right to be unhappy because I have everything’, says Susan Morrow (Amy Adams). ‘Happiness is relative,’ replies her friend at a dinner party. A bourgeois luxury. Yet grief and loss equalises all.
Starring: Eddie Redmayne, Katherine Waterston, Alison Sudol, Dan, Fogler, Colin Farrell, Samantha Morton, Ezra Miller, Jenn Murray, Faith Wood-Blagrove, Jon Voight, Ronan Raftery; Josh Cowdery.
‘Worrying means you suffer twice,’ says Magizoologist Newt Scamander (Eddie Redmayne). Which is another way of saying, Why worry, when there’s no point. If something bad is going to happen, suffer through it once, not twice! What a gorgeous way of treating life, the sentiment setting the tone of the film.
Fantastic Beasts and Where to Find Them is J. K. Rowling’s debut as a screenwriter. The inspiration from the Hogwarts textbook of the same name, written by her character, Newt Scamander.
It’s difficult not to compare Fantastic Beasts and the previous Harry Potter films as there’s a similarity in vision; not only writer, Rowling, being the creator of both worlds but David Yates returning after directing the previous 4 ‘Harry Potter’ films.
But this is America, not England. There’s a new language where Muggles are now called No-Maj (humans without magic). Where the American’s have the Second Salemers – fanatical No-Maj’s who want to get rid of wizardry for good.
Terrified of exposure, Director of Magical Security at MACUSA (Magical Congress of the USA), Percival Graves (Colin Farrell) makes short work of anyone who threatens the fragile hidden world of magic. Until Newt arrives with his suitcase full of fantastic beasts.
Instead of Harry Potter and his young friends battling their way into adulthood, with an exploration into all the dark corners of life in magic and life as neglected children, we have adults running through 1920s New York trying to re-capture cute magical creatures. Instead of a darker adult outlook, I found Fantastic Beasts to be more childish in its tone.
There was a lack of depth, the feeling of a beginning, a building of a story rather than a whole which was disappointing after the Harry Potter introduction of J. K. Rowling’s magical world.
But what lacked in story was somewhat off-set by the magical creatures, the Niffler, reminding me of a platypus with a keen eye for all that glitters and all that’s gold.
I couldn’t help but grin and giggle at the behaviour of these creatures, and that brings me back to the childish tone of the film.
Eddie Redmayne as the protagonist, Newt, was likeable and I could relate to his awkwardness, which was essential as I felt if you liked Newt, you liked the film.
But I admit I wanted more from this film, from this story.
The characters were likeable, the creatures adorable, but the story didn’t have that darkness that make the Harry Potter films such a surprise.
Fantastic Beasts is a M-rated film that I’d take my nephews to watch for some fun entertainment. Which doesn’t make it a bad film just not thought-provoking. The Harry Potter films were an adaptation with more thought to the themes like good versus evil and all the inbetween. Whereas Fantastic Beasts felt more like a glossing over of the story.
I’m expecting a series here. A series that will get deeper and darker as the story progresses.
Based on the story: “Story of Your Life” written by Ted Chiang
Starring: Amy Adams, Jeremy Renner, Forest Whitaker and Michael Stuhlbarg.
Without giving too much away, Arrival is a unique movie experience where language is viewed as more than communication; where learning a different language changes our neural pathways to change the way we see, feel and think.
Director, Denis Villeneuve has given his Midas touch to a film that really could have fallen flat.
With the space ships, or Shells in the sky used as the only marketing tool, I admit, I was worried.
But Arrival had a unique flavour that bent the mind in unexpected ways.
Dr. Louise Banks (Amy Adams) is a linguist contracted by the US government to attempt communication and translation of alien language. With 12 Shells hovering over cities across the globe, each country attempts to figure out the purpose of the aliens’ visit.
I know, I know, not another alien movie. But Arrival isn’t just an alien film. The word, ‘alien’ was used once with Dr. Banks asking, ‘am I the only one using this word?’
And that gives you an idea of the beauty of this film. There was a distinct lack of drivel.
I love how Villeneuve can get you right up with the characters, to feel the tension and emotion.
Anxiety is shown so well in this film. And Amy Adams is to be commended. Her strength, intelligence and femininity shone – Denis making the most of Amy’s blue-eyed goodness. The insight Villeneuve has managed to show of Dr. Bank’s character is astounding. If only for this aspect, I enjoyed the film. Then combine the incredible story, soundtrack and pace with that extra flavour that makes the characters so believable, you’ve got a winning film.
The real surprise for me was Jeremy Renner as the physicist, Ian Donnelly. I admit I’m not a fan of Renner. He has played so many cringe worthy characters, I shudder to think. But in the role of Ian Donnelly, and handled with the skill of Villeneuve, this quiet, thoughtful character resonated well as a support to Dr. Louise Banks.
This isn’t an action film, nor your typical sci-fi, and Arrival isn’t scary. But the subtleties and suspense of the story kept me completely absorbed.
Arrival isn’t so much an alien film as an exploration into language and how it affects our view of the world.
Starring: Ben Affleck, Anna Kendrick, J. K. Simmons, Jon Bernthal, Jean Smart, Cynthia Addai-Robinson, Jeffrey Tambor and John Lithgow.
Based on a screenplay written by Bill Dubuque, The Accountant is one complicated, cracker of a story: flash backs, fight scenes, number crunching montages, loud shots from military grade riffles to the quiet of an accounting office to the chink of cutlery in a jail cafeteria; wry humour, Crime Enforcement agents to stone cold killers to the dynamics family. All combined with the overriding discussion of autism.
There was so much going on it was hard to keep a handle on all the threads.
On the one hand, this is a character driven story about family and autism; on the other, The Accountant is an action-packed crime thriller.
Chris Wolff (Ben Affleck) is an accountant, but not your everyday H&R Block style, CPA certified accountant – Chris is a high functioning autistic who’s a savant when it comes to numbers. He also works for drug dealers and assassins; criminals who call in a guy who’s clean and can uncook their books to find any missing money.
With heat coming from the Treasury Department’s Crime Enforcement Division, Chris needs an above-board job. He needs to get under the radar. So when a job to find missing funds from a robotics company comes up, his handler sends him to meet Lamar Black (John Lithgow). But there’s more going here than the ordinary. And Chris shows himself to be more than an accounting whiz – he’s an autistic action hero.
I was pleasantly surprised by the attention to sensory detail: colours of paintings, an eye disappearing through a crack in a door that’s slowly closing; flashes of light and loud music…
Epileptics with a photic sensitivity be warned: the flashing light is bright and about 3Hz – a dangerous but effective addition to the film. But yeah, there should be a warning here!
So, the sensors were certainly entertained and the association with autism and the effect of sensory stimulation on the character were cleverly worked into the story. What I did miss was Ben Affleck’s cheeky grin. There’s a deadpan humour that works well, but the constant blank face of Chris felt a bit forced. People with autism do smile.
I really wanted to love this film as I’m always looking for that thriller that surprises, giving so much more than expected. And although complicated, director Gavin O’Connor did tie the whole story neatly together, but the main character, Chris, was just too incongruent at times.
A strong performance from J.K. Simmons helped pull the story together, but aspects of the film just didn’t quite fit. Putting such emphasis on The Accountant having autism was dangerous territory and requires getting it right. And some aspects of the character grated as they didn’t feel authentic.
I don’t want to give too much away as there’s a lot going here and this is a great story with an interesting message, but getting all the moving parts right felt like a stretch. Everything was there from story to characters to time spent on delivery. And I know it sounds like I’m bagging this film but I’m being harsh because I love a good crime/thriller.
As a series, The Accountant would have been perfection. As is, a cracker of a story that’s so close but not quite for me.
Starring: Elizabeth Reaser, Lulu Wilson, Annalise Basso, Henry Thomas; Parker Mack.
Feeling weary after a heavy day, I wondered if it was the right night to watch Ouija: Origin of Evil. But, what the hey, I thought I’d perk up once I got there, then I’d get into it… The start would get me there… Or maybe, by the end… I guess you can see where this is going – there was no perking up!
Sure, Doris Zander (Lulu Wilson), the possessed little girl, was scary; all freaky-eyed and way too enthusiastic about all things occult. There just wasn’t enough of a hook.
I liked the 60s style of the clothes and the house of the Zander family, the style somehow adding an authentic flavour. The characters were all believable and the story was decent. And that’s what the film was, decent. There was no zing for me. The story felt like a formula which reminded me of other films but without the punch because I could see what was coming:
A story of a fortune teller selling closure to people who’ve lost someone. The fact that Alice Zander (Elizabeth Reaser), the widowed mother of 2 girls, was a sham doesn’t matter. It’s all about looking after her daughters, Doris (Lulu Wilson) and Lina (Annalise Basso) while feeling like she’s helping others, even though she’s making money out of grief.
It didn’t ring true to me, the idea of Alice sending her kids to a Catholic school and the priest, Father Tom, being ever so obliging to someone working in the occult. The religious aspect didn’t quite fit.
Playing with a Ouija board isn’t a new horror narrative, and Origin of Evil had a fresh feel; the look of the film itself depicting the ‘cigarette burn’ in the corner of the picture on screen, my thinking, on purpose and timely, making the 60s setting more authentic. And the transformation of the little girl, Doris, was sophisticated in the reveal of possession.
But I felt there was a holding back. Not that I want gore or to be disgusted. I prefer a suspenseful horror. I just wasn’t shocked or surprised.
I’m always looking for that ultimate horror thriller that gets past the seeing, past the eyeball and burrows its way into the brain, to the place of imagination, and Origin of Evil didn’t do that for me.
There was a quality of execution and I believed all the characters, but the scare factor that gets under the skin just wasn’t there.
