REVIEW: Stage Fright (2014)

I cannot do scary movies. Given how often my hands seem to find themselves in front of my eyes, it could be argued that I’ve never watched a horror film all the way through. But alas, October is quickly approaching, and scary movies are an important part of Halloween, so a wuss like me is charged with the task of finding a “not so scary” scary movie, when we happen to find ourselves in the mood. So, find yourself in similar situation, my answer for you is the movie Stage Fright (2014).

The movie begins opening night of a play called, The Haunting of the Opera, and follows the play’s resurrection to a financially struggling summer theater camp. The two camp cooks, Camilla (Allie MacDonald) and Buddy (Douglas Smith), fall under the care of camp manager Roger McCall (Michael Lee Aday, also known as Meatloaf) and former flame of Buddy and Camilla’s mother. Their mother, played by Minnie Driver (Good Will Hunting), was the original lead actress during the play’s Broadway opening night, only to be stabbed to death in her dressing room by the Opera Ghost. Ten years later, the camp decides to do The Haunting of the Opera with a twist, prompting young Camilla to audition for the role that her mother once filled. The campers spend weeks preparing for the play only to have a brutal murder cast a shadow over opening night; however, the show must go on. As opening night begins, Camilla discovers more mutilated corpses of some of the campers, and unmasks the killer, all while the show is still going on. Camilla is finally able to stumble back into the play in its last scene and receives an enthusiastic applause, while covered in someone else’s blood.

Stage Fright falls somewhere in between fun campy horror film and pure ridiculousness. Much like the movie Scream (1996), a movie with common themes, Stage Fright incorporates some slashing, unorthodox killing, and a goofy looking masked villain with a thirst for revenge. Nevertheless, Stage Fright also brings some originality to the film. Given the setting of the movie, several choreographed musical numbers take place. The killer is even shown playing the guitar and singing at some points, which if I’m being honest, were the weirdest and sometimes the scariest portions of the movie.

My reason for watching Stage Fright was to find a movie that fit the horror genre that I could actually sit through without leaving the room out of fright. I was definitely able to do that during this movie, but there were still moments where I jumped in my seat, muttered “oh my God”, and diverted my eyes. I am not saying this is a good movie. However, the musical elements added a twist that I have never seen in a horror film, and it not only reminds you that Meatloaf is still alive, but that he can actually act decently well. If you are a hardcore scary movie lover, this movie won’t do it for you, and you will probably hate it. If you’re like me, this movie won’t make you piss yourself, which is all I really asked for. 

Review by: Morgan Fisher
Rating: 2.5/5

REVIEW: Calvary (2014)

I have always been a huge fan of dark comedy. In fact, two of my all-time favorite movies, Fargo (1996) and American Beauty (1999), fit into this genre. In keeping with this month’s “Irish” theme, the Cardinal Film Society’s first member's screening was writer/director John Michael McDonagh’s Calvary, and the film definitely did not disappoint the darker portion of my movie tastes.

The Cardinal Film Society (CFS) screening was actually the second time I had seen the film, and watching it this time was a lot more enjoyable than the first. I was able to pay better attention to the dialogue and interaction between characters because I knew what was going to happen throughout the movie.

Released in 2014, Calvary stars Brendan Gleeson (In Bruges, Braveheart) as Father James, a Catholic priest in a small Irish town. The film opens on a close-up of Father James in a confessional, where an unseen man tells him that another priest, who has since died, sexually abused him for years as a child. Because this man cannot seek revenge against his abuser, he announces to Father James that killing a “good priest” will have to do, and that he is planning to murder the Father the following Sunday, giving him time to get his affairs in order. The identity of the parishioner is well known to James, but remains a mystery to the viewer until the end of the film.

5 Films the Academy Ignored: 2014’s Hidden Gems (Part 5)

Finally, saving the best for last, David Mackenzie’s Starred Up. This film introduces us to Eric Love (Jack O’Connell), a feisty, uncontrollable juvenile who is transferred to an adult prison. Eric’s father, Neville (Ben Mendelsohn), is a hardened and fairly respected inmate, introducing Eric to his connections and way of life. But Eric decides to take the Michael “Charles Bronson” Peterson route, and bullies his way toward the top. Starred Up explores the penal system and asks whether prison is solely meant to punish or to rehabilitate. Furthermore, it spends most of its time developing the relationships a convict may have in prison, and how difficult it can be to trust, even when it’s your own family. 

5 Films the Academy Ignored: 2014’s Hidden Gems (Part 4)

The fourth film is Alex Ross Perry’s Listen Up Philip. Philip (Jason Schwartzman) is an egocentric novelist, thriving on his own debatable greatness, but rarely focusing on the consequences of his narcissistic actions. As his second novel is working its way through the publishing process, Philip grows more and more frustrated with his life in the big city, and his relationship with his girlfriend, Ashley (Elizabeth Moss), an aspiring photographer. Philip’s literary hero, Ike Zimmerman (played wonderfully by the great Jonathan Pryce), offers Philip refuge at his woodland summer home. What transpires is an unflinching examination of the yearning of an artist, and more importantly, the destructive path one’s ego can create when not kept under control.

The film falls into a style associated with the mumblecore movement; a visual method inspired by John Cassavetes, with a Woody Allen/ Noah Baumbach-esque dialogue, delivered by a cast born for their roles. It’s wonderful to see Philip completely unaware of how boorish and inconsiderate he can be, and through other characters we see deeper into his personality. His relationship with Ashley – a character who gets to say the things we want to say to him – exposes his immaturity and self-centered nature. 

Meanwwhile, his time with Ike – who is more of a narcissist than Philip – grants us a window into the future. Philip has two options, learn from his mistakes and be a better person, or continue down his current path and become an unhappy, bitter author, like Ike. Definitely see this movie to find out which option he chooses. Listen Up Philip is available on Amazon Instant Video and iTunes.

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5 Films the Academy Ignored: 2014’s Hidden Gems (Part 3)

With this third film we embark into arguable greatness. It’s a lovely little British romantic comedy – not to be mistaken with traditional “romcoms”, which seem to be a genre of their own these days, and often carry negative connotations … but I digress.

It’s Roger Michell’s Le Week-End. In the vein of ’80s Woody Allen and Linklater’s “Before” trilogy, we follow Nick (Jim Broadbent) and Meg Burrows (Lindsay Duncan) as they return to Paris for their 30th anniversary in order to relive their honeymoon and rekindle the fiery passion that was once there. Within the first few minutes, we see that the fire dwindled long ago.

5 Films the Academy Ignored: 2014’s Hidden Gems (Part 2)

The second title is a relatively small, American independent picture called Blue Ruin. Director Jeremy Saulnier has created an incredibly effective, low-key revenge thriller about Dwight Evans, a disheveled, quiet vagrant struggling through life after his parents’ murder. After being informed by the police that the alleged murderer is being released from prison, Dwight sets forth to avenge his lost loved ones. When things turn grim, he must protect his estranged sister from the rival family’s retaliation.

Like Big Bad Wolves, Blue Ruin is simply a hell of a ride. This film’s beauty surfaces in its silence, showing more than it tells. Saulnier expertly builds scenes of tension, emotion and humor, many of which without a word ever spoken. However, when words are delivered, they work. The writing is neither great nor poor, and the performances are not much more than adequate. But the film is built to play its strengths, and Saulnier nails it. In all fairness, the film ends up in far-fetched territory, but if you can suspend your disbelief and take the journey, it’s easy to stomach. Blue Ruin is also available on Netflix, Amazon Instant Video and iTunes.

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5 Films the Academy Ignored: 2014’s Hidden Gems (Part 1)

As we approach the 87th annual Academy Awards, and as we distance ourselves from 2014 and acclimate to the new year, I thought it would be beneficial to mention five films from 2014 that had no chance of being Interstellars, American Snipers or Birdmen. Not because they are lesser films, but because they sink below the global cinematic surface and are overshadowed by the towering titans.

It is no secret that the Oscars often have a bias toward formulaic, traditional narratives and scene-stealing performances (hence the phrase “Oscar-bait”), but the Academy also tends to overlook films that don’t have large advertising budgets and/or word-of-mouth hype. Rarely do we get the opportunity to champion a nominee that is truly an independent underdog. Some years have their exceptions; a few years back, Beasts of the Southern Wild (2012) surprised me as a nominee for Best Picture of 2012. So it happens, but those years seem to be more and more infrequent.

In an attempt to stifle my desire to criticize the Oscars for their blind spots and politics, I will move on to the five films I’ve chosen to share with you.