Category: Entertainment (Page 21 of 277)

Ha-Ha-Horror: Why Horror and Comedy Go Together So Well

ha_ha_horror

Laughing and screaming are not so different, when you think about it. Both are involuntary reactions to outside stimulus that betray the true emotion of a person. Yet when people talk about horror films, they rarely talk about the crucial element that comedy plays in crafting a successful scary movie. And while not every horror movie uses (or needs) comedy in its storytelling, especially those films that are more interested in cultivating an atmosphere of dread and doom, those that do tend to be crowd pleasers that deliver a more complete experience for the audience.

There’s always been a certain wicked sense of humor in horror, whether it’s the clever wordplay of Edgar Allen Poe or H.P. Lovecraft, the ironic morality tales of comics like “Tales from the Crypt,” or even Stephen King’s moments of levity in his gruesome tales of the macabre. And while many point to “Abbott and Costello Meet Frankenstein” as the watershed moment where comedy and horror collided, there are earlier examples in films like “Bride of Frankenstein” that have truly funny moments embedded within them. With the rise of a more cultivated viewership, filmmakers have gone on to inject more comedy into their horror fare. Part of this is a recognition of tired tropes and clichés, but part of it serves a real purpose in telling a scary story.

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Movie Review: “The Accountant”

Starring
Ben Affleck, Anna Kendrick, Jon Bernthal, Cynthia Addai-Robinson, J.K. Simmons, John Lithgow, Jeffrey Tambor
Director
Gavin O’Connor

What if Jason Bourne wasn’t an amnesiac super-soldier but rather a high-functioning autistic man with comparable fighting skills? That appears to be the general idea behind Gavin O’Connor’s “The Accountant,” a film suffering from such an identity crisis that it’s unclear exactly what kind of movie he’s trying to make. Though it starts out as both a fairly generic crime procedural and a zen-like character study about an on-the-spectrum math genius struggling to lead a normal life, it completely changes gears midway through and transforms into a straight-up action thriller. The problem is that “The Accountant” never stops being those other movies either, resulting in a convoluted and tonally unbalanced mess that is occasionally entertaining but feels like it’s a few drafts away from a finished product.

Small-town accountant Christian Wolff (Ben Affleck) isn’t like everybody else. He’s highly intelligent, a proficient marksman and capable of winning a knife fight with only a belt. In fact, Christian isn’t even his real name; it’s just one of many aliases he uses to stay off the grid. Raised by his sadistic military father, who eschewed traditional therapy for an unorthodox childhood designed to prepare him for the toughness of the real world, the antisocial Christian now moonlights as a forensic accountant for dangerous criminal organizations, uncooking the books to locate missing money. Determined to stay one step ahead of the U.S. Treasury Department’s Financial Crimes division, led by director Raymond King (J.K. Simmons), Christian accepts a seemingly innocuous job auditing a high-profile robotics company after an accounting clerk named Dana (Anna Kendrick) discovers a discrepancy in the finances. But as Christian and Dana get closer to exposing the truth, they’re targeted by a contract killer (Jon Bernthal) who’s been hired by someone within the company to contain the leak.

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Blu Tuesday: Ghostbusters, The Legend of Tarzan and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.

“Ghostbusters”

WHAT: When childhood friends/physicists Erin Gilbert (Kristen Wiig) and Abby Yates (Melissa McCarthy) experience an actual paranormal sighting, they team up with oddball nuclear engineer Jillian Holtzman (Kate McKinnon) and street-smart MTA worker Patty Tolan (Leslie Jones) to capture a ghost as proof that they exist. Meanwhile, a bullied hotel janitor named Rowan (Neil Casey) has begun planting devices around the city that amplify paranormal activity in the hopes of opening a portal to a ghostly dimension, and the only ones capable of stopping him are the newly formed Ghostbusters.

WHY: One of the main reasons why the original “Ghostbusters” was such a huge success was the camaraderie among its four leads, and though the characters in Paul Feig’s gender-swapped reboot have their individual moments to shine (particularly “Saturday Night Live” star Kate McKinnon), the team chemistry isn’t nearly as strong. However, that’s just the start of the film’s problems, because it’s also marred by an incredibly lame villain and an underdeveloped script that results in many jokes falling flat. The movie isn’t without its charms – the action sequences deliver the thrills that you’d expect from a modern “Ghostbusters” film, and Feig does a solid job of weaving horror and sci-fi elements throughout – but it’s never allowed to completely be its own thing. Any time the movie tries to pay homage to the 1984 version, it loses whatever momentum it’s built up to that point. That ultimately proves to be its undoing, because while “Ghostbusters” is an occasionally entertaining and mostly harmless reboot, it lacks the nuance and comic energy that made its predecessor an instant classic.

EXTRAS: In addition to a pair of audio commentaries (one with director/co-writer Paul Feig and co-writer Katie Dippold, and the other with Feig and various crew members), there’s a series of production featurettes covering things like casting, creature design and visual effects, over an hour of deleted/extended scenes, alternate takes and two different gag reels.

FINAL VERDICT: RENT

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Movie Review: “The Birth of a Nation”

Starring
Nate Parker, Armie Hammer, Aja Naomi King, Gabrielle Union, Colman Domingo, Aunjanue Ellis, Jacke Earle Haley
Director
Nate Parker

“The Birth of a Nation” is sometimes an oddly inconsistent film, but it’s a movie that’s never without passion. Nat Turner’s story, as depicted by actor, writer, producer and first-time director Nate Parker, is often a moving experience. Though the Turner biopic has garnered controversy recently, as past rape allegations against an acquitted Parker have come to light, there’s no denying that Parker’s directorial debut is an emotional piece of work.

When Nathaniel “Nat” Turner (Parker) was a boy, he had a vision of his ancestors marking him as a future leader. This isn’t the only vision that comes to Turner, who, from a young age, was taught to read and the word of God by Elizabeth (Penelope Ann Miller), the wife to his present slave owner and mother to his future slave owner, Samuel (Armie Hammer). Turner grows into a strong, baptist preacher, speaking the word of God to the slaves on the plantation. When Samuel, who falsely believes he’s better than other slave owners because of his rare moments of empathy, has Turner start preaching on other plantations, he can no longer stand the horrors he sees. The slave owners hope a preacher discussing peace could help prevent insurrection, but their plan has the opposite effect, as Turner’s visions – including one of a crop filling up with blood – propel Turner to lead a violent rebellion.

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Movie Review: “The Girl on the Train”

Starring
Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney
Director
Tate Taylor

Paula Hawkins’ “The Girl on the Train” instantly drew comparisons to Gillian Flynn’s “Gone Girl” thanks to the use of multiple viewpoints, but let’s make something clear: as enjoyable as “Train” was to read, it doesn’t come close to plumbing the emotional depths that Flynn wrote into the truly psychotic Amy Dunne. At the same time, this works in the favor of the film version of “The Girl on the Train.” Erin Cressida Wilson’s script puts a higher percentage of the source material into the film (the one thing book fanatics complain about the most), and the story’s main obstacle (recovering a lost memory) is a tried and true film device. Ask anyone who saw “Jason Bourne” earlier this year.

Films, however, reveal things that books do not, and that is what prevents “The Girl on the Train” from hitting the next level. It is competently made, with some outstanding performances, but the book is capable of concealing things that the film cannot. And with that, we will say no more.

Rachel (Emily Blunt) is a sad, drunk divorcee, taking the train five days a week to a job she no longer has. The train takes her by the house she once lived in, the one her ex-husband Tom (Justin Theroux) now shares with Anna (Rebecca Ferguson) and their baby daughter. A couple of houses down, Rachel sees a younger couple that seems blissfully in love. Recognizing that they have what she’s lost, she becomes obsessed with them, giving them fake names and occupations while she spies on them for a few seconds each day. One day, Rachel sees what appears to be a betrayal on a member of the happy couple, and when one of them disappears shortly after, she offers what she thinks she knows to the police, only to discover that in doing so, she has made herself the prime suspect.

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