James McAvoy

Anya Taylor-Joy

reviewed by Tom-Tom

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We had just about given up on M. Night Shyamalan. He started strong with The Sixth Sense which, while an imperfect film, had strong performances by Haley Joel Osment, Bruce Willis, and Donnie Wahlberg. I didn’t really like Unbreakable much thinking the twist contrived and implausible, even for a Shyamalan movie. The direction seemed clunky with the family drama scenes almost unbearable to watch despite then collaborator James Newton Howard’s beautiful score. Later it was hit (Signs) or miss (Lady in the Water) until, like director Robert Rodriguez, he entered the “making movies for the kids in my life” phase of his career with the panned The Last Airbender, and After Earth rankling in the memory of the those who didn’t hate the films for being bad but because of the lost chances, the casting choices of Airbender, and not making good enough use of the Smith family in Earth. Suddenly with The Visit, Shyamalan returned to his low-budget roots not exactly reinventing the shaky camera footage genre but giving the audience a few new refreshing scares and a really nice twist for once. If only his child actors were up to the Rory Culkin and Abigail Breslin standard as in Signs but low budget is low budget. Now, with Split, M. Night Shyamalan is back and he has talented actors, the cinematographer from It Follows, and even a different composer for the soundtrack. I have to say, it’s a nice fit.

The opening credits themselves are creepy in their bare, generic, presentation. A name is presented and then split into 16, 32 small square copies within the background like some power point effect between slides from the 90’s. The bare bones feel is supported by a percussive score like a slightly upbeat version of Bartok’s Music for Strings, Percussion, and Celesta which Stanley Kubrick used to great effect in The Shining. This version has the same random crashing of cymbals, anyway. I’m only a casual viewer of movies, but I have to say, the editing in Shyamalan films has gotten better as well as the general direction. Even in his best films, the awkward reactions of characters, the overlong footage of them turning around to notice something on the wall, and then saying there is something on the wall took away from the suspense or the drama of the moments. There was little of that in The Visit (the amateur rapper scenes were a bit awkward), and very little of that here in Split. Editing, direction, and the performances are all smooth. Even the always notorious director cameo goes off without much of a hitch. You can tell it’s a good cameo if you don’t notice him, if he doesn’t stick out in the scene the way he did in The Village despite not even showing his face so much.

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Hacksaw Ridge

Andrew Garfield

Vince Vaughn

reviewed by Tom-Tom


The problem with most faith-based movies, speaking as a fellow believer, is that they don’t add up to a real experience in the real world. Afraid to offend its narrow target viewers, e.g. frequenters of places of worship, those who don’t use vulgar language, at least on their respective Sabbath, and those who squirm at said bad language, violence, or sex scenes, the filmmakers give a rose-colored depiction of a ever-so-slightly flawed world easily surmounted by simple adherence to faith-based principles. Once detractors easily fall into line at the efforts of the sinless main characters to appeal to their shared humanity, it all usually ends in an “Awww, shucks, you’re right, man” contrived conclusion. Folks who aren’t particularly religious find the whole rose-colored plot implausible and this stokes the flames of their believers=weirdos/idiots idea further. Certain political parties and attempts at “educational” reform further stoke the flames. In 2004, Director Mel Gibson released The Passion of the Christ and the faithful finally got to see their Savior whipped, beaten, crowned with a thorny crown, staked through hands and feet, and hung up high to suffer a long painful death by asphyxiation and blood loss to be finally impaled by a spear. This was a major breakthrough in faith-based movies which always considered the delicate sensibilities of the faithful.

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