Cinematography: Dan Laustsen; Editing: Bernat Vilaplana
Production Design: Thomas E. Sanders; Set Decoration: Jeffrey A. Melvin & Shane Vieau; Costumes: Kate Hawley; Score: Fernando Velázquez
Stars: Mia Wasikowska (Edith Cushing), Tom Hiddleston (Sir Thomas Sharpe), Jessica Chastain (Lady Lucille Sharpe), Charlie Hunnam (Dr. Alan McMichael), Jim Beaver (Carter Cushing), Burn Gorman (Mr. Holly), Javier Botet (Ghosts of Pamela, Enola & Margaret), Doug Jones (Ghosts of Edith’s Mother, The Dowager Lady Sharpe)
Well-cast, sumptuous reimagining of the classic ghost story, Crimson Peak is classy entertainment, so we can forgive it the many delirious, unapologetic excesses into Gothic melodrama. There’s something decidedly refreshing about a film that accepts itself for what it is, as this one does, rather than striving to convince us it’s anything grander than that. Embracing the conventions of the genre wholeheartedly, the director Guillermo del Toro revels in his own richly absurd, deliciously overripe camp scares. He has no qualms about crafting a movie that’s a throwback to the most Victorian of haunted house humbugs.
Screenplay: Emma Donoghue, based on her novel Room
Cinematography: Danny Cohen; Editing: Nathan Nugent
Production Design: Ethan Tobman; Set Decoration: Mary Kirkland; Costumes: Lea Carlson; Score: Stephen Rennicks
Stars: Brie Larson (Joy Newsome), Jacob Tremblay (Jack Newsome), Sean Bridgers (Old Nick), Joan Allen (Nancy Newsome), Tom McCamus (Leo), William H. Macy (Robert Newsome), Amanda Brugel (Officer Parker), Cas Anvar (Dr. Mittal), Wendy Crewson (Talk Show Hostess), Joe Pingue (Officer Grabowski)
I’m nothing short of ecstatic about Irish director Lenny Abrahamson’s Room, the story of a kidnapped woman, Joy Newsome (Brie Larson), who escapes the garden shed where she’s been held prisoner for seven years, along with her born in captivity son Jack (Jacob Tremblay), exposing him to the outside world for the first time. Though the movie, adapted by Emma Donoghue from her novel is fictionalized, she was inspired by so many similar cases that have come to light recently, it bears the ring of authenticity.
Screenplay: Nick Hornby; based on novel by Colm Tóibín
Cinematography: Yves Bélanger; Editing: Jake Roberts; Production Design: François Séguin; Set Decoration: Suzanne Cloutier, Jenny Oman & Louise Tremblay; Costumes: Odile Dicks-Mireaux; Score: Michael Brook
Despite its title Brooklyn is not a Spike Lee joint but rather a twee little piece of loveliness adapted from Colm Tóibín’s 2009 novel of the same name about a wistful Irish immigrant from Enniscorthy, Eilis Lacey (Saoirse Ronan), who feels bereft of home and loved ones in 1952 New York until meeting and marrying Tony (Emory Cohen), an Italian-American. Returning home for a time following her sister Rose’s (Fiona Glascott) passing, Eilis’ faded love for all she’s been missing in her homeland is reawakened, threatening to severe the ties she’s established for a new life in America.
Screenplay: Charles Leavitt; based on story by Rick Jaffa, Charles Leavitt & Amanda Silver & novel by Nathaniel Philbrick
Cinematography: Anthony Dod Mantle; Editing: Dan Hanley & Mike Hill
Production Design: Mark Tildesley; Set Decoration: Dominic Capon; Costumes: Julian Day; Score: Roque Baños
Stars: Chris Hemsworth (Owen Chase), Benjamin Walker (George Pollard), Cillian Murphy (Matthew Joy), Brendan Gleeson (old Thomas Nickerson), Ben Whishaw (Herman Melville), Tom Holland (young Thomas Nickerson), Frank Dillane (Owen Coffin), Michelle Fairley (Mrs. Nickerson)
The aged survivor of a maritime disaster, Thomas Nickerson (Brendan Gleeson) recounts his tale of woe to a young Herman Melville (Ben Whishaw). When a boy (Tom Holland) in 1819 Nantucket he signed aboard the whale ship Essex, under the inexperienced command of George Pollard Jr. (Benjamin Walker). Having been promised the post himself, resentful first mate Owen Chase (Chris Hemsworth) has little respect for his captain, and the two men clash constantly over discipline and protocol.
Cinematography: Declan Quinn; Editing: Wyatt Smith
Production Design: Stuart Wurtzel; Set Decoration: George DeTitta Jr.
Costumes: Ann Roth; Score: Mark Wolfson
Stars: Meryl Streep (Ricki Rendazzo), Kevin Kline (Pete), Mamie Gummer (Julie), Rick Springfield (Greg), Audra McDonald (Maureen), Sebastian Stan (Joshua), Nick Westrate (Adam), Ben Platt (Daniel), Charlotte Rae (Oma), Rick Rosas (Buster), Gabriel Ebert (Max), Joe Vitale (Joe)
Ricki and the Flash should have been so much better, perfectly encapsulating as it does many of the recurring themes that director Jonathan Demme and screenwriter Diablo Cody have consistently gravitated to over the years. Cody, whose been amusingly open about her freewheeling past as a stripper before reinventing herself as an upstart intellectual and Oscar-winning screenwriter, has always stood out as something of a scandal even amid the less than provincial Hollywood community, the way Clara Bow did in the Roaring Twenties and Marilyn Monroe in the conservative ’50s.
Cinematography: Maryse Alberti; Editing: Luke Franco Ciarrocchi
Production Design: Naaman Marshall; Set Decoration: Christine Wick
Costumes: Amy Westcott; Score: Paul Cantelon
Stars: Olivia DeJonge (Rebecca Jamison), Ed Oxenbould (Tyler Jamison), Kathryn Hahn (Paula Jamison), Deanna Dunagan (Nana), Peter McRobbie (Pop Pop), Benjamin Kanes (Robert Mendelsohn), Celia Keenan-Bolger (Stacey)
When director M. Night Shyamalan’s The Sixth Sense was originally released, way back when, playing concurrent with The Blair Witch Project, the two movies went head to head in a standoff to determine which path horror would head down in the new millennium. The Sixth Sense was professionally put together and stylistically innovative, with a pull the rug out from under you sensibility that toyed with its own narrative form and the concept of visual storytelling itself. The Blair Witch Project on the other hand swung to the opposite extreme with its amateurish, low-budget, hardscrabble approach paring both horror and cinema down to their bare essentials in order to play on viewers’ most primal fears of the unseen and the unknown.
Production Design: Richard Sherman; Set Decoration: Matthew Flood Ferguson
Costumes: Terry Anderson; Score: Danny Bensi & Saunder Jurriaans
Stars: Jason Bateman (Simon Callen), Rebecca Hall (Robyn Callen), Joel Edgerton (Gordon “Gordo” Mosley), Tim Griffin (Kevin Keeler), Allison Tolman (Lucy), Adam Lazarre-White (Ron), Beau Knapp (Detective Walker), Wendell Pierce (Detective Mills), P.J. Byrne (Danny McDonald), David Denman (Greg), Busy Philipps (Duffy)
For some reason, I kept getting The Gift mixed up with The Box, which also used the Pandora concept as a basis to explore the untapped potential for darkness in seemingly ordinary, unthreatening people. In an overheated summer full of typically hotheaded action blockbusters, this low-key, largely introspective psychological thriller is the real surprise gift to moviegoers and it’s not even close to Christmas yet. Despite being riddled with horror movie clichés and transparent script convolutions which allow audiences to anticipate most of what’s coming, this remains an intriguing, quality sleeper attractively wrapped for our predilection.
A dangerous sexual encounter results in teen Jay Height (Maiko Monroe) contracting a paranormal form of STD. A shape shifting apparition that only she can see attaches itself to her, shadowing her every move and threatening to slay her with its touch unless she can place the curse on someone else through another unsafe sexual encounter. Plagued by the hold hormones have over their lives, It Follows knows what scares most horny teens, the cause of most of their angst. Here, certain death is transmitted the same way it was in Larry Clark’s controversial Kids, thematically returning us to the psychosexual roots of the horror film.
Production Design: Jade Healy; Set Decoration: Adam Willis
Costumes: Wendy Moynihan; Score: Tyler Bates
Stars: A.J. Bowen (Sam Turner), Joe Swanberg (Jake Williams), Kentucker Audley (Patrick), Amy Seimetz (Caroline), Gene Jones (Father), Kate Lyn Sheil (Sarah White), Talia Dobbins (Savannah), Donna Biscoe (Wendy Johnson), Lashaun Clay (Robert Evans), Dale Neal (Andre Evans), Shirley Jones Byrd (Lorraine Davis), Christian O’Jore (Pilot)
Personally directed, written and edited by Ti West, The Sacrament is very much an auteur piece and like his earlier, equally unpleasant House of the Devil, West has again returned to an ’80s milieu for inspiration. Despite its contemporary setting, The Sacrament is actually a none too thinly disguised reworking of the 1978 incident at Jonestown, Guyana in which the parishioners of a religious commune known as the People’s Temple committed mass suicide following the assassination of visiting Congressman Leo Ryan and several of his aides seen as outside threats by loyalist sect members.
Cinematography: Lee Daniel & Shane F. Kelly; Editing: Sandra Adair
Production Design: Rodney Becker & Guy Studebaker; Set Decoration: Melanie Ferguson; Costumes: Kari Perkins
Stars: Ellar Coltrane (Mason Evans Jr.), Patricia Arquette (Olivia), Ethan Hawke (Mason Evans Sr.), Lorelei Linklater (Samantha Evans), Marco Perella (Bill Welbrock), Brad Hawkins (Jim), Jenni Tooley (Annie), Bill Wide (Steve), Zoe Graham (Sheena), Charlie Sexton (Jimmy), Richard Robichaux (Mason’s boss), Barbara Chisholm (Carol)
Released by IFC Films, writer-director Richard Linklater’s Boyhood has the bittersweet, existential quality of European cinema, as well as an inclination to elevate the average and unexceptional in a life goes on way that has become a hallmark of indies. Meaning it will be a doubly trying experience for many moviegoers less interested in cinematic experimentation than a smooth evening’s entertainment. Linklater began filming in 2002, returning each year to map the aging process of his young subject Ellar Coltrane, who was cast in the leading role of Mason when he was six and wrapped shooting at the age of eighteen, capturing the most fascinatingly formative years in a child’s physical and emotional development.