The Black Phone review

THE BLACK PHONE: 

ETHAN HAWKE GIVES A TERRIFYING AGAINST-TYPE PERFORMANCE IN THIS HEART-POUNDING THRILLER! 

By Nico Beland

Movie Review: *** out of 4

UNIVERSAL PICTURES

Ethan Hawke as The Grabber in The Black Phone

 

            A young boy gets abducted by a creepy man known as The Grabber in The Black Phone, the new horror film from Scott Derrickson (The Exorcism of Emily Rose, Sinister, Doctor Strange) based on the short story of the same name by Joe Hill. The film was originally scheduled for release back in January and even had a trailer shown before Halloween Kills before being pushed back one month later until finally being released this June. 

            I’m not familiar with the story this film is based on, but I am quite familiar with other movies with this kind of premise where children are abducted, and the hunt is on to find and rescue them before they’re dead. It’s a horrifying concept because unlike supernatural terrors like ghosts or witches, child abduction (and abduction in general) is all too real and can happen at any moment. 

            Apparently, it also makes for effective cinema with films like Flightplan, Changeling, and the 2013 thriller, Prisoners which was also one of the best films I saw that year proving that the subject matter was terrifying back then, is still terrifying today, and will probably continue to be for years to come. Which finally brings us to The Black Phone. 

            Scott Derrickson is a very interesting filmmaker, while most people today know him best for directing the first Doctor Strange movie, but those familiar with his filmography know him best for horror films like Sinister and the extremely underrated, The Exorcism of Emily Rose…and to a lesser extent, the 2008 version of The Day the Earth Stood Still. I was intrigued when I first saw the poster and trailer for this movie especially after witnessing Ethan Hawke (Reality Bites, Before trilogy, Training Day) in a very against-time role as a child abductor and serial killer…and it delivers! 

            This is a very well-crafted thriller that gets under your skin while also keeping you emotionally invested in its characters. The best way to describe it is like a mix of The Sixth Sense and The Silence of the Lambs and it works. 

            The film is set in 1978 and follows a young boy named Finney (Mason Thames) who has an unpleasant encounter with notorious child abductor and murderer, The Grabber (Hawke) and is kidnapped and locked into an old, soundproof basement with a (supposedly) disconnected black phone on the wall. When the phone mysteriously starts to ring, Finney starts getting phone calls from the ghosts of The Grabber’s earlier victims and give him clues and strategies to escape. 

            Meanwhile, his sister Gwen (Madeleine McGraw), who happens to have frequent nightmares and visions about The Grabber takes matters into her own hands and tries to crack the case, rescue her brother, and bring this neighborhood menace down. 

            The film also stars Jeremy Davies (Helter Skelter, Rescue Dawn, Justified) as Finney and Gwen’s father Terrence, E. Roger Mitchell (The Shield, The Hunger Games: Catching Fire, The Walking Dead) as Detective Wright, and James Ransome (The Wire, Sinister 1 and 2, It: Chapter Two) as Max. 

            Overall, The Black Phone is one of the most heart-pounding films I’ve experienced in a theater in recent years and takes the blood-covered cake as the best scary movie I’ve seen so far this year. Granted, it didn’t quite have the same impact on me that Prisoners did where it gave me an emotional reaction at the end, but I still think it’s a very effective and intelligently crafted horror movie/thriller. 

            What really makes this movie work is that it spends a lot of time establishing the child characters, getting the know them, and understanding what’s going on in their lives before the inevitable kidnapping. That way, when Finney is eventually abducted, it makes a bigger impact and his escape much more satisfying. 

            It helps that the acting is excellent and not just from Ethan Hawke but the child actors as well, especially Madeleine McGraw as Finney’s sister Gwen. McGraw is extremely funny and sassy but also knocks it out of the park during the intense and dramatic scenes too. 

            Mason Thames is also great as Finney and gives the character a ton of humanity and innocence to his character which makes you root for him to escape. His character is constantly bullied, doesn’t have many friends other than his sister, and has an alcoholic and abusive widowed father, the kind of child who can’t throw a punch in a fight but can take one and always get back up which makes him a very compelling protagonist as he discovers his inner strength. 

            Even the side characters are memorable, Finney and Gwen’s father who starts off as abusive but is given a lot of depth and goes through an arc throughout the course of the film, the ghosts of the other victims, and the police officers. No one feels like they’re just there to die, you understand and get invested in every one of these people. 

            The film does an excellent job with the supernatural angle, whether it’s the ghosts of The Grabber’s victims being shown while talking to Finney on the phone, flashbacks, or Gwen’s psychic dreams that look like old film footage, it never feels out of place and matches the tone of the story. 

            I also really like how the film doesn’t shy away from the gritty and dark side of the 1970s and how it isn’t all bright and colorful. All the characters are going through something, kids are fighting on the streets, abusive parenting, the neighborhood itself looks very grim and dirty, etc. it makes the world of the movie seem more realistic and frightening even before The Grabber shows up. 

            Let’s finally talk about Ethan Hawke as The Grabber, he is incredible and could go down in history as a new masked killer icon. A lot of him is shrouded in mystery and you don’t know what he wants from Finney or what his motives or methods are. 

You also know at some point he’s going to try and kill him, but you’re never sure when during the kidnapping is he going to start trying to kill him or what he’s going to do to him before it. Add in some scenery-chewing moments, a mask with interchangeable mouth pieces to express what emotion he’s feeling, which I thought was a brilliant and subtle detail, and some pretty damn unsettling and haunting scenes with him and you got yourself a child killer that puts Pennywise and Freddy Krueger to shame. 

If you’re a fan of Scott Derrickson, Ethan Hawke, or just looking for something that’ll keep you on the edge of your seat, then do yourself a favor and make the call with The Black Phone, you won’t regret it. 

Elvis review

ELVIS:

BAZ LUHRMANN PAYS TRIBUTE TO ONE OF THE MOST INFLUENTIAL MUSIC PERFORMERS OF ALL TIME IN THIS WELL-CRAFTED BIOPIC!

By Nico Beland

Movie Review: *** out of 4

WARNER BROS. PICTURES

Austin Butler as the King of Rock n Roll in Elvis

 

            The career of one of the most iconic musicians of all time comes to the screen in Elvis, the new film directed by Baz Luhrmann (Strictly Ballroom, Moulin Rouge, The Great Gatsby (2013)) chronicling the life of Elvis Presley. I guess before we dive into this film, I should give my thoughts on some of Baz Luhrmann’s other work and him as a filmmaker in general. 

            Luhrmann has always been a very divisive filmmaker; he’s done acclaimed films like Strictly Ballroom andMoulin Rouge while Romeo + Juliet or The Great Gatsby had mixed opinions from critics and audiences. But one thing’s for certain, this guy has a very distinct style to his movies in terms of the visuals, editing, and production design where even if a film isn’t 100% great, he’s going to at least make it as phenomenal looking as possible. 

            Now, we have his take on Elvis Presley, which definitely caught my interest when it was first announced. I wouldn’t call myself an expert on Elvis, you’re talking to someone whose introduction to the King of Rock n Roll was through his songs being featured in the 2002 Disney film, Lilo & Stitch, but I’ve heard a good chunk of his classics and even had a teacher in elementary school who was obsessed with Elvis and had merchandise and posters of him all throughout her classroom. 

            So, I certainly knew who he was and the impact he had on both music and entertainment and was intrigued to see a film depicting his life and career from the perspective of a visionary director like Baz Luhrmann. I am happy to report that Baz Luhrmann’s Elvis is…a pretty solid biopic and easily one of the director’s best movies. 

            The film has a lot of Luhrmann’s trademark razzle-dazzle and romanticized visual flair that really makes the world come alive while also very cleverly using the Elvis story as a cautionary tale that famous people today or those aspiring to be famous and successful one day can learn from. All of that is elevated by the perfect casting of Austin Butler (The Shannara Chronicles, The Dead Don’t Die, Once Upon a Time in Hollywood) as the titular King of Rock n Roll who gives a star making performance. 

            The film chronicles the life and music of Elvis Presley (Butler) depicted through the complicated relationship with his manager, Col. Tom Parker (Tom Hanks-Forrest Gump, Cast Away, The Post). The film delves into said relationship between the two spanning over 20 years, from his rise to fame to his unprecedented superstardom as well as his personal life with his family and wife, Priscilla (Olivia DeJonge-Hiding, The Visit, The Society) with the universe surrounding Elvis constantly changing every second. 

            The film also stars Helen Thomson (Bloodmoon, La Spagnola, Gettin’ Square) as Elvis’ mother Gladys Presley, Richard Roxburgh (Mission: Impossible 2, Moulin Rouge, Van Helsing) as Elvis’ father Vernon Presley, Luke Bracey (G.I. Joe: Retaliation, The November Man, Hacksaw Ridge) as Jerry Schilling, Natasha Bassett (Hail, Caesar!) as Dixie Locke, David Wenham (The Lord of the Rings trilogy, 300 1 and 2, Pirates of the Caribbean: Dead Men Tell No Tales) as Hank Snow, Kelvin Harrison Jr. (It Comes at Night, The Trial of Chicago 7, Cyrano) as B.B. King, Xavier Samuel (The Twilight Saga: Eclipse, Anonymous, Fury) as Scotty Moore, and Kodi-Smit McPhee (ParaNorman, Dawn of the Planet of the Apes, The Power of the Dog) as Jimmie Rodgers Snow. 

            Overall, Elvis is one of the most ambitious biopics in recent years as it mostly chronicles his career and relationship with his manager rather than his entire life. To the point where they don’t even have Austin Butler as Elvis narrating the story, but instead Tom Hanks as his manager, a man who thinks he isn’t the villain of the story, but he really is. 

            It does hit a lot of familiar notes from other biopics, like the discovery, the rise, the setback, the fall, the marriage, the legal troubles, etc. that would normally come off as bland and uninspired. But with so much passion and energy both in-front of and behind the camera, it feels like you’re hearing all this for the first time. 

            As I was watching this, I kept thinking back to the Elton John biopic from a few years ago, Rocketman and how it was a very unique and unconventional take on a biopic that had a lot of energy and personality from both visual and storytelling perspectives. It’s a film where they make a spectacle with a lot of style and dazzle, but it also doesn’t shy away from the more humane and downright tragic moments in this man’s life, the style never overshadows the substance. 

            Austin Butler is incredible as Elvis, he’s got the look, mannerisms, charisma, charm, and voice down flawlessly and there are even times where he uncannily resembles the real Elvis from the way he moves and dresses, while also conveying the more serious side of him. Taron Egerton got snubbed for an Oscar nomination for Rocketman, but I’ll be damned if they don’t at the very least nominate Butler for this movie because it’s an electrifying performance from beginning to end. 

            Tom Hanks’ performance is very divisive, on one hand he does capture what a slimy businessman is like, and you can tell that he and Elvis aren’t on good terms as he’s practically making him a prisoner on stage in the later parts of his career. But on the other, his Dutch accent and makeup are very awkward and at times it makes it difficult to take the scene seriously, it’s a similar problem I had with the actors’ accents in House of Gucci, and it thankfully doesn’t ruin the movie for me.

            Whether you’re a fan of Elvis, Baz Luhrmann, or someone who casually appreciates Presley and/or Luhrmann, then Elvis is definitely a movie to check out. I can’t guarantee a masterpiece, but for those looking for a spectacle with a lot of thought and care put into it, you’ll have a great time with it like I did. 

Beavis and Butt-Head Do the Universe review (700TH POST!)

BEAVIS AND BUTT-HEAD DO THE UNIVERSE: 

THIS SPACE ADVENTURE KICKS WUSSY STAR WARS IN THE NADS! 

By Nico Beland

Movie Review: *** out of 4

PARAMOUNT+ AND MTV ENTERTAINMENT STUDIOS

Beavis and Butt-Head are back in Beavis and Butt-Head Do the Universe

 

            Beavis and Butt-Head take their stupid antics and desperate needs to score to outer space in Beavis and Butt-Head Do the Universe, the new film based on the iconic MTV animated series from the 90s created by Mike Judge (King of the Hill, Office Space, Extract). Obviously, since I was born in 1993 I did not watch Beavis and Butt-Headduring its initial run, but during middle school when I was getting into adult animated shows like The Simpsons, South Park, Family Guy, and several Adult Swim shows I started watching episodes of it via On Demand, DVDs, and their first theatrical feature film, Beavis and Butt-Head Do America originally released in 1996, which was actually the very first Beavis and Butt-Head thing I saw as a kid.

            I loved Beavis and Butt-Head when I was a tween and still enjoy the show and movie now, though I don’t watch the series quite as often anymore as I do South Park, but whenever I’m in the mood for something stupid with a hint of intelligence I can always count on these lovable dumbasses for a good laugh. It’s also pretty cool that Beavis and Butt-Head remain pop-culture icons decades after the original run of the series, having appeared in an introduction to the 2010 film, Jackass 3D, had a long-awaited revival season in 2011 on MTV, and now in 2022…a brand-new movie on Paramount+. 

            What do you do when your last movie had Beavis and Butt-Head screwing around in Washington D.C., Las Vegas, and the Hoover Dam, and becoming public enemies of the government turned heroes? You take their bungholes up into space in what was being marketed as “The Dumbest Science Fiction Movie Ever Made”, still less dumb than Battlefield: Earth so mission failed. 

            But in terms of recapturing the nostalgia of the original series and bringing it to 2022, Beavis and Butt-Head Do the Universe scores. This is a very funny movie with laugh-a-minute jokes all throughout the film and a surprisingly clever take on the fish out of water story with the same old Beavis and Butt-Head duo from the 90s stuck in 2022. 

            The film is set in 1998 after the events of Beavis and Butt-Head Do America where Beavis and Butt-Head (Both voiced by Mike Judge) destroy a science fair because of their antics and a judge sentences them to space camp where they become fascinated by a docking simulator. However, when a female astronaut named Serena (voiced by Andrea Savage-Step Brothers, Dog Bites Man, Veep) invites them to go into space and perform the docking mission for real, Beavis and Butt-Head see this as yet another possible opportunity to finally score with her and all sorts of hijinks ensue on the spacecraft, resulting in these lovable idiots going through a black hole and ending up in modern day 2022. 

            What started off as a quest to score suddenly turns into a race against time to save the universe as Beavis and Butt-Head are hunted by the Deep State and constantly warned about an upcoming universal disaster by alien versions of themselves cleverly named Smart Beavis and Smart Butt-Head. Beavis and Butt-Head will need to adapt to the modern environment, learn how to use iPhones, save the day, and score. 

            The film also features the voices of Gary Cole (Kim Possible, Harvey Birdman: Attorney at Law, The Bob’s Burgers Movie) as Mattison, Nat Faxon (The Descendants, The Way, Way Back, Downhill) as Jim Hartson, Brian Huskey (Childrens Hospital, Veep, Bob’s Burgers) as Richard Wack (Huh Huh Huh, he said Dick Wack!), and Toby Huss (The Adventures of Pete & Pete, King of the Hill, Copshop) as Todd. 

            Overall, Beavis and Butt-Head Do the Universe is as delightfully stupid and funny as the series it was based on and is sure to make fans old and new very happy. It’s the same Beavis and Butt-Head you know and love interacting with 2022 technology and social norms and it’s beyond hilarious. 

            It’s the kind of film that takes full advantage of its premise, Beavis and Butt-Head in outer space, it’s a legendary narrative that practically writes itself. Plot wise, it is very similar to the one from Beavis and Butt-Head Do America but with more of a sci-fi twist and in any other case it probably wouldn’t have worked, but thanks to some really funny jokes and gags that embrace the stupidity and chaos of space and time travel, it never feels like a repeat of the last movie. 

            Some of my favorite moments include a scene where they break into a college classroom and learn about white privilege, an incredibly funny variation of the sad break-up montage cliché, and one of the funniest Cornholio sequences throughout the franchise’s history and a downright hysterical payoff. 

            I will admit, the absurdity and wackiness of the plot do start to level out during its climax a little where they have to race against time to go into a wormhole and get back to their time. Instead, they do a very Beavis and Butt-Head resolution that is quite funny but may be divisive to some longtime fans. 

            Nevertheless, Beavis and Butt-Head Do the Universe proves that Beavis and Butt-Head’s style of slapstick and physical comedy isn’t going stale anytime soon with a delightfully goofy premise, jokes that blur the line between stupid and brilliant, and the likable bromance of its titular characters that have stood the test of time for decades and decades more to come. Grab a plate of nachos, woman with big thingies, and prepare you laugh yourself silly all the way to the cosmos. 

Washington State Summer Con 2022 Recap