Tag: Review

FAT, BALD, SHORT MAN – SLIFF Review

The film’s title pretty much sums up the world’s view of poor Antonio. Oh yeah, he’s pretty shy and constantly abused, too. He’s the butt of the office bully’s constant jabs at the little notary office where he works. His neer-do well brother Nardo only calls him to ask for money (and gets furious when reminded of past loans). Even the waiter at his lunch-time restaurant ignores him. Something’s got to change. And, surprisingly, things do change. He gets a new boss who looks remarkably similar (they’re constantly posing for photos together). And it turns out that the support group for shy people he reluctantly joined may just bring him out of his shell. Antonio’s story is told using new animation techniques in this Columbian feature-length film. Live action footage of the actors are traced in the computer and turned into squiggly-lined (the line weight is constantly changing) cartoon characters (a technique used for the recent films WAKING LIFE and A SCANNER DARKLY). Their look is simplified with only a few lines to delineate facial features (eyes, noses,etc.) with solid bright colors. The characters movie against photos and footage of real places (some that include blurry real folks). The  unique animation style helps bring out the humor and pathos of this story of a modern-day Latin MARTY.

FAT, BALD, SHORT MAN screens as part of the 21st Annual Whitaker Saint Louis International Film Festival on Monday, November 12 at 4:30 PM at the Plaza Frontenac Cinemas

WRINKLES – SLIFF Review

Silver screen icon Bette Davis is generally credited with this adage, “Old age isn’t for sissies.”. This is well illustrated in the Spanish feature-length animated film WRINKLES based on Paco Roica’s award-winning graphic novel. The prime focus of this tale is Emilio, an elderly widower (and former bank manager) residing with his son’s family until he becomes too difficult (tossing his soup seems to be their breaking point). The son and his wife drop him off to live in a cold, sparsely furnished old age home. There the stiff, buttoned-down Emilio is assigned to share a room with the gregarious conman Miguel (“I’ll take care of that for ten Euros!’). As they tour the facility, the men walk near the stairwell and hear the howls emanating from the dreaded second floor. Miguel explains that this is where those with extreme dementia and Alzheimer’s’ Disease reside. As the year slowly passes, Emilio begins to deteriorate physically and mentally as Miguel tries to figure out a way to hide his pal’s condition from the supervising doctor and the staff. The stories of neglect and loneliness are balanced out by some of the home’s eccentric residents and Miguel’s rebel spirit. The animation is put to good use in flashback sequences involving Emilio as a child and a young father and also with several of the residents (we see how one couple met as young children). We also get to go inside some of their fantasies (one lady sees alien kidnappers everywhere while another believes she’s an elegant passenger on the Orient Express). The style of animation is close to the old school, hand-drawn cell animation (I was reminded of the excellent Batman TV cartoons of the 1990’s) as opposed to Pixar-type CGI. This is an expertly told tale that will have you reflecting on how to care for your own family, and what will happen if you need some help yourself when you enter the “golden years”. This film proves that animation can tackle the most challenging subject matter.

WRINKLES screens as part of the 21st Annual Whitaker Saint Louis International Film Festival on Sunday, November 11 at 4 PM and Monday, November 12 at 9 PM at the Plaza Frontenac Cinemas

LE TABLEAU – SLIFF Review

In the TOY STORY trilogy we get to see what our playthings do when we’re not around. Most recently with WRECK-IT RALPH we saw what our video game heroes and villains did after the arcade closes. With LE TABLEAU we see what the paintings do when the artist is away from the studio. It turns out that one of the paintings is a complete world with its own class system. The upper class is the “allduns”, those figures completed by the painter. Then there’s the “halfsies”, those who aren’t quite finished (maybe the lower half or right side are without color). Lowest on the class pole are the hunted, despised “sketchies”, creatures composed of penciled lines and shapes. Of course there’s got to be a forbidden love ala “Romeo and Juliet” with an aldunn lad smitten with a halfsie lass. In trying to reunite the pair, an unlikely trio travels beyond their world into other painted realms and explores the artist’s studio itself. This beautiful animated feature uses many high-tech CGI effects to create a world of living art. And could the desire for the painter’s return be a religious allegory?  Don’t mull over the symbolism too much or you might miss the many imaginative, visual gems in the colorful fable.

LE TABLEAU screens as part of the 21st Annual Whitaker Saint Louis International Film Festival on Saturday, November 10 at 2 PM at Washington University’s Brown Hall

 

SONGS FOR AMY – SLIFF Review

At one time or another we’ve all pined for the one that got away. The person that could’ve been the one, but somehow you wrecked it. So now you send most of your nights hoping a second chance. The hero of this quirky Irish comedy has a plan. Sean assembles his band mates into a recording studio to make an album of songs, not to send to an agent or a record label. This is just for Amy, Sean’s greatest love. But things become even more complicated when he inherits a swanky castle/hotel that caters to wedding events. The big gig coming up is the wedding of preening pop star JJ Fitzgerald and…you know who. Combining elements of ONCE and THE COMMITMENTS, SONGS FOR AMY balances the outrageous antics of Sean’s struggling bar band (the bassist thinks he’s a male model, the keyboardist is a “herbal expert”, and the veteran drummer has a thing for zaftig “gypsy” gals), and struggle to reunite with the still hurting Amy. Look for Patrick Birgin (SLEEPING WITH THE ENEMY) as an old-time rocker that gives Sean a few words of wisdom. There are lots of laughs (especially at the clueless JJ), tears,rockstar-level partying, romance, and great tunes

SONGS FOR AMY screens as part of the 21st Annual Whitaker Saint Louis International Film Festival at the Plaza Frontenac Cinemas on Friday, November 9 at 6:30 PM and Saturday, November 10 at 4 PM

FLIGHT (2012) – The Review

The portrayal of alcohol use in film as been a complex one through the years. At the birth of cinema it conveyed sophistication (cocktails and champaigne at the high society to-dos) and also begat the comic drunk (Charlie Chaplain departed from his tramp character to play a rich hung over fop in one short). This was only slightly curtailed during prohibition which saw the popularity of funny, a tad tipsy W.C. Fields throughout the 30’s and early 40’s and the buzzed crime-solving of Nick Charles in THE THIN MAN film series. Things changed with the Billy Wilder’s landmark 1945 drama THE LOST WEEKEND. This tough look at alcohol abuse swept the Oscars. But several types hung on with James Bond’s shaken martinis and comic entertainers like Jackie Gleason, Foster Brooks, and Dean Martin all the way through to Dudley Moore in the 1981 original ARTHUR. But things have changed in the last couple decades with the many people (including lots of show biz folk) admitting to an alcohol dependency (the recent ARTHUR remake ends with Russell Brand in a support group). This holiday film season presents two dramatic looks at folks with drinking problems: the indie SMASHED (soon to be reviewed) and the major studio big budget FLIGHT. The latter shows how one man’s addiction can affect more than his family and friends, and that it can truly impact everyone.

The film fades in on a “value” hotel room in the wee hours of the morning after what looks to be a raucous party. Countless empty bottles of several varieties are strewn among the beer cans and brimming ashtrays. But only two people are in the room: Katerina Marquez (Nadine Velazquez) and Whip Whitaker (Denzel Washington). The two scurry about, rushing to head off to work. Shortly Whip emerges in the hallway, wearing his airline pilot’s uniform! He boards the plane after being greeted by flight attendant Ms.Marquez (“Good morning, Captain Whitaker”). Sliding into the cockpit, he prepares for what should be a routine 50 minute jump from Orlando, FL to Atlanta, GA. After a bumpy takeoff through a nasty storm, the plane gets past the clouds for a smooth flight. Or so it seems. Thirty minutes later the airline suffers a catastrophic mechanical malfunction. The plane is going into a dive.Whip bolts to attention, and co-ordinates a roll-the plane flies upside down in order to stabilize. He guides the airliner into an emergency landing in a field outside Atlanta. The impacts knock him out. When Whip awakes he’s at a local hospital. Then he gets the news that his quick thinking prevented a major disaster, but four passengers and two crewmen were killed. The officials begin their investigation. Although the media’s hailing Whip as a hero, how long will it be before the investigators learn the truth about his condition? Can he get clean before his turn at the inquiries begin?

The commercials highlight the harrowing flight, but the film is really an intense character study of a man teetering on the edge. Luckily this role is played by one of the screen’s most gifted actors. Washington continues on the tradition begun by Ray Milland in WEEKEND and Jack Lemmon in THE DAYS OF WINE AND ROSES by giving audiences a searing, “warts and all” look at a man in the throes of alcohol dependence. We see how the disease takes over his psyche. He’s cocky and arrogant as he screams at his ex-wife on the phone. He tries to hide his boozing on the job. Of course, when found out he denies there is a problem (“I choose to drink!”). Finally, when the walls are closing in, he becomes meek and tries to elicit support from co-workers that know the truth. He’s aggravating, frustrating, and pathetic all at the same time. In a career of exceptional screen work, Washington is in the acting stratosphere with another Oscar-worthy performance. And he’s got a great cast supporting him. Kelly Reilly is very impressive as a longtime substance abuser who meets Whip at the hospital. She brings out the tenderness and vulnerability in him and we’re rooting for them to help and guide each other. After playing Mrs.Watson in the Guy Ritchie Sherlock films, she holds her own in the tense scenes with Washington. His DEVIL IN A BLUE DRESS co-star Don Cheadle is terrific as the Chicago lawyer brought in to help Whip. We can see his frustration bubble up as Whip’s lies become more and more transparent. Bruce Greenwood continues to be one of our best character actors with his work as Whip’s old flying pal who thinks he can pull his buddy through this mess. He knows of his friend’s problems, but has no idea of its severity. On the other end there’s welcome comic relief in John Goodman’s performance as Whip’s very own “Dr.Feelgood”, Harling Mays (“Ahm on the list”). This film and ARGO are showing what a really fantastic screen presence this actor has become. This is one of the best acting ensembles on screen this year.

After over a decade of motion-capture animated features, Robert Zemeckis gives us a very powerful, grounded human drama. He first made a name with several wonderful audience-pleasing fantasies (WHO FRAMED ROGER RABBIT, the BACK TO THE FUTURE trilogy) before delving into character studies with Tom Hanks (FORREST GUMP. CAST AWAY). Now he’s made an intimate portrait of a man struggling as so many real people do. Zemeckis has dazzled us with special effects, now he’s impressing us with real emotions and compelling acting performances. That’s not to say that the film’s effects are shabby. This is the scariest, white-knuckle plane ride since ALIVE. I just hope it doesn’t fuel the considerable fears of the folks that have a flying phobia. Remember what Superman said on screen in 1978! In the end, Whip’s twisted, long road toward sobriety may be more harrowing than this very bumpy trip. But there’s no bumps in this masterful film. FLIGHT is truly a first class ticket.

4.5 Out of 5

CHASING MAVERICKS – The Review

Over the years we’ve seen several inspirational sports biography films. Certain sports seem to lend themselves to the cinema, like boxing with RAGING BULL and ALI, or baseball in THE PRIDE OF THE YANKEES and THE ROOKIE. But surfing’s a more difficult to convey on-screen. Many folks may harken back to the crude rear-projection sequences in camp 1960’s flicks like GIDGET, BEACH PARTY and their sequels. With documentaries like the first ENDLESS SUMMER, new film technology allowed for an up close look at the surf pros. CHASING MAVERICKS is the dramatic life story of one of those pros: Jay Moriarty. In a way this is similar to a superhero story. Instead of getting a uniform and shield, we see how Jay got his wetsuit and board. It also has an element of the wise elder training the young upstart. Think Mr.Miyagi in THE KARATE KID films and the various Jedi masters in the STAR WARS series. Perhaps, more than the other genres, MAVERICKS is a true family film with sons discovering fathers in the unlikeliest of settings (and vice-versa).

We first meet Moriarty timing the waves as they break on shore in 1987. While rescuing the pooch of his slightly older pretty neighbor Kim, the eight year-old lad is swept up by the current. Before the sea claims him lil’ Jay is pulled up by super surfer dude “Frosty” Hesson (Gerard Butler). Driving the kids back home, Jay is stunned to find out that his rescuer lives right down the street. Soon the boy is pulling out his father’s old surfboard out of the garage (Dad has been absent for a while) and hitting the beach. Cut to 1994 as teenage Jay (Jonny Weston) secretly hitches a ride on top of Frosty’s van and observes the surfer pro and some pals going to a secluded section of beach that is home of the “mavericks” (giant, monster waves). After he’s discovered, Jay begs Frosty to teach him out to ride the mavericks. The elder surfer begrudgingly agrees and for the next several months Jay balances his school work, pizza job, keeping his boozy Mom (Elisabeth Shue) focused on her job, and pursuing the lovely grown-up Kim (Leven Rambin) with his passion for training in order to tame those truly killer waves.

This is a sweet little underdog tale accented with some truly spectacular photography of these athletes. We get all angles (including underwater), and these thirty and forty-foot swells looming over the surfers are really breath-taking. The film makers do their best to help us focus in on the principals (it’s a big problem with all the similar boards and wetsuits). On land some of the subplots don’t quite play off and disrupt the momentum of the main surf-training story. The romance of Jay and Kim seems to be a given with some minor obstacles (she doesn’t want her pals to know that she likes this guy that’s a couple years younger!). And the concerns about Jay’s pal Blond hooking up with a bad crowd (he may be dealing drugs!) never has a real resolution. When a major tragedy blindsides a character it seems like it was thrown at the script from left field (perhaps this is what happened, true life being very untidy). As for the cast, Butler has toned down the aggression so prominent in the dismal rom-coms and gives us a hunky, often mellow surfin’ Yoda. His Frosty is a mentally absent father whose paternal nature is finally opened up by his young student. On the other end is Shue’s character who also is put on the right course by her son’s determination. It’s always a pleasure to see this veteran actress again on screen, but the role is somewhat underwritten. We never really get to see her pushing away from the bottle. Weston is a likeable, if somewhat bland (perhaps, the way his role is written) hero. The script may be too respectful of this real life surfing icon. He’s more of a noble ideal than a true human being complete with flaws and frailties. CHASING MAVERICKS is a well shot profile of the sport and one of its heroes, but the people are not nearly has compelling as the images of those brutal, but beautiful waves.

3 Out of 5 Stars

CLOUD ATLAS – The Review

THE MATRIX trilogy may be their most recognizable work, but I would contend that CLOUD ATLAS is Andy and Lana Wachowski‘s most profound, accomplished film to date. Co-directed with Tom Tykwer (RUN LOLA RUN) and based upon David Mitchell‘s award-winning novel of the same name, this science-fiction film addresses how individual lives can affect others’ lives in the past, present and future. The film contains multiples stories spanning many eras in human history, from centuries ago to centuries into the future, where the setting is a post-apocalyptic society.

CLOUD ATLAS features a line-up of talented stars rarely seen in one film. Leading the cast are Tom Hanks (CASTAWAY) and Halle Berry (MONSTER’S BALL), whose roles form the primary storyline throughout time, but are not the sole focal point of the film. Hugh Grant (ABOUT A BOY) delivers performances far outside his normal wheelhouse, delivering some truly unlikeable characters in addition to the enjoyably villainous characters delivered by Hugo Weaving (CAPTAIN AMERICA: THE FIRST AVENGER). Weaving, who you may remember as the relentless Agent Smith from THE MATRIX, is much more accustomed to these roles, but seeing Hugh Grant take on this new type of role is refreshing, especially given how well he adapts.

The cast also features veterans performing alongside relatively new faces. Jim Broadbent (THE IRON LADY) is splendid and Susan Sarandon (THE LOVELY BONES), while not prevalent in the film, still adds some seasoned texture to the overall film. Newer talent includes Jim Sturgess (ACROSS THE UNIVERSE) and Doona Bae (THE HOST) amongst others, most of whom provide varied performances for multiple characters in different stories set in different stages of time. Not only is this an impressive undertaking, its also impressively effective, if not dauntingly complex.

CLOUD ATLAS is immeasurably satisfying and uplifting, although few are likely to leave the theater having fully understood the massive scope of this enigmatic cinematic puzzle. David Mitchell’s novel followed six story lines through time, but the film takes it further, following several more story lines, attempting to connect many more lives throughout time than the book. The structure of the film jumps forward and backward in time, as does the tone and the genre, making this a truly unique and original work of daring filmmaking.

CLOUD ATLAS can be an intimidating film to take on, but only on the surface. Once engaged, the film flows surprisingly well, leaping in time from one life to another, setting the viewer up to discover one connection after the other. The whole of the film is tied together by a number of things, one being the actors playing multiple roles. I specifically refuse to point out who plays the individual roles, as part of the experience of watching this film is making those discoveries and connections on your own. The other significant element that serves as the most intoxicating adhesive is the original score from Reinhold Heil, Johnny Klimek and especially Tom Tykwer for his Cloud Atlas title piece of classically-inspired music.

For a film that cost an estimated $100 million to make, with such an enormous star-studded cast and as much high-quality CGI special effects work as CLOUD ATLAS, the fact that this is independently produced should compel even more interest. The Wachowski’s and Tykwer have created a philosophical playground on screen. The viewer’s eyes and ears will relish the feast that is CLOUD ATLAS and what the viewer witnesses is likely to stay with them indefinitely, resonating with an endless amount of food for thought as connections continually get made beyond the initial viewing.

For me, the most compelling story line takes place in the distant future, set in the post-apocalyptic society with a hint of BLADE RUNNER meets THE MATRIX, but the most engaging performances come from Tom Hanks, Jim Broadbent and Halle Berry, which should help refuel the fire in her recently faltering career. As much as I am drawn to go on for a few thousand more words, describing every last detail of the film, attempting to convey all the various themes and ideas, I would not be doing justice to CLOUD ATLAS, as much an enlightening event as it is an enjoyable film.

Overall Rating: 4.5 out of 5 stars

CLOUD ATLAS opens in theaters nationwide on Friday, October 26th, 2012.

THE AMBASSADOR – The Blu Review

The Movie –

Watch any number of political thrillers or espionage films and you’ve undoubtedly seen more than a few ambassadors portrayed on screen, but when it comes to real life, how much do we really know about these appointed figures who seem to be untouchable? I can imagine at some point, this very same thought went through the head of Danish journalist Mads Brugger. Whatever his motivation, the journalist turned filmmaker turned his investigative eyes and ears toward the connection between ambassadorship to the Central African Republic (CAR) and the lucrative smuggling of blood diamonds out of the country.

The term “blood diamonds” refers to diamonds that have been illegally exported from war-torn countries without authorization. If you’ve seen Edward Zwick’s 2006 film BLOOD DIAMOND, then you may have a sensationalized idea of what goes on in this region of Africa. What Brugger does is to take the viewer into the heart of the CAR first-hand, to witness for themselves what Hollywood can only dramatize for entertainment. Here’s the catch… Mads Brugger is a tall, lanky, pale-skinned, red-haired, white European voluntarily entering into one of the most dangerous regions of Africa, posing as the Liberian ambassador to CAR and a businessman seeking to open a match factory in the country. This, of course, is all 100% false and by doing so puts his life in great peril… all for the purpose of hopefully constructing a documentary that reveals the darker side of the diamond trade and it’s affiliation to European ambassadors.

The $64,000 question: Does Mads pull it off? Let’s break this down into two categories; the entertainment factor and the informational/educational factor. Imagine, if you will, you look like Conan O’Brien shaved bald and you’re in the heart of “blood diamond” territory pretending to be a wealthy businessman seeking ambassadorship. Where do you start? Mads takes the viewer on the jaw-dropping, often awkwardly humorous five-cent tour of this process of enlisting an “agent” to acquire for you a position as ambassador with the necessary paperwork by way of bribes to government officials. Hilarious, right? In fact, it is, but its also incredibly frustrating. The film is entertaining, yes, but more importantly, the film opens the flood gates of exposure to a world we’ve only been able to speculate on, until now.

THE AMBASSADOR is like watching Sacha Baron Cohen’s BRUNO (minus the sexual references) and THE DICTATOR mashed up into one movie that tells a true story. At times, the film is almost difficult to believe, but the remainder of the film is proof unto its own validity. Apparently, some have questioned whether THE AMBASSADOR is staged, but after seeing the film twice now, I’ve concluded for myself that Brugger’s film is sincere. Each viewer will have to make this call on their own, as I cannot expect you to take my word on the matter. Another element of the film viewers may find oddly alluring is the uncanny similarity Brugger’s narration has to the like of Werner Herzog’s documentaries.

How did he do it? Brugger — the businessman — employs a “press photographer” to follow and record his business dealings for the benefit of his investors. This, of course, is actually Johan Stahl Winthereik, his cinematographer. The third member of Brugger’s tiny entourage is a woman he passes off as his executive assistant. For the more volatile scenes requiring creative recording, Brugger’s team uses pinhole cameras hidden in his clothes or in wall fixtures, whatever it takes to capture the kind of audio/video footage that makes this film so damning for those involved. I know that fear can make a person do things previously unfathomable, but how Brugger is able to keep his cool so convincingly throughout the film is amazing. Even the moments when he seems nervous or uncomfortable, he comes off as just another businessman upset about a deal possibly going south. I would love to have Brugger’s constitution.

THE AMBASSADOR will have viewers wondering many things, but at the top of that list is the question, “How can this happen, and how does it continue to happen?” Hopefully, Brugger’s documentary will be the catalyst for change, the tipping point at which progress in the region is made toward peace and an end to corruption inflicted by African leaders and backed by certain European governments.

The Extras –

THE AMBASSADOR blu-ray includes the theatrical trailer for the film, as well as a 16-page booklet. The cherry on top, however, is the audio commentary by director Mads Brugger. In his own words, this is Brugger’s first audio commentary and this shows. His delivery is dry, but highly informative. Once you’ve seen the film, I adamantly express the necessity to re-watch the film — immediately, if possible — with the audio commentary engaged.

This is essential because Brugger gives so much more information than is available through the film on its own. Even the tiniest of details about his experience and the process of making the film offer a deeper insight into the experiment as a whole. I say experiment, because this gonzo-style of journalistic documentary filmmaking has never really been done on this level. While the audio commentary lacks the usual supply of humorous anecdotes, it offers an impeccable supply of first-hand knowledge that adds priceless value to the viewing experience.

Overall Rating: 4 out of 5 stars

Video Codec: MPEG-4 AVC
Video Resolution: 1080p
Aspect Ratio: 1.78:1
Audio: English – Dolby Digital 2.0 (192kbps)
Subtitles: English

  • Single 25GB Blu-ray Disc
  • Digital copy (as download)
  • 16-Page Booklet

Image Entertainment and Drafthouse Films bring THE AMBASSADOR to DVD and Blu-Ray on Tuesday, October 23rd, 2012.

NIGHT OF THE PUNKS – The Short Review

Dan Riesser’s horror/comedy short NIGHT OF THE PUNKS has played quite well at various film festivals. The full film, less than twenty minutes long, is available for viewing right here.

So, is it worth a look?

That depends. Can you stomach gore that’s simultaneously gross and funny, due to its over-the-top, low-budget nature? Do you have a deep-seated affection for the spook-a-blast stylings of the 1980’s? Can you find it in yourself to root for punk rock musicians? If yes, then I’d say that this short is more than worthy of checking out. Riesser, who shot the movie on a micro-budget, wants to turn it into a feature, and he displays more than enough chops to get the job done. I wish him the best of luck.

The story follows the members of Brain Dead, a small-time punk band who get booked for their first road show. But when they arrive at the venue, they find nothing but a dingy bar, almost devoid of customers. And once they start playing, they discover that most of the patrons who are there are actually demons hungering for human flesh. A bloody, slap-sticky fight for survival ensues.

The script often goes overboard on reference humor, and sometimes the dialogue can be horribly stilted, although that aspect may or not be intentional, given the feel that the movie is going for. The actors sometimes fail to sell their situation all that well, although this too actually adds to the movie’s campy, tongue-in-cheek atmosphere. Really, while the movie is far, far from perfect, it really wouldn’t feel right to lambast it too heavily for its shortcomings. It’s a small-time production that’s available for free. And since it’s more of a proof of concept than anything else, I’ll give it a pass. NIGHT OF THE PUNKS is a fun little movie.

Overall Rating: 3 out of 5 stars

PARANORMAL ACTIVITY 4 – The Review

It’s nearly Halloween so we have plenty of spooky flicks on the multiplex screens. Of course there’s got to be some examples of the big, fairly-new horror sub-genre : the found footage flick. It expanded to other areas recently with comedy (PROJECT X) and super-heroes (CHRONICLE), but mainly the fright films like V/H/S and the current hit SINISTER (which gives it a retro spin with the hero viewing mayhem in old 8mm home movies). This shaky camera stuff really broke through with 1999’s THE BLAIR WITCH PROJECT with its “could it be real” vibe. A similar vibe made the first PARANORMAL ACTIVITY a surprise smash in 2007. While BLAIR conked out after one sequel, this weekend see the release of PARANORMAL ACTIVITY 4. Can the producers still deliver the ghoulish goods, or is it time to pack up the camcorders?

I’d only seen the second entry in this series, so I was concerned about whether I’d be at a loss. Luckily it begins with the ending of PA2 as (SPOILER ALERT!) Katie (Katie Featherston) smashes her sister and dashes away with nephew Hunter back in 2006. (SPOILER ENDED) With PA4, five years has passed and we’ve left California for Henderson NV (just outside of Vegas), the home of 15 year-old blonde Alex (Kathryn Newton). Besides some tension between Mom and Dad, all’s going well for her and her little seven year-old brother Wyatt. And then the new neighbors arrive. Odd, quiet Robbie and his single mother move into the place across the street from Alex. When an ambulance takes away Robbie’s mom, Alex’s folks offer to take in the youngster ( after all, he’s the same age as Wyatt). Then the weird stuff really starts to happen. Luckily it’s documented with the help of Alex’s wise-cracking tech-wiz boyfriend Ben (Matt Shivley). If it’s all recorded, then it must be really happening, right?

So, instead of an old, cobwebb filled mansion or estate we’ve got a nice, fairly new suburban two-story as a supernatural host. And now because of new technology they’re not just dealing with some video cameras, but all the laptop computers and even a home gaming system (which Ben rigs to blanket the living room in green motion-sensor dots). There’s still the quiet scenes of the dormant rooms in the hours just past midnight (Ben’s hidden recorders are always working) that made up most of the previous PA films. Video chatting via laptops provide much of the material here also (the shots of Ben and Alex carrying the devices can be more than a bit disorienting). So, is it scary? Well, there’s a few jumps here and there, but certain cliches are creeping in. Since there’s no music score, the film makers use random loud crashes to jolt us (enter dark room, count to five, WHOMP!!). Then there’s the big reveal as the camera spins to an object that quickly appears in frame. We also get get several dark blurs zipping past the camera or past the door openings. I wouldn’t have minded this little bits of hand-held trickery, if the characters were a little more than demon fodder. Alex and Ben are nice teens, but not engaging. Mom and Dad barely register while the tots are there just to be in jeopardy. As far as these “found footage” films go, the effects are fairly clever, but the ending seems much too abrupt with several plot points unresolved. Maybe it’s being saved for PA5. I’ll take a pass.  I’ve had more than my fill of this shaky stuff. Leave it for the internet and give me something with the camera locked down and boasting a haunting music score. Oh, and a story that doesn’t totally rely on cheap noises and shocks. Hmmm, the Universal Monsters are on Blu now…

2 Out of 5 Stars