tonya-jarrett Reviews

Flower of Evil (2020)

Incredibly Detailed Suspense Series

[9/10 · 19 March 2023]

I find Flower of Evil to be second only to The Glory, truly one of the best of the Korean series out there. It is incredibly detailed in the arcs of the story, the misdirection, the red herrings and keeps you guessing. Maybe it didn't need to be so long in scope but perhaps the creator and writers thought it the best way to tell the story about real family, duplicitous family and just being human.

I take a point off for the very annoying music. It is almost like watching a Douglas Sirk film and it is absolutely not needed. Why not just depend on your extremely capable cast and the writing, set pieces, which are great. I do not understand this soapy, awful romantic music swelling up, threatening to swallow intimate and emotional moments.

Barbarian (2022)

Horror Fool's Gold

[3/10 · 12 November 2022]

It was a solid first act. It, at least, was interesting and intriguing, well acted, as you try to work out what is going on. How could Acts Two and Three be so awful. How did this get released? I'm still pissed at how I was taken in by daft reviewers out there framing the film as the best thing since sliced bread in the horror world. It isn't. Yeah, there is room in the horror genre for everything, even this dog, I guess. But that doesn't excuse the write-ups and reviews calling it inventive, scary, dark, brilliant (??) because it isn't. Watch The People Under the Stairs, Watch Hemlock Grove to see a truly perverse, frightening TV series with Bill Skarsgård. But don't piss down my back (The Outlaw Josey Wales) and tell ME it's raining. Three stars for Act One.

Pieces of Her (2022)

Best of Its Kind

[9/10 · 20 June 2022]

This is one of the best "The Secret Past Is Revealed" shows I've seen by far, in which the subtext is everything. That's what people criticizing Bella Heathcote's performance as Andy, are completely missing. There's a huge reason for the character's somewhat immature, clueless & more importantly hauntingly lost quality at the beginning of the series; 30 years old and not really knowing who you are. What a fine job she does with a character who apparently inherited both her parents' good and bad qualities, tenacity being one.

I don't know what series the negative reviewers were watching but I had a fine time with this political/personal saga on the small screen. Fine production values and acting all 'round.

Malignant (I) (2021)

James Wan Revives A Time When Horror Was Truly Great

[9/10 · 14 September 2021]

Welcome back, James Wan, where you belong: horror. Malignant is a real treat. You just don't see American horror doing this unless it's done by you. What a glorious free for all of #WTF and #WhyNot?? No one has done this particular subject in this way and it is thrilling free form, balls to the walls, incredible FX and set pieces. That 3rd act choreography, conglomeration of lightning-fast martial arts moves: Matrix, Crouching Tiger, Hidden Dragon, murderous Bruce Lee - No idea how that was accomplished but loved it like I was a teenager again; unapologetically gory, bonkers, and beautifully filmed.

I feel sorry for the public leaving 1-starred reviews who don't know their film history or anything significant about the horror genre.

Four Weddings and a Funeral (2019)

Witless and Empty Headed Waste of Time

[2/10 · 25 August 2021]

I stumbled onto this series today, and have watched episodes 1 and 3 (2 sounded boring) and I'm done. This is one of the worst adaptations of a film to series I've ever seen, and it is mind boggling Richard Curtis had anything to do with it.

There's a reason the film is so loved; it has heart, charm, wit, laughter and tragedy, all mixed together in an artful way. It has Hugh Grant, Charles, stammeringly expressing his love for Carrie, Andie McDowell (who makes a ghastly appearance here), via the words of a song David Cassidy was famous for. It has great writing. This series has characters so arch, paper-thin and dishwater-dull I nearly wept, I'm not kidding.

Mindy Kaling has a product, and it's ridiculous, vapid, BS like this, with no idea how to keep the tone of the film and update it to 2019. I'm staggeringly insulted by this dog and pony show trading on the title of the film to sell it.

2 stars for some nice scenery of London.

The Devil and Father Amorth (2017)

Watch With An Open Mind

[8/10 · 12 July 2020]

I was lucky enough to read about the film on July 4 and watched it the same day on Netflix.

The exorcism itself is harrowing; painful to watch, and yes, frightening. I felt overwhelming compassion for the woman, "Cristina", and saw no evidence of obvious play-acting or filmic chicanery.

What is also absolutely compelling are the interviews, particularly with the Los Angeles Bishop who states over and over he could not attempt what Father Amorth did. His fear was palpable.

Nothing is decided upon in black and white as to what happened. You are given information to consider. How that information strikes you, wherever you are in your evolution as a human being, is what will either bring clarity, doubt, confusion, or many things combined. Am I a believer? I don't know. I only know I witnessed a unique event. That evil exists, I'm absolutely sure of.

Find the Vulture interview with William Friedkin. Also find his Vanity Fair piece, which could prove to be very informative for you..

The Lodge (2019)

Cruelty Masquerading as A Horror Film

[5/10 · 29 April 2020]

I should always avoid movies that are touted as the next best thing in horror. Still, I was curious, particularly because Richard Armitage was involved.

This is a thinly-veiled exercise in masochism, which takes a long time to unmask its reveal, as well as being confusing as hell. As another reviewer here said, I did not feel good at the end of this film. Horror is usually cathartic but this was like being plunged into a depressive state, along with the lead actress.

Better writing and tightening, and a far stronger narrative might have aided the story, but as it is, nah. Wouldn't it have been far better if the people responsible for the whole scenario had been unrepentant? Rhetorical question. I think, yes.

Some good acting here, but the pace is leaden and Richard Armitage's contribution being basically a cameo, is criminal.

Slasher (2016–2023)

Slasher Season 2 Vastly Superior

[8/10 · 11 November 2017]

I wish there were a separate listing for Season 2 of this anthology horror show, but this will have to do.

Not sure what happened but the quality of this second season blows Season 1 out of the water; production values, location, plot, acting. While it might seem there is the usual derivative disguised killer theme at work, there is guesswork on hand for the audience to make their own decision, clever use of flashbacks, and misdirection. Really, well done all involved. A good ride.

Here Alone (2016)

Subtle and Elegiac Horror Film

[8/10 · 3 April 2017]

The narrative of a horror film does not have to have Bullitt's Mustang at full throttle every second or blood and gore fogging up the movie or TV screen. Films about people, how they survive, move forward, or at least try to do that are, for me, ultimately more interesting and more moving. With spare details to go on and information during flashbacks about the female protagonist, Ann, and her family (Jason and their baby) filling in, you are left to use your imagination about how an illness not named decimated the United States. Ann has been on her own for a year when we meet her and we watch her daily routine just to stay alive and away from creatures who were once human. Eventually, she meets two other survivors who fill up some of her loneliness, but inevitably with human beings and all of their quirks and hidden emotional turmoil, events shift rapidly.

If you can't watch stillness, listen to the sounds of nature, and let yourself be immersed, you won't be able to watch this film. Just know it's the stillness and beauty of the remote area juxtaposed with some horrifying moments that brings out the intensity of trying to survive day by day in this post-apocalyptic world. The actors who bring these characters to life are strong, mostly because they seem like real people, not actors trying to "be" real people. I cared about all of them and enjoyed the ride immensely.

Come and Find Me (2016)

A Thriller With Nuance

[8/10 · 12 November 2016]

What do you call Zach Whedon's little gem of a film? It's part romance, part mystery, and part thriller, and all good and intriguing. It's not a loud film, despite the action sequences; it has nuance, and lovely touches in the Aaron Paul (David) and Annabelle Wallis (Claire) relationship.

The film begins with a misdirection, actually a long-standing motif with David and Claire, which creates tension from the get-go and almost a quality of premonition for the rest of the film. I never watched Breaking Bad but was impressed by how good Aaron Paul's Everyman was, doggedly putting himself though Hell to find an answer when something happens to Claire.

I was equally impressed with how Whedon took David from a Naif out of his element to a little more savvy the deeper he dug, trying to find information along the way on his quasi-detective journey.

Nice acting from everyone involved. You will probably recognize a few actors you've seen before in film and television.

True love WILL make you do the wacky. I really enjoyed this film.

The Good Neighbor (2016)

Painful

[2/10 · 17 September 2016]

I watched this today, being sucked in by the "name" of James Caan, whose storied career as an actor still means something to me. Look, I get it. Even Laurence Olivier did low-budget crap that was beneath him, and Polaroid commercials. He had another family, he needed the money. I know Mr. Caan didn't do this for the acting thrill. This was like falling off a log for him, doing very very little.

Billed as a thriller, it barely has any tension. I believe one of the characters said it best, in so many words, when he began to object to what he and his friend were doing to the neighbor: "This is effed up". Yep.

Wolf Creek (2016–2017)

Mini-Series Doesn't Disappoint

[8/10 · 2 July 2016]

I was leery of watching this series but found it to be far better than both films. There is quite an arc from Episode 1 to Episode 6 and gives the young protagonist ample opportunity to shine as a kind-hearted, smart, yet tough deliverer of justice. There is something so satisfying, watching a character grow the way Eve does. Along the way in the narrative, she has to toughen up even more and grow up quickly to achieve her objective. And there's hardship and a lot of pain along the way.

I appreciated that this is not merely a slice and dice horror series (the films are fine and offer an effective urban legend, but the overwhelming gore and terror wore me out), but something with nuance and back story. The episodes give you time to really care about the people involved in Eve's journey. And how refreshing there is a love story that transcends physical lust; more like two souls that found each other but ultimately couldn't be together.

As to the acting, mostly quite good. Lucy Fry, who has the gravitas and strength of a young Robin Wright, excels as Eve, out to avenge her loss. She is ably supported by a number of characters, particularly Dustin Clare as Sullivan, the police officer compelled to help her at any cost, a kindly female truck driver, and an escaped prisoner who becomes an ally. John Jarratt does his usual believable, sinister performance as the game-playing butcher, Mick, the guy you never want to run into in a dark alley, the Outback or anywhere else.

Great job.

Damien (2016)

Modern Re-Working Is A Solid Effort

[8/10 · 8 March 2016]

I have confidence in Glen Mazzara's creation of this series, even if the critics out there trashing it, do not. One critic went so far as to say he would never give this show another chance after viewing the pilot. What tripe and how close minded. I gave Hannibal a chance, a re-working of another well-known character, and was richly rewarded. I intend to give this series a shot, let it unfold and see how it hits me, as a big fan of the 1976 Richard Donner film from which it draws thematically and musically. What I like about the pilot episode: the modern updating, the acting, the music, and not making Damien good or bad but basically innocent until his 30th birthday (why, I will leave for you to discover), upon which he must start grappling with horrific memories of his long-past childhood.

It makes no sense for Damien to start out evil in this show, as that leaves his character nowhere to go. What I hope will be explored is if the nature of evil, whether you believe in Revelation/the Bible or not, is a growth, a given, a concept that can be overcome, or something you ultimately must submit to and revel in as your true nature. And that conflict, the gray area, is much more interesting to me. This series will sink or swim, based on its ability to draw out that narrative. And in just viewing the pilot, I think it has a lot of possibility.

My Amityville Horror (2012)

Fascinating Case Study

[9/10 · 1 September 2013]

Read some reviews on Netflix and decided to watch the film. I'm glad I didn't listen to the negative reviews there. Whether or not you believe in psychic phenomena is besides the point. Something happened to 10-year-old Daniel Lutz in that house, something painful and terrifying which lives inside him to this day. He believes it happened and that's what is important as you watch the child within the man still struggling to cope.

I do agree with him on this: I also believe that evil exists and that it can be drawn to certain people. After what I learned about George Lutz by watching this documentary, it is possible there are paranormal elements which Daniel experienced, along with psychological fallout from his childhood. The pain was the worst thing to witness but I found his story, as he related it, credible. There is horror and then there is horror, and this documentary explores that. After presenting information from many of the original players in the Amityville Horror occurrence, parapsychologists, reporters, etc., it allows you to draw your own conclusions and that is what a good documentary does.

Immortality (1998)

Original and Haunting

[8/10 · 4 August 2013]

I gave the film an 8, not just for the qualities of the film everyone else years ago have mentioned, but for Jude Law's performance. Such a pleasure to stumble across this at Netflix instant watch. I always thought Law was completely overrated save for his savvy performance in A.I. I thought he was dreadfully cast in just about everything, showing no emotion I could connect to or subtlety of acting. I was wrong and am not ashamed to admit I was completely intrigued by him in this film. He was absolutely fearless and I don't know whether that is a testament to the director, to the director and script, or to Law/Director/Script.

It is as odd and wonderful as if you just stumbled over The Man Who Fell to Earth, which is not your stereotypical sci fi film. This is not your stereotypical vampire film and I highly recommend it.

Hatfields & McCoys (2012)

Quality Production Brings History to Life!

[9/10 · 9 June 2012]

I ATE UP the Hatfields & McCoys yesterday and today. Just finished Episode 3. I imagine like many people because I have hardly read anything about the history, their story for me has been one of cheesy backwoods feuds, a catchphrase to use to describe bad blood between people. Well, I could not have been more wrong and Kevin Costner has come forward, along with Kevin Reynolds to produce, star in, with Reynolds directing, this magnificent three-part series on the History Channel. While there is a bit of the Borgias and the Corleones (the McCoys and Hatfields, respectively) in their blood/honor feud, there still is a compelling and tragic story that informs how it all came to be.

Beautifully acted, scripted, produced. Costner has given us the quality of his film Open Range in Kentucky and West Virginia (but conveniently filmed in Romania to capture the open space, feeling and time of those places). Bill Paxton, Costner, and particularly Tom Berenger as Anse Hatfield's "Lieutenant" (who I did not recognize at all), disappear into their roles. Don't miss it - can be seen on Cable, On Demand if you've missed the run on History.

Bag of Bones (2011)

Pierce Brosnan for the Win

[8/10 · 18 December 2011]

I watched Bag of Bones straight through today and after sifting through all of the negativity, here and elsewhere, my thoughts are that while execution of the plot elements were pretty clunky at times, Pierce Brosnan was absolutely brilliant and engaging. The child who played Kyra was precocious and sweet without being annoying, and Anika Noni Rose (a Broadway actress) as Sara Tidwell is very effective. I'm irritated that reviews I've read have dismissed the novel as well, as being "blah". I haven't read it since its original publishing but my memories of it are quite good. It is one of my favorite of King's novels. The quasi father/daughter relationship between Noonan and Kyra is as touching as, maybe even a precursor of, the father in Duma Key. When you care about the people in the story, the supernatural elements are that much more shocking.

I also think people get too hung up on wanting a film adaptation to adhere to everything in the novel they love (and I have been guilty of this myself). However, I saw what was good about it. Enjoyment was definitely had.

That said, as far as films about ghosts wanting revenge goes, I wish it had been as perverse as a favorite of mine, Ghost Story (which is somewhat similar. The novel on which it was based was written by King's colleague on The Talisman, Peter Straub).

A Gifted Man (2011–2012)

A Gifted Man Delivers, So Far.

[9 October 2011]

After viewing the third episode, these are my thoughts: I really quite like this show. It has a major Broadway star (Raul Esparza) in a supporting role and he's excellent (that's just a side note - thank you show runners). The premise is so much better than Ghost Whisperer, whose spirituality I found, at best, pretty saccharine. I did however, like the relationship between Melissa and Jim. You can't do much better than Jennifer Ehle as Dr. Holt's dead wife. Patrick Wilson is such a beautiful man and talented actor that I'm totally buying into his narcissistic Neurosurgeon character, who has enough restraint to not go after every woman he sees, and a good amount of decency left as a man and a doctor to still care about every patient, not just the rich. That inner struggle is what will keep the show interesting (and that people keep catching him talking to thin air is very amusing. He has a lot to learn about how to keep that on the down-low). So it's walking a fine line right now. He needs to always be somewhat torn, struggling with his sense of privilege, or it will turn into Dr. Michael Holt, Social Worker.

I sort of feel that his situation is like the Rolling Stones cover of You Can't Always Get What You Want (But if you try sometime, you just might find You get what you need). There seems to be a spiritual force involved that is trying to make him more balanced, to feel on a deeper level than exulting in his art as a surgeon (what we saw in the premiere episode was pretty cold and contained, but he has thawed a bit in each episode).

I like this show enough to stick with it and gave it a solid 7 out of 10 because it has room to grow.

Jane Eyre (2011)

Run, don't Walk to your local theatre

[10/10 · 20 March 2011]

This is less a review than an impression that I've been posting at a few sites - I'm an avowed cinephile so I hope that counts for something, but for people who have not seen this film yet, I only want to give a thumbnail. Sometimes a short emotionally-infused impression is better: Oh my. I'm just back from the film and espresso afterward. Never cried so much at any film version of this story. Finally, the best-paired two actors, a writer who knew how to bring out the best of the novel, and a director to pull it all together. Somehow, Director Fukunaga found a way to make it fresh without any modernism at all, with help from Screenwriter Moira Buffini. I do not want to go into detail - I want you to discover this film for yourself. I will say, for me, they mined everything that was important and gave it beautiful expression and downplayed the melodramatic elements of Bronte's story. They simply aren't necessary. We now have a definitive version of Jane Eyre for the ages.

Death at a Funeral (2010)

LaBute's Funeral Warms Up the "Stiff" Original

[7/10 · 24 April 2010]

LaBute's Death at a Funeral is indeed in some ways, more effective than the original. I personally think that the more uptight the family (the original, with a British cast), the better, and more jarring the scatological/drug humor and sexual peccadilloes will be, but this version surprised me. It is a much more warmed up version of Oz's film, which helps the film along immensely. After all, this is supposed to be comedic farce, and while Brits are quite good at it, that wasn't evident in the original.

James Marsden turned out to be a stunningly good physical comedian (I really only remember him from the X-Men films but pretty sure I've seen Disturbing Behavior and a couple of other things). He manages to far surpass the creativity and humor of Alan Tudyk in Oz's version (playing the boyfriend of a family member of the deceased). All the cast make solid contributions, though it is a bit disturbing to see Danny Glover playing the thankless role of the old, mean-ass, obscenity-spewing uncle, who torments Tracy Morgan's character.

Peter Dinklage is even better playing the same role of the mysterious funeral attendee with a disturbing secret and Martin Lawrence looks good and his acting is quite good, as the successful younger novelist brother of Chris Rock (in a thoughtful and restrained performance), the older brother who is trying to hold it all together. Lawrence seems to have gotten himself straightened out after his troubles some time back and has also had his shtick pulled back by Director LaBute. While it was somewhat embarrassing for me to be laughing uproariously in a movie theater in which there were only six or seven adults present, laugh I did. Couldn't help myself.

Sweeney Todd: The Demon Barber of Fleet Street (2007)

Burton Was Born to Direct This

[9/10 · 23 December 2007]

Sweeney Todd has been in my life for 28 years, and Stephen Sondheim even longer. I read the first part of an acquaintance's review last week and had to stop. But I was thrilled that this extremely opinionated person was throwing out the superlatives left and right.

This is an absolutely beautifully-executed, exquisitely dark and brooding adaptation of the Broadway musical. I'm afraid the gorgeous music and poignancy, power, and creativeness of Stephen Sondheim's lyrics will be lost on many viewers, who will titter, as a few young women did in the audience I sat with, and lose the story that is being told here.

Tim Burton, bless him, has made his actor/singers into naturalistic (at least far more naturalistic than the stage version) recognizable human beings, turning down the melodrama and Grand Guignol of the stage to the quiet, chilling and at times passionate despair of Sweeney Todd, embodied with every fiber of his being by Johnny Depp. Depp is a slight man but he fills up the screen with power, and you can see every year of the 15 years Todd suffered for a crime he didn't commit, losing his wife and child in the process.

Depp fares better with the singing duties than others in the cast, with perhaps the exception of Johanna, but even the version of Green Finch and Linnet Bird here is scaled down to sweetly pretty. In a very demanding role, his voice is expressively sweet, rough, raspy and robust as needed.

Helen Bonham Carter's Mrs. Lovett is at least in striking range of her desire to have a relationship with Todd. As embodied by HBC, Lovett is utterly delusional and a cold, conniving businesswoman at the same time, and later shows herself to have a heart when it comes to Toby, the boy she's taken in. But she can turn on a dime and Bonham-Carter takes full advantage of every twist and turn.

Another thing that I noticed is that, with the exception of the Beadle, everyone in this cast is younger than usually seen in the musical. Again, painstaking lengths have been gone to, ensuring believability over melodrama.

Burton also doesn't stint on the violence, which is only hinted at on stage. The juxtaposition of more naturalistic singing and acting (none of the singing here is particularly operatic as it is on stage which is all to the good of this film) only enhances the means by which Todd exacts his revenge, not only those who wronged him but on all humanity. The gushers of blood condemn Todd for the very things he rails against as they provide him with much needed relief for his torment.

The film is a morality tale, to be sure. No one comes out of Sweeney Todd unscathed. Even his daughter, who is 16 on his return, has been imprisoned by the very debauched lecher, a judge, who had Todd "transported" and is haunted by ghosts of the past. Sweeney Todd is the voice of all people wronged, all people who have loved and had that love wrenched away, all of us who are haunted or tormented by ghosts of the past. Sweeney Todd shows us that revenge may have momentary pleasure but in the end, it will only destroy you.

This movie will haunt me for a long time.