12/22/14 (Part One): Tie Your Mother Down

Tags

Adam Robitel, alternate title, Alzheimer's Disease, Anne Bedian, Anne Ramsay, Brett Gentile, children in peril, cinema, co-writers, Deborah Logan, evil old lady, feature-film debut, film crews, film reviews, films, found-footage films, horror, horror films, immortality, Jeremy DeCarlos, Jill Larson, Julianne Taylor, Michelle Ang, mockumentary, mother-daughter relationships, Movies, murdered children, Paranormal Activity, possession, pseudo-documentary, Ryan Cutrona, serial killers, snakes, The Blair Witch Project, The Taking, The Taking of Deborah Logan, titular characters, Tonya Bludsworth, writer-director-editor

Anyone who’s ever watched a loved one succumb to Alzheimer’s knows that the disease is a true monster that rivals anything the brightest stars in horror can dream up: formerly brilliant minds revert to a state of petulant childhood, life-long lovers forget the partner who’s been by their side for decades and, eventually, the victim’s body betrays its own basic functions and forgets such prime directives as “Eat” and “Breathe.” The deepest, most enduring tragedy of the disease is the way it makes the familiar alien to us: when all that we ever really carry with us is our memories, Alzheimer’s ends up being the most lethal, insidious thief of all.

Despite the inherently horrifying nature of the disease, cinematic depictions of Alzheimer’s are almost always delivered as tear-jerking dramas, stories of families in crisis, bittersweet ruminations on life-long love running its course, etc…Thanks to writer-director Adam Robitel, however, the world of cinematic horror finally has its first “Alzheimer’s disease”-related film: The Taking of Deborah Logan (2014) is a found-footage film that purports to examine someone suffering from the effects of Alzheimer’s who may also (or may not) be suffering from some sort of demonic possession. While the film’s angle is pretty unique and the first half manages to offer up some nicely subtle chills, however, Robitel’s feature-length debut winds up collapsing into a mess of lazy Blair Witch Project (1999) and Paranormal Activity (2007) clichés by its final act, squandering much of the good will that the film earns along the way. Nonetheless, The Taking of Deborah Logan certainly earns points for finding a more unique subject to exploit” than the same moldy old haunted house/moving furniture tropes that have been de rigueur in found-footage for the past 15 years or so.

Right off the bat, we’re greeted with text that explains that the film we’re about to see has been cobbled together from various footage sources and has been “lightly” edited and spruced-up: a vague bit of base-covering that, essentially, gives a pass for any and all unexplained angles, non-digetic sounds, etc…that we’ll be encountering. It’s also, by its very nature, a rather lazy approach to the format and the first (of many) warning signs that this particular way will be a rocky one. In a nutshell, medical student Mia (Michelle Ang), along with crew members Gavin (Brett Gentile) and Luis (Jeremy DeCarlos), wants to make a documentary about Alzheimer’s patient Deborah Logan (Jill Larson). Deborah’s grown daughter, Sarah (Anne Ramsay), is eager to get the filmmakers involved, since they’ve offered to help pay for her mother’s increasingly expensive medical care. When the formerly on-board Deborah suddenly decides that she values her privacy more than the assistance, however, all signs point to Mia’s documentary being D.O.A.

There wouldn’t, of course, be a movie without a change of heart, however, the crew are invited back a week later to begin filming their project. At first, everything seems pretty normal: Deborah is certainly more forgetful than the average person but there doesn’t seem to be anything too terrible going on. In short order, however, we see just how fast Deborah is stuck in the sticky web that is Alzheimer’s: she begins to forget basic things about her own daughter and past, has mood changes on a moment’s notice and has started to let her own hygiene slide. As Sarah tries to help her mother retain as much of her personality as she can, we witness the heartbreaking ways in the disease breaks down both its victim and her caregiver: as Mia notes in one of her documentaries many talking points, caring for an Alzheimer victim can alter the caregiver’s brain chemistry, as well, making the terrible disease a truly lose-lose proposition.

Just when it seems as if The Taking of Deborah Logan might be the world’s first found-footage-styled “after-school special,” however, things begin to take a turn for the sinister. Cameraman Gavin happens to spy Deborah doing some odd things with a snake and the older woman seems to develop a habit of appearing right behind folks, scaring the everlovin’ shit out of them. Things really come to a head, however, when Deborah completely flips out and accuses Gavin of stealing her beloved garden trowel: she chases him around the kitchen with a large butcher knife, cornering him on the counter and very nearly costs everyone involved several fingers. After taking her back to the hospital and the kindly Dr. Nazir (Anne Bedian), Sarah gets the worst news possible: her mother’s condition is deteriorating at an ever more rapid rate and she’s losing more of her brain on a daily basis. The end, as Sarah knows all to well, may be over the next horizon but it’s getting closer by the minute.

Deborah’s condition may be terrible but Mia and the others begin to notice a frightening pattern: Alzheimer’s explains some, but not all, of the things that are happening around them. Snakes start popping up everywhere, Deborah has taking to painting a series of pictures which depict a mysterious, black figure moving ever closer to their house and she’s developed an alarming propensity for what medical experts must surely dub “scary, intense and gravely demon voices” (take two pills twice a day, as needed). After a truly creepy incident involving Deborah’s patented in-home switchboard system, Mia and the others come to think that someone else might be responsible for Deborah’s more violent tendencies: specifically, they come to believe that poor Deborah is possessed by the spirit of serial killer Henry Desjardins (Kevin A. Campbell), a pediatrician who mysteriously disappeared after killing four children as part of an immortality ceremony.

As Deborah’s behavior becomes more and more extreme, Sarah is truly backed-up against a wall: she could barely care for her mother before creepy paranormal shit started happening and this all just seems like one cruel cosmic joke, especially when everyone from the local priest to the college’s expert in anthropological studies seems unable to give her any assistance. Is Deborah actually possessed by the spirit of an insane killer or is her Alzheimer’s just getting exponentially worse as time goes on? What’s up with all of the snakes that seem to be popping up everywhere? Could there be another, darker, mystery at the heart of everything…a mystery that could potentially unravel our comfortable belief in a rational world and give us a front-seat to our own demise? What is actually taking Deborah Logan: an unstoppable disease or pure evil?

For roughly the first half of the film, The Taking of Deborah Logan is a really well made found-footage film, albeit one that doesn’t do much new with the sub-genre, aside from the subject matter. That being said, the early found footage aspect of Robitel’s film is quite strong: in particular, I really liked the pseudo-documentary aspects of Mia’s film, such as the computer-aided infographics, actor reenactments and talking head interviews. Unlike other found-footage films that aim for a pseudo-doc feel, The Taking of Deborah Logan actually feels like the real thing: kudos to Robitel for managing to nail the tone/look so spot-on.

The acting is also quite good across the first few acts, with Jill Larson turning in a massively impressive performance as the titular character: her ability to vacillate between sweet, angry, forgetful and prideful is absolutely essential to the success of the character and Larson pulls it off quite handily. There are moments in The Taking of Deborah Logan that are absolutely heart-breaking and it’s all down to Larson’s incredibly subtle, expressive performance. Once she gets more bonkers in the latter half of the film, her performance begins to seem a bit more heavy-handed but the early going is quite masterful.

If only the same could be said of Anne Ramsay’s performance as Sarah, however. Ramsay comes into the film “turned up to 11,” as it were, and her performance only gets more strident as the film wears on. By the climax, both Sarah and Mia are so shrill, giddy and obnoxious that I spent the final 15 minutes secretly hoping something would bump off both their characters, a pretty extreme switch from rooting for them a mere 20 minutes before that. Ditto for Gentile and DeCarlos’ unlikable turns as Mia’s film crew: neither character ever gets more to do than utter tired variations on “Oh, hell no!” and the script saddles DeCarlos with one of the awful “these crazy white people” asides that’s a real head-smacker. I’m also not sure what’s going on with Ryan Cutrona’s performance as next-door-neighbor Harris: not only did he never really seem to factor into the story, his motivations and personality also seemed to change on the drop of a hat, based on whatever the script needed him to do…nothing quite like a character who might as well be named “Johnny Plot Contrivance.”

As mentioned earlier, the subtle, sparse quality of The Taking of Deborah Logan’s first 40 minutes ends up getting thrown completely out the window in the last half of the film, resulting in endless scenes where characters look through a camera viewfinder while running down endless, anonymous dark tunnels, as well as those now ubiquitous “stationary cameras recording while everyone sleeps” clichés that seemed to spring fully formed from Paranormal Activity like Athena busting out of Zeus’ cranium. None of it adds anything new to the format whatsoever and the film even manages to end with one of those moldy “or are they…evil?” “twists” that’s probably only novel for folks that have been in comas for the past several decades.

Despite how disappointing the film becomes, however, there’s plenty to like here, including a thoroughly gonzo, kickass scene during the climax that involves one of the characters spitting acidic venom and distending their jaw like a snake in order to swallow someone whole: suffice to say that my resulting upraised fist probably knocked a big chunk of cheese out of the moon. On the whole, however, The Taking of Deborah Logan ends up being just another found-footage film, full of all of the same problems and clichés, albeit with slightly more imagination and invention, than the rest of the unwashed masses. There was enough solid material here to make Robitel’s film easy to recommend, even if the film will always function best as one of the “rainy day” viewings. Nonetheless, give Robitel and co-writer Gavin Heffernan credit for one thing: they have to be the first filmmakers to plant a horror flag in the desolate wasteland that is Alzheimer’s Disease and that, on its own, has to be worth something.

10/16/14 (Part Two): What a Blockhead

Tags

31 Days of Halloween, Amber Valletta, Bob Gunton, Charlie Clouser, cinema, Dead Silence, Donnie Wahlberg, evil dolls, evil old lady, father-son relationships, film reviews, films, ghosts, horror film, horror movies, industrial score, Insidious, James Wan, Judith Roberts, Laura Regan, Leigh Whannell, Mary Shaw, Movies, mystery, Ravens Fair, revenge, Ryan Kwanten, Saw, sins of the fathers, small town life, The Conjuring, True Blood, ventriloquist, ventriloquist doll, ventriloquist dummies

If you think about it, there’s something inherently creepy about dolls: their tiny little hands…those dead, glassy eyes that seem to follow you around the room…the way they always seem to have just stopped moving, right before you happen to look at them…small wonder, then, that dolls, like clowns, make such great subjects for horror films. If dolls are inherently unsettling, however, ventriloquist dummies are just shy of existentially terrifying: after all, these little fellas are just like regular dolls but they can talk. You can keep your masked slashers, fanged vampires and walking dead: when hard-pressed, I’m not sure that I can think of anything more horrifying than animate, ventriloquist dolls with evil intentions.

Although it will probably never be regarded as the “definitive” ventriloquist film – that honor presumably goes to Richard Attenborough’s ultra-creepy Magic (1978) – James Wan’s Dead Silence (2007) is probably the best modern example of this (decidedly) niche sub-genre of horror film. While the film is far from perfect, there’s enough good material here to warrant attention from horror fans, although the film definitely falls short of living up to its full potential. More importantly, Dead Silence serves as a bridge between Wan’s torture-porn beginnings as the creator of the Saw franchise and his latter-day films, the widely acclaimed, mainstream-baiting Insidious and Conjuring franchises.

After kicking off with a rather bombastic, industrial-tinged credit sequence (frequent Nine Inch Nails collaborator Charlie Clouser provided the film’s score), Dead Silence introduces us to our protagonist, Jamie (Ryan Kwanten). Jamie has been sent a strange ventriloquist doll, by the name of Billy, from some anonymous benefactor. Since this is a horror film, the doll introduces itself by slaughtering Jamie’s loving wife, Lisa (Laura Regan), and setting Jamie up to take the fall for the murder. In order to clear his name, Jamie hightails it back to his boyhood home of Ravens Fair, which also happens to be the return address for the evil doll. Once there, Jamie falls into the local legend of Mary Shaw (Judith Roberts), a supposedly murdered ventriloquist who was involved in some pretty dark doings when she was alive. Billy was one of Mary’s star puppets when she was alive but was supposedly buried alongside her when she died.

As Jamie continues his investigation, he finds himself back with his estranged father, Edward (Bob Gunton), who happens to be wheelchair-bound after a recent stroke. While father and son might not have much use for each other now, the secret to Jamie’s current situation, as well as the future of Ravens Fair, lies in Edward’s past. In a town where the living keep the secrets of the dead, Jamie will discover that not everything dead stays buried…and revenge is always a dish best served cold.

In many ways, Dead Silence seems like a test-run for Wan’s big hit, Insidious (2010). Both films share a similar aesthetic, feature imaginative setpieces (although Dead Silence is a much gorier film than Insidious), an emphasis on mood over action (although Dead Silence features about 200% more obvious jump scares than Insidious and The Conjuring (2013), combined) and feature plots that focus on “the sins of the fathers,” as it were. For all of this, however, Dead Silence ends up being a much sloppier film than Insidious: the subtler, low-key moments end up jammed next to some thoroughly stupid jump scares that tend to devalue the whole affair.

Truthfully, the whole film feels just a little sloppy, as if Wan couldn’t be quite bothered to dot the Is and cross the Ts. For every scene like the excruciatingly measured bit where Billy turns, inch by inch, to stare at Jaime, we get obvious schlock like the clichéd ‘scary-face” effect that gets superimposed over Mary’s dolls, ruining an otherwise ultra-creepy look (note to Wan: dolls that turn and look at you are terrifying…dolls with crappy CGI faces are the exact opposite). Dead Silence ends up looking very expensive and polished but often plays like a lowest-common-denominator B-movie. In particular, the film starts to get supremely silly once we get to the obligatory “humans into dolls” bit, an idea that would seem to be ripe with nightmare intent but just comes across as goopy and kind of nonsensical, in practice. Add to this a truly over-the-top score that manages to not only telegraph but belabor some of the film’s scarier elements and it’s easy to see how the film falls short of its own goals.

Which, ultimately, is a bit of shame, since there’s so much truly great stuff here. Ryan Kwanten, from TV’s True Blood, is a thoroughly likable hero, even if he can occasionally blend into the woodwork and Judith Roberts is perfect as the venomous, demonic Mary Shaw: it’s easy to see where the “old lady demon” in Insidious got its genesis, although I dare say that Mary’s backstory and puppet army make her the infinitely more frightening of the two. Donnie Wahlberg’s Det. Lipton is a complete asshole but he’s an entertaining one, proving that it would be entirely possible to get one complete actor out of the Wahlbergs if one could combine Donnie’s over-the-top mannerisms with Markie’s studiously underplayed style.

While the effects are, for the most part, quite good (there also seems to be several practical effects bits, which are always appreciated), Dead Silence’s sound design ends up being the hidden MVP, helping to accentuate the atmosphere of key scenes while contributing to the finale’s nightmarish sense of unreality. It’s the kind of subtle sound design that would be used to much greater effect in Insidious but it’s kind of cool to watch Wan take baby steps with the notion here. For the most part, Dead Silence looks and sounds great, even if the film can, at times, have all of the weight and importance of a Twinkie.

Despite not quite living up to its full potential, Dead Silence is a lot of fun: Mary’s backstory is pretty great, the film moves quickly and the ending, while a little obvious, is still nicely realized and manages to pack a bit of a gut-punch. It’s just too bad that the film often comes across as lazy, more content with throwing out a tedious jump scare than maintaining a consistently oppressive atmosphere. If anything, think of Dead Silence as a test-run for Insidious: while Wan and screenwriter Leigh Whannell might have lit the fuse with their first attempt at a more mature, mainstream horror film after Saw (2004), they would need to wait a few years to truly appreciate the explosion that was Insidious.