Death Note (2017)
★ / ★★★★
For a story that is supposed to highlight the power of imagination, “Death Note,” based on the screenplay by Charles Parlapanides, Vlas Parlapanides, and Jeremy Slate, is malnourished of this very element, from the way the characters are written to the manner in which events unfold surrounding a teenager named Light Turner (Nat Wolff) who comes across a mysterious notebook imbued with the power to kill any individual whose name is written inside its pages. It is a challenge to sit through material with potential to genuinely engage and impress but proves incapable of doing so with every passing scene.
Due to the writing’s lack of depth, we never believe the fantastic reality the protagonist finds himself embroiled in. While the dialogue acknowledges that Light is supposed to be smart for his age, his decisions prove otherwise—he is unable to think three to five steps ahead of whatever he is up against, whether it be his girlfriend (Margaret Qualley), his father (Shea Whigham), who also happens to be the chief of police, an enigmatic detective from the FBI (Lakeith Stanfield), or Ryuk (voiced by Willem Dafoe), the demon god of death that enacts the killings specified by the owner of the notebook. That is, until the moment when the plot requires that he be intelligent enough to pull off a surprising final act. Since it is all too convenient, we feel cheated of our time.
The plot requires an exploration of moral gray. Essentially, it brings up that question that if you had the power to kill anybody at a drop of a hat, would you do it? But the material is not at all interested in depth or philosophical musings. Rather, it is interested in pushing the pacing in such a way that the story creates a semblance of the story moving forward—even if it is inappropriate at times. In actuality, ironically, mindful viewers will recognize that the story is stuck in one position. Sure, events occur and unfold, but, for instance, do we actually learn about the subtleties implied within the numerous rules surrounding the curious notebook? An important sequence involves a ferris wheel. This ride works as a metaphor for, and critique of, this picture.
While the deaths are visually impressive, reminiscent of “Final Destination” horror films when we can actually see them transpire rather than being manically edited, less striking is the look of Ryuk. While appropriate that it hides in the shadows, when it is shown under some shade of light, the substandard CGI takes away from the already low-level tension of the film. Although Dafoe taps into some interesting notes when it comes to his voice acting, it is disappointing that the character itself never does nor says anything particularly revealing or surprising.
“Death Note” is directed by Adam Wingard, filmmaker of stylish pictures such as “The Guest,” “You’re Next,” and “A Horrible Way to Die.” But his sense of style comes with a load of painful mediocrity, leaving a bland taste in the mouth, content-wise, rather than a shock to the system. With the aforementioned works, at least it is apparent he intends to follow his own vision. Here, however, the material reeks of desperation to be liked, to be modern, to be mainstream to the point where his stamp is no longer visible. A bad movie with a specific vision (and execution) is always more tolerable than a bad movie that embraces any and all compromises.
All the Real Girls (2003)
★★★ / ★★★★
This very earnest and honest love story between a virgin (Zooey Deschanel) and a womanizer (Paul Schneider) may have been difficult to swallow but it was rewarding. Written and directed by David Gordon Green, the style of storytelling of this film was at first distracting because it constantly made quick cuts from one scene to another. But as the picture went on, I realized it was effective because the characters had to quickly say what they wanted to say even if the words that came out of their mouths were not exactly the truth. The first scene was very cute so I was instantly hooked. The romance between Deschanel and Schneider reminded me of the chemistry of the lead characters in “Before Sunrise” and “Before Sunset.” That scene was funny, and best of all, it felt real–like a conversation that I might overhear while waiting at a bus stop. I also liked the supporting actors such as Shea Whigham as Deschane’s older brother who did not approve of the relationship and Patricia Clarkson as Schneider’s mother. Although Clarkson was not the focus on the movie, she made the most of the material she was given. That is, a mother who worked as a clown to provide his son and as a mother for was concerned and frustrated with where her son’s life was heading. She played her character with such grace because she balanced sadness and strength really well. Lastly, I enjoyed the picture’s autumnal feel and its use of symbolism. Its complexity might easily be overlooked because of its initial distracting style but once one really gets into its rhythm, it really is quite keen when it comes to what it means to fall in love and be loved. Just when I thought the picture was borderline turning into a syrupy romance, it changed gears and commented on the relief and pain that comes hand-in-hand with being honest with one’s self and wanting to change so bad to be accepted by someone. It also had a chance to tackle issues such as the breakdown of communication when distance is involved, the dynamics of friendship and what it means not only to love someone but also respect them. This is a smart sleeper film that doesn’t give us the easy and sugary answers we want to hear. But it is the kind of film that assures us that it’s alright to be confused and to question what and how we really feel toward someone important to us.
★★★ / ★★★★
I was surprised by the quality of this little horror film. Directed by Toby Wilkins, “Splinter” is a story about a couple going camping on their anniversary (Paulo Costanzo and Jill Wagner) and are ambushed by an escaped convict (Shea Whigham) and his girlfriend (Rachel Kerbs). Initially enemies, the two couples had to team up right away after running over a creature that feeds off human and animal blood. Not to mention that it can take over its host after it feeds off the host’s blood. I was horrified because of the way the body moved when the creature was controlling its victim’s bodies. It reminded me of the possessed girl in “The Exorcism of Emily Rose” and those rabid zombies in “28 Days Later” and “28 Weeks Later.” Even though this is a small film, it was surprising how much gore it has. It goes to show that a script with smarts and a creative director can go a long way. I was also impressed by the acting. Even though I liked the “good guys” right away because they were cute and funny together, I also found myself feeling for the “bad guys” because of their circumstance. Another thing I liked about this film was that it didn’t even bother to explain where the creature came from. Most creature-feature films fall for the trap of having to elucidate why and how a monster came into existence. I was glad that this one did not. If one is a fan of horror movies where the characters are trapped in one place (in this case, in a gas station), the characters are smart but not above being silly, and there’s a plethora of effective thrills, “Splinter” is definitely the one to see. I couldn’t help but shudder (and maybe even squeal a bit) during some of the most intense scenes.