Connect with us

Movie Reviews

The Endless



Directors: Justin Benson, Aaron Scott Moorhead

Stars: Callie HernandezTate EllingtonLew Temple, Justin Benson

Released: 2017 (London Film Festival)

Reviewer: Ren Zelen

After the critical success of their 2014 genre-bending feature Spring, the filmmaking team of Justin Benson and Aaron Moorhead return with their newest feature, The Endless. Praised for their original storylines and their skill in crafting genre-mashing microbudget movies, Benson and Moorhead now make the transition from writer-directors to actors.

The film follows two brothers, Justin Smith (Justin Benson) and Aaron Smith (Aaron Moorhead), former cult members who have managed to escape what they describe as a “crazy UFO death cult”.

Struggling to reintegrate into normal society, they lead a bleak existence, finding work cleaning recently vacated apartments. They have no friends, little money, and a diet of desiccated noodles. They attend ‘reprogramming’ sessions, where they can discuss their difficulties in readjusting to society after having spent their childhood indoctrinated in the cult.

It appears however, that there is conflict between elder brother Justin, who is relieved to have left the cult for a regular, albeit tough, life, and Aaron, who yearns for the companionship, seclusion, security (and good food) that life with the cult offered. Aaron remembers less and is thus more naïve about the past than his older brother, who is wary of the cult’s insidious attractions.

Then they unexpectedly receive a parcel in the mail. It is a videotape from Arcadia Camp, the settlement where their former cult still resides. Featured on the tape is Anna (Callie Hernandez) who they recognise as their former babysitter. She is filmed reassuring viewers that they all members are happy and awaiting a mysterious event called ‘the Ascension’.

The brothers are disturbed by this sudden intrusion into their lives, but Aaron is desperate to investigate further, and uses the enigma of the tape as an excuse to plead with his brother to revisit Arcadia Camp.

Worried about Aaron’s state of mind, Justin reluctantly agrees to return to the campsite for a brief overnight visit, hoping that he will recognise the flaws in their former life for himself and be cured of his idealized nostalgia.

When they arrive, everyone is still alive and thriving, and life in Arcadia Camp appears to be continuing much as before. Hal, (Tate Ellington) the leader in Arcadia, goes out of his way to be hospitable to the brothers. They receive a hearty welcome from the inmates who ply them with a hearty home-cooked dinner and pitchers of home-brewed beer, one of the sect’s main sources of income.

Everyone in the sect has a purpose and contributes their own particular skill, which makes them feel useful and fulfilled. Clearly ‘The Ascension’ never happened, and the “crazy UFO death cult” doesn’t seem at all as bad as it had been painted.

Aaron begs Justin to stay for an additional night, and then another, trying to extend their trip, until he confesses that he wants to stay, despite Justin’s disapproval. However, odd events begin to accumulate, and soon the situation escalates into downright weirdness.

Not Anna, their erstwhile babysitter, nor Hal, nor anyone, appear to have aged at all over the years of the brothers’ absence, although Aaron puts this down to clean air and a healthy diet. Although Anna is the person on the VHS tape sent to the brothers, she claims to have no knowledge of it.

Strange incidents and odd behaviour are subtle at first, but become increasingly more bizarre. There is a heavily padlocked shed that is guarded at all times, enigmatic post-it messages are left around the campsite, and on a chalkboard there is a complex and unfinished maths equation that Hal claims will give him the answer to an ultimate question. There is a tug-of-war with no opponent, photographs fall from the sky at key moments, additional moons appear at night followed by visual anomalies – the strange occurrences multiply until they create a perplexing and unsettling puzzle.

The plot of The Endless also expands on some of the themes of Benson and Moorhead’s 2012 debut, Resolution – there is even a scene which is a direct crossover, (although that is perhaps just for fans to spot, as The Endless is entirely a stand-alone movie in itself).

Benson and Moorhead have always been impressive, holding down multi-tasking jobs as directors, screenwriters and film crew members, and this time they even manage to give confident performances as leads in capable ensemble cast.

Moorhead, who doubles as the cinematographer, succeeds in elevating their films above their modest budgets. Here, low-cost effects are used to enhance the visuals – bizarre events, odd behaviour, and cryptic motifs and symbols serve to convey the sense of an unsettling menace within a dull, dusty, rural landscape. Benson’s writing is sharp, witty and tense when it has to be, encouraging the viewer to interpret and theorise from the clues before a reveal is forthcoming.

Benson and Moorhead continue to generate a reputation for original and thought-provoking suspense movies. They avoid clichés while still delivering queasy anticipation and a sense of dread. The Endless is deadpan, severe, funny, frightening, but also surprising. It proves to be an enigmatic story steeped in symbolism – and it is also a satisfying sci-fi-horror flick, but unlike many of those, it is one that will keep you thinking long after you leave the cinema. I for one, cannot wait to see what they come up with next.


Click to comment

You must be logged in to post a comment Login

Leave a Reply

Movie Reviews

The Little Stranger ★★★★

Adapted from the Booker prize nominated novel by Sarah Waters, the cinematic incarnation of The Little Stranger has much to live up to.



Released: 21st September 2018

Director: Lenny Abrahamson

Cast: Domhnall Gleeson, Ruth Wilson, Charlotte Rampling, Will Poulter, Liv Hill

Reviewed By: Sinead Beverland

Adapted from the Booker prize nominated novel by Sarah Waters, the cinematic incarnation of The Little Stranger has much to live up to. At the helm is Room Director Lenny Abrahamson, with an impressive cast including Domhnall Gleeson, Ruth Wilson and Charlotte Rampling.

Set shortly after the second world war, Doctor Faraday (Gleeson) introduces us to the faded grandeur of Hundreds Hall, a place he envied feverishly as a child. Having belonged to the Ayres family for several generations, the house is now inhabited by just Mrs Ayres (Rampling) and her two adult children, Roderick (Will Poulter) and Caroline (Wilson). When Faraday is called to the house to visit the unwell young housemaid Betty, he recollects his childhood adulation of the place. Remembering the presence of a young girl, he is told that this was Mrs Ayres first daughter, Susan, who had died as a child. It seems the spectre of Susan (affectionately known as Suki) still lays heavily over the house, as housemaid Betty tells Faraday she fears something ‘isn’t right’. As he becomes more entwined with the family and their home, strange events begin to raise concerns and individually threaten members of the family.

From the very outset, the film breeds an unsettling feeling, the house is imposing with long shots conveying the sense that the characters are being observed. The audience follows Faraday in to this fading world of status and money, sensing his childhood desire and starched formality. The family are equally intriguing and unnerving. Roderick, badly injured during the war, is now an invalid struggling to cope and disturbed by the sense that something in the house does not want him there. Matriarch Mrs Ayres seems to be doing her best to keep the past alive and daughter Caroline (the best of the bunch as attested to by a fellow doctor) seems strong yet vulnerable. When Faraday begins an intriguing friendship with Caroline, their relationship evolves to hinge the entire ethereal story together. With fantastic performances all round, the characters all emerge fully formed, conveying depth without the need for swathes of expository back story.

The terror of the film gradually reveals itself, impacting in set scenes that are truly disturbing and realistic. Director Abrahamson has a subtle touch (as seen in the Oscar Nominated Room) and these climactic scenes engulf you, whilst revealing the fate of certain characters. Abrahamson knows how to accentuate the fear for the audience and uses restraint to devastating effect. As the house leaks secrets and the memory of the deceased Susan comes to the forefront, the story is told with an intensity that uses strikingly rich music and extreme close ups to create a claustrophobic atmosphere. However, to reveal too much of the story here, would spoil the experience of discovering for yourself what is happening at Hundreds Hall.

The Little Stranger is a mature and nuanced film, layered in such a way that it address status and class alongside desire and emotion. The period setting is detailed and worn, bridging the gap between transitioning eras in Britain.  This is no straightforward horror or ghost story and the film certainly feels to have done justice to its excellent source material. Rich in theme, characters and style, I would gladly take The Little Stranger home.

Continue Reading

Movie Reviews

Dogman ★★★



Released: 19th October 2018

Directed By: Matteo Garrone

Starring: Marcello Fonte

Reviewed By: Rhys Handley

Dogman is the anti-Paddington. Antithetical to the marmalade-loving bear’s enduring mantra – “if we are kind and polite, the world will be right” – dog groomer Marcello (Marcello Fonte) carves out a life in the dilapidated outskirts of Rome modestly tending to his estate’s canine residents and enjoying the respect of his neighbours.

But Marcello’s submissive, accommodating kindness is pushed closer and closer to its limit by the hulking Simone (a terrifying Edoardo Pesce, surely masked in near-mutant prosthetic), a brutish ex-boxer who stalks the estate terrorising the residents. Unable to say no to a friend, Marcello facilitates Simone’s egregious coke habit to little recompense.

When Simone’s scheme to rob a nearby jeweller’s implicates Marcello and he is apprehended by the police, the Dogman takes the fall himself and goes inside for a year for the sake of the bully who pretends to be his friend. When he comes out, something has changed.

Marcello, diminutive and always sporting a toothy grin, strikes an unimpressive, but likeable figure. He is perfectly happy with his lot as the film opens – a divorced father who takes pride in his work and loves trips to the beach with his daughter. While director Matteo Garrone makes a meal of the grim, filthy aesthetic of the film’s setting, he peppers in moments of levity and blissful tranquility to reinforce the humble satisfaction of Marcello’s daily life.

To see him repeatedly indulge the cruel, selfish whims of Simone quickly becomes a source of frustration, as the brute encourages vices in Marcello that seems entirely at odds with his persona. Marcello is swept away on break-ins and hedonistic strip club nights in jarring scenes more in keeping with Garrone’s work in the gangster canon such as 2008’s Gomorrah.

In these scenes, the toxicity fuelling Marcello reveals itself. Fonte delicately skews the kindly facade when Marcello enters Simone’s world. Behind his courteous smile is a sickening glimmer of delight – Marcello loves the thrill and decadence of life of crime. His latent desires mix with his better nature, to create something more insidious than Simone’s overt depravity.

Dogman stumbles in its closing chapter as Marcello is released from prison, returning to a community who despises him for violating their trust and chasing Simone’s false offers of brotherhood and fortune. Marcello reemerges not exactly changed, but more honest to himself about what he is. Garrone and his co-writers steer this portion of the story with a steady hand, but it is hard to shake comparisons to other established squares-gone-rogue like Walter White.

Marcello’s resolve and vengefulness is convincing thanks to Fonte, but its emergence is sudden and teeters dangerously close to cliche. His push and pull with Simone is rote, which makes its languid pace a little irritating – this has suddenly become a very different film, and it can’t carry the slower moments of contemplation as well as it could before Marcello was locked up.

An inevitable confrontation takes place, bursting with brutality and gore. But rather than a release of tension, it feels like a betrayal of the thoughtful, measured character piece Garrone set up. The violence overreaches for shock value where Garrone had before been satisfied with something more pensive and empathetic.

Luckily, he pulls back in the final moments of the film and dovetails elegantly by concluding what is essentially his thesis on ‘little guy’ psychology. He frames Marcello not as a good man pushed too far, but as someone whose better and worse natures are intrinsically tangled to create a monster very different to the bully who ultimately leads him to snap.

No matter how kind and polite the Dogman might try to be, he cannot deny the malice that festers in his heart – and Garrone artfully distills Marcello’s melancholic final moment of self-realisation in a resonant closing shot that gracefully irons out the kinks in this curious, inconsistent little film.

Continue Reading

Movie Reviews

Superfly ★★

Director X’s flashy remake of the Blaxploitation classic is a thunderingly dull experience



Director: Director X
Stars:  Trevor Jackson, Jason Mitchell, Michael K. Williams
Released: 14th September 2018 (UK)

Black Panther, A Wrinkle in Time, BlackKklansman – it’s proving an impressive year for top-tier studio-driven black cinema. The perfect year, as it happens, to release a remake of seventies Blaxploitation classic Super Fly. Or, at least, it would be, if the determining creative mantra behind this update weren’t presumably anything more than to make an episode of Power with all the stylistic glimmer of a P. Diddy video.

Superfly (neatly bringing the title right up to autocorrect standard by repositioning itself as a single word) sees Grown-ish star Trevor Jackson take on the iconic role of the hustling dealer trying to earn his way out of the game – albeit in a newly millennial take that supplants the character’s own drug use for what appear to be Sherlock-level powers of information gathering on anyone he might need to manipulate, charm, or blindside. He also sports the most incredible head of hair this side of Josh Brolin.

Alex Tse’s screenplay sees no gain in revisiting any of the subversive terrain that made Super Fly the enduring classic it became, his ambitions outright stopping at the point his writing could passably sell a made-for-cable urban crime series (such as – to pick a name out of a hat – Power?). Beyond that it falls to director Director X (of the Toronto Xs) and star Jackson to bring the proverbial funk, and – though X really knows how to sell a music video with all the tonal swagger of John Singleton’s Shaft remake (though, noticeably, none of its darkness or consideration) – Jackson simply isn’t a strong enough presence to sell the supposed gravitas of his lead. It’s a weakness no amount of style or gunfire can distract from, and it sinks Superfly dead.

There’s a top-shelf supporting cast in there, with the likes of Jason Mitchell, Michael K. Williams, and Rick Ross turning up for their two cents and subsequently failing in tandem to elevate this dross to become anything close to worthy of standing in its own brand’s shadow. Expectedly enough, it sports a kickass hip-hop soundtrack – with rapper (and the film’s producer) Future offering up a bevy of atmospherically charging beats to ensure you’re at least bored to music, though there is something faintly amusing (outside of context) about hearing an entire cast prattle on about wanting to wipe out “the Snow Patrol”, like they’re working for the NME in 2005.

Twenty years from now, film historians will likely regard Superfly in the same manner as we currently regard Gus van Sant’s 1998 remake of Psycho or Stallone’s 2000 remake of Get Carter – that it’s a pointless creation that completely missed the cultural point of its own iconic original – and they’ll be right to do so. Provided they remember that Superfly even existed in the first place – which they, and you, would be decidedly better off not.

Continue Reading