REVIEW: IT FOLLOWS Isn't Exactly The "IT" Thing.

II've seen a many horror movies. It is my favorite genre. Probably because, as I have noted in the past, it is the most challenging to get right. It Follows proves just how challenging that journey into horror film-making can be.

Starting off with a quiet bang, a teenage girl in bright red hooker heels (something I yearned to be a continuous satirical move from the director) darts out of a suburban brick home and into the streets. We get the sense something is in fact following her as she peers back in question--"Did I just see that?" A stunning shot later reveals her brutally mangled body on the beach sand. In fact most of the shots by director David Robert Mitchell are just that--stunning. His talent for mood and atmosphere truly are a stand-out. Small details like never showing the depressed mothers face give us background detail of the heroines life without overplaying it. But this is not necessarily a good thing because it truly outshines the story as it moves from intriguing location to location with little explanation.

The clever story manifests in an unexplained entity passing from one person to the next via fornication. We follow the beautiful Maika Monroe in a brilliant scream queen performance as the "It" is passed to her in a tense scene where she is locked into a wheelchair in a dilapidated structure. Through-out the movie she struggles with the decision of which beau to pass it to (one of which is short-lived great United States Of Tara's Keir Gilchrist--who is excellent here as well). We then follow a group of close friends who experience her mental breakdown as they try to "Final Destination-esque" rid her of the It. I don't know about you but as wonderful as my close-knit friends are... I am pretty sure they would not be willing to chance their life by allowing me to pass the spectre to them. And so goes the first thing in horror that is a tedious threat--the suspension of disbelief.

As cool as that premise sounds, It Follows grows increasingly hard to believe the outlandishness of the plot. In question are also some of the "It's"(the first being the most frightening--an old woman in a nursing home gown), as they appear in different forms--including her friends. What could have been a tie-in of drama greatness--questioning who is who? is tragically abandoned. The suspense is perfectly jarred by Disasterpeace (owing more than a bit to John Carpenter's classic score in Halloween) but the director Mitchell doesn't build pace correctly and several tense moments fall flat like a swimming pool scene of electrical devices waiting at the side are left up to our own imagination to generate the fright factor--we can only visually connect with what's going on.

Not to down It Follows entirely, which will surely gain an extreme cult following over the years are rightly so for its House of the Devil feel (a far better fright-film--check it out) for recreation of bygone horror films from the 1970's and 1980's--when horror truly reined. I guess there are just a few of us out there that get it. We yearn for the days when fun cardboard horror flicks could become classics again. I admire these directors like Mitchell and Ti West (House of the Devil) for not giving up on a genre that leaves us wondering--when is the next big cult classic? As much as I wanted it to be,  It Follows isn't exactly it. It is neither satire like Scream and barely leaves room for philosophical interpretation.

GRADE: B-

REVIEW: A Deliciously Bloodsoaked LIZZIE BORDEN Comes Back For Another Wack

New series "The Lizzie Borden Chronicles" follows up the hit Lifetime movie "Lizzie Borden Took An Ax" with decadent aplomb. A true story that lays legend on the playgrounds as a jumprope chant still to this day. The infamous story of Lizzie Borden (1892) who was acquitted of the sadistic murder of both her parents. What was great about the original film was that it handled the crux of the story--murder and trial, with hard-boiled confidence that runs straight through the bloodline of the new show like a shot of heroine. Chronicles most impressively manages not to release itself from the tension and curiosity previously set-up where the movie left off. Apparently, "Lifetime" thought there was much more to offer and they are proving themselves right.

The great Christina Ricci continues to stun in an about-face performance. Her approach (as well as the writers) leaves little room for mystery and this bold, brutal choice is what makes it. Throughout her career, Ricci has unfairly dodged Oscar gold, most notably as serial killer Aileen Wuornos' (Charlize Theron--in one of the most amazing performances ever given on screen) troubled girlfriend Selby Wall in Monster. Here, though, Ricci forces us to remember how truly Grade-A of an actress she is while being cheeky enough to risk that status with a "Lifetime" show. I like Lifetime. After all the network single-handedly brought "The Golden Girls" to a whole new generation, but it has wrestled with a campy Soap Opera movie image for years. To challenge this, both Lizzie vehicles driven by Ricci is a double wack in the right direction. 

Whereas Ricci's "Lizzie" is manipulative, promiscuous, brash, and broken, her sister Emma (an understated Clea DuVall, Argo) is fragile, mousey, strange, and broken. This makes for a perfect counter-part--leaving the audience to wonder why the sisters are so different yet brought so close together. What actually happened in the Borden House and what is only a fabrication of the legend of Lizzie's mind? DuVall is simply fantastic and nails the reclusive Emily Dickinson feel like a pro.

The gritty modern soundtrack deserves considerable notation for being a daring contradiction, and it not only works but it works well. Watching characters dawn beautifully accurate costumes as horse drawn buggies travel across beautiful 1800 style sets to the sound of Tree Adams music is a jarring delight. It challenges us to agree with the flavor of Lizzie's blood-soaked pop-culture-sickle... and we not only do... we crave it.

Written By: Kai Elijah Hamilton 

Can TVLands New YOUNGER Age Gracefully?

Perhaps the irony in "Younger" is that it's targeted for an older audience. The premise is a just fresh enough 13 Going On 30/Big revamp. 40 year old mother Liza (Tony Award Winner Sutton Foster) decides to dive back into the competitive working class after a 15 year hiatus only to find that time is not on her side. With the help of best friend Maggie (Debi Mazar--with that fantastic old-school Rosie O'Donnell charisma) she revamps her image and nabs a job at an elite publishing firm where she is required by marketing head (Miriam Shor) to use her "youth" to assist in the company's relevant staying power--while flashes of the great 80's rom-com Working Girl seem inevitably in the horizon, that of venomous Sigourney Weaver stealing Melanie Griffiths every inventive idea to keep her from rising to the top. I can only hope that "Younger" realizes that paying homage to the listed classics above is far different than slinking away from it and plummeting into predictability. It is still too soon to tell.

I am all for fun good-hearted comedies such as this. I must say my curiosity was more than raised by the brigade of TVLand advertisements in between fading sitcoms such as "Hot In Cleveland". As "Younger" (a single camera show) continuously pokes fun at devices of a new generation--hash-tags, tweets, snap-chats, grunge wear, and hip catch-phrases, we can't help but wonder how this new comedy is going to sustain its balance resting on a "one joke" plane.

Its pace was most startling as it zipped along like the metaphoric New York City traffic. Yet I'm not sure that was in "Younger"'s best interest as the first 2 premier episodes could have been broadened into 4 with more time given to an always welcome makeover a-la The Devil Wears Prada (still Anne Hathaways most tolerable role).

Two supporters seem to stand out from the mix thus far--a strikingly well cast and scene stealing Hilary Duff as Kelsey and a handsome lovelorn bad-boy Nico Tortorella as tattoo artist Josh. Both actors immediately give their characters unexpected "heart".

And yet, so does "Younger". No matter that it does not totally defy convention or allow us to breathe in moments of greatness--it scores highly in charm and performance level by all involved. I am highly curious to see what the coming months bring.

P.S. Download unofficial theme song "Turn It Around" by Lucius. It completely captures the intended new-age "Sex In The City" vibe.

Who Should Win At The 2011 Oscars

BEST PICTURE:

THE ARTIST/THE HELP

This is a curious category this year. There are no overtly huge over-rated guy movies (IE: The Departed) and no run-of-the-mill-been-there-done-that Saving Private Ryan-esque war movies (I still revel in the fact that Shakespeare In Love trumped it). Leaving way for any wonder of the imagination to climb aboard the hefty 10 nominee possibilities train. Yet with a slip-knot of 9, the Academy more than slapped one of the best pictures of the year directly in the face--simply because it was a comedy. Bridesmaids is very much one of the best movie of the year. That being said Super 8 was also snubbed. Thankfully, The Artist, dynamic by all costs, stands a strong chance of winning the prize. It is both artful in its rebirth of the silent film technique and touching. The underdog contender is surely the controversial The Help-- one of my personal favorites. The performances are top-drawer not only from Viola Davis and Octavia Spencer--but on down the line to a scene-stealing Sissy Spacek (who should have won an Oscar for her come-back In The Bedroom), a heartbreaking-all-too-briefly-shown Cicely Tyson (Oscar nominee Sounder), and the mega-bitch Bryce Dallas Howard (of the under-rated The Village). Both The Help and The Artist stand out to me as two small little movies that could. So much so that I am unable to choose my favorite. I don't like ties, but maybe there should be one.

BEST DIRECTOR

MICHEL HAZANVICIUS, THE ARTIST

Maybe Martin Scorsese should have won for Hugo instead of The Departed. At any rate Michel Hazanvicius for The Artist certainly gained a lot trust from a lot of people to anchor the wit of a silent film boat. He did it beautifully. A snub from this category is certainly Tate Taylor of The Help. You can't drive that many great performances out of that many great females and not be a true contender.

BEST ACTOR

JEAN DUJARDIN, THE ARTIST

This is not a strong category this year. George Clooney will win for the most over-rated movie of the year The Descendants (*At second viewing I warmed up more to this film) but his work in Up In The Air was far greater. The winner should be the handsome Jean Dujardin of The Artist for acting with visual emotion and no words-- plus he has a cute little side-kick dog and all.

BEST SUPPORTING ACTOR

JONAH HILL, MONEYBALL

I was not as excited about Beginners Christopher Plummer as everyone else seems to be. Unfortunately, I have not yet seen Warrior with Nick Nolte (who I loved in the under-rated comedy I Love Trouble). So curiously enough I am going with Jonah Hill in Moneyball who really did an excellent job taming down his comedic persona and channeling a dramatic-side none of us knew he had in him.

BEST ACTRESS

MICHELLE WILLIAMS, My Week With Marilyn

Tough one. I was taken away with Viola Davis in The Help. She was so under-stated and real. I would not mind if she won a single bit. Who I hope doesn't win is Meryl Streep-- because I feel she has been better in a better reviewed film. I also think she is a better actress when she is in a tamed down performance IE: It's Complicated. That's not to say she isn't one of the greatest actresses of all time. Because she is. And she does embody real people well. But it is unfortunate that Michelle Williams got under-rug-swept for one of the most entrancing performances of a real person we have seen since Charlize Theron in Monster (simply one of the greatest performances in history). I was skeptical of Williams as Marilyn in My Week With Marilyn. But she gave the character such depth with a combination of shyness, beauty, grace--showing a mentally unstable woman in her prime before her ultimate descent to her own demons that I can't possibly in good faith vote on anyone else. Playing someone so huge as Marilyn is a task almost inconceivable especially along side an actor very miscast. And in true Marilyn style--you can't take your eyes off of her. On a side note, Kristen Wiig is missing from this category for Bridesmaids. I agree with one critic, her airplane scene was the stuff of a modern-day Lucille Ball... and who doesn't love Lucy?

BEST SUPPORTING ACTRESS

MELISSA MCCARTHY, BRIDESMAIDS/OCTAVIA SPENCER, THE HELP

I love that so many female performances this year are so grand. Berenice Bejo was perfect in The Artist and in another year would have won. Jessica Chastain was remarkable (as well as the rest of the cast) in The Help-- especially Octavia Spencer. I enjoy the backstory of how director Tate Taylor campaigned for her (his friend) to get the part even though the part of Minny could have went to a name actress. His faith-filled campaign was admirable considering her monumental achievement. She will win. But wouldn't it be fun to see Melissa McCarthy strike back for the Best Picture snub of Bridesmaids by pulling a Marisa Tomei (so wonderful in My Cousin Vinny) and win unexpectedly? She was not only hilarious for throwing vanity to the wind (something any truly great actress can do) but also she's so moving in the scene on the couch where she gives Kristin Wiigg's character a pep talk. Again--I call a rare tie.

THE DOOM GENERATION: A Masterpiece Wrongfully Doomed.

THE DOOM GENERATION:

A Masterpiece Wrongfully Doomed.

The Doom Generation directed by Gregg Araki is a rad pop-culture, acid-washed Picasso. As the title suggests it speaks to a specific generation and an even more specific audience. As part of Araki's Teenage Apocalypse Trilogy (including Totally Fucked Up and Nowhere) The Doom Generation falls in the middle, yet manages to stand alone. It has been wrongfully criticised and by some of the most respected film critics including Roger Ebert. Whos "zero star" rating can only attribute to how bizarre and boldly speaking it is to a culture of youths. This is something Ebert can't possibly understand. That probably isn't a bad thing considering the film's mosaic canvas is fashioned from a drug-induced paintbrush.

The "Bonnie and Clyde" road-movie storyline takes a backseat to the very original characters and their situations with one another. As well as the overall atmosphere of the kaleidoscopic world they live in. Rose McGowan made her splash as Amy Blue the speed-junkie lover of the alternatively attractive Jordan (James Duval, of the magnificent Go). When their club night spins into tragedy they pick up a bad-boy drifter Xaiver (Jonathon Scheach) who has more on his mind than just a ride. A homo-erotic spark flares between Xaiver and Jordan. When Xaiver realizes he can't get Jordan to succumb to his advances he seduces the jealous Amy.

The director is brilliant in the fact that he knows how to tease us. The two male leads nearly kiss numerous times and each time we buy into it. The dangerous hunger between them fuels the rest of the film into a murder and escape routine. Rose McGowan perfectly up-plays the jealousy card just enough that you get the feeling the thought of the two males together also turns her on. You see-- Amy doesn't want her lover Jordan to fuck around with Xaiver but she knows that to alleviate her guilt of having slept with the drifter-- it is inevitable.

When the taboo tests us to the limit and the two guys begin to act on their desires in an abandoned warehouse, the message of the film ignites like a firestorm. A homophobic pack of roughnecks stumble upon them, we are bound for an excruciating and unexpected climax. The highly-stylized film comes full circle by the gay-bashing statement of the final act. Fully equip with crude references to the American flag and body-painted Nazi Swastikas.

What makes me smile about such films as this is the absolute trust the actors and crew clearly gave up to a director with a nonlinear scattered vision. That trust is how true works of art are made and in this case filmed. Interestingly enough Gregg Araki went on to direct the gay romantic comedy Adam & Steve 10 years later. A hilarious and heartwarming nod to the gay romance scene or a much needed addition to the unfortunate lack their of in cinema. The movie Co-Stars the great Parker Posey-- who cameos here. Which is my sole complaint with The Doom Generation. Her character should have appeared at the end of the film for a subtle bow-tie. But the desire to broaden the cameo is basically like polishing the silver. If Araki, who once fashioned films of this dark nature and went on to impress with the linear fluidity of Adam & Steve, keeps successfully changing visions in the future-- he is certainly a director that merits grand attention.

The Doom Generation was made in 1995. A final bow to the years of grunge in the main-stream created by the likes of such alternative forces Nirvana and Pearl Jam. It speaks to that generation of youth, as well as throws forward to a newer artistic generation in the wake of the abstract Lady Gaga stylings. One wants to say it was ahead of its time (another part reason that Ebert didn't "get it") but rather it has been able to hold itself by finding a cult audience that bashed its lukewarm critical reception. Well worth noting is a worthy Independent Spirit Award Nomination for Rose McGowan as Amy Blue who, a year later, went on to cement her fame into the "Scream" franchise.

Stylistic movies that include dark-tones such as drugs, sex and violence often times scare people. Therefore they lash out or rather don't bother to understand that the director was speaking for a different person-- a certain generation. It scares them because they don't understand the world it is trying to portray. But rarely do we ever dissect and solve the unusual correctly-- even with famous works of art. Take the notorious portrait "The Scream" by Edvard Munch into consideration. We can only speculate the grim purpose and why the brush strokes are so darkly psychedelic. Maybe that outside wonder is part the point. Perhaps we should question why we are so intrigued. Even intrigued to hate or bitterness. As far as The Doom Generation is concerned, even as an outsider we are left with this puzzling film portrait. A portrait we are meant to admire on a whole other level-- because, like behind the wheel of Amy's car, it moves us into an uncertain direction.

Grade: A

The Forgotten Actress Club: "Rue McClanahan"

Inducted into "The Forgotten Actress Club":

RUE McCLANAHAN

Let's face it Rue McClanahan will always be remembered best as a "Golden Girl". Even though she made an impression beforehand in "Maude" and "Mama's Family"-- both curiously including her "The Golden Girls" co-stars. However, it was as Blanche Devereaux, a saucy southern belle that loved men as much as her own mirror reflection, for which she won an Emmy Award. "The Golden Girls" is still the only television show in history to earn Emmy's for all its central players. It is an undeniable classic. A classic that was unfortunately cut a season or two too short by the departure of Bea Arthur-- perhaps to staple her place as the most important lead character (the way the show had started out). Regardless, the sitcom stands the test of time, framing the 4 friends equally, never separate.

It is easy to stereotype each of "The Golden Girls" into personality categories, perhaps that is why audience members were able to relate so strongly to the 4 very different characters. On the surface it was easiest to sterotype Blanche's character as a one-noted bimbo. Thankfully Rue gave the character much more depth. She was particularly fantastic in dramatic sequences. In an episode where Baby Emily is left possibly abandoned in the girls' care, Blanche contemplates another chance at raising a child. With regret in the aging beauty's face she owns up to taking her life over her own children in the past. The effect this has is nothing short of heartbreaking-- one of those terrifying realizations of years of damage. In her case brought on by countless sexual encounters and Miami socialiting. There is a memorably scene near the end of the episode where she agonizingly tries to talk to her daughter over the phone, nearly begging her for a visit. From this phone monologue alone, and knowing as an actress Rue was not "actually" talking to someone on the other line-- her Emmy is well deserved.

Blanche was the glue that held "The Golden Girls" together. Without her charm and her literal open-door friendship to the 3 other roomates-- they would never have known eachother to begin with. This makes her importance in the series just as strong as the often-thought-of-lead Bea Arthur, the scene-stealer Estelle Getty, and the sudden surge of "Betty White is everywhere!" Rue had perhaps some of the most memeroable bits: from deflating tit's to the brunt of a murder mystery dinner theatre joke-- one of the series best episodes. The comedic zeal her character exudes mixed with her ability to be unexpectedly dramatic despite fighting a cardboard framed character are why she deserves this induction into the "Forgotten Actress Club"-- Rue McClanahan was nothing short of a great actress.

Sadly, Rue passed away from a stroke on June the 3rd, 2010. She was 76 years old... leaving longtime friend Betty White to hold the torch as the final Golden Girl.

Long live Blanche.

The Forgotten Actress Club: "Fairuza Balk"

The first actress to be inducted into the club:

The hypnotic

Fairuza Balk.

Best Known For: Return To OZ ~ The Craft ~ Gas, Food, Lodging (Independent Spirit Award Winner)~ Valmont ~ Almost Famous ~ American History X ~ The Waterboy, Her breakthrough came when she was chosen from millions of young girls vying to play the new Dorothy in The Wizard of OZ sequel Return To OZ. The film was unfortunately a near flop because it boldly yet cleverly veered away from the happy musical feel of the original... and decided to embrace the book's darker side. Balk was a perfect Dorothy for what would later become a cult classic-- and rightly so. The film is in many ways better thathe Judy Garland classic. A thrilling adventure... that is oftentimes scary. The imagery of the headless dancing girls... whos heads are kept in a case will stay with you forever...

Balk would later win a deserving Independent Spirit Award for Best Actress in the great little film Gas, Food, Lodging... and should have been considered an Oscar contender-- the same with her enormous support in American History X.But it was the witchy flick The Craft that really broke her into stardom. Playing the sexy nose-pierced bad-ass witch of an elite high school coven. The youthful film itself is actually remarkable, and found it's way into the same league of 90's classic's like Heathers.

"Watch out for the weirdo's, girls." ~ "We are the weirdo's, mister."

Fairuza earned a high profile appearance in Almost Famous... and shortly after began to fade prematurely. She had a notable performance in the indy Personal Velocity then her career sadly stalled.

My prediction:

With a memorable face that has the ability to transform for sexy and dramatic and frightening roles, it's a wonder that in her mid 30's she isn't being begged for.

Having several long-span leaps between noteworthy performances over the years-- she is due for another. Each time she gains more attention. Let's hope that a gritty project of a drug-abused or wrongly accused woman is somewhere in the waiting zone. She could very well give it her all and to everyone's surprise find her way to the Oscar podium. She is that memorable. She is that good. And she does not deserve to be forgotten. And with that vote of confidence she cannot stay in this club for long...