One of the things I really like about Russ Emanuel’s direction is that he’s able to conceive a true crime movie that feels respectful and not at all exploitative. That’s a tough feat to accomplish especially in a time where a lot of indie studios are inexplicably anxious to exploit actual horrible crimes. “American Wisper” (formerly “Wisper”) is a true crime thriller that actually managed to engage me, and that’s saying a lot for someone that almost never cares to dive in to this kind of material.
When you get down to it, you can examine “Klute” as something of a neo-noir set in the darkness of New York City where society shifted out of the Free Love era and in to much dimmer years. But deep down “Klute” manages to be a rather fantastic character study about a woman who is hopelessly and probably forever exploited by the world. Throughout “Klute” she struggles with whether she wants to have what she perceives as an easy ride and allow herself to become exploited, or resist, and try to carve out a better world for her that’s more respectable, but so much tougher than she’s prepared to handle.
I love “April Fool’s Day,” and I say that as someone that originally hated it. It took years for me to come around on it, mainly because in a decade where we got nothing but slasher movies, we were given one. But we also weren’t given one, either. In either case, if you’re going in to “April Fool’s Day,” it embraces its inherent silliness and mounts tension to be a pretty good statement about the slasher sub-genre while also having a good old time with the audience. It’s become a favorite of the sub-genre, and indicates a point where studios were beginning to satirize the tropes of the sub-genre.
By all accounts, Rian Johnson’s “Knives Out” should not have been such a stunning success. It’s an original murder mystery with an eye toward paying tribute to Sherlock Holmes, Hercule Poirot and Agatha Christie, and yet it’s such a brilliant work of cinema through and through. “Knives Out” is a traditionalist murder mystery ensemble piece but one that also evokes modern sensibility without resorting to pandering to a younger audience. You’re either in for the ride with “Knives Out,” or you’re not as it takes its time unfolding what is a sly, slick and fantastic crime thriller that kept me grinning from ear to ear from beginning to end.
I was thoroughly surprised with 2017’s “Happy Death Day.” The more I’ve thought about it and re-watched it, I’ve come to like it more and more as a horror reworking of “Groundhog’s Day.” It’s a fun and creepy character piece about a despicable young woman who realizes that maybe the way to keep herself from dying and end the cycle of re-living the same day over and over, is to think about other people in her life. “Happy Death Day 2U” is that same concept, but a wholly different movie. It’s a sequel that brings us a new angle of the narrative, expands on the concept of the original film, while also continuing to explore the character of Tree Gelbman.
Despite generally loving movies about the supernatural, and in spite of “The Plague of the Zombies” being very much ahead of its time in its implementing of voodoo as a means of our villain enacting his devious plan, I was indifferent toward “The Plague of the Zombies.” I can’t say that I completely hated it, but while it packs in some tension and great mood set pieces, I wasn’t too sad when it finally drew to a close.
It’s fascinating to watch “10 to Midnight” today and explore how dated it’s become and how much the themes and overtones it presents have been somewhat flipped on its head. J. Lee Thompson attempts to appeal to the folks that love their Dirty Harry’s and Lee Marvins by basically trying to turn Charles Bronson in to something of an aged vigilante that we can root for. But he basically comes off as an anti-hero, and “10 to Midnight” ends up becoming a war between a psychopath and a corrupt cop, both of whom never actually come out looking pristine once the film draws to a close.
What we see in “Sisters” is the template for what would become the basic mold for most Brian De Palma films. So enamored is he with Hitchcock that he essentially pays tribute to the man’s filmmaking techniques and films consciously and sometimes sub-consciously. “Sisters” is rough around the edges, but an otherwise fascinating thriller about the perversion of voyeurism, and the suppression of sexuality and female independence in an often matriarchal society. De Palma unfolds an interesting murder mystery filled with psycho sexual overtones that almost feel like nods to the Giallos of the decade.