The supernatural thriller The Rite is a different kind of literary adaptation a film not “based on” or even “inspired by” a written work but rather “suggested by” one. The degree to which this fictional film adheres factually to its source material Matt Baglio’s book The Rite: The Making of an American Exorcist is anybody’s guess. Fans of The Exorcist might argue that it’s more strongly “suggested by” William Friedkin’s 1973 horror classic than anything else.
Erstwhile unknown Colin O’Donoghue in his first feature role plays Michael a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn’t even sure he believes in god much less the Catholic doctrine of exorcism Michael is inclined toward the more humanistic view of the “possessed” as simply disturbed or schizophrenic individuals. What they really need he insists is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism Michael’s headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins) a Welsh Jesuit (shorthand for “eccentric”) and practicing exorcist. Having been around the theological block a few times Lucas reacts to Michael’s unbelief with wry nonchalance (a Hopkins specialty and the film’s most appealing trait); he knows that Satan’s arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith first using a pregnant Italian girl as his vessel then incorporating other representatives of the animal kingdom tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father played by Rutger Hauer who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card of course is Hopkins whose character eventually becomes possessed himself thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone with Hafstrom seemingly unable to decide if his film is to be a moody serious-minded psychological thriller or some campy outlandish horror-comedy. By the time Father Lucas becomes possessed and the reenactment of the first great celestial battle begins the film gives itself wholly over to the latter. As channeled by Hopkins the devil comes off as a less eloquent more vulgar version of Hannibal Lecter taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
Adapted from a King short story 1408 centers on renowned author Mike Enslin (John Cusack) who writes books about haunted places—houses hotels graveyards etc. He doesn’t believe in any of the mumbo jumbo since he hasn’t ever seen anything paranormal but he is happy to cash the checks anyway. When Enslin finds out about a haunted suite number 1408 at the notorious Dolphin Hotel in New York he does some research and discovers it indeed has had a grisly past. He decides he just has to stay there much to the chagrin of the hotel’s manager (Samuel L. Jackson) who hasn’t let anyone near the room in years. Anyone whose been in the room for more than an hour kills themselves you see. The manager tells Mike it isn’t necessarily because he cares about him he just doesn’t want to clean up the mess afterwards. But Mike is undeterred—and so sets out on the longest journey of what could be his short life. Save for the tense exposition scene between him and the always-good Jackson it’s mostly Cusack’s show—and he nails it. He displays that certain affability we’ve loved in films such as Serendipity but then demonstrates some real chops when it gets down to the nitty gritty adeptly alternating between jaded cynicism bewilderment bereavement and finally full-blown terror. See the room isn’t just a place where ghosts materialize and de-materialize. Its pure evil and manifests itself into whatever personal turmoil the occupant is going through at the time. For Mike this means reliving the death of his young daughter (Jasmine Jessica Anthony) and his further estrangement from his wife played convincingly by Mary McCormack (The West Wing). In Cusack’s capable hands Mike is one tortured soul but can he be strong enough to survive the odds? It’s not an easy thing to turn a Stephen King story into a movie. John Cusack aptly puts it in the production notes “I don’t know how he knows how to scare people so intensely or where those impulses come from but King is definitely channeling some spirits and demons.” Boy does he ever but as his loyal readers know his horror doesn’t necessarily mean gore (although his books do have that stuff in spades). In fact much of the terror King’s characters experience happen right inside their own heads which is frightening to read but really hard to translate to film—and many filmmakers have failed at it with exception to Rob Reiner who got it right with Misery. Now along with Reiner there’s Swedish director Mikael Hafstrom (Derailed) who understands how to take King’s internalizations in 1408 and bring them chillingly to the forefront with little to no CG effects or gimmicks. Rather the director plays with the audience making them guess whether they are watching real ghosts or just what’s happening inside Mike’s psyche. Hafstrom says he hopes viewers will wonder “What would happen to me in 1408?” I wouldn’t want to find out that’s for sure.
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.