There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
WHAT IT’S ABOUT?
In the late '50s a group of elementary students put futuristic drawings in a time capsule that is then buried on school grounds. One overly obsessed kid Lucinda goes her own way by writing hundreds of mysterious seemingly non-sensical numbers on her entry. Fifty years later it’s dug up and comes into the possession of Caleb the young son of John Koestler a recent widower and astro-physics professor who becomes obsessed with the papers Caleb has brought home from class. He soon discovers the random digits are actually not-so-thinly disguised dates (including 91101 of course) for “future” disasters and there are clearly three of those dates yet to come. Although nobody believes his ramblings about this code for impending doom a nearby plane crash proves he is on to something so ominous the fate of the world could be in jeopardy. With all hell about to break loose the prof takes matters into his own hands.
WHO’S IN IT?
Just a couple of years ago Nicolas Cage starred in Next as a magician who could see into the future and had to prevent a nuclear attack. Now he’s at it again as an MIT professor who also has clues to future catastrophes and also is out to prevent the inevitable. And of course in the National Treasure films he latched on to maps that had contained similarly dark deeply held secrets. Nic clearly likes “knowing” stuff before the rest of us and he’s quite believable even if some of the circumstances in his latest sci-fi adventure are really out there -- literally. Cage somehow makes you buy into this stuff which is key to the ultimate success of the flick. As the key kids Chandler Canterbury as Caleb and Lara Robinson as Lucinda (and later Abby Lucinda’s granddaughter) are properly eerie and haunted-looking. Rose Byrne is also along for the ride as Lucinda’s grown daughter who is able to provide goosebump-inducing information that the numbers alone can’t. There’s also some dead-on creepy emoting from D.G. Maloney as a quietly foreboding stranger who seems to be following Caleb.
Unlike some recent movies of this type with nothing on the agenda but pure mayhem “Knowing” delves into the bigger issues of why we are all here providing something other than just big explosions to talk about on the way home from the multiplex. Director Alex Proyas (I Robot Dark City The Crow) certainly knows how to pull off complex action set-pieces but he and his screenwriters also seem to be genuinely interested in exploring the meaning behind the madness.
Some of the more pedantic dialogue Cage is given can be groan-inducing but since he plays John as a total believer we can forgive it. Also the film falls victim to a final act that veers into typical disaster movie territory and isn’t as compelling as the first two thirds which try to keep the premise at least marginally credible. At two hours it probably could have been tightened anyway.
The rain-soaked plane crash sequence with its gritty hand-held photography is riveting to watch and one of the most frightening depictions of a jetliner disaster put on film yet.
GO OUT AND GET POPCORN WHEN ...
If you are really squeamish it might be worth "knowing" that you should take breaks in the big disaster sequences as the CGI effects can get pretty violent and graphic particularly for a PG-13 movie.