Young Oliver (Azhy Robertson) is a little different and that make him a social pariah at his elementary school and the victim of bullying. His overprotective yet extraordinarily caring mom, Sarah (Gillian Jacobs) harbors the guilt of responsibility, undeservedly so, for the severity of his situation as Oliver isn’t speaking and can’t make friends, a result of autism. But most of all, the fact that Oliver does not make eye contact, connecting emotionally with his mother, is simply gutting for Sarah. Oliver’s disconnected loneliness makes him the target of Larry, a “misunderstood monster” and this is where the horrors of friendship begin.

Oliver is a bright yet non-verbal boy who uses a communication board on his iPad to express himself. And on that iPad, a new book pops up one night—“The Misunderstood Monster.” Drawn to the images, Oliver begins to read. The lightbulbs begin to pop and strange noises are heard. Unable to scream for help, Oliver hides beneath the covers, shuddering as to what is lurking behind the doors or in the closet. It’s absolutely chilling as writer/director Jacob Chase takes full advantage of every childhood memory of being scared of things that go bump in the night.

Larry is the book’s subject, a monster who is attempting to cross into Oliver’s world as he just wants a friend. The more Oliver reads, the closer Larry gets, but try as he might, he can’t shut Larry off. Oliver’s ability to communicate with his mom is rudimentary but Sarah begins to see the light…and Larry. However, it’s not until she follows Oliver’s speech therapist’s direction, Dr. Robyn (Eboni Booth), to help Oliver establish friendships that Larry begins to become a bigger part of everyone’s lives.

Making friends for someone like Oliver is obviously difficult, but the cruelty of a group of boys led by pack leader Byron (Winslow Fegley) is heartbreaking. Of course, Mom unwittingly invites Byron and the boys over for a sleepover to help Oliver make friends, but what happens when Larry invites himself creates a total nightmare for everyone.

To give anymore of the story away would take away the chills and thrills as well as the key points of an unexpectedly engaging story. Chase ticks all the boxes of what makes a horror movie captivatingly chilling, but he does much more than that. He blends a narrative arc of reality with our silly and irrational fears of childhood with characters who we not only care about but identify with. These elements combined with precision editing of both sound and sight give us a horror film that will haunt you long after the credits roll.

Are there stereotypical elements of classic horror movies that make you jump and chuckle at yourself for falling for it? Of course, but isn’t that the fun of a horror film? Additionally, Chase is skillful in his writing and directing as he holds out seeing Larry until just the right moment, late in the film. He teases us as he uses the illustrations in the book to give us a sneak peek into what awaits us. Little by little, we see more of Larry, and it’s scary, but not having the complete picture from the beginning creates incredible tension, building incrementally until the story’s climax.

A film isn’t complete with just the story, its cast of characters, in this cast rather small, is vital to the film. Each actor, no matter their age, skillfully plays their parts, but a heavy load is placed upon the shoulders of Robertson as he has no dialogue playing Oliver, the lead role. With his huge round brown eyes, he’s is like a sweet innocent doe who is hunted by a monster. He conveys every emotion and thought non-verbally or laboriously with his communication device. He has a firm grasp of some of the possible attributes of someone with autism, primarily the lack of connecting eye contact, and with Chase’s direction, Robertson all the necessary tools to create a believable Oliver. The role of mom is quite important in Chase’s story and Jacobs who exudes an air of authenticity in every role she has portrays Sarah, a guilt-ridden mom who’s on overload and wants nothing more than to have a “normal” son, with exceptional skill. While the remainder of the small cast is certainly noteworthy, young Fegley as Byron the bully stands out. To create characters and have performances which feel real and natural in a monster movie is certainly quite a feat and a team effort all led by the director.

“Come Play” is a smart horror film capitalizing on the familiar while making a few pointed jabs at our social dependency on electronics and the dangers within. But on the surface, it’s a fun horror movie with an ending that may just pull on your heartstrings. How many times can you say that about a horror movie?

Opening in theaters October 30th.

3 1/2 stars

If you think you’re having a bad hair day, wait till you see Justin Simien’s newest film “Bad Hair,” starring Elle Lorraine and Vanessa Williams. This film gives the term a whole new meaning! As Anna (Elle Lorraine), a young Black woman in the late 1980’s struggles for recognition as a television host for cutting edge music, she finds that looks matter more than talent in this industry. With a corporate shake up lead by Zora (Williams), Anna (Lorraine) is encouraged to do something with her hair if she wants to succeed. Succumbing to the pressure, Anna pleads with a hip salon to put in a weave to make her hair luxuriously beautiful. The results are unexpectedly horrific and oftentimes jaw-droopingly comedic as she climbs that corporate ladder.

We meet Anna (Zaria Kelley) as a youngster, adopted into a loving yet high-pressured family. Her sister Linda (Corinne Massiah) is busy helping to relax Anna’s hair using the chemical process of the day. This becomes a traumatic event which will impact her and the story well into her adult life. Dad (Blair Underwood), an accomplished historian shares with his girls a story of their African ancestors. Anna, ever the rebellious one, questions these folklores which sets her adoptive parents into a tizzy. Fast forward about twenty years later and Anna’s working in one of the most prestigious L.A. music television stations, surrounded (and taken advantage of) by high profile talent and industry leaders. But Anna isn’t getting anywhere in this company no matter how many great ideas she has–she’s always overlooked. Lacking confidence, she’s like a quiet mouse but when Zora shows up, there’s a connection and admiration which inspires her to change.

The groundwork is slowly, perhaps a bit too slowly, and methodically set up for the first half of the film, but as soon as Anna sits in that salon chair to have that hair weave brutally installed (yes, installed), the tone shifts dramatically and we have a horror story unraveling before our eyes. Anna’s hair is straight, long, and luxurious. She’s turning heads everywhere she goes. Her confidence rises but still plagued by financial issues and imminent eviction from her dilapidated apartment by her slimy landlord, the hair begins to have a mind of its own and the blood begins to spill.

To give you any more information would ruin the fun of this film, but suffice it to say, the landlord isn’t the only victim of Anna’s bad hair. This film artfully combines gruesome over-the-top horror with an underlying story of how Black women were/are perceived. And the lengths they go to in order to change their appearance and be accepted in a white world is astounding. Acknowledging the inequities and pressure to assimilate, the film blends lore and superstition into a world of reality to give us a unique horror story that sticks with you.

Simien brings us back to L.A. in the ’80’s complete with shoulder pads, crazy colors, and the music of the day. The cast of characters embrace their roles and this era to bring it to life, never missing an opportunity to make us laugh as we witness some of the horrors. Lorraine’s reactions are priceless as her character discovers a new part of herself. She invites us into her mind as she struggles with what’s happening and the conundrum of succeeding because of it. Balancing Lorraine’s depiction of the innocent Anna is Williams’ evil persona of Zora, but there’s more to her than meets the eye. Williams holds nothing back which is perfect and she’s having fun in this role. In fact, no one holds anything back which speaks to the fine direction of Simien resulting in a thrill ride of a film.

“Bad Hair” is a unique horror film which makes you laugh, gasp, cringe, and understand more about perception and struggle for equality in the work place not just as a woman but a Black woman. While it’s quite gruesome, it may not be for everyone, but there are plenty of comedic and dramatic elements to counterbalance that horror.

**Streaming now on Hulu**

3 1/2 Stars

While best known for “Lost in Translation” starring Bill Murray and Scarlett Johanssen, winter/director Sophia Coppola’s credits are significant and now she is reunited with Murray in her newest film“On the Rocks.” This time, Murray is paired with Rashida Jones as a father-daughter duo tackling life and the ghosts that haunt their relationship.

We meet the happy young couple, Laura (Jones) and Dean (Marlon Wayans) upon their wedding day with a bright future ahead of them. Fast forward nearly a decade later and we are thrust into their chaotically busy life filled with two kids, a traveling husband, and a former writer trying to get back in touch with her passion. It’s a familiar scene of striving for balance in life but achieving it is another story.

Laura begins to have doubts about her relationship with her husband and reaches out to her father, Felix (Murray) whose previous actions with women may help her decide. The story becomes a study of this particular father-daughter relationship as the two attempt to reconnect as they play private detective.

The film is very narrowly focused on this duo, but make no mistake, this is Laura’s story. We get a glimpse into her life of being a mom and wife as she constantly transports kids, waits for them at school, and briskly interacts on the run with other moms all while trying to write her next book. It’s anxiety producing and for many of us, it brings back memories of a time that are merely a blur as we tried to juggle it all.

The heart of the film comes from Laura and Felix’s interactions. Felix, ever a flirt, seems to happily flit through life, superimposing his own morals and values upon every male including his son-in-law. This personal moral compass of his significantly and negatively impacted his relationship with his daughter and may continue to do so as we watch the story unfold.

On the surface, the question of “is Dean having an affair with his gorgeous assistant” is always looming overhead, but as we dig deeper into the story, it’s about Laura coming to terms with who her father is and if she will allow those attributes to effect her life now. It’s a slow burn and sometimes a bit too slow, but that initial question keeps you hooked. You have to find out if Dean is having an affair.

“On the Rocks” is a small slice of one woman’s life as she yearns for the relationship and identity she once had while her relationship with her father comes to a head. We immediately know Felix has disappointed Laura in the past, but she holds out hope that maybe this time he’ll be different. It’s apparent that these unresolved issues must be confronted before she can independently and emotionally move forward.

Jones creates a believable character to carry this significant load, skillfully finding the right subtle actions and reactions to show us her longing for her image of a father to guide her. It’s an understated performance, and while she and Murray find a connection, the rhythm just isn’t consistently there. Murray seems to be constricted as he portrays the less than likable dad with a cavalier and self-absorbed perspective. He seems to pull back in this film, however when he does relax, as he does in the scene to talk his way out of a ticket, it’s wonderfully engaging.

The film is beautifully shot as the pair zip through New York City in a convertible or have an intimate drink and dinner at a familiar-feeling restaurant. This personal perspective to the film allows us to have empathy with Laura as the turmoil in her life culminates. Where the story suffers is its attention to character development with the supporting cast. We never get to know Dean or Laura’s annoying “friend” Vanessa (Jenny Slate) who adds a touch of humor to the dramatic film. There are a few unanswered questions , but ultimately, the film poses an introspective question for us all—how much do we let others’ baggage influence us?

While it’s a slow-moving film with a feeling of tying things up too neatly and quickly at the end, Jones and Murray create an intricate story of how our past influences our future.

3 Stars

*Repost from September 2016*

When you think independent film, you envision a creative filmmaker scraping together funding, asking friends to borrow homes or other settings for a day of filming, and even enlisting talented friends who might know sound engineering or those that can act. I think this wonderfully written and well-executed production just might fit this rather romanticized version of an indie film. Shot in North Carolina over a 23 day period for a mere $25,000, Michael Howard brought his words from the page to full living color with the help of talented individuals who believed in his project. With the cooperation of the town to use churches, warehouses, and even the police department to shut down streets and use squad cars, Howard shows us that you don’t need a multimillion dollar budget to have a quality production.

“Where We’re Meant To Be” is a series of several vignettes which all overlap in seemingly random ways. It is this coordinated “randomness” that brings to the forefront of our thoughts how meaningful those smallest of moments in life just might be. As we find ourselves watching Charlie (Blayne Weaver) and Anna (Tate Hanyok) interact on a blind date, their journey sets the ball in motion, if you will. Their actions reverberate like ripples in the ocean, setting the scene for the next story. The domino effect of actions continues to stitch together several more stories revolving around death, God, happiness, murder, and even a first sexual experience. All of these lives are intertwined, sometimes marginally, but always beautifully and powerfully to send home the message that our actions have a lasting impact.

The stories are all very poignant, but the two that stand out, because of the incredible acting, are the blind date and the kidnapping. Weaver (“Favor”) and Hanyok (“Shameless”) portray that natural chemistry and awkwardness of a blind date that’s going quite well. Their cowwmtb-film-shot6mmunication, both verbally and non-verbally, brings you to the table to experience their thoughts and feelings, always with a smile on your face. It would be easy to listen to the two talk for hours as we learn about their lives and their older and wiser take on what the future holds. The film then takes a darker turn as we witness a kidnapping and crime with an undercover cop. It’s a brutal and harsh scene that will quite literally take your breath away. Howard takes on the role of John, revealing that this talented filmmaker is comfortable both behind and in front of the camera.

While there are some pacing issues, particularly as the sister deals with the guilt and aftermath of her brother awwmtb-film-shot3nd nephew dying, the heftiness of the topic may deserve the time allotted. The musical score in this film augments the stories perfectly, creating hopefulness as well as emphasizing some of the more dire situations. Overall, this film allows you to not only see the value in your actions and your words, but in the serendipitous nature of all the positive things in our world.

“Where We’re Meant To Be” is a thoughtful, beautiful film full of love and emotion. Creating such a philosophical and entertaining film on this budget should be lauded as a true accomplishment. Be sure to catch this film…it might just change how you see the world.

Aaron Sorkin (“The Social Network,” “A Few Good Men”) creates yet another incredibly gripping and captivating story based upon the catastrophic events in Chicago in 1968 with “The Trial of the Chicago 7.” With an all-star cast including Eddie Redmayne, Sasha Baron Cohen, Joseph Gordon-Levitt, Mark Rylance and many more, Sorkin takes us along the political and racial journey of nearly 50 years ago, bringing it to life and making it resonate in today’s world.

WATCH THE TRAILER HERE

With Sorkin-esque style, we are introduced to the characters one by one just days before the 1968 Democratic National Convention was to begin near Grant Park in Chicago. Each of the key figures in this story has a unique reason for going to protest, and each has a different response to the dangers that may lie ahead. But never did any of them consider the possible turmoil that would soon unfold nor the dire straights in which they would find themselves as they defended their actions to a corrupt judge and court proceeding.

Sorkin seamlessly edits each individual’s story and then stitches it back together allowing us to see the grand picture. Taking us into the White House, we are privy to the turmoil of the changing of the guard as John Mitchell (John Doman) expresses his grievances and direction to the newly charged head counsel Richard Schultz (Gordon-Levitt), a by-the-book lawyer. Quickly cutting across the nation, we meet Tom Hayden (Redmayne) and Rennie Davis, political activists of the Students for a Democratic Society, “counter-culture Yippies” Abbie Hoffman (Baron Cohen) and Jerry Rubin, David Dellinger (John Carroll Lynch), MOBE organizer and Boy Scott leader, Dellinger’s cohorts John Froines and Lees Weiner, and Bobby Seal (Yahya Abdul-Mateen II), the Black Panthers Party Chairman. Sorkin’s script takes us inside these men’s lives briefly, but meaningfully, to understand their personalities and their motivations for demonstrating in Chicago.

It’s when all of these men and their respective followers among many others who congregated during the pivotal days leading to their arrest that the tension builds like a rumbling volcano. We know historically what’s going to happen, but this film brings us into a personal level as we witness the brutality of the police and the consequences the protesters suffer.

The first half of the film gives us all the educational aspects of how these eight men (the number seven is explained later) were targeted, arrested and now put on trial as a group for “conspiring to incite a riot outside the Democratic Convention.” The second half of the film is set in the courthouse as the corrupt and racist Judge Julius Hoffman (Frank Langella) sets the cringe-worthy and at times devastating tone for the remainder of the film.

Again, editing is key in telling this elaborately detailed story and Sorkin expertly utilizes this element as we flash back in time to crucial events or to Abbie Hoffman’s comedy show. We see the behind the scenes actions and watch Abbie recount the confounding events which took place in court that week. His perspective throws an ironically humorous spin but never discounts the harsh realities of what has happened. And pacing is never an issue in this over two-hour film as we are kept on the edge of our seats needing and wanting to know what happens next even if we are already familiar with the story. There’s not a wasted scene, character, or piece of dialogue in this film— all of it necessary to accurately tell this intricately layered story with painstaking precision.

Of course, the script cannot stand alone and this all-star cast of actors passionately create personalities to bring it to life. The actors, all perfectly cast as their characters, each have their own moment to shine, but not one actor is the star. Supporting one another, we get the sense that they are there to solely tell a story, an important and still relevant one today. Rylance finds an understated tone to deliver a remarkable performance and Baron Cohen couldn’t have channeled the personality with the sarcastic wit and the intelligence of Abbie Hoffman any better. The subtle and nuanced performance of both Redmayne and Gordon-Levitt create authentic characters who tap into their moral compass for direction and Langella gives us a disturbingly haunting performance of a lifetime.

While the actors all shine, it’s the story that hits home particularly in our volatile political world today. Sorkin doesn’t shy away from the ugly truth and the heartbreaking injustices of the ’60’s. The scene with Bobby Seale in the courtroom, bound and gagged as a punishment for invoking his constitutional rights is simply gutting. Recalling this scene as I write this brings me to tears.

“The Trial of the Chicago 7” is one of the best films of the year and may be one of Sorkin’s best of all time. His vision and direction has created a brilliantly timeless and extraordinarily entertaining story that unfortunately mirrors the unrest and inequities of today.

Streaming on Netflix Friday, October 16, 2020.

4 Stars

***CAPSULE REVIEW***

Two college friends, now in their thirties, admire each other’s lives and feel trapped in their own. Wes, tied to a demanding career and responsibilities to family, extends a work trip to drag his dispirited artist friend Luke to find Luke’s “one that got away”.