Tag: Jonathan Groff

Knock At The Cabin

GoMovieReviews Rating: ★★★☆ (3.8/5)

Rated: MKnock At The Cabin

Directed by: M. Night Shyamalan

Screenplay by: M. Night Shyamalan and Steve Desmond & Michael Sherman

Based on the book: The Cabin at the End of the World by Paul Tremblay

Produced by: M. Night Shyamalan, Marc Bienstock, Ashwin Rajan

Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn and Rupert Grint.

‘It’s time.’

There’s always the mystery, the waiting for the twist with M. Night Shyamalan movies – here, it felt like Shyamalan holding his nerve while adding touches, echoes of his previous films: the creaking of trees as the wind shifts through them while the characters wait and watch to see what monster will slowly come into view.

Instead of monsters, four people emerge.  But it’s Leonard (Dave Bautista) who first introduces himself to young Wen (Kristen Cui).  She’s catching crickets.

‘I’m just going to learn about you a little,’ she says.

Leonard helps.  He’s good at catching crickets.

They’re going to be friends.

Until his three colleagues show themselves: Sabrina (Nikki Amuka-Bird), Adriane (Abby Quinn) and Redmond (Rupert Grint).

They’re holding weapons made from axes and sledge hammers.

Wen gets scared and runs back to the cabin, back to her two dads, Daddy Andrew (Ben Aldridge) and Daddy Eric (William Ragsdale).  They’re a loving family.  Andrew and Eric promise each other to always be together, no matter what.

So when Leonard and his colleagues tell them they have to make a terrible choice to stop the apocalypse, they will always choose their family.

Even if the intruders say they have the most important job in the world.

Are they ‘Jehovah witnesses?’ asks Ben.

Knock at the Cabin is a serious film, with brutal and bloody moments.  The opening of sketches of crows and screaming faces.  But the tension is offset with light moments like these doomsayer’s wielding weapons being possibly Jehovah witnesses.

Not laugh at loud funny, but light.

The impending doom and the bloody is also a contrast to flashbacks to family: the love, the honesty; when Andrew and Eric first met Wen.

It’s genuinely sweet and adds weight to the choice they refuse to make.

The pacing of the story shows restraint making this one of Shyamalan’s better quality films.

It’s a deceptively simple structure, most of the film set within the cabin, that builds just the right amount of tension while playing with expectation.

The delivery was there to support the idea of the story: not too funny, nor too violent, or too caught up in the drama of the family, just light touches to suspend the reality of the extreme premise of ordinary people faced with the idea of the world ending.

 

The Matrix Resurrections

Rated: MThe Matrix Resurrections

Directed by: Lana Wachowski

Produced by: Grant Hill, James McTeigue, Lana Wachowski

Executive Producers: Bruce Berman, Garrett Grant, Terry Needham, Michael Salven, Karin Wachowski

Based on the Characters Created by: The Wachowskis

Screenplay Written by: Lana Wachowski, David Mitchell, Aleksandar Hemon

Starring: Keanu Reeves, Carrie-Anne Moss, Priyanka Chopra, Jessica Henwick, Yahya Adbul-Mateen II, Jonathan Groff, Daniel Bernhardt, Neil Patrick Harris, Jada Pinkett Smith, Christina Ricci, Lambert Wilson, Daniela Harpaz, Eréndira Ibarra, Max Riemelt, Ellen Hollman, Brian J. Smith.

The Matrix Resurrection introduces this sequel (forth in the series) with a 90s monitor: a square cursor flashing.  The code begins scrawling across the screen.  In green, of course.

Welcome to The Matrix 2.0.

There’re new characters resurrecting old ones: Mr. Smith (Jonathan Groff) is now Neo’s partner in a gaming company; Morpheus (Yahya Adbul-Mateen II) is back in a new form.

But Neo remains the same (Keanu Reeves).  Trinity, now Tiffany (Carrie-Anne Moss), remains.  They’re just a little older.

But non-the-wiser.

Ha, ha.

It’s that kind of movie.

There are many puns thrown through-out the film – sometimes heavy-handed like the cat with a tinkling collar named: déjà vu.

Mostly, there’s references to the original Matrix (1999) as the film layers the past into the present, so Resurrections becomes self-referential not only to the original film but also to itself.  To the extent that if a moment felt twee, the twee would then be made into a joke like a self-parody.

I noticed the silence at one point only for the silence to be commented on as an indicator of real living outside the Matrix.

It’s a cerebral film asking questions about the concept of choice: the blue or red pill?

Or is it free will versus destiny?

Or is life about fear and desire?

It becomes binary, one or the other – ones and zeros, like the program, The Matrix. Like reality is made up of ones and zeros.  Like… The Matrix. Ah!

All mind bending moments aside, it took me a while to invest in Resurrections.  Neo was somewhat lacklustre, with the repeated response, ‘yeah.’

But with the rest of the film being so clever, I guess that’s the nature of Neo.  Not Neo.  Mr. Andrews, still stuck in The Matrix.  Even so, the re-layered moments I wasn’t convinced about, like the annoying self-professed ‘geek’ colleague of Mr Anderson remained, annoying.

The film does ramp up and yes there’s a ‘fresh’ take here that will get you thinking.  I just wasn’t as convinced as the original because the characters spent so much time making fun of themselves to cover the forced sentiment that would have otherwise been too cheesy.

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