In the Shadow of the Moon, which recently arrived on Netflix after bowing at the Fantastic Fest in Austin, is a deeply weird, but ultimately enjoyable mashup of several genres. It incorporates established police procedural/cop-on-the-edge concepts with sci-fi and even time travel. It’s also very much entwined with its director’s hometown of Philadelphia, even though it wasn’t filmed there.
Also, despite its title, its sci-fi elements, and its arrival in the 50th anniversary of the moon landing, In The Shadow of the Moon has just about nothing to do with the moon.
The film, which has set off a bit of a frenzy on social media as viewers devoured its surprise ending, was directed by Jim Mickle, best known for directing We Are What We Are, the 2013 horror movie that remade a Mexican film of the same name.
In The Shadow of the Moon focuses on a Philadelphia cop named Lockhart (Boyd Holbrook), who in 1988 is hoping, along with his partner Maddox (Bokeem Woodbine) to make detective, while awaiting the birth of his first child.
There’s a mysterious case of random people around town bleeding to death from their heads, which Lockhart hopes to solve, but instead, he ends up confronting a ninja-like young woman named Rya (Cleopatra Coleman), who appears to know about events in the future. She also appears in multiple time periods, always ready to kill.
Each segment of the film is set in a different year, as the plot begins with massive terrorist attacks in the future, and then jumps from 1996 to 2006 to 2015 to even further in the future. Throughout it all, Rya keeps reappearing even after she appears to be dead. It all leads up to both time travel paradoxes and a series of ethical-moral dilemmas, as introduced by a scientist (Rudi Dharmalingam), most of which sounds an awful lot like stoned dorm-room bull sessions.
Holbrook, who is 38, is convincing at several different ages, even if his performance never does much to transcend the well-worn cliches of this type of cop film. Woodbine, so wonderful a couple of years ago in the Fargo TV show, shines here in an all-too-brief role. Coleman is also outstanding in a role that’s more about physicality than speaking.
As for that surprise ending, it appears to be making heads explode across Twitter, although I guessed it at some point during the second act. But it all adds up and makes sense, thanks to a taut script by Gregory Weidman and Geoffrey Tock. Even if it does raise some somewhat troubling moral questions if one thinks about the implications of what’s raised.
Mickle, the director, is from Pottstown, outside of Philadelphia, and likely set the film in Philly for that reason. It’s much more realistically Philly than most films shot in Ontario, with SEPTA buses, cheesesteaks, accurate-looking police uniforms, and a few glimpses of the skyline, even if no one’s wearing Eagles stuff, and the accent work is somewhat iffy.
This is especially the case with former Dexter star Michael C. Hall, getting back to crime scene analysis as a cop with a not-especially-convincing Philly accent- one that, as a viral Twitter clip has demonstrated, has the North Carolina native at one point slipping into a British accent.
In the Shadow of the Moon won’t be anyone’s idea of a cinema classic, but it is the sort of movie to be thankful for as mid-budget sci-fi films without any stars tend not to get made anymore by major studios.
‘Queen of Hearts’ is a Frank and Difficult Look at Sexual Desire
Trine Dyrholm is typically brilliant in Danish film ‘Queen of Hearts’ — playing an older woman embarking on an affair with her stepson.
Queen of Hearts starts with a rather banal scene. Anne (Trine Dyrholm) walks through the woods with her dog. Her children are just outside her large, glass-heavy house. She goes inside, where her husband, Peter (Magnus Krepper), says police have called and he has to go. She looks outside at some barren trees, dramatic strings play, and the title credits come on; it’s a seemingly innocuous moment curdled into something far more ominous.
This opening salvo with something moody and dark hiding within the banality and reliability of a simple family scene (later revealed to be in the future) sums up the Official Danish Best International Film submission Queen of Hearts as a whole. This is a film of bad decisions, loneliness, and creaky moral boundaries, interrogating the mores of modern womanhood against the backdrop of supposed domestic perfection.
Our protagonist, Anne, is a lawyer who works with children who have been abused. She knows how to talk to young victims of rape and neglect, balancing a firm sense of what’s right with the necessary language to give these children hope. But she has difficulties switching from work to home, unable to give her twin daughters the affection they deserve. One way for anyone to switch off and focus on life outside of work, of course, is to engage in some form of intimacy; yet, her hypocritical, workaholic doctor husband has little time to give her any attention in the bedroom.
When Peter’s teenage son, Gustav (Gustav Lindh), turns up to stay for the summer, Anne is immediately attracted to his moodiness and sexual swagger. Their slow seduction scenes seem to all come from different movies: porno (he suddenly comes out of the shower in the towel), summer indie drama (a scene in a lake with splashing water and an ecstatic soundtrack), and eventually horror (a writhing, overly staged sex scene in the dark that is extremely shocking in its frankness).
These shifts in tone reflect the film’s queasy study in shifting sympathies, making Queen of Hearts a modern morality play baked in typically Scandinavian seriousness. Is Anne simply engaging in a harmless affair, rediscovering her long-dormant sexuality? Or is the age difference simply too far? With echoes of both The Hunt (2012) and the women-focused sex-dramas of Lars von Trier, it is sure to provoke a mixture of praise for its brazen female sexual gaze, and eventually disgust for where this gaze finally takes us.
Most of us assume that we are good people, even as we are engaging in less than savoury activities. It may look bad to people on the outside, but we have our reasons. The ever-reliable Trine Dyrholm turns in another mesmerising performance here, balancing her own lack of sexual self-confidence against her outwardly authoritative presence as a lawyer. Even if we cannot agree with what she does, Dyrholm successfully conveys her character’s complexity, making her sympathetic throughout. But just as we can never judge ourselves objectively, we can never know the ultimate effect our actions may have on others, especially in a dynamic such as this, leading to some bitter results.
Queen of Hearts asks the viewer to never make assumptions, to think outside of clichés, and to really dig deep into the true heart of the matter. Director May el-Toukhy knows she has strong actors and a strong screenplay here, employing minimal tricks to just let them get on and really chew into the material. While unlikely to make it into the final Oscar shortlist, Queen of Hearts deserves a lot of credit for its utter brazenness and steadfast commitment to its difficult premise.
‘Ford v Ferrari’ Drives Fast with Little Under the Hood
A classic Hollywood drama with fast cars and a stellar Christian Bale performance that feels great despite a lack of emotional substance.
Many directors always struggle with producers and other businessmen to retain their vision. What might work most for that vision may not be what focus tests and audiences have proven to enjoy, so the film gets reworked and reworked until it becomes a box office hit, and potentially retains a director’s intent. Ford v Ferrari doesn’t necessarily feel like that — this is a James Mangold film in many regards — but by the end of its story of vision and skill versus marketing and business agendas, Mangold’s latest wrestles with placing trust in an individual against an entire body of suits.
When Carroll Shelby (Matt Damon) is approached by Ford Motors to create a car fast enough to beat Ferrari at the 24 Hours of Le Mans (an annual racing event where drivers go all day and night around the same track), he is forced to fight tooth-and-nail to get the best driver for the job: Ken Miles (Christian Bale). Shelby’s fight is singular; he wants to win the Le Mans, and knows that Miles is the only one who can do it. Yet, Ford Motors is still a company with many eyes on them, and employing the hot-headed Miles as a driver could be disastrous. So begins a struggle for Shelby and Miles to have their desires met by a company looking at the bottom line. That struggle — one that underscores every decision made by the characters in the film — is what sits at the core of Ford v Ferrari, and keeps things interesting. Set that aside, however, and the film loses a lot of momentum.
Still, the racing will grip audiences throughout. The final Le Mans challenge runs for a decent portion of Ford v Ferrari and is engaging throughout, but there are several other races and practices where Mangold’s craftsmanship as a filmmaker shines bright. Miles sits in the driver’s seat of all of these moments, and Bale’s performance is never stronger than when his character has that need for speed. Miles is a passionate driver with pure intentions, and Bale gives him a lot of wit and heart in between huge swings of emotion. It’s a performance that stands tall but doesn’t distract, instead meshing extremely well with the action.
Meanwhile, the other performances are also solid. Matt Damon is very good in the role of Shelby, though his character is quite often reserved because he has to be. When you put him against Bale, however, it’s clear that Shelby pales to the race car driver’s fleshed-out character, as we follow the latter’s family, his rejections and successes, and his pure heart. In the backdrop is a wide array of supporting actors, including Caitriona Balfe as Mollie Miles, Josh Lucas as the thorn in Shelby’s side, Jon Bernthal playing a standard Jon Bernthal role, and Tracy Letts chewing up scenery whenever he can as Henry Ford II. Letts and Lucas in particular give great caricatured performances, planting Ford v Ferrari into a more standard Hollywood drama.
Largely that’s the problem: Ford v Ferrari is a technical achievement with some incredible craftsmanship and performances that just never feels as great at slow times as it does when it’s moving past 7000 RPMs. It has a need for speed, and the pacing shows that, but it also doesn’t really rise very high above what’s needed to please an audience. Mangold is great at deriving emotional substance out of a subject, but a lot of that in Ford v Ferrari is left on the shoulders of Bale’s performance. Instead, the film focuses heavily on the bureaucratic side of things, and how that hinders talented people from being who they are destined to be. While fun to watch, there isn’t much more that will have Ford v Ferrari lingering with audiences. Instead, this will be a movie that resonates with racing fans and those that struggle against restrictions, keeping general audience satisfied in their big Hollywood dramas for the time being.
Editor’s Note: This article was originally published on September 14 as part of our coverage of The Toronto International Film Festival.
History of ‘A Nightmare on Elm Street’ – the Movie that Made me a Movie Buff
Wes Craven intended Nightmare to be an exploration of surreal horror as opposed to just another stalk-and-slash horror movie, and not only did Nightmare offer a wildly imaginative, inspired concept, but it was a solid commercial genre entry for the dating crowd. Elm Street was New Line’s first genuine mainstream cinematic venture (after Alone In The Dark), and made the company a huge pile of money. The film was shot in 30 days at a cost of roughly $1.8 million, but it made back its figure and then some on opening weekend. New Line Cinema was saved from bankruptcy by the success of the film, and was jokingly nicknamed “the house that Freddy built.”
Perhaps the most influential horror film of the ’80s, Craven’s 1984 slasher about a quartet of high school kids terrorized in their dreams by a torched boogeyman in a fedora hat and dusty pullovers spawned countless sequels and even a TV series.
One great thing Nightmare offered, perhaps more than anything else, was a new horror star in Robert Englund. Englund based the physicality of Freddy on Klaus Kinski’s performance in Werner Herzog’s Nosferatu: Phantom der Nacht (1979), making Freddy one of the most recognizable modern horror villains: vicious, but with a sense of humour as sharp as the blades on his gloves. The horribly barbequed man with the ragged slouch hat, dusty red-and-green striped sweater, and metal gloves with knives at the tip of each finger, had not yet become the ridiculous wisecracking clown of the sequels. Here he says very little, and when he does speak, his words are powerful for its brevity – and oh those infamous razor gloves scraping against metal is enough to send shivers down your spine.
The inspiration for the character of Freddy came from several sources in Wes Craven’s childhood. The name, Fred Krueger, came from a schoolmate of Craven who had bullied him for several years and Freddy’s appearance was inspired by a hobo lurking around Craven’s house, who Craven spotted from his bedroom window one night at the age of ten. But the basis of the film was inspired by several newspaper articles printed in the LA Times on a group of Khmer refugees, who were suffering disturbing nightmares, and refused to sleep – with the most extreme cases leading to actual death in the throes of horrific nightmares. Medical authorities called the phenomenon Asian Death Syndrome.
“I don’t know who he is, but he’s burned and he wears a weird hat and a red and green sweater, really dirty. And he uses these knives, like giant fingernails… “
This was the film that introduced the world to Freddy Krueger, a monster who exists in his victims’ dreams and preys on them in the vulnerability of sleep. The idea behind the glove was a practical one on Wes Craven’s part, as he wanted to give the character a unique weapon, but also something that could be made cheaply and wouldn’t be difficult to transport. The end result brings a macabre ghostly figure throughout – indeed, precisely what nightmares are made of.
In addition to offering the visceral thrills that are necessary in a genre entry, Craven’s screenplay works on several levels. Here the idea of sleep as the ultimate threat is ingenious and incredibly insidious. Craven masterfully disguises dreams as reality and vice versa, and the idea that injuries sustained in dreams also exist outside helps to further blur the already murky distinction between the two. The primary element that elevates A Nightmare on Elm Street above many other slasher films is that the storyline invites intellectual observation: At times, we’re aware that the characters are trapped in a dreamscape, but there are times when we are not, and there are occasions when we suspect they’re awake and they are actually asleep – as if the children are in a never-ending state of hypnagogia.
The ultimate revelation however is that Freddy is really the byproduct of parental vigilantism. The teenagers in the film are paying for the sins of their parents —and thus the brute is determined to exact revenge in using their children as his victims. Nightmare has been described as a reaction to the perceived innocence of American suburbs: parents in the film’s fictional suburb dispose of Krueger and hide any form of his existence in an attempt to build a safe environment for their children. There’s a clear generational divide in A Nightmare on Elm Street, with the children trying to stay awake both figuratively and literally and the parents continuing to ignore the situation, utterly avoiding taking responsibility for their hideous actions. They instead bury their memories of the crime they once commuted so deep down inside, it remains lodged in the far reaches of their brain, where we can also find their declarative memories. As a result, the sins-of-the-father biblical warning (in a slasher-movie setting) have allowed Krueger to amass incredible power in his nightmare world – power he uses to exact his revenge. More so, Freddy’s actions have been interpreted as symbolic of the often traumatic experiences of adolescence. Sexuality is ever present in Freudian images and is almost exclusively displayed in a threatening and mysterious context (i.e. Tina’s death visually evokes a rape, Freddy’s glove emerges between Nancy’s legs in the bath, a centipede crawls out of the mouth of one of the victims and finally a mattress swallows up Johnny Depp only to ejaculate him immediately after). The original script actually called for Krueger to be a child molester, rather than a child killer, but somehow the idea was lost in the process of shooting.
Craven claimed he wanted someone very “non-Hollywood” for the role of Nancy, and he believed Langenkamp met this quality. Depp was another unknown when he was cast; and initially never intending on auditioning. Instead he was only tagging along with friend Jackie Earle Haley (who went on to play Freddy in the 2010 remake), yet it was Depp who got the part of Glen instead. Nightmare was both the feature debut and breakthrough for Depp and a stepping stone to bigger things to come.
Nightmare is the story of the courage and resourcefulness of one extraordinary girl. At the age of 19, Langekamp portrays one of the most perfectly realized and well-expressed teenagers/heroines of the 1980s. The best slasher films all have realistic heroines, and Langenkamp ranks as close to the top as Janet Leigh or Jamie Lee Curtis. As Nancy, Heather Langenkamp is closer to Alien’s Sigourney Weaver than to Halloween’s Jamie Lee Curtis: quick-witted, adventurous and courageous, and willing to enter into Freddy’s realm even when she knows he has the upper glove. Nancy and Freddy are incredibly well-matched: during the climax, she even uses a few survivalist techniques to turn the tables on Freddy. Her character is one of the greatest “final girls” in the history of slasher films, and goes on to reappear throughout the franchise in the only two solid sequels (A Nightmare On Elm Street 3, Wes Craven’s New Nightmare).
Visually, A Nightmare on Elm Street is a real treat hovering somewhere between gothic, supernatural imagery and the typical 80’s slasher fare. Cinematographer Jacques Haitkin’s work here is innovative and atmospheric, capturing a malevolent mood with light and shadow, most notably in the surrealistic basement scenes set around the furnace. Like so many films of this genre, its artistic ingenuity is intensified with various bloody set-pieces and visual effects. A Nightmare on Elm Street boasts several impressively conceived and well executed dream/kill sequences. During production, over 500 gallons of fake blood were used for the special effects production. The special effects, most of which are low-tech, are surprisingly effective, and this was the first film to use a breakaway mirror.
Craven’s probing of the waking/dreaming barrier results in some memorable kill sequences. Tina’s (Amanda Wyss) death scene, which featured her trashing across the ceiling, was partly inspired by the movie Royal Wedding (1951), which was the first movie to use a rotating set. The set here slowly spun to allow her to roll into position, with a camera bolted to the wall and a cameraman strapped into a chair beside it, which turned in tandem with the room. It’s important to remember that this was a low budget film shot in 30 days. For the two shots where Rod (Jsu Garcia) and Tina reach out for one another, Tina is actually lying on the floor and Garcia is hanging upside down with his hair pasted to stay flat.
FX man Jim Doyle was responsible for designing and constructing the ingenious full-scale gyro rotating room which was again used for Johnny Depp’s kill. For the famous blood geyser sequence, the furniture, cameraman, director and actor were fixed in place, and the room would spin upside down, thus allowing the rigged room to appear right side up while thousands of gallons of fake blood would seem to gush, erupt and ejaculate from the bed. On the DVD commentary, Wes Craven remarks that the room spinning the wrong way was like a “Ferris Wheel from hell.” This scene was partly inspired by the elevator scene in The Shining. Particularly effective is the scene where Nancy is attacked by Krueger in her bathtub and pulled under the water into a pitch-black pool leading to a back alley chase where Freddy stalks her. To achieve this effect, the tub was put in a bathroom set that was built over a swimming pool. During this underwater sequence Heather Langenkamp was replaced with a stuntwoman. Also worth noting is the “melting staircase” as seen in Nancy’s dream, which was created using pancake mix and directed by Friday the 13th director Sean S. Cunningham (who is uncredited). Finally, the sequence in which Freddy is set on fire, shot in one long take (with several cameramen), featured one hell of an elaborate and dangerous stunt by stuntman Anthony Cecere (who won best stunt of the year for it).
Finally I just couldn’t end without mentioning Charles Bernstein’s spare score, the musical cues, synthesizers, creepy sound effects and the film’s unforgettable children’s rhyme – which is all perfect for the material – eerie but never overwhelming.
A Nightmare on Elm Street is tailor made for those who like their scares evened with thought-provoking ideas – something that is a rarity in this genre. Yes, there are plenty of shocks, but there’s something much more: a psychological fantasy thriller that tears away at the barrier of dreams and reality, making us think twice before settling in for a good night’s sleep. The film may be a bit rough around the edges for the new generation, and multiple viewings do tend to expose its low-budget origins, but Nightmare is still to this day dark and forbidding, chilling and incredibly unnerving – a near masterpiece of independent genre filmmaking.
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