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TIFF 2019: ‘The Vast of Night’ Is a Thrilling Homage to ‘50s Sci-Fi

‘The Vast of Night’ draws from late-’50s science fiction and radio plays by leaving its thrills unseen and letting the audience create them instead.

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When I was in middle school, I went through a period where I was obsessed with radio plays from the 1940s, ‘50s, and ‘60s. You could find the scratchy old broadcasts preserved on cassettes here and there, and boutique publishers online had large sets on CDs. What fascinated me was the enveloping nature of the stories; they were sometimes clumsily written or acted, and usually featured overly obvious narration, but the best shows left just enough out that one’s brain could create scenes of suspense and terror more potent than had they been depicted visually. Andrew Patterson’s The Vast of Night is an homage to science fiction and horror classics of that era, and like them it benefits from withholding information, allowing the audience to create their own thrills.

Set in late ‘50s New Mexico, The Vast of Night occurs all on a single night when most of a small town is clustered in the local high school gym for a basketball game. However, the school and town have suffered from odd power outages and unexplained flickering lights; enter the fast-talking radio host Everett Sloane (Jake Horowitz). It’s probably not a coincidence that the occasionally obnoxious character is named after the fast-talking and occasionally obnoxious actor who made such an impression as part of Orson Welles’ stock company in Citizen Kane and The Lady from Shanghai. Everett takes break from his radio show to help with the recording of the basketball game, which he’ll replay at the station the following day. He’s joined by Fay Crocker (a charming Sierra McCormick), a high school student who wants his help operating a brand new tape recorder she’s just purchased.

The Vast of Night

But once the two separate — Jake going back to the station and Fay to her nightly job as a switchboard operator — an eerie aura envelops the town. Fay catches an odd mechanical clicking over her phone lines, and her friends and neighbors can’t be reached at home. When she patches the strange sound for Everett to play at the radio station, a listener calls in with a tale of having heard that sound before during secret government testing from years earlier that he’s not supposed to be telling anyone about. He thinks the sounds might be coming from somewhere high up, and the few people not at the basketball game start to notice strange objects flying in the sky.

Patterson and screenwriters James Montague and Craig W. Sanger wisely avoid showing too much in The Vast of Night. Everett and Fay barely understand what’s happening around them, and the film keeps the audience almost as much in the dark. It’s constantly withholding, but in the best possible way, making us lean forward in hopes of learning more. In the bravura call-in scene, Bruce Davis gives a compelling performance that’s done completely over the phone, and Patterson periodically cuts to a black screen throughout, giving the audience a chance to create our own visuals to accompany his story, as one would have with an old radio play. At other times, Patterson lets his camera zoom around the small town to thrilling effect.

The Vast of Night features interludes shown on an old black-and-white television, with a pitch-perfect Rod Serling impression for a fake anthology series called Paradox Theater. The film doesn’t have much of The Twilight Zone’s social politics or irony, but the framing further underscores its connection to Cold War-era America. The best science fiction from that period captured a nation simultaneously enthralled and terrified by the future it might unlock, and The Vast of Night effectively replicates those conflicting emotions. Fay and Everett are terrified of what might be causing the disturbances in town, but there’s no way they’ll give up until they find out what it is.

The Toronto International Film Festival runs September 5 – September 15

Brian Marks is Sordid Cinema's Lead Film Critic. His writing has appeared in The Village Voice, LA Weekly, The Los Angeles Times, and Ampersand. He's a graduate of USC's master's program in Specialized Arts Journalism. You can find more of his writing at InPraiseofCinema.com. Best film experience: driving halfway across the the country for a screening of Jean-Luc Godard's "King Lear." Totally worth it.

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TIFF

‘Uncut Gems’ Sends Adam Sandler Through the Ringer

The Safdie Brothers have crafted a hectic, abrasive crime thriller that revels in its misery.

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Uncut Gems

The Safdie Brothers have followed up their grimy, abrasive Good Time with a film that never quite reaches those levels of tension, but is nevertheless cut from the same cloth. With Uncut Gems, the directing duo has crafted something so loud and chaotic — led by a perfectly-cast Adam Sandler — that there is no denying it’s a fun ride, even when it is not so fun to watch. Digging through the grit of loan sharks and a dog-eat-dog world, Uncut Gems is another bonafide hit by the Safdie brothers, but one that works when it piles on the misery — which it often does, rather than find a shred of happiness.

Evading debt collectors throughout New York City, Howard (Sandler) runs a jewelry shop in the Diamond District where he sells to many high-profile celebrities. When a new opal arrives at his shop from Ethiopia, he can’t help but show it off to Boston Celtics player Kevin Garnett (who stars as himself in a fun role that never feels out-of-place), who becomes obsessed with the rock and borrows it with the hope of eventually convincing Howard to let him buy it. Of course, Howard has other plans, as the rock is allegedly worth a million dollars if sold at an auction in which he has already purchased a spot. When Garnett doesn’t return the stone, everything starts going horribly awry in Howard’s life as he juggles a failing marriage, his Jewish family ties, and keeping the loan sharks at bay.

Right out of the gate, Daniel Lopatin (Oneohtrix Point Never) hits the ground hard with a score that carries the cosmic and reverberating effects of the titular uncut gems. When Garnett stares into the opal, he sees exactly what Howard tells him he’s supposed to see: the universe. In that, Lopatin provides a sonic scape so expansive and yet violently singular in its aesthetic that it provides much of Uncut Gems with a mystical aura. Drenched in gritty camerawork that gets up close to show the blemishes of everyone, there’s no denying the film’s mean and potent intensity.

Where Uncut Gems often stumbles is in its narrative threads. While the Garnett storyline weaves in and out, providing a lot of fun as well as hectic tension, it’s a piece of stunt casting that works, while also highlighting one that very clearly doesn’t involve R&B singer The Weekend. Why he is in the movie is baffling, other than perhaps because he evokes a further sense that Howard is in a very upscale world — something we already know by his clientele, multiple properties, and the wealth he actually wears. The Weekend ends up as a weird diversion that can take viewers out of the experience, even if his presence does lead to a further escalation in problems for Howard.

That all being said, Uncut Gems also brings Adam Sandler back into the fold as an actor who can do more than the drivel he has churned out over the decades. More evocative of his performance in Punch-Drunk Love than The Meyerowitz Stories, Sandler gives a comedic and sympathetic performance to a character for whom everything suddenly goes wrong. Living a manic, fast-paced lifestyle, Howard is impatient, aggressive, and greedy, but Sandler makes it possible to get on board with his plight at least partially (there is no way to be on his side completely). His vices are many, but the performance keeps him down to Earth even when it feels like everything is flying off the hinges.

There will likely be many that can’t get past how dirty this movie feels, as it treats many criminal activities as both simply the way things are and the way they always will be. Beyond that, however, the Safdie Brothers provide a nuanced look at Jewish culture, utilizing one of Hollywood’s most prolific Jewish actors, and treat it is as matter-of-fact. Uncut Gems is a frenetic crime film from a Jewish perspective and delivers on its promise of being a wild ride with a phenomenal Sandler performance. Just don’t expect there to be much hope present, as the Safdies revel in the misery as much as humanly possible, only using hope as a torture device to make the anguish all the more painful.

Editor’s Note: This article was originally published on September 14, 2019, as part of our coverage of the Toronto International Film Festival.

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TIFF

The Piercing ‘Marriage Story’ Is Noah Baumbach’s Best Film to Date

TIFF 2019

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Marriage Story

In 2010, director Noah Baumbach began divorce proceedings with his now ex-wife, Jennifer Jason Leigh. The divorce was finalized three years later, and since then Baumbach has been in a relationship with actor and director (and occasional collaborator) Greta Gerwig. It’s impossible to view his newest film, Marriage Story, without taking into account his own dissolved marriage; this is a searching, seething work of recriminations and longing that pits two all–too–human parents against each other, and invites the audience to not only imagine which bits of psychic trauma are his own, but also to consider our own relationships, successful or not.

Marriage Story stars Scarlett Johansson and Adam Driver as Nicole and Charlie, a married couple living in New York City with their young son Henry. The film opens with a montage as Nicole recites the things she most loves about her husband, from the way he can cook and doesn’t mind waking up with their son, to his skill as a theater director. In turn, Charlie narrates his favorite aspects of Nicole, his regular lead actor. There are plenty of opportunities for tears here, but the unguarded emotions of these confessions might get them started right from the beginning. But just as they finish reciting these traits, we’re brought back to reality; these confessions were things that they had written down to read to each other as a kind of peace offering at the start of their mediation following a separation that has led up to their divorce. But Nicole doesn’t like what she has written — or at least doesn’t want Charlie to hear it. And if she won’t go, then it’s not really fair for him to read his. So neither tells each other what they most admire in the other, and instead stop seeing the mediator.

It’s the first strike in Nicole and Charlie’s mutually assured destruction agreement. Though they initially plan on avoiding using lawyers, Nicole gets tipped off to a well-regarded attorney (a funny and ice-cold Laura Dern) who advises her to take a maximalist position in order to ensure she gets half of everything she wants — at the very least. Once she has a lawyer, Charlie tries out a variety of legal counsels (a soothing Alan Alda and a fiery Ray Liotta), but the real conflict comes down to location; Nicole has taken Henry to Los Angeles while she films a pilot, and wants to stay even after it’s finished. Charlie, however, thought they would move back to New York. Each escalation in the feud necessitates an opposing reaction, and the two are driven further and further apart, even as they try to stay close for the sake of their son.

Marriage Story

Baumbach has admitted that some details of the film are based on his own divorce, but he’s also said he interviewed many of his friends who divorced around the same time, as well as lawyers and judges involved in divorce cases. In some ways, Marriage Story isn’t just a portrait of a couple separating, but a primer on divorce court that far surpasses something like Kramer vs. Kramer, which was out of date even in 1979. The film is also an opportunity to observe two of the best living actors at the top of their game. Johansson and Driver have a knack for finding the sweet spot between un-actorly naturalism and the stylistic ticks that we recognize as compelling acting. It gives us a sense that these people were actually a family, and really cared for each other. Baumbach’s script helps; it’s maybe his best writing ever, filled with so many painfully open moments, yet leavened with just the right amount of humor. He’s also as fair as he could be, and neither parent comes off as too saintly or self-centered.

Marriage Story ends in a circle of sorts with the discovery of Nicole’s notes about Charlie’s best qualities. Their marriage was effectively over before the film even started, but I kept thinking back to that lovely introductory scene. How might their journey to divorce progressed if they had the courage to speak openly to each other in that one moment? Perhaps something might have been better. Marriage Story doesn’t harbor any of those romantic illusions, however; once it’s over, it’s over.

Editor’s Note: This article was originally published on September 12, 2019, as part of our coverage of the Toronto International Film Festival.

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‘In Fabric’ is a Mesmerizing Satire of Consumerism

TIFF 2018

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Our obsession with shopping and consumerism is going to be the death of us all — at least, director Peter Strickland seems to think so. The constantly increasing Black Friday crowds and coupon-clipping masses will rue the day they bought that really nice pair of pants at such a great price. Or in the case of Strickland’s latest cocktail of absurdity and horror, a beautiful red dress. In Fabric is a phantasmagoric allegory for our growing obsession with buying into our wants, and losing our souls in the process — and it’s about as weirdly fantastic as it sounds.

Though Strickland may refute that he consciously went for evoking giallo films when making In Fabric (which he did at a Q&A that took place at the midnight screening of the Toronto International Film Festival), it’s difficult not to see the influence. While there isn’t much here in terms of plotting — a red dress makes its way to different owners, affecting their lives in different, negative ways — Strickland focuses more on illuminating the characters’ lives while they have this haunted outfit.

The only real connection between stories is the department store that sells the dress, filled with bald women wearing wigs and saying everything in as complicated and absurd of a way as possible. They move through the interior of the building using dumbwaiters, and are managed by a creepy old man who is a professional at customer service. The same model can be found throughout an in-store catalogue that showcases all the latest fashions; it’s an eerily intricate nightmare of normality. The women all essentially cast spells on their customers to get them to buy something, except the spells are just really flattering comments and exceptional customer service. Strickland strikes right at the heart of consumerism with his weird fixation on the ways we’re lulled into parting with our money.

In-Fabric-Review

Standing out is the way that the rich atmosphere is presented. In Fabric blends a deadly cocktail of sensuality and dread in every frame, from a red dress lighting up an entire room with its bright colors, to images of its smooth texture overlapping over morbid imagery; every moment in Strickland’s fourth feature is a delight. It’s not necessarily style over substance, but one of the many ways In Fabric falters is how indebted to its editing and visuals it becomes, especially by the second half. Berberian Sound Studio also fell into the same trappings, but where that was used for narrative purposes, In Fabric utilizes it solely for a more textured atmosphere. This lends it a strong voice, but one that drags on too long.

The question that many will wonder as the movie progresses: is this is horror or comedy? The truth is, In Fabric falls more on the comedic side of things. It’s not exactly a scary movie, but it evokes a lot of haunting imagery. Strickland has always written from a more humorous point of view, with maybe the exception being his debut film, Katalin Varga, but this marks the first film of his to just lean into the laughs. It’s absurd and preposterous, but grounded in something we can all relate to in some manner — either the customer service side of things, or being swindled into buying something we don’t need.

The appropriately campy performance from Fatma Mohamed as a saleswoman who manages to convince different people to purchase the possessed red dress is one of the greatest delights of In Fabric. On top of that are some of the weirder concepts that the film latches onto and decides to explore — like the semantics of washing machine repair. The monotonous descriptions of washing machines in disarray, and subsequently what parts and procedures are needed to fix them, offers a glimpse at how monotony can be hypnotic.

In-Fabric

There’s an allure to everything here, as even its smallest jokes feel representative of some larger conversation about the items we purchase and the meaning (or lack thereof) that we attach to them. Peter Strickland exists within a very unique form of cinema. Here he’s at his most reverential for the medium, but also posits his most ambitious and relevant statements. There may not be more than just a simple self-awareness to the act of consumerism, but Strickland at least offers an entertaining satire of an industry we all submerge ourselves into for the smallest deal.

Editor’s Note. This article was originally published on September 17, 2018, as part of our coverage of the Toronto International Film Festival.

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