Review: 'In the Earth' considers modern terrors before opening up to a hallucinatory horror ride

Modern fears give way to ancient ones in “In the Earth,” a trippy lost-in-the-woods horror thriller that lives in the middle ground between David Lynch and “The Blair Witch Project.”

In a remote English forest, far from where a viral outbreak is decimating cities, scientist Martin Lowery (Joel Fry) has arrived to help solve a mystery: What happened to Martin’s former mentor, Dr. Olivia Wendle (Hayley Squires), who went into the woods and lost contact with the outside. Martin starts a two-day hike to Dr. Wendle’s last known location, with a park ranger, Alma (Ellora Torchia), as his guide on the two-day hike.

On the second day, Martin and Alma are bludgeoned by an unseen attacker. When they wake up, their shoes are gone, Martin’s scientific equipment is trashed, and they’re lost. Soon they are befriended by a hermit, Zach (Reece Shearsmith, late of the UK comedy “The League of Gentlemen”), whose goodwill hides a darker motive.

Writer-director Ben Wheatley, whose past credits include the dystopian “High-Rise” and the guns-ablazin’ “Free Fire,” filmed this movie in a COVID-19 “bubble,” and the eerie dissonance of our pandemic-ruled lives envelops the early scenes of Martin’s arrival. But Wheatley soon plunges his characters, and his audience, into more traditional terrors — shadows in the forest, ancient books, strange noises and the paired madness of Zach’s and Dr. Wendle’s obsessions.

There’s a hallucinogenic quality to Wheatley’s images, as Martin and Alma try to reckon with things they can’t quite believe are happening. Some of those things are bloody and gory, others are just plain weird, and audiences may be torn as to how effective or inscrutable it all becomes. Viewers may find what they get out of “In the Earth” depends on what expectations they bring to it.

——

‘In the Earth’

★★★

Opens Friday, April 16, in theaters where open. Rated R for strong violent content, grisly images, and language. Running time: 107 minutes.

Review: 'Vanquish' puts Ruby Rose on a motorcycle, Morgan Freeman in a wheelchair, and the audience in a coma

It’s hard to fathom how many things can go wrong in a movie as thoroughly and consistently as they go wrong in “Vanquish,” an organized crime thriller curiously devoid of thrills.

Morgan Freeman has top billing, playing Damon, a retired police commissioner who’s paralyzed and in a wheelchair in his expansive waterfront mansion. The only person he trusts is his caretaker, Victoria (Ruby Rose), a single mom who frets over getting medical care for her daughter, Lily (Juju Journey Brener).

On this night, though, Victoria learns that Damon, despite his hero-cop reputation, is the godfather of the city’s crooked cops — who are feeling an FBI agent, Monroe (Patrick Muldoon), breathing down their necks. Damon asks Victoria to run a series of errands, “five stops, five pickups,” to collect money from Damon’s various criminal enterprises. When Victoria refuses, Damon forces her into it by holding Lily hostage.

What the audience soon learns is that Victoria is no ordinary caretaker. She’s got a dark past of con games, double crosses and murder. And at each of the five stops, she’s going to encounter people from her past life, and some old scores are going to be settled.

The premise is OK; heck, Jackie Chan has worked magic with less. But director George Gallo, who wrote the classic buddy-chase “Midnight Run” and directed the atrocious Nicolas Cage vehicle “Trapped in Paradise,” seems singularly incapable of staging an action sequence. 

Gallo’s idea of a street chase involves Rose (or her stunt double) whirring along on her motorcycle in front of cars moving a good 20 mph. Gallo doesn’t even try to mount a decent hand-to-hand fight, something at which Rose was fairly adept during her one season as Batwoman. The only time she springs to action is when Victoria is drugged, and then lands in a “Scarface”-sized pile of cocaine — which produces the same effect as a can of spinach to Popeye.

Without any action sequences, Gallo relies on Rose’s acting and charisma, which turns out to be a severe miscalculation. Meanwhile, Freeman looks like he signed on for maybe two days’ work — and spends almost all of it i one room, sitting in a motorized wheelchair.

At a brief 94 minutes, “Vanquish” feels padded to the gills. Maybe it’s the six-minute credit sequence, that uses newspaper headlines and too much percussion to lay out Damon’s unnecessarily elaborate backstory. Or maybe it’s how every time Victoria jumps on her bike to her next pickup, she has flashbacks to things we saw three minutes earlier. Either way, Gallo’s ineptitude is on glaring display, in a movie that will soon fulfill its destiny as one of those titles you skip past on Netflix on the way to something else.

——

‘Vanquish’

★

Opens Friday, April 16, in select theaters; on digital VOD starting Tuesday, April 20. Rated R for bloody violence, language, some sexual material and drug use. Running time: 94 minutes.

Review: 'Voyagers' is a teen-driven science-fiction parable that never really gets off the ground

As slick and as antiseptic as the spaceship where it all happens, the science-fiction parable “Voyagers” has a lot of big ideas but none of the emotional heft needed to make those ideas resonate.

Starting in 2063, scientists have found a new Earth-like planet that could be humanity’s last chance for survival — though there’s little evidence shown of our current planet’s looming apocalypse other than the furrowed looks given by one scientist, Richard (Colin Farrell). Richard leads a plan to raise a crew, from in vitro, that will begin the 86-year journey to the new planet and sire the second and third generations that will finish the trip. When the children are about 11 or so, they take off in their spaceship, with Richard as their teacher and leader.

Ten years later, Richard is in charge of a crew of 30 teen-agers, whose emotions and hormones are kept in check using a daily drug called The Blue. When two bright boys, Christopher (Tye Sheridan, from “Ready Player One”) and Zac (Fionn Whitehead, from “Dunkirk”), figure out they’re all being drugged into docile worker bees, and decide to stop taking The Blue. Soon they’re getting rebellious and aggressive, with much of that alpha-male energy directed at the ship’s teen medical officer, Sela (Lily-Rose Depp).

Then something bad happens to Richard, and the crew votes Christopher as the new leader — which rankles Zac, and begins a power struggle that’s somewhere between the U.S. Capitol insurrection and “Lord of the Flies.”

Writer-director Neil Burger (“Limitless,” “Divergent”) expertly sets the table for this science-fiction parable about the seductive nature of power, and what happens when libidinous teens are given free rein to follow their impulses. The early scenes with Farrell are touching, as Richard labors to keep everything under control while practically acknowledging how impossible that task is.

But once Farrell is out of the picture, the movie sputters to find a new groove. It’s as if the actors are still under the influence of The Blue, barely being expressive when the story calls for heightened emotions. Even with a talented cast of mostly fresh faces — the most recognizable is Isaach Hempstead Wright, Bran Stark from “Game of Thrones” — Burger can’t propel “Voyagers” to reach escape velocity.

——

‘Voyagers’

★★1/2

Opens Friday, April 9, in theaters where open. Rated PG-13 for violence, some strong sexuality, bloody images, a sexual assault and brief strong language. Running time: 108 minutes.

Review: 'Shiva Baby' is a painfully funny comedy, set during a Jewish funeral, that builds its tension like a thriller.

Writer-director Emma Seligman makes a strong feature debut with “Shiva Baby,” a deliciously and painfully tense comedy following one young woman through the torture of the post-funeral reception.

Danielle, played by Rachel Sennott, has survived into her 20s by compartmentalizing her life. She lives with her parents, Debbie (Polly Draper) and Joel (Fred Melamed), while trying to finish college with her vaguely defined major. While her parents think she’s earning extra money babysitting, she’s really getting her cash by acting as occasional sex partner to a “sugar daddy,” Max (Danny Deferrari).

The day depicted in “Shiva Baby” starts with Danielle and Max having sex in Soho apartment. She leaves there to meet her parents for the shiva of a family friend — though she’s not quite clear on who the deceased is. What Danielle does know is that all of her mom’s friends are asking about her college career or her romantic prospects, both tender subjects that Danielle would rather avoid.

Debbie also warns Danielle “no funny business” at the shiva, especially when Danielle notices Maya (Molly Gordon) anter the room. Seligman doesn’t tell us much at first about Maya, but we suspect she and Danielle are either former high-school rivals or ex-girlfriends, or maybe a combination of the two.

Just as Danielle is beginning to grapple with how to explain her college life and whether to avoid Maya, someone else joins the party: Max, with his blonde overachieving wife, Kim (Dianna Agron, formerly of “Glee”), and their 18-month-old daughter in tow. It’s enough to make Danielle, a professed vegan, stress-eat a bagel with lox and a schemer.

Seligman, in expanding a 2018 short of the same name (and also starring Sennott), revels in the tension produced when Danielle watches the elements of her messy life come together after she’s spent so long keeping them separated. Seligman ratchets up the tension with Maria Rusches claustrophobic camera work, a tense score by Ariel Marx, and a thorough understanding of the gossipy undercurrents of a traditional shiva.

The supporting players — particularly Draper (“thirtysomething”), Melamed (“WandaVision”) and especially the scene-stealing Gordon (“Booksmart,” “The Broken Hearts Gallery”) — are terrific. But “Shiva Baby” belongs to Sennott, a burgeoning talent known for her comic Twitter videos and now playing Kyra Sedgwick’s daughter in the sitcom “Call Your Mother.” Sennott nails every facet of Danielle’s splintering life, and finds the frantic humanity through all of it.

——

‘Shiva Baby’

★★★1/2

Available starting Friday, April 2, through the Salt Lake Film Society’s virtual cinema, SLFS@Home. Not rated, but probably R for sexual content and language. Running time: 77 minutes.

Review: In 'French Exit,' not even Michelle Pfeiffer's exquisite performance can rescue this comedy from its own preciousness

There are few cinematic joys as perfect as watching Michelle Pfeiffer tear into a juicy role, as she does in director Azazel Jacobs’ comedy-drama “French Exit.” It’s a shame, then, that Pfeiffer’s brilliance isn’t enough to pull this faux-whimsical story out of the ditch.

Pfeiffer plays Frances Price, a Manhattan socialite who has been living extravagantly off the wealth left her by her late husband, Franklin. She shares her home with her adult son, Malcolm (Lucas Hedges), who is so terrified of disappointing his mother that he can’t tell her that he’s engaged to Susan (Imogen Poots) — which prompts the exasperated Susan to dump Malcolm.

Frances is told by her accountant that Franklin’s money is gone, and she has to sell everything and live more modestly. She does sell off the artwork and other items, transfers the proceeds into euros, and takes up an offer by her last friend, Joan (Susan Coyne), to live in Joan’s apartment in Paris until the money runs out. Malcolm goes along, as does Frances’ cat, Frank — named for her late husband, and the explanation for that will produce eye-rolls later on.

On the cruise ship crossing the Atlantic, Malcolm has a one-night stand with Madeleine (Danielle Macdonald), a medium who’s a little too accurate in predicting when a passenger will die. Once in Paris, Frances begins to accumulate more odd acquaintances, including a lonely widow (Valerie Mahaffey) and a bemused private detective (Isaach de Bankolé). Even Susan reappears, with a new fiancé, Tom (Daniel di Tomasso).

Jacobs usually has a firmer handle on the comic beats of his movies, as he showed with Debra Winger and Tracy Letts in “The Lovers” or with John C. Reilly in the 2011 Sundance Film Festival hit “Terri.” Here, though, Jacobs is saddled with a script in which most every character, including Frances, is a collection of tics in search of a personality. Screenwriter Patrick DeWitt, adapting his own novel, finds none of the humanity of his work in “Terri” or his off-kilter Western “The Sisters Brothers.”

Still, Pfeiffer cuts through the excesses of DeWitt’s script, giving a performance that’s as smooth and as potent as a fine whiskey. She reveals Frances as a woman who has outlived her husband and his fortune, and feels like a party guest who has overstayed her welcome. It’s a delightfully sharp piece of acting, and deserves a less self-consciously precious movie to showcase it.

——

‘French Exit’

★★1/2

Opening Friday, April 2, in theaters where open. Rated R for language and sexual references. Running time: 112 minutes.

Review: 'Godzilla vs. Kong' delivers the monster battle audiences want, but takes a while to get there

The big ape from Skull Island takes on the terror of Tokyo in “Godzilla vs. Kong,” an energetic super-monster mashup that’s four years in the making — or 57 years, depending on how you’re counting.

In the current franchise, it’s been four years since “Kong: Skull Island” reintroduced audiences to the giant ape who made his screen debut back in 1933. Two years ago, “Godzilla: King of the Monsters” reacquainted fans with the nuclear-powered lizard creature that first thrilled Japanese audiences in 1954. (Fans of super-cheesy films will remember the 1964 “King Kong vs. Godzilla,” co-directed by Ishirô Honda, director of the original “Godzilla.”)

If you missed either of the recent installments, don’t worry. Nobody from “Kong: Skull Island” returns for this sequel, and the only characters back from the last “Godzilla” are the teen heroine, Madison Russell (Millie Bobby Brown), and her scientist father, Mark (Kyle Chandler) — and he barely makes a cameo appearance this time.

When we see Madison here, she’s teamed with Bernie Hayes (Brian Tyree Henry), a conspiracy-minded podcaster who works inside at Apex Cybernetics, a conglomerate run by billionaire Walter Simmons (played by Mexican star Demián Bichir). Madison and Bernie are trying to figure out why Godzilla, who has been dormant for awhile, is suddenly attacking Apex’s factory in Pensacola, Florida.

Meanwhile, Kong remains on Skull Island — though within a “Truman Show”-style dome projecting an artificial sky, though Kong is too smart to be fooled. Dr. Ilene Andrews (Rebecca Hall) is studying Kong, using the resources of another conglomerate, Monarch, to keep Kong safe from Godzilla. If the lizard were to sense Kong’s presence on the planet, Kong wouldn’t be safe.

Simmons enlists another scientist, Nathan Lind (Alexander Skarsgård), who has hypothesized something called the “hollow earth” theory — which suggests that the titans come from an undetected and energy-rich habitat in the center of the earth. (Jules Verne and Edgar Rice Burroughs, call your lawyers.) Simmons bankrolls an expedition to take Kong to the earth’s core for the big primate’s protection. Linn and Andrews lead this trip, along with Simmons’ daughter Maya (Eiza González), who’s keeping an eye on her daddy’s investment, and Jia (Kaylee Hottle), a deaf 9-year-old native of Skull Island and Andrews’ adopted daughter, who has a bond with Kong.

The script — Eric Pearson (“Black Widow”) and Max Borenstein (co-writer of “Kong: Skull Island”) get the writing credit, with three others receiving story credit — runs on parallel tracks, toggling between the expedition to save Kong and Madison’s infiltrating of Apex’s network all the way to Hong Kong. The actors must plow through large blocks of expository dialogue to make the outlandish premise sound scientific, and to set up the movie’s other main confrontation, between the rival corporations Apex and Monarch. But the underlying mood is that nobody onscreen really cares, as long as we get to see CGI monsters beat each other up from time to time.

Director Adam Wingard, who helmed the 2016 “Blair Witch” reboot, saves his cinematic flexing for the title match-up. Wingard knows there’s a visceral thrill seeing Kong throw a punch across Godzilla’s face, or having Kong jump out of the way of an explosion (a shot cribbed directly from Bruce Willis in “Die Hard”), and he delivers. The final fight, which has Godzilla and Kong tossing each other around a rapidly crumbling Hong Kong skyline, is ferociously entertaining. (If you’re comfortable going to a movie theater, and won’t be contributing to a fourth wave of COVID-19, see this on as big a screen as possible.)

“Godzilla vs. Kong” doesn’t fully satisfy — no big-budget blockbuster can any more, not when studios are more interested in setting up the next movie than allowing the audience to enjoy the one in front of them. But as a popcorn movie, with nothing more on its mind than providing the battle royale audiences want, it’s good enough.

——

‘Godzilla vs. Kong’

★★★

Opens Wednesday, March 31, in theaters where open, and streaming on HBO Max. Rated PG-13 for intense sequences of creature violence/destruction and brief language. Running time: 113 minutes.

Review: 'A Week Away,' a Christian-themed summer-camp movie, is as earnest and peppy as you'd expect — and that's a good thing

Every 15 years, the world gives us a new generation of teen-agers, and gives that generation their own bouncy, free-spirited musical. The peppy, achingly earnest “A Week Away” seems likely to inherit the throne once occupied by “High School Musical.”

Will Hawkins (played by Kevin Quinn) has bounced in and out of a handful of foster homes, committing small crimes around Nashville, ever since his parents died. His next stop is a juvenile detention center, until he’s given an out: One week at Camp Aweegaway, a Christian summer camp. Will takes up the offer from Kristen (Sherri Shepherd), one of the camp counselors, and becomes cabin mates with Kristen’s ultra-nerdy son, George (Jahbril Cook).

Camp Aweegaway, we’re told by the proprietor (David Koechner), is pronounced with a hard “g,” so it sounds like “a week away” — following the owner’s philosophy that one week away from civilization can be life-changing for any teen. Will is skeptical, because he’s forgotten what kind of movie he’s in.

Will immediately meets cute with Avery (Bailee Madison), the camp owner’s daughter. Avery is the captain of the Crimson Angels, one of three teams into which the campers are divided for a week of games and contests. Will joins George in the green team, while the hyper-competitive Sean (Iain Tucker) and his snobbish sycophants make up the blue team.

Avery is guarded about Will at first, and vice versa, but soon teen-age sparks start flying, with the complication that Avery doesn’t know about Will’s criminal past. Meanwhile, George pines for Avery’s best friend Presley (Kat Conner Sterling), thinking he’s not good enough — that’s the name of the song for this part: “Good Enough” — for her, without realizing Presley feels the same way about him.

Can Will be honest with Avery? Can Will find a spiritual awakening? And who’s going to win the weeklong camp competition? The answer to all three questions is, of course: What do you think? Because this isn’t a movie that reinvents the wheel, but keeps things spinning pretty effectively.

Director Roman White, who’s best known for his music videos (such as Taylor Swift’s “You Belong With Me”), fills the many musical numbers with youthful exuberance and earnest feeling. And he pays proper homage to the teen musicals that have come before, like the way the guys-vs.-girls vibe of “Good Enough” is reminiscent of the “Summer Lovin’” number in “Grease.”

Be advised, though, that “A Week Away” is solid in its Christian themes, and is the most squeaky-clean teen romance since Annette Funicello stopped hanging out on the beach. The talented young cast, though, still makes it engaging.

——

‘A Week Away’

★★★

Available for streaming, starting Friday, March 26, on Netflix. Not rated, but probably PG for mild peril and mature themes. Running time: 95 minutes.

Review: 'Nobody' casts Bob Odenkirk as a convincing assassin trying to live a quiet suburban life.

Who would have guessed, back when we were all watching “Mr. Show,” that comic actor Bob Odenkirk would turn out to be such a badass — as evidenced by his work in “Better Call Saul” and now in the surprisingly action-packed thriller “Nobody.”

Here, Odenkirk plays Hutch Mansell, who’s droning through what looks to be a boring suburban existence. He works as an accountant in a small factory, taking abuse from the owner, Eddie (Michael Ironside), and Eddie’s full-of-himself son, Charlie (Billy MacLellan). At home, Hutch is disrespected by his teen son, Blake (Gage Munroe), and regarded with quiet resignation by his wife, Becca (Connie Nielsen). Only his little girl, Abby (Paisley Cadorath), seems to dote on him.

When two masked thieves break into the house, Hutch momentarily prepares to deck one with a golf club, but seems to lose his nerve. Later, though, when he discovers Abby’s prized kitty-cat bracelet is missing, Hutch seems to snap — and he goes looking for the thieves, deploying skills that suggest Hutch hasn’t always been a mild-mannered bean counter.

It’s only a short hop from Hutch’s pursuit of the thieves to a fight against six thugs on a city bus. Hutch takes a few licks — and it’s cool how director Ilya Naishuller (“Hardcore Harry”) finds drama in how Hutch can take a punch — but puts the thugs in the hospital. What Hutch doesn’t know is that one of the thugs is the brother of Yulian Kuznetsov, the flamboyantly violent head of the local Russian mob. (Yulian is played by Alexey Serebryakov, star of the acclaimed Russian drama “Leviathan.”)

The firepower of “Nobody” comes from three men: Odenkirk, who is dynamic doing a slow burn and unleashing Hutch’s fury; Naishuller, who stages fight scenes brimming with menace; and screenwriter Derek Kolstad, who creates the same man-against-the-world fury as he did writing the original “John Wick.”

Where “Nobody” falls short is in the atmosphere surrounding Hutch’s swatch of barely justifiable destruction. There’s little explanation of Hutch’s past deeds, no sense of a larger world where such violence is part of the life. In “John Wick,” Kolstad set Keanu Reeves’ Wick amid an army of baddies, and created a venue — the no-kill zone of The Continental hotel — that prompted as much curiosity as Wick himself. “Nobody” doesn’t anything like that, and the absence is deeply felt.

——

‘Nobody’

★★★

Opens Friday, March 26, in theaters where open. Rated R for strong violence and bloody images, language throughout and brief drug use. Running time: 92 minutes.