SEE HOW THEY RUN (2022) – Playful Murder Mystery Comedy More Amusing Than Funny

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SEE HOW THEY RUN (2022) brings together two of my favorite actors working today, Sam Rockwell and Saoirse Ronan, and pairs them as Scotland Yard detectives in a playful mystery/comedy that is full of spirit and gumption yet has a script that only partially delivers.

And while Rockwell and Ronan do share some onscreen chemistry, it’s Adrien Brody who delivers the film’s best performance. Unfortunately, Brody’s character is killed off before the opening credits, and it’s his murder that the detectives have to solve. Now, we do continue to see Brody’s character in flashbacks, and while SEE HOW THEY RUN obviously isn’t on the same level as the classic SUNSET BOULEVARD (1950), in which the story was told by William Holden’s deceased character, Brody even in flashbacks pretty much dominates the film.

The opening pre-credit sequence, which just might be the best sequence in the whole film, introduces us to Hollywood film director Leo Kopernick (Adrien Brody) who is in London in the early 1950s to prepare for a film version of Agatha Christie’s hit play, The Mousetrap, and in this lively sequence, we learn of Kopernick’s contempt for the murder mystery trope which he views as cliche, and we also see that he is pretty much a complete jerk, insulting or getting on the wrong side of nearly all the players involved with The Mousetrap, and so it’s no surprise that someone jumps out of the shadows and kills him. Just before this happens, he laments that somehow, he unwittingly has become a victim in the type of story he disdains!

Enter Inspector Stoppard (Sam Rockwell) and Constable Stalker (Saoirse Ronan) who are assigned to the case, and Stoppard has also been tasked with training the very green Stalker. It’s their job to solve the crime, and pretty much all the suspects are the folks involved in both the play and film versions of The Mousetrap, making this a mystery within a mystery.

Sam Rockwell, who has been brilliant in so many different roles, from George W. Bush in VICE (2018) to the racist cop Dixon in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017), to, going way, way back, the whiny “red shirt” crew member Guy Fleegman in the hilarious GALAXY QUEST (1999), to name just a few. Here, he has the thankless role of playing the straight man to both Ronan’s character and the rest of the supporting players, who are all over-the-top larger than life suspects. His take on the sad, dour Stoppard is of a man deep in melancholy and in need of a drink. While the other actors all appeared to be having a fun time playing their roles, Rockwell here was playing the heavy. He’s convincing, as you would expect. And we are spared any voice-over narration from the depressed detective.

Saoirse Ronan fares better as Constable Stalker who takes things so literally, she often seems like a bumbling Inspector Clouseau, but she’s no fool, and her meticulous notes actually help crack the case. But she is a source of a lot of the humor here, as she does take things literally, like when one of the characters steps up to Stoppard and says, “I did it!” in reference to something she just did, but Stalker misinterprets that as a confession and announces, “I arrest you for the murder…!” Ronan gets most of the laugh-out-loud moments in the movie. The only issue I had is most of these moments were shown in the film’s trailers, and they didn’t save all that much for the movie, so her best bits, I had already seen.

Still, it’s another terrific performance by Ronan, who has wowed me in such movies as LITTLE WOMEN (2019) and LADY BIRD (2017). This is the most fun performance I’ve seen her deliver.

And other than Adrian Brody’s scene stealing performance as a deceased director, it’s the best performance in the movie.

The rest of the cast is fine, although none of these folks, in spite of their eccentricities, really come to life as much as expected. David Oyelowo plays annoying screenwriter Mervyn Cocker-Norris, and Ruth Wilson plays the arrogant theater owner. My favorite Ruth Wilson role remains her recurrent role as the explosive Alice Morgan on the gritty Idris Elba cop TV series LUTHER (2010-2019).

Director Tom George holds nothing back and has made a murder mystery that pokes fun at the genre and looks fabulous while doing it. However, the screenplay by Mark Chappell, in spite of going all out in an attempt to not be the genre it’s spoofing and doing creative bits like breaking the fourth wall at times, simply isn’t as sharp as it needs to be. Briefly put, the laughs simply aren’t there. SEE HOW THEY RUN is far more amusing than it is funny.

I loved the cinematography, and it nails the 1950s London look. I enjoyed all the characters, although with the exception of Brody’s Leo Kopernick and Saoirse Ronan’s Constable Stalker, they don’t really come to life. They remain caricatures of the characters they are playing. Even having Agatha Christie (Shirley Henderson) herself show up doesn’t cut through the surprisingly wooden characterizations.

There’s a lot to like about SEE HOW THEY RUN, even as a lot of it doesn’t work. I wish the jokes had been sharper. Let’s put it this way. It’s not Mel Brooks or Neil Simon. It’s not even Agatha Christie. But it sure tries like heck.

It does have a snappy music score by one of my favorite film composers these days, Daniel Pemberton, who wrote memorable scores for THE MAN FROM U.N.C.L.E (2015) and KING ARTHUR: LEGEND OF THE SWORD (2017).

SEE HOW THEY RUN is fun and entertaining and doesn’t take itself too seriously. In a way, I wish that it had. It may have resulted in a stronger, tighter, and ultimately funnier script.

I give it two and a half stars.

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BODIES BODIES BODIES (2022) – Horror Satire Defines Generation Z

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BODIES BODIES BODIES (2022) is a generation-defining horror movie.

Its story, about a group of 20 somethings or members of Generation Z, who get together for a hurricane party and find themselves in the middle of a murder mystery game gone wrong, works because the filmmakers here know their subject matter.

This group of friends are toxic, mean, emotionally unstable, and when things go wrong, they flip out and overreact in the most tragic of ways. This isn’t to say that this is what all Generation Z folks are like, but it is to say, that the characters in this movie are unique to 2022, and a story like this couldn’t have been written the same way even just ten years ago, let alone twenty or thirty. If Michael Myers had set his sights on this group for his first HALLOWEEN adventure, they might not even have noticed him because they would have been too preoccupied with themselves and each other.

BODIES BODIES BODIES is billed as a horror comedy, and it is, but this label needs to be clarified. The horror is not gimmicky or manipulative. Not one iota. This is not SCREAM (1996). All the horror elements in this film are based on the characters and what happens to them in the story. And while BODIES BODIES BODIES is funny, it is not a spoof of horror movies. It’s a social satire of Generation Z. The best part of this movie is that it all works, and the result is a frightening movie that is instantly one of the better horror movies of the year.

Twenty something Sophie (Amandla Stenberg) brings her new girlfriend Bee (Maria Bakalova) to meet her friends at the elegant mansion… all these folks, with the exception of Bee, are very, very wealthy… owned by the parents of Sophie’s one-time best friend, David (Pete Davidson) who has the social graces and warmth of a great white shark. David is dating Emma (Chase Sui Wonders) an actress who doesn’t seem to know the difference between real life and acting. Also at the party is the emotional Alice (Rachel Sennott) who is there with her new boyfriend Greg (Lee Pace), who she met a couple of weeks earlier on Tinder and who is much older than everyone else there, and Jordan (Myha’la Herrold) who once she meets Bee also seems attracted to her, and when she gets Bee alone warns her to be careful around Sophie.

It’s also clear that David, Emma, Alice, and Jordan are not happy with Sophie because of something that happened in the not-too-distant past. This is a hurricane party, meaning that a hurricane is bearing down upon them, and they plan to party hearty during the monster storm. To which they drink and do drugs and eventually decide to play the murder mystery game “bodies, bodies, bodies,” in which one person is secretly chosen to be the “murderer” and they have to “murder” people by tapping them on the shoulder, and once someone finds a body, the game stops, and the players have to figure out the identity of the murderer.

One thing they’re not doing is having sex. I don’t know if you have noticed, but sex is gradually disappearing from American movies. Not sure why. I’m just making an observation. Whether the film is rated PG-13 or R, it doesn’t matter. Sex scenes just are not being done, and since sex is a part of life, I can’t imagine that this recent movie trend is a healthy one.

During the game, tensions rise, and emotions boil over because in their drunken drugged state they say some pretty mean things to each other— or maybe they’re just mean to begin with? — and then the storm knocks the power out saturating the place in darkness. Not long afterwards, they discover a dead body for real.

And then with their cool heads they logically come up with a plan to defend themselves from the murderer and — no. There are no cool heads here. They flip out. And what goes on inside the house after the discovery of the dead body makes what’s going on outside the house— the hurricane— seem like a harmless drizzle in comparison.

BODIES BODIES BODIES is an excellent movie. I really liked this one. I haven’t been this intrigued by a horror movie since IT FOLLOWS (2014), which had a style all its own that was exceedingly fresh. In terms of style and tone, BODIES BODIES BODIES is nothing like IT FOLLOWS. What they do have in common however is a freshness and an edge that lift them above the standard horror movie trope. Plus BODIES BODIES BODIES has the whole social satire thing going which works exceedingly well.

The screenplay by Sarah DeLappe based on a story by Kristen Ropenian says all the right words and phrases, from “toxic” to “trigger” to “I can’t believe you’re making this about you!” It also does a great job creating unlikable characters who you still enjoy watching. I didn’t like most of the characters in this film, but yet that didn’t stop me from liking the movie. And the story is a good one, as is the mystery, and it’s not ruined by some dumb plot twist or an over-reaching agenda by a secretly demented character. It all plays out as real, from start to finish, which makes it scary.

And it is scary! I have to admit, I was on the edge of my seat for most of this movie.

I enjoyed the direction here by Halina Rejin. The camerawork is kinetic, up close, and most of the time in the dark. Like the characters, the audience isn’t able to see things clearly which only adds to the suspense. This is also not a gross-out horror movie with over-the-top killings. In fact, the murders keep this one grounded in reality. The killings are not sensationalistic. They are simply tragic.

The cast does a bang up job. Amanda Stenberg is potent as Sophie, a young woman with a troubled past, whose friends helped her with her drug addiction and then felt abandoned when she got healthy and walked out of their lives. But she’s just edgy enough to make audiences question her make up, and if she is capable of harming those she loves.

Maria Bakalova is just as good as Bee, seemingly the most innocent of the characters, as she’s not really part of this group of friends. She also doesn’t have their wealth, is Russian, and comes from a poor family. But later when she’s caught in a lie, the others turn on her since they know so little about her.

Pete Davidson stands out as David, the toxic no filter friend who is described as being a complete d*ck by the others, and he is. It’s a terrific performance by Davidson. I also really enjoyed Rachel Sennott as the uber emotional Alice. She gets some of the best lines in the movie, like “Did you just f*cking shoot me?”

Chase Sui Wonders is sufficiently weird as the offbeat actress Emma, and Myha’la Herrold is icy cold as Jordan. Then there’s Lee Pace as Greg, one of the few characters besides Bee who seems somewhat likeable. Pace is perfect as the older “outsider” who is much more comfortable with himself and as such makes quite the impression on everyone there, but when things go wrong, he’s the first one the friends suspect since they know so little about him, and as he demonstrated when he opened a bottle of champagne, he’s also quite handy with a sword!

BODIES BODIES BODIES ranks with the best horror movies I’ve seen this year in 2022, including THE BLACK PHONE, X, and MASTER. But BODIES BODIES BODIES is the only one of these that is also a social satire which gives it an added element that the other don’t have.

Speaking of social satire, I don’t take the characters in BODIES BODIES BODIES to be the embodiment of all members of Generation Z, and so I don’t interpret this movie as slamming that generation. Rather, it shows their unique traits and emotions and uses them to tell a story about murder that couldn’t be told the same way with characters from a different generation. And for that reason, this is a horror movie that defines a generation.

So much so, that it probably needs its own trigger warning.

—END—

WHERE THE CRAWDADS SING (2022) – Big Screen Adaptation of Popular Novel Superficial but Satisfying

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WHERE THE CRAWDADS SING (2022), the big screen adaptation of the immensely popular novel of the same name by Delia Owens, probably will not satisfy fans of the novel since its screenplay by Lucy Alibar is superficial at best, but it still manages to tell a compelling narrative in spite of a pace better suited for a sultry summer North Carolina afternoon.

It also features a terrific performance by Daisy Edgar-Jones in the lead role.

WHERE THE CRAWDADS SING opens in 1969 North Carolina where a young woman Kya Clark (Daisy Edgar-Jones) is accused of murdering the man she was seeing, the former high school star quarterback Chase Andrews (Harris Dickinson). Kya is known in town as the Marsh Girl, because she has lived her whole life alone in a house on the marshes. The townsfolk think she’s weird, and rumors about her have run rampant. The bottom line, however, is that few in town have ever given her the time of day.

When the gentle kindly attorney Tom Milton (David Strathairn) steps up to defend Kya, she tells him her story, which we learn in flashbacks, and the movie plays out in this way, jumping back and forth between Kya’s past and her present trial for murder. We learn that Kya grew up in the swamps with her abusive father (Garret Dillahunt) after her mother and older sisters and brother fled the home. Kya remained, and when eventually her father leaves as well, she takes to surviving on her own.

Her only friends in town are the black owners of the local store, Jumpin’ (Sterling Macer, Jr.) and Mabel (Michael Hyatt), and a boy her own age named Tate. As the years go by and Kya and Tate (Taylor John Smith) grow up, they fall in love and become best friends until Tate has to leave for college, but he promises he will come back to see Kya, but he never does, tearing a new hole in Kya’s heart. She then meets Chase, whose attempts to date her she rebuffs, but he’s persistent, and eventually she gives in and starts to see him, not knowing that he is being less than honest with her about his intentions.

And that’s the story told in WHERE THE CRAWDADS SING, with the climax being will Kya be found innocent or guilty, and what will then happen to the mysterious young woman known as the Marsh Girl?

I didn’t really have high expectations for WHERE THE CRAWDADS SING, so maybe that’s why I kinda enjoyed it.

The best part by far is the lead performance by Daisy Edgar Jones. She captures the innocence and wildness of Kya while giving her both the toughness and intellectual curiosity needed to nail the role. She’s in nearly the entire movie, and she’s good enough to carry this film on her shoulders.

Jones receives fine support from veteran actor David Strathairn as sympathetic and very astute attorney Tom Milton. He makes Milton a very likeable character, and an attorney who would have been right at home in an old episode of LAW AND ORDER. Strathairn has been in a ton of movies over the years, going way, way back to films like THE RIVER WILD (1994), and we saw him last year in NIGHTMARE ALLEY (2021). He also has been stuck playing a boring military character, Admiral William Stenz in the meh Godzilla reboots, GODZILLA (2014) and GODZILLA: KING OF THE MONSTERS (2019).

I also really enjoyed Sterling Macer, Jr. and Michael Hyatt as the shop owners who in their own way become surrogate parents for Kya, always looking after her and caring for her. They show their frustration with their own situation, being black in rural North Carolina in the 1960s, knowing that they were limited in how they could help Kya, and understanding that it would have been best for them not to be involved with her at all.

Both Taylor John Smith as Tate and Harris Dickinson as Chase are okay. They’re not terribly exciting or interesting and are about as intriguing as a slice of white bread, but maybe that’s the point. Taylor John Smith reminded me a little bit of a young Paul Rudd.

The screenplay by Lucy Alibar as I said is a bit superficial and really plays out like someone trying to summarize a longer and deeper novel. Lots of points are made, none of them all that deeply, but that being said, Alibar does succeed in fleshing out Kya’s character at least, and combined with the wonderful acting of Daisy Edgar-Jones creates a memorable character. The dialogue is also decent. The trial scenes aren’t that exciting, however, and seem like they belong in an old TV movie.

Director Olivia Newman captures the North Carolina scenery and gives this film a lazy, hot humid summer feel. Unfortunately, that also goes for the pacing as well, which is slow and lethargic. The film is two hours and five minutes, and at times feels longer. It really isn’t much of a thriller, and the emphasis here is instead on romance. That being said, while the weather may be steamy, the romances are not. This is definitely a PG-13 love story, not an R rated one, and the film suffers for it, because it comes off like an adult tale tailored for younger audiences.

Newman does create some memorable scenes, however. Some of the best sequences involve Kya’s interactions with Jumpin’ and Mabel, with one of the best late in the film when a bruised and battered Kya visits an emotional Jumpin’ who tells her how much he and Mabel truly care for her.

Taken as a whole, WHERE THE CRAWDADS SING is a satisfying and generally moving drama about a young woman who lived an extraordinary life alone in the swamps of North Carolina, and who had to fend for herself to survive both the hardships of nature and the ways of men. Accused of murder, her life becomes front and center for all in town to see, and the story becomes less about her innocence or guilt, and more about who she is and why she has to do what she does.

In the hazy lazy days of summer, watching WHERE THE CRAWDADS SING in an air-conditioned theater might be just the ticket to pass a sweltering afternoon.

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THE SILENCING (2020) – Serial Killer Thriller Almost Very Good

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Annabelle Wallis in THE SILENCING (2020)

I’m a fan of Annabelle Wallis, and so when I saw she was starring in THE SILENCING (2020), a serial killer thriller which takes places in the Canadian wilderness, I definitely wanted to check it out.

Gustafson (Annabelle Wallis) is the new sheriff in town, and when she’s not on the job she’s dealing with her troubled younger brother Brooks (Hero Fiennes Tiffin) who’s constantly running afoul of the law, and with good reason, as he was abused for years by his stepparents.

When Gustafson and her officers discover the dead body of a teenage girl in the woods, it appears as if she had been hunted before she had been killed.

At the morgue, one of the locals, Rayburn (Nikolaj Coster-Waldau) whose daughter has been missing for five years, asks to see the body, and it turns out that the deceased is not his daughter. Rayburn is now an alcoholic, and because his daughter hated hunting so much, he now operates a wildlife sanctuary where he works to protect animals from hunters, complete with cameras set up all through the woods, in memory of his daughter.

One night, Rayburn sees on his cameras a young woman fleeing through the woods, being pursued by a stalker dressed in animal fur. Rayburn races into the woods, confronts the assailant, and manages to rescue the girl, who he brings back to his home.

But the killer has not given up and follows them back there, around the same time that Sheriff Gustafson arrives for a different matter. What follows next is a brutal game of cat and mouse as the hunt for the killer intensifies.

At the outset, THE SILENCING possessed the look and feel of a couple of other teenage girl murder stories which take place in the wildnerness, Christopher Nolan’s INSOMNIA (2002) and Taylor Sheridan’s WIND RIVER (2017). Now, INSOMNIA and WIND RIVER are both much better movies than THE SILENCING, but this film has its moments.

There’s a twist midway through that I didn’t see coming that I really liked. In fact, it almost gave new meaning to the film’s title, but alas, this doesn’t happen, as it’s followed by a couple of more twists, and unfortunately, there is just one twist too many. I didn’t like the final one, which led to a very standard and disappointing conclusion.

The screenplay by Micah Ranum is bursting with potential but just never really gets there. It’s as if it needed one more rewrite. The pervading feel of gloom is there throughout, seen mostly through Rayburn’s brooding over the unknown fate of his daughter, but also through the lives of everyone living in the area, and it’s here where the script doesn’t finish the job. Other than Rayburn and Sheriff Gustafson, we know very little about the other characters in this one. Had we gotten a real sense about the problems of these people, it would have gone a long way in making this a deeper story.

The dialogue is also nothing to write home about, and as I said, the film’s final twist doesn’t really add anything to the movie. In fact, it makes it worse.

The pacing is also very slow. The film only runs for 93 minutes but at times seemed longer, and this is because there are a lot of scenes where characters are having conversations which seem peripheral to the story rather than getting right down to the very intriguing murder investigation. Director Robin Pront captures the mood of the piece with dreary photography, and the suspense builds early on leading up to the first twist, but later, the intensity dwindles. The ending is predictable, and as such, a letdown.

I definitely enjoyed Annabelle Wallis as Sheriff Gustafson, a flawed and very interesting character who would have been even more so had the writing held up. Wallis of course starred in the TV show PEAKY BLINDERS (2013-1019), and she also starred in ANNABELLE (2014).

Nikolaj Coster-Waldau is also excellent as Rayburn, who ends up pretty much being the main character in this one.

The rest of the cast is also very good, including Hero Fiennes Tiffin as Gustafson’s brother Brooks, Melanie Scrofano as Rayburn’s ex-wife Debbie, Zahn McClarnon as officer Blackhawk, who also happens to be Debbie’s current husband, and Charlotte Lindsay Marron as Molly, the teen who Rayburn attempts to rescue.

THE SILENCING is almost a very good movie. Its story just needed a bit more fleshing out. As it stands, it’s a decent thriller with some good acting performances, but at the end of the day, even with a neat twist in the middle, it’s nothing we haven’t seen before.

As such, I won’t be shouting from the rooftops praising THE SILENCING. No, I’ll be somewhat….. silent.

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THE NIGHT CLERK (2020) – Drama About Murder Suspect With Asperger’s Only Mildly Entertaining

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Ana de Armas and Tye Sheridan in THE NIGHT CLERK (2020).

While THE NIGHT CLERK (2020), a tale about a young man with Asperger’s syndrome who becomes the suspect in a murder case, is being billed as a crime/drama/mystery, the emphasis here really is on drama.

The crime, a murder which occurs right at the beginning of the movie, surprisingly never becomes a driving force here, and it’s not much of a mystery.

What it is though is a vehicle to showcase the talents of actor Tye Sheridan, who does a really nice job in the lead role as Bart, the young man with Asperger’s. Sheridan is an up an coming actor who has starred in READY PLAYER ONE (2018) and played Cyclops in the two most recent X-MEN movies, but his work here in THE NIGHT CLERK is better than what he was allowed to do in those movies.

Bart (Tye Sheridan) works the night shift at the front desk of his local hotel. In an effort to learn more about people and how to interact with them, since that is something Bart struggles with because of Asperger’s, he secretly records the activities and conversations of the hotel guests in their rooms. He does this by setting up cameras in the rooms and watching from his laptop. While this is voyeuristic and creepy to the rest of us, Bart doesn’t mean any harm by this, and he innocently watches people to practice conversing with them.

But one night, he witnesses a murder in one of the rooms, and rather than call the police, he runs into the room where later one of his co-workers finds him sitting by the dead body of the murdered woman.  Police Detective Espada (John Leguizamo) questions Bart, and because there are holes in his story about his whereabouts, Espada considers Bart a person of interest in the case.

Bart lives at home with his mother Ethel (Helen Hunt) who does her best to support her son although it is difficult since her husband and Bart’s father has passed away. As Detective Espada continues to poke and prod Bart in search of answers, things become more complicated when Bart befriends another hotel guest, Andrea (Ana de Armas) a beautiful young woman with problems of her own. Bart finds himself immediately attracted to Andrea, and as he tries to get to know her better, the murder plot thickens.

Well, it doesn’t thicken that much, which is the biggest problem with THE NIGHT CLERK. If it were a stew, it’d be darned watery, that’s for sure! And that’s because the murder takes a back seat to Bart’s story and his crush on Andrea, and the mystery itself is pretty obvious. You’ll know from the get-go exactly where this one is going, in terms of who is out to get who.

The screenplay by Michael Cristofer, who also directed, works much better as a character study than as a crime drama. Bart’s character is well-written, and his observations on life as seen through his eyes are intriguing. For example, when he talks to Andrea about love, and speaks of how being in love is not really an emotion but an addiction, he’s spot-on. As is the script. When Bart struggles to be sociable, it’s refreshingly honest.

Tye Sheridan delivers a topnotch performance as Bart. He effortlessly captures what it’s like to live with Asperger’s syndrome. It’s the best I’ve seen Sheridan on screen yet.

Ana de Armas is really good as Andrea, even though her character is stuck in the lame murder mystery plot that never really gets off the ground because it’s so obvious. Her best scenes are when Andrea interacts with Bart, and they share some tender moments together.

I like Ana de Armas a lot, and she’s making movies left and right these days, which is fine by me, because she’s fascinating to watch. She was just in SERGIO (2020) which I reviewed a few weeks back. She was amazing in BLADE RUNNER 2049 (2017) and her performance was one of my favorite parts of that movie. She was also in KNIVES OUT (2019) and she is slated to star alongside Daniel Craig in the next James Bond movie, NO TIME TO DIE (2020).

Helen Hunt is solid as Bart’s mom Ethel, although it’s a small role and she ultimately doesn’t really do a whole lot. The same sadly can be said for John Leguizamo as Detective Espada. He actually has some of the best scenes in the movie, but he disappears for long stretches when the film becomes more about Bart and Andrea and less about the murder investigation. And towards the end, when you expect that things will be heating up, they simply don’t. So while Leguizamo is good, he’s not in this one enough to really make much of a difference, in the way, for example, he did with his fine supporting work in THE INFILTRATOR (2016) in which he starred with Bryan Cranston.

There are some plot holes as well. For example, Bart is suspected early on of the murder, and it comes to light that he’s been recording guests in their rooms, yet he doesn’t lose his job! He’s not even given a warning of any kind. I thought this was weird. Also, he’s a suspect at first because Espada wrongly believes Bart never left the hotel, which he did, and he had a very memorable verbal exchange with a clerk at a store. This clerk would no doubt remember Bart. Yet, we never see Espada following up this part of the story, which had me scratching my head why we saw the exchange in the first place if not to establish an alibi for Bart.

The ending is also edited strangely. It’s set up to make the audience think one thing, while something else is really happening. The problem is in terms of Bart’s character, it doesn’t make much sense for him to do what he did the way he did. He could have simply dealt with Espada directly. In other words, it comes off as a forced contrivance.

THE NIGHT CLERK works best as a character study of Bart Bromley, a young man with Asperger’s, who as a suspect in a murder case, falls for a mysterious young woman Andrea, who’s also a guest at the hotel where he works. It’s not much of a crime drama or a murder mystery, as the criminal elements are downplayed, and the mystery is way too obvious to matter all that much.

At the end of the day, THE NIGHT CLERK is a mild drama with some solid acting performances by the principal players. It’s watchable, but it certainly would have benefitted from a tighter script with more emphasis on the murder melodrama.

An Alfred Hitchcock thriller this one ain’t!

—END—

 

THE QUARRY (2020) – Quiet Yet Intriguing Drama Remains One-Note Throughout

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Shea Whigham and Michael Shannon in THE QUARRY (2020).

THE QUARRY (2020) has an intriguing story to tell.

A drifter (Shea Whigham) murders a preacher and then assumes his identity, moving to his new parish in a small Texas town. The drifter knows little of religion, and when he speaks to his small congregation made up mostly of Mexican immigrants, they are taken with his words because unlike previous preachers he is not judgmental, and he’s not judgmental because he knows so little of religion, so  he simply reads from the Bible and often chooses passages about redemption.

The local sheriff Chief Moore (Michael Shannon) while investigating a robbery uncovers clues which make him suspicious of their new preacher. As the congregation grows, and the drifter finds himself leading this desperate group of immigrants, Chief Moore follows the clues which lead him to the local quarry, the site where the drifter murdered and buried the body of the real preacher.

The story told in THE QUARRY is nothing new or innovative, but it held my interest for most of the movie. Things slow down towards the film’s final act, and its ending is not very satisfying.

I most wanted to see THE QUARRY because of its two main actors. Shea Whigham, who plays the unnamed drifter, is a character actor who has been in a ton of movies in various small parts, and he makes a mark in nearly all of them. If you see movies on a regular basis, chances are you’ve seen Whigham. He’s been in JOKER (2019), VICE (2018), BAD TIMES AT THE EL ROYALE (2018), FIRST MAN (2018), and BEIRUT (2018) to name just a few. He also played the brother of Bradley Cooper’s character Pat in SILVER LININGS PLAYBOOK (2012).

He’s an excellent actor and I was glad to see him playing a lead role. He’s good here as the drifter, although the role has its limitations. For starters, he’s a man of few words, and so a lot of what happens in the movie features this drifter taking things in silently. As such, the film itself suffers from bouts of slow pacing where things deaden to standstill. Of course, the style of the film is mirroring the drifter’s character, and so the pacing is on purpose, but still it makes for slow viewing. We also don’t really get to know this character all that well, and for most of the movie, he remains a mystery.

As happy as I was to see Shea Whigham in a lead role, he’s made more of an impact in movies in his signature smaller roles.

I also wanted to see THE QUARRY because of the presence of Michael Shannon, another actor whose work I really enjoy. Shannon has starred in KNIVES OUT (2019), THE SHAPE OF WATER (2017), and NOCTURNAL ANIMALS (2016), and he was outstanding as George Westingthouse in THE CURRENT WAR (2017), starring alongside Benedict Cumberbatch who played Thomas Edison. He also played General Zod in MAN OF STEEL (2013).

Here as Chief Moore, Shannon is fine, but ultimately it’s not an amazingly written role, and there’s not a whole lot for Shannon to do other than seemed bored as the sheriff of a small town and occasionally be suspicious.

One of the weaknesses in the movie is there is not a lot of tension between Chief Moore and the drifter. As a result, there sadly aren’t many decent scenes with Whigham and Shannon.

The screenplay by director Scott Teems and Andrew Brotzman, based on a novel by Damon Galgut, is best at writing realistic dialogue, which is strong throughout the movie. It doesn’t fare so well as a dramatic piece, as the film doesn’t really build to a suspenseful climax. As Chief Moore begins to investigate and close in on the drifter, this stranger doesn’t really react. He’s the same one-note character throughout the movie. The drifter’s story arc really is about his own personal journey. Early in the film, when the preacher offers to hear his confession, the drifter refuses, rejecting religion, but by film’s end, he’s ready to confess, although none of this involves the other key character in the movie, Chief Moore.

The film looks good, and director Teems does capture the mood of the drifter throughout, as the film is steadily paced and set in an almost dreamlike state, as if we are all sharing in the drifter’s internal search for peace and redemption. The problem is this doesn’t always translate into compelling viewing.

There are brief hints that the story is going to widen its lense and cover points on immigration— the boys who rob the drifter are young immigrants, as are most of the congregation, as is the woman Celia (Catalina Sandino Moreno) who operates the house in which the preacher lives—-but it barely scratches the surface on this subject. Moreno, by the way, is excellent here as Celia, and I wish she had been in this movie more.

For the most part, THE QUARRY is an intriguing drama, although it’s not much of a mystery or a thriller. And while it doesn’t really generate that much emotion, I don’t think it was trying to. It succeeds most when it captures the persona of its main character, the elusive drifter turned preacher, a quiet man whose past we know nothing about.

As such, it’s a subdued piece that like its main character plays things close to the vest without any big reveals or revelations.

—END—

 

 

 

LOST GIRLS (2020) – Story of Serial Killer Victims Not As Powerful As Book On Which It Is Based

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Amy Ryan and Thomasin McKenzie in LOST GIRLS (2020).

LOST GIRLS (2020) is a Netflix-original movie based on the nonfiction book Lost Girls An Unsolved American Mystery by Robert Kolker, which chronicled the still unsolved murders committed by the Long Island Serial Killer. I read this book when it first came out, and it remains one of the best books I’ve read this past decade.

Lost Girls An Unsolved American Mystery is a meticulously researched and compelling read that tells the story of the victims and their families, a fascinating narrative made more so by the fact that the killer remains at large.

Now comes the movie LOST GIRLS, and since I had been so impressed with the book, I was eager to see this one.

In LOST GIRLS (2020) it’s 2010, and Mari Gilbert (Amy Ryan) is a single mom who works two jobs to support her two daughters, Sherre (Thomasin McKenzie) a senior in high school who is hoping to be able to afford community college, and Sarra (Oona Lawrence) who’s in middle school and struggling with mental health issues. When Mari’s oldest daughter Shannan, who doesn’t live with them but does send money to them regularly, fails to show up for a promised dinner date with the family, Mari shrugs it off, but when Shannan’s boyfriend calls Sherre, something he has never done before, looking for her, and when she doesn’t respond to her messages on her phone, Mari begins to worry.

Getting no help from the police, Mari investigates on her own and learns the shocking truth that Shannan worked as a prostitute and was last seen in Oak Beach, New York, a private community on Long Island. She also learns some very disturbing facts, like her daughter made a 911 call screaming for help, and the police didn’t arrive on the scene until nearly an hour later. Shannan reportedly ran screaming down the streets of Oak Beach, and no one claimed to have seen or heard anything. Also, the security camera footage on those very streets from that night was erased, a camera controlled by the man who would later become a person of interest.

Mari makes her presence known to the local police and eventually is able to engage in face to face dialogue with Police Commissioner Richard Dormer (Gabriel Byrne) who pleads with her to remain patient, but she has no intention of doing so. Eventually, the remains of several bodies are found in the woods around Oak Beach, and it’s determined that a serial killer has been at work.

The victims’ families get together and form a support group and eventually hold a vigil on the streets of Oak Beach, all in an effort to memorialize their daughters’ lives. Mari makes the point that she wants them remembered as daughters, sisters, and women, not as prostitutes.

While the police do step up their investigation, Mari is there every step of the way, prodding them, and pointing out their shortcomings, like calling them out for refusing to search the densely wooded swamp area behind the main suspect’s house.

I wish I could say LOST GIRLS the movie was as hard-hitting and as moving as the book, but it’s not. It makes its points, but it does so briefly and without much depth. The film is short, clocking in at 95 minutes, and as such never really gives the subject its due.

I was able to fill in the blanks because I had read the book, but I wonder if folks who haven’t read the book would be able to do the same. The book was exhaustively researched. The reader really felt the scope and magnitude of what these families were going through, what it must have felt like to have daughters murdered and the police doing little about it. The book also chronicled in detail the police investigation and the problems it faced, mostly due to ineptitude. The movie focuses more on Mari and her one on one meetings with Commissioner Dormer. The scope just isn’t the same.

The book was haunting. For the longest time afterwards, I couldn’t get it out of my mind. The movie is much more superficial. It has its moments, but there are far too few of them.

Amy Ryan is excellent as Mari Gilbert. She gives a powerful performance, and as we learn that Mari is driven by the guilt of her past, how she couldn’t handle Shannan as a child and gave her up to a foster family, Ryan shows us the scars of the character and how she uses them to find the strength to be the mother she wanted to be when her daughter was still alive. When Dormer says that Shannan’s fate is not on her, she replies tellingly “I’m her mother. It’s all on me.” It’s one of the film’s more powerful moments. I wish there had been more of these.

This is one of Ryan’s strongest performances to date, adding to the quality work she has already done in such films as THE INFILTRATOR (2016) and BRIDGE OF SPIES (2015).

Thomasin McKenzie is one of my favorite young actresses working today, as she has delivered some powerhouse performances in films like JOJO RABBIT (2019) and LEAVE NO TRACE (2018). Her role here as middle daughter Sherre is much more limited than her roles in the aforementioned movies, and as such she doesn’t have a whole lot to do in this movie, which is too bad, because she’s a great talent.

Gabriel Byrne is perfect as the tired and weary Police Commissioner Richard Dormer. While he wishes Mari would just go away, he never really tells her to do so, and in the movie anyway, seems sympathetic to her requests. We also learn immediately what kind of predicament he’s in, because at the outset, we are privy to a phone conversation in which he’s told point-blank that if he doesn’t downplay the serial killer angle he will lose his job.

I enjoyed Lola Kirke’s performance as Kim, a sister to one of the victims and a fellow prostitute. Her conversations with Mari are some of the better ones in the movie, and you almost get the sense that Mari feels like she’s talking to Shannan when she’s giving advice to Kim.

Dean Winters plays a smug and uncaring police detective and sort of stands in as the face of police incompetence here. And Reed Birney does a wonderfully creepy job as the outwardly “oh so helpful” Dr. Peter Hackett who for a long time was a major person of interest and suspect in the case. The scene where he puts his hands on Mari’s shoulders will give you chills. We just saw Birney in THE HUNT (2020), and he’s been in a ton of movies and TV shows.

The screenplay by Michael Werwie based on Robert Kolker’s book is not really a strength of this movie. It tells the story it has to tell, in that it gets in and gets out without any fluff, but it also doesn’t dig deep. It’s all very superficial, and without having read the book, it would be easy to dismiss it as just another serial killer story, albeit one based on true events. But it’s so much more than that. It’s the story of the victims and their families, and while the movie goes through the motions to say as much, there are few moments where it really tugs at your heart and makes you feel their plight and pain.

In the book these families go through hell. In the movie, scenes cut away and finish long before they should. Sharper dialogue would have gone a long way towards bringing these families’ stories to life.

Liz Garbus directed LOST GIRLS, and the result is an efficient production, and it’s all competently handled. I didn’t, however, get a strong sense of place. Oak Beach should have been a setting so disturbing I could smell the death there, but the camera never gets anywhere that close to make me feel that way.

And there simply are not a lot of heightened emotional moments here, which is surprising considering the subject matter.

Still, I recommend LOST GIRLS. It tells a disturbing story, one that needs to be told, but it does it in a way that may leave you with more questions than answers. As such, if you see this movie and feel you want to learn more, I highly recommend the book  Lost Girls An Unsolved American Mystery by Robert Kolker

Unlike the movie, the book is thoroughly comprehensive and as such is an incredibly moving and tragic read.

—END—

KNIVES OUT (2019) – Whodunit Mystery More Like Clue than Christie

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I suspect foul play!

So says Daniel Craig’s Detective Benoit Blanc in his sometimes effective Southern drawl in the new whodunit mystery KNIVES OUT (2019).

Actually it’s not much of a pronouncement. Nearly everyone in this movie has a motive for murder.

KNIVES OUT is a lively comedic whodunit that is receiving high praise from critics and fans alike. Sure, it’s energetic and punchy, throwing its audience nonstop curves, keeping everyone guessing, and it pays homage to the classic murder mysteries of yesteryear. But I found its tale of murder and family intrigue contrived from the get-go, and as such, I had much less fun with this one than a lot of other folks.

Acclaimed author Harlan Thrombey (Christopher Plummer) is found slain in the opening moments of the movie, and soon after, famous detective Benoit Blanc (Daniel Craig) is on the case, which is at first ruled a suicide, but as Blanc says, he suspects foul play. And of course he should, because the night before Thrombey’s death, he celebrated his 85th birthday at a lavish party at his home with his family, who all had contentious moments with him, some even ending in shouting matches.

It seems that many in his family had reasons for doing him in. There’s his oldest daughter Linda (Jamie Lee Curtis), her husband Richard (Don Johnson), his daughter Joni (Toni Collette), his youngest son Walt (Michael Shannon), and his grandson Ransom (Chris Evans). There are more suspects as well, including his young personal nurse Marta (Ana de Armas) who Blanc takes particular interest in, mostly because of her peculiar trait of vomiting whenever she tells a lie.

And that’s the plot, as Blanc questions the suspects , and the audience sees past events shown in flashback, as we all try to figure out just who murdered Harlan Thrombey. As mysteries go, it’s a good one, as there are so many possibilities, the answer is not easy to decipher. Then again, and this is the main problem I had with this film, it’s all so convoluted and contrived. It’s confusing on purpose, the goal of writer/director Rian Johnson being to construct a story that’s nearly impossible to figure out because that’s what whodunits are all about, the thinking being that it’s fun not to know who committed the crime. That’s the intention, but the result is less fun as it’s all very forced and simply not believable. At the end of the day, it’s all very cartoonish and comical. So, for me it played less like an Agatha Christie tale and more like an homage to the old CLUE (1985) movie.

The best part of KNIVES OUT is its all-star cast. Yet, while everyone in this film is very good, nobody steals the show or has moments which lift the material to higher levels.

Chris Evans gets the best lines in the movie as the unpredictable and fiery grandson Ransom Drysdale, the relative who seems to miff everyone in the family on a day-to-day basis.

Jamie Lee Curtis, Don Johnson, Toni Collette, and Michael Shannon all have their moments, but none of these folks get scene-stealing bits. As much as I did not like the reimagining of HALLOWEEN (2018), Curtis’ performance in that film was more notable than what she’s given to do here. Likewise, Michael Shannon has certainly enjoyed meatier roles. For example, his performance as George Westinghouse in THE CURRENT WAR (2017), which was just released in 2019, was much more impressive. Of these folks, I probably enjoyed Don Johnson the best.

Daniel Craig is OK as Detective Benoit Blanc, but he certainly didn’t wow me. I enjoyed his previous take on a Southern character better, as the explosive Joe Bang in the comedy LOGAN LUCKY (2017).

The majority of the movie centers around the character of Marta, and Ana de Armas is more than up to the task of handling the bulk of the screen time. Interestingly enough, de Armas and Daniel Craig will be reunited in the upcoming Bond movie NO TIME TO DIE, due out in April of 2020.

Writer/director Rian Johnson, known for such films as STAR WARS: EPISODE VIII- THE LAST JEDI (2018) and LOOPER (2012), infuses KNIVES OUT with nonstop quirkiness and oomph, but the result is mixed. It’s a case I think of trying to be too clever and cute. The entire film plays as if everyone in front of the camera and behind it is winking at the audience, inviting them into their playful whodunit world of mystery and murder, and the audience for the most part knows it’s in on the joke, that this story is played for fun and laughs. The trouble is this strategy only goes so far. The general mood of the entire film is gamesome, but the specific moments where the characters and the script should be drawing the audience in really aren’t there. The contrivances rule the day. The connections to the audience do not.

I saw KNIVES OUT in a packed theater. yet the audience was largely quiet. While folks seemed amused, it certainly wasn’t a laugh-out-loud kind of movie.

KNIVES OUT was enjoyable for me in a silly way that was never anything more than fluff and contrivances, the way I would feel after playing the game of Clue, not after reading an Agatha Christie novel.

—END—

 

 

 

 

 

IN THE SHADOWS: PATRIC KNOWLES

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Patric Knowles as Dr. Frank Mannering, putting the finishing touches on the Frankenstein Monster (Bela Lugosi) in FRANKENSTEIN MEETS THE WOLF MAN (1943).

Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies, those folks who while not playing the lead in the movies, graced the film nonetheless in smaller roles, quite often making as much of an impact as the actors on top.

Up today it’s Patric Knowles, and if you’re a fan of Universal horror, you know who he is, based on two key performances in THE WOLF MAN (1941) and its sequel FRANKENSTEIN MEETS THE WOLF MAN (1943)

Here’s a partial look at Knowles’  127 screen credits:

MEN OF TOMORROW (1932) – Kwowles’ first screen appearance.

THE POISONED DIAMOND (1933) – Jack Dane – Knowles’ first screen credit.

THE CHARGE OF THE LIGHT BRIGADE (1936) – Captain Perry Vickers – co-stars with Errol Flynn and Olivia de Havilland in this war tale based on the poem by Alfred Lord Tennyson. Directed by Michael Curtiz, who would go on to direct, among other things, CASABLANCA (1942). Cast also includes David Niven, Nigel Bruce, and J. Carrol Naish.

THE ADVENTURES OF ROBIN HOOD (1938) – Will Scarlett- co-stars in this classic adventure, also by director Michael Curtiz, again starring Errol Flynn, as Robin Hood, and Olivia De Havilland, as Maid Marian. Cast also includes Basil Rathbone, Claude Rains, and Una O’Connor.

ANOTHER THIN MAN (1939) – Dudley Horn – co-stars with William Powell and Myrna Loy in the third THIN MAN movie, another fun entry in the classic mystery/comedy series.

THE WOLF MAN (1941) – Frank Andrews –  the first genre credit for Patric Knowles, and he struck gold as the THE WOLF MAN (1941) is arguably the best werewolf movie ever made and is also on the short list for the best Universal monster movie ever made. It also features one of the strongest casts ever assembled for a Universal monster movie: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Bela Lugosi, Ralph Bellamy, Knowles, Maria Ouspenskaya, and Warren William.

While THE WOLF MAN belongs to Lon Chaney Jr. in his signature role as Larry Talbot/aka The Wolf Man, and features dominating performances by Claude Rains and Maria Ouspenskaya, and even Evelyn Ankers, the entire cast is very good, including Patric Knowles in a small role as Frank Andrews.

Nonetheless, Andrews is integral to the plot as he works as the gamekeeper at the Talbot estate, and he’s engaged to be married to Gwen Conliffe (Evelyn Ankers), who just so happens to also be the object of affection of one Larry Talbot (Lon Chaney Jr.). As a woman who’s engaged to be married, she has no business spending time with Larry, yet she agrees to take that moonlit walk with him, and she’s with him the night he’s bitten by a werewolf.

Unfortunately, there’s just not a whole lot of things for Knowles to do in THE WOLF MAN, although his character Frank Andrews does appear in one of the more memorable non-werewolf scenes in the film, where, at a carnival, he, Gwen, and Larry are playing a target shooting game, and Larry, flustered when he sees a wolf target, misses the shot, and then Frank hits it dead center. I’ve always thought this moment should have foreshadowed that Frank would be responsible for the demise of the wolf man, but that’s not how the film plays out.

THE STRANGE CASE OF DR. Rx (1942) – Private Detective Jerry Church – Knowles plays the lead here, a detective trying to solve the case of a serial killer who sets his sights on mobsters. Also starring Lionel Atwill, Anne Gwynne, and Samuel S. Hinds. Church’s partner here, Detective Sergeant Sweeney, is played by one Shemp Howard!

MYSTERY OF MARIE ROGET (1942) – Dupin – Again plays the lead role in this mystery based on the story by Edgar Allan Poe. Also stars Maria Ouspenskaya and KING KONG’s Frank Reicher.

WHO DONE IT? (1942) – Jimmy Turner- co-stars in this Abbott and Costello comedy where Bud and Lou try to solve a murder at a radio station.

FRANKENSTEIN MEETS THE WOLF MAN (1943) – Dr. Frank Mannering – stars in this WOLF MAN sequel, also a sequel to THE GHOST OF FRANKENSTEIN (1942), where he plays a different role from the one he played in THE WOLF MAN (1941). Here he plays Dr. Frank Mannering, a doctor who tries to help Larry Talbot but later focuses his energies on restoring the Frankenstein Monster (Bela Lugosi) back to his full strength. As such, Mannering becomes the first movie scientist not named Frankenstein to revive the Monster. He wouldn’t be the last.

Probably my favorite Patric Knowles role. He takes what should have been a standard mundane role and makes Dr. Frank Mannering a rather real character.

HIT THE ICE (1943) – Dr. Bill Elliot – more shenanigans with Bud Abbott and Lou Costello.

TARZAN’S SAVAGE FURY (1952) – Edwards – plays the villain to Lex Barker’s Tarzan in this jungle adventure.

FROM THE EARTH TO THE MOON (1958) – Josef Cartier – co-stars with Joseph Cotten and George Sanders in this science fiction adventure based on the novels by Jules Verne.

CHISUM (1970) – Henry Tunstall – supporting role in this John Wayne western. Also stars Forrest Tucker, Christopher George, Andrew Prine, Bruce Cabot, Richard Jaeckel, Lynda Day George, and John Agar.

TERROR IN THE WAX MUSEUM (1973) – Mr. Southcott – Knowles’ next to last genre credit is in this atmospheric wax museum thriller that is ultimately done in by low-production values. Has a fun cast, which includes Ray Milland, Elsa Lanchester, Maurice Evans, and John Carradine.

ARNOLD (1973) – Douglas Whitehead – Knowles last movie is in this horror comedy which also starred Stella Stevens, Roddy McDowall, Elsa Lanchester, Victor Buono, and Jamie Farr.

Patric Knowles enjoyed a long and productive career. And while he was more than a character actor, often playing the lead in many of his films, for horror fans, he’s best remembered for two quality supporting roles in two of Universal’s better horror movies, THE WOLF MAN (1941), and FRANKENSTEIN MEETS THE WOLF MAN (1943).

Patric Knowles died on December 23, 1995 from a brain hemorrhage at the age of 84.

I hope you enjoyed today’s edition of IN THE SHADOWS and join me again next time when I look at the career of another character actor.

As always, thanks for reading!

—Michael

 

LEADING MEN: DAVID MANNERS

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David Manners in between Karloff and Lugosi in THE BLACK CAT (1934).

Welcome to a brand new column, LEADING MEN.

Here at THIS IS MY CREATION: THE BLOG OF MICHAEL ARRUDA I already write a LEADING LADIES column where we look at the career of lead actresses in horror movies, and IN THE SHADOWS, where we look at character actors, women and men, who appeared in horror movies.

In LEADING MEN, we won’t be looking at the horror superstars, folks like Karloff, Lugosi, Chaney, Cushing, Lee, and Price, but those actors who had leading roles in horror movies and played key parts that were not character bits and who in spite of their success in these roles did not achieve superstar status.

We kick off the column with the number #1 leading man from the early Universal monster movies, David Manners. He played “John” Harker in DRACULA (1931) and the similarly dashing young hero Frank Whemple in THE MUMMY (1932) with Boris Karloff.

My favorite part of David Manners’ performances is that he took what could have been stoic wooden “leading man” love interest roles and infused these characters with some personality, which is why his characterizations in these old Universal monster films are better than most.

So, here’s a brief look at Manners’ film career, focusing mostly on his horror roles:

THE SKY HAWK (1929) – pilot (uncredited) – David Manners’ first screen appearance, an uncredited bit as a pilot, a World War I drama that also starred Manners’ future DRACULA co-star Helen Chandler.

JOURNEY’S END (1930) – 2nd Lt. Raleigh –  David Manner’s first screen credit is in this drama starring Colin Clive as an alcoholic captain trying to lead his troops in the trenches of World War I. Directed by James Whale, who would direct Clive the following year in FRANKENSTEIN (1931).

DRACULA (1931) – John Harker- Sure, Manners hams it up at times, and some of the scenes with him and Helen Chandler as Mina are among the film’s slowest, but he also enjoys some fine moments in this Universal classic. He seems genuinely annoyed with both Edward Van Sloan’s Van Helsing, as the professor continues to argue for the existence of vampires, something Harker believes is ludicrous, as well as with Lugosi’s Dracula when the vampire shows his fiancee Mina some attention. When Dracula apologizes for upsetting Mina with his stories, Manner’s Harker reacts with a very annoyted, “Stories?” as if to say when have you been finding the time to tell my fiancee stories?

THE DEATH KISS (1932) – Franklyn Drew –  Manners stars with DRACULA co-stars Bela Lugosi and Edward Van Sloan in this mystery/comedy about murder on a movie set.

THE MUMMY (1932) – Frank Whemple – Joins forces once again with Edward Van Sloan to stop another movie monster, this time it’s Boris Karloff as ImHoTep the undead mummy who returns to life and subsequently discovers his long lost love has been reincarnated as a woman named Helen Grosvenor (Zita Johann). Of course, Manners’ Frank Whemple is also in love with Helen, and so once again he’s the dashing young hero who works with Van Sloan’s professor— not Van Helsing this time but Doctor Muller—to protect the young heroine from an evil monster. I prefer Manners’ performance here in THE MUMMY over his work in DRACULA as his acting is more natural in this movie.

THE BLACK CAT (1934) – Peter Allison – Manners’ turn here as mystery writer Peter Allison is probably my favorite David Manners’ performance. In this Universal classic which was the first movie to pair Boris Karloff with Bela Lugosi, the two horror superstars take on each other in this atmospheric thriller set in Hungary and featuring devil worshippers and revenge. Manners plays an American novelist on his honeymoon with his wife, and the two get caught in the crossfire between Karloff and Lugosi. Manners gets some of the best lines in the movie, most of them very humorous, and Manners pulls off this lighter take on the leading man quite nicely. My favorite Manners line is when he’s speaking of Karloff’s Hjalmar Poelzig and says, If I wanted to build a nice, cozy, unpretentious insane asylum, he’d be the man for it.  

MYSTERY OF EDWIN DROOD (1935) – Edwin Drood – Horror movie based on the Charles Dickens novel stars Claude Rains as an opium-addicted choirmaster with a taste for young women and murder. A financial flop.

LUCKY FUGITIVES (1936) – Jack Wycoff/Cy King –  Dual role for Manners in which he plays an author who is a dead ringer for a gangster and as such is mistakenly arrested. Manner’s final screen credit.

David Manners only had 39 screen credits, and that’s because after LUCKY FUGITIVES he retired from acting. He would go on to become a painter and a writer, publishing several novels.

He died in 1998 of natural causes at the age of 97.

For me, Manners will be forever remembered for his dashing leading man roles in the Universal horror classics DRACULA (1931), THE MUMMY (1932), and THE BLACK CAT (1934). He gave these roles personality, and they have stood the test of time and remain integral parts of these classic horror movies.

David Manners

April 30, 1901 – December 23, 1998

I hope you enjoyed this LEADING MEN column and join me again next time when we look at another leading man in the movies, especially horror movies.

Thanks for reading!

—Michael