‘Red Eye’: Does it Soar to New Heights?
Often called a “psychological thriller,” Wes Craven’s Red Eye could also easily be considered a political thriller. It’s unlike other Craven movies.
Often called a “psychological thriller,” Wes Craven’s Red Eye (2005) could also easily be considered a political thriller. In other words, it’s a little different from other Wes Craven movies. Granted, Craven’s films (and art in general) can all be tied to political themes in some way. A Nightmare on Elm Street deals with vengeful parents frying a child murderer that the courts set free. The People Under the Stairs deals with class and racial issues, as well as warped family dynamics. Basically, Craven had a knack for tying issues into horror stories, and without spelling everything out for us dullards.
Red Eye, on the other hand, is not so much about social commentary as it is about straight-up political intrigue and suspense. In it, Rachel McAdams plays a hotel manager named Lisa who’s scheduled to fly to her grandmother’s funeral. When her flight is delayed she meets a man named Jackson Rippner (Cillian Murphy). At first, Mr. Rippner seems like a real gentleman, perhaps trying to sweep her off her feet. However, he ends up keeping us at the edge of our seats, as he is not a perfect gentleman after all!
Basically, Lisa is unwillingly ensnared in an assassination plot against a Homeland Security head honcho named Charles Keefe (Jack Scalia). At the end of the day, Red Eye doesn’t just refer to the flight, but to the bloodshot- eye-inducing stress of Lisa, who must set up the assassination to save the life of her dad (Brian Cox).
Things That Work
Red Eye was a successful enough movie, and remains so. By no means would I say this movie is trash or anything like that. What I like is that the performances are even. Cillian Murphy never outshines Rachel McAdams, despite having more of a Jekyll-to-Hyde character transformation. Rachel McAdams never comes across as a “damsel in distress,” even when her character is in distress. At the same time, she never comes across as too exaggeratedly tough. She’s somewhere in that middle zone, which is a great place to be for dramatic tension. You know she’s smart enough to possibly outwit Rippner, yet he’s no dummy, either. The end result is a strategic battle of wills. Carl Ellsworth’s writing is pretty solid in that regard, but it’s definitely also conveyed by the acting.
Are There Flaws?
I don’t wish to make this seem flawless. It is true that it starts off relatively slow. Also, if I’m being honest, Brian Cox seems a bit underutilized in the role, given his proven potential for compelling performances. However, even that’s not a major strike against the film. In a way, maybe it’s refreshing that he’s only a supporting role. While some might say this is just an action thriller, there are some Hitchcock elements here. In fact, this may have been Craven’s definitive nod in that direction, which he’s not really known for doing. So, yes, I recommend Red Eye, but don’t expect it to be like anything else Wes Craven put out. It’s not, and that’s part of what makes it special.
What are your thoughts on Red Eye? Let us know in the comments!
Horror Noire, a Film Review
Horror Noire is a horror collection that includes “Daddy,” “The Lake,” “Brand of Evil,” “Bride Before You,” “Fugue State,” and “Sundown.”
Horror Noire is a horror collection brought by the combined efforts of AMC+ and Shudder. The collection includes “Daddy,” “The Lake,” “Brand of Evil,” “Bride Before You,” “Fugue State,” and “Sundown.” Horror Noire boasts Black directors and screenwriters, providing six unique stories.
As this collection explores six stories, I will skip the usual synopsis to assess the genres and ideas explored, albeit limited as needed. Expect to find supernatural horror, creature features, and psychological thrillers. Many short films deal with these genres while exploring Black issues, but this isn’t universal for the collection.
The directors and writers include Zandashé Brown, Robin Givens, Rob Greenlea, Kimani Ray Smith, Steven Barnes, Ezra Clayton Daniels, Tananarive Due, Shernold Edwards, Victor LaValle, and Al Letson.
What I Like
Each story remains unique, holding different strengths and weaknesses that highlight drastically different perspectives. Collections like VHS hold a similar premise to create their collection, but Horror Noire gives more creative freedom to its talent to be independent.
My personal favorite short film is Zandashé Brown’s “Bride Before You.” This period piece unravels a fable set in the Reconstruction Era. The entry feels Fabulistic in approach, which happens to be my preferred niche.
However, the best example of horror goes to Robin Givens’ “Daddy,” providing an existential horror tied directly to the characters involved.
What I Dislike
As mentioned, all have a particular style and idea. The downside of this approach always remains to keep the viewer interested long enough to find their favorite. If you find several underwhelming choices, this becomes a chore. But I imagine that is rare as the variety makes the options refreshing.
Personally, “Brand of Evil” had an interesting premise, but the execution fell short. On paper, it might have sounded like my favorite, which makes the lackluster execution a bigger letdown.
Horror Noire gives power and control to Black creators, providing a formula for a unique collection against others in the space. While the various subjects and approaches mean you aren’t likely to love them all, there should be a short film for everyone.
(3.5 / 5)
Episode six of Netflix’s Dahmer was not, honestly about our title character. Instead, it was about one of his victims, a man named Tony. We’ve actually seen Tony a few times during this series. We just didn’t know it was him.
And, well, he wasn’t exactly alive the first time we saw him.
Tony was born into a supportive, loving family. This is good because soon after he was born a viral infection took his hearing. He is black, deaf, and gay in the early 90’s.
Tony has a dream of becoming a model. And he certainly has the looks for it. He is beautiful, body and soul. He has lots of opportunities for romance, but it’s not what he’s looking for. He wants a real relationship.
Eventually Tony moves to Madison, trying to pursue his dream. He gets a job and starts getting modeling work.
Then, he meets Jeff Dahmer at a bar.
At first, we can almost believe that it’s going to be alright. Jeff seems happy. He’s taking care of himself. He’s not drinking as much. He even has his dad and stepmom over for dinner. It seems like his life is getting on track. Even better, he’s treating Tony right.
Then, of course, things go bad.
One thing that has always bothered me as a true crime fan is that we know so much about the killers, but not as much about the victims. Not so much if we don’t know who the killer is, of course. But the names that are part of our pop culture are those of the killers. Dahmer, Manson, Jones, Bundy, Holms. The names we don’t know are Roberta Parks, Beth LaBiancas, Leno LaBiancas, and Tony Hughes. And clearly, we should know them.
If Tony Hughes was half the shining, positive person that the show Dahmer made him out to be, I’m so sad that he isn’t with us anymore. We need so many more people like him. And many of Dahmer’s victims were likely just like him. After all, he was attracted to them for a reason.
This was a significant episode, and I understand why it’s the highest-rated episode of the series. I finished it with a heavy heart, saddened by the loss of a man who should still be with us today.(5 / 5)
Mandrake, a Film Review
Mandrake is a 2022 supernatural horror directed by Lynne Davison and written by Matt Harvey, starring Deirdre Mullins and Derbhle Crotty.
Mandrake is a 2022 supernatural horror directed by Lynne Davison and written by Matt Harvey. This film boasts a cast that includes Deirdre Mullins, Derbhle Crotty, and Paul Kennedy. It is currently available for subscribers in DirectTV, Shudder, Amazon Prime, or AMC+.
Cathy Madden (Deirdre Mullins) is a probation officer tasked with the most vilified case in her town, Mary Laidlaw (Derbhle Crotty). When a child goes missing, all eyes turn to the infamous Bloody Mary. Cathy, always believing in the best of people, tries to protect Mary. But evidence begins to mount, and Cathy finds herself in increasing danger.
What I Like
Deirdre Mullins and Derbhle Crotty add weight to the film in their performances. Cathy proves resilient against the challenges she faces, while Mary can make any actions intimidating.
To not spoil anything, the ending is bittersweet in the best of ways, showing Cathy grow and mend relationships.
The atmosphere around Mary Laidlaw brings about the intimidation that earns the nickname Bloody Mary. It becomes easier to see why a town would fear this woman as we find her motives sinister.
What I Dislike
While there may be external magical elements, I found people obeyed Mary Laidlaw a little too easily for a vilified woman. There wasn’t enough for me to be convinced she intimidated them to action or magically charmed them. Or perhaps the performances felt underwhelmingly passive?
There was an irritating moment where a stalker helped save the day. The assistance is minor, but it still irritates me.
The daytime scenes of the film are bland. Perhaps it’s intentional, but the night scenes are stunning, making the contrast greater. While this film focuses on its night scenes, I couldn’t understand why it looked so bland, and sometimes poor quality, in the day.
Mandrake can be a frightful enjoyment, especially when set at night where the details work. However, many elements left me wanting more or better. If you’re looking for a witchy tale, I’d say there are better options, but Mandrake can keep you entertained.
(2.5 / 5)