Deon Taylor’s Black and Blue is an intensely political, niche thriller that, if it generates much mainstream discourse, will likely spark angry boycotts from those on one side of the aisle and searing hot takes from those on the other. Step a few feet back from its fast-paced saga of a valiant solitary policewoman hunted through the streets of New Orleans as she attempts to return incriminating body-camera footage to her precinct and you’ll see a narrative that construes a cop as a Black Lives Matter hero simply for using her mandated body camera as she should. This is a major-studio film that may go further than many others, including Spike Lee’s BlacKkKlansman, in implicating police forces as systemic perpetuators of white supremacy, but it’s also one that handles the representation of poverty clumsily at best.

What’s more, Black and Blue’s action-movie tropes redirect its characters’ mistrust of authority into a narrative that tacitly approves of the militarization of the police and society at large. These same tropes, though, are part of what defuses such concerns about whether the film offers a thorough social critique. Despite its real-world trappings, Black and Blue comes off as fantasy, a story with the exaggerated features and simple satisfactions of a dream. Crooked cops will get their comeuppance, prejudices will be upended, and those not yet beyond redemption will be redeemed. Beyond the film’s spurious messaging about finding a middle ground between being black and being “blue,” its extended chase through New Orleans’s 9th Ward might offer simple, effective action-movie catharsis to those who’ve been outraged by this decade’s flood of videos of police offers shooting unarmed black people.

Perhaps unintentionally, Black and Blue’s setting and action reminds us that, with the advent of body cameras, the sci-fi dystopias depicted in various films from the 1980s and ‘90s have come true. Resembling the A plot of Kathryn Bigelow’s Strange Days, the film’s main action is jump-started by the mafia-style execution of a young black man by police, an explosive event that’s captured on video by a woman wearing a camera. And in Black and Blue, that woman, rookie cop Alicia West (Naomie Harris), is also the one tasked with delivering the footage to the authorities. The shooting, committed by narcotics detective Terry Malone (Frank Grillo) and his circle of drug-dealing police officers, takes place in a scummy, abandoned factory, and when the assembled perpetrators notice the wide-eyed rookie filming them, they repeatedly shoot her. West unexpectedly survives, and so the film also brings to mind Paul Verhoeven’s RoboCop, another sci-fi classic that hinges on a piece of incriminating video footage.

Mostly shielded by her body armor but grazed by a bullet on her side, West somehow slips away from the murderous cops. Black and Blue tends to solve such narrative impasses via the magic of montage: We see West stumbling away down a passageway but don’t see exactly how she escapes. Now pursued by the extensive cabal of officers, she makes it to a convenience store where a childhood friend, Mouse (Tyrese Gibson), reluctantly helps her patch herself up. Mouse and the tight-knit community of the nearby Kingston Manor apartment complex, the film makes clear, don’t like cops; an earlier scene has Mouse and his sister, Missy (Nafessa Williams), refuse to acknowledge that they know West, who’s recently returned from two tours in Afghanistan after growing up in their neighborhood. As seen from the perspective of West and her partner, Kevin (Reid Scott), this impoverished area is full of shifty-eyed gangsters, and Black and Blue veers into problematic terrain early on when it lays ominous bass notes under close-ups of black men slinking around in and out of the cops’ view.

The filmmakers, though, deploy such hammy racism mostly to undermine it. Deacon Brown (James Moses Black), an officer who saves West from one of the aforementioned black youth, is quickly revealed to be part of Malone’s conspiracy, and therefore complicit in the murder of unarmed men and the attempted murder of West herself. While Black and Blue indulges some of the worst stereotypes about black poverty, the dehumanizing practices of the police are portrayed as the truly pernicious social force. And West must ultimately reintegrate herself with the film’s black community: After skirting from place to place within the 9th Ward, her ultimate recourse is to bring the body camera to Kingston Manor and let the people there, including the hot-headed local kingpin, Darius (Mike Colter), see the footage for themselves.

What follows is a fun, if muddled, climax that upends some of the expectations set by the bulk of the film. While Black and Blue is much more comfortable dispatching the gangsters who are trying to kill West than the cops shown to be their moral equivalents, the intense showdown at Kingston Manor proves that the film’s typical action-movie ethos of violent retribution can also extend to figures of authority. And while it settles in a place that offers a less probing critique of the status quo than its makers might be intending, its over-the-top climax provides a brief, cathartic release from the real-world issues its story raises.

Cast: Naomie Harris, Tyrese Gibson, Mike Colter, Frank Grillo, Reid Scott, Nafessa Williams, James Moses Black Director: Deon Taylor Screenwriter: Peter A. Dowling Distributor: Screen Gems Running Time: 108 min Rating: R Year: 2019

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Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. Through the decades—and subsequent crazes for color and sound, stereoscopy and anamorphosis—since that train threatened to barrel into the front row, there’s never been a time when audiences didn’t clamor for the palpating fingers of fear. Horror films remain perennially popular, despite periodic (and always exaggerated) rumors of their demise, even in the face of steadily declining ticket sales and desperately shifting models of distribution.

Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors, to incarnate our sickest, most socially unpalatable fantasies. They are, in what amounts to a particularly delicious irony, a “safe space” in which we can explore these otherwise unfathomable facets of our true selves, while yet consoling ourselves with the knowledge that “it’s only a movie.”

At the same time, the genre manages to find fresh and powerful metaphors for where we’re at as a society and how we endure fractious, fearful times. For every eviscerated remake or toothless throwback, there’s a startlingly fresh take on the genre’s most time-honored tropes; for every milquetoast PG-13 compromise, there’s a ferocious take-no-prisoners attempt to push the envelope on what we can honestly say about ourselves. Budd Wilkins

50. Them (2006)

Hoody-clad sadists attack a couple, alone in their country home. That’s all the setup that co-writers/directors David Moreau and Xavier Palud need to dredge up some uniquely discomfiting chills. You won’t be able to shake Them after seeing it because it’s scary without being grisly or full of cheap jump scares. Instead, it’s a marvel of precise timing and action choreography. The silence that deadens the air between each new assault becomes more and more disquieting as the film goes on. Likewise, the house where Them is primarily set in seems to grow bigger with each new hole the film’s villains tear out of. To get the maximum effect, be sure to watch this one at night; just don’t watch it alone. Simon Abrams

49. Black Death (2010)

Grim aesthetics and an even grimmer worldview define Black Death, in which ardent piousness and defiant paganism both prove paths toward violence, hypocrisy, and hell. Christopher Smith’s 14th-century period piece exudes an oppressive sense of physical, spiritual, and atmospheric weight, with grimy doom hanging in the air like the fog enshrouding its dense forests. His story concerns a gang of thugs, torturers, and killers led by Ulric (Sean Bean), a devout soldier commissioned by the church to visit the lone, remote town in the land not afflicted by a fatal pestilence, where it’s suspected a necromancer is raising the dead. Dario Poloni’s austere script charts the crew’s journey into a misty netherworld where the viciousness of man seems constantly matched by divine cruelty, even as the role of God’s hand—in the pestilence, and in the personal affairs of individuals—remains throughout tantalizingly oblique. Nick Schager

48. The Invitation (2015)

The Invitation filters each sinister development through Will’s (Logan Marshall-Green) unreliable perspective, to the point that one friend’s failure to turn up at a lavish dinner, or another’s precipitous departure, appear as if submerged, changing with each shift in the emotional current. Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial. Matt Brennan

47. Midsommar (2019)

Anybody who’s seen Robin Hardy’s The Wicker Man or similar folk horror films will hardly be surprised by any of the plot turns in Ari Aster’s Midsommar. From early on, there’s no doubt that the pagan rituals at the film’s center will spell doom for the group of friends who visit rural Sweden in a quasi-anthropological attempt to observe a cult’s summer solstice festival. The film masterfully builds itself around the inevitability of a mass terror, aligning our foreknowledge of that with the anxiety felt by the main character, Dani (Florence Pugh), in the wake of a recent family tragedy. The result is a deeply unnerving film about the indissoluble, somehow archaic bond between self and family—one more psychologically robust than Aster’s similarly themed Hereditary. And it’s also very funny. Pat Brown

46. Mulholland Drive (2001)

David Lynch’s meta noir Mulholland Drive literalizes the theory of surrealism as perpetual dream state. Told as it is using a highly symbolic, ravishingly engorged language of dreams, this bloody valentine to Los Angeles naturally leaves one feeling groggy, confused, looking forward and back, hankering to pass again through its serpentine, slithery hall of mirrors until all its secrets have been unpacked. Whether Mulholland Drive anticipated the YouTube Age we live in (and which Inland Empire’s digital punk poetics perfectly embody) is up for debate, but there’s no doubt that this movie-movie will continue to haunt us long after Lynch has moved on to shooting pictures using the tools of whatever new film medium awaits us—tools that he will no doubt have helped to revolutionize. Ed Gonzalez

45. Sinister (2012)

Scott Derrickson’s Sinister isn’t a period piece, but by directing its attention backward it brackets its chosen tech-horror particulars as products of a bygone era—in this case considerably further back than the period of tube TVs and quarter-inch tapes to which this subgenre of horror so often belongs. Much like Ringu, Sinister concerns a cursed film whose audience dies after exposure to it, but here the curse is disseminated not by clunky videotape, but by a box of 8mm films. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality. Even the format’s deficiencies, from the rickety hum of sprockets to the instability of the frame, are savored by what seems like a nostalgic impulse—a fondness for the old-fashioned that even transforms the rough, granular quality of the haunted films themselves into something like pointillist paintings of the macabre. Calum Marsh

44. Maniac (2012)

Made in collaboration with Alexandre Aja and Grégory Levasseur, and with the sort of fearless artistic freedom often allowed by European financing, Franck Khalfoun’s Maniac begins with a psychopath’s synth-tastically scored stalking of a party girl back to her apartment, outside which he cuts her frightened scream short by driving a knife up into her head through her jaw. The film deceptively delights in capturing the mood of an exploitation cheapie before latching onto and running with the conceit only halfheartedly employed by William Lustig in the 1980 original, framing the titular maniac’s killing spree—this time set in Los Angeles—almost entirely from his point of view. A gimmick, yes, but more than just a means of superficially keying us into the psyche of the main character, Frank, an antique mannequin salesman played memorably by a minimally seen Elijah Wood. As in Rob Zombie’s Halloween II, this approach becomes a provocative means of sympathizing with the devil. Gonzalez

43. Depraved (2019)

What does a Frankenstein figure look like in 2019? According to Larry Fessenden’s Depraved, he’s a guy with war-addled, once-noble intentions set adrift by male ego and shady benefactors. He’s a white man grasping for control in a world coming apart, a cog in a machine who hasn’t broken free so much as changed the machine’s function—from that of war to that of the pharmaceutical industry. The film, Fessenden’s first feature as both writer and director since 2006’s The Last Winter, paints multiple psychological portraits that are sad, angry, and strangely beautiful. It shows us the mind of not just PTSD-afflicted field surgeon Henry (David Call), but also that of his prototypical sewn-together “monster,” Adam (Alex Breaux), and his assistant and Big Pharma bankroller, Polidori (Joshua Leonard). Throughout, the film it remains firmly focused on its thesis of Frankenstein as a lens for examining modern society. Fessenden catalogues what personalities and power dynamics have shifted and what hasn’t changed at all. He diagnoses the rot of our era through these solipsistic men that pour their prejudices and their insecurities into Adam, an open book eventually read back to its authors with a violence they cultivated themselves. Steven Scaife

42. 28 Days Later (2002)

Danny Boyle’s 28 Days Later is a post-apocalyptic zombie movie indebted to the traditions of John Wyndham and George A. Romero, opening with its young hero wandering abandoned streets calling out “Hello! Hello!” into the void. A marvel of economic storytelling, the film follows a handful of survivors that evaded a deadly “Rage” virus that tore across England, the riots and destruction that ensued, and the legion of infected victims who roam the streets at night for human meat. A bleak journey through an underground tunnel brings to mind one of the finest chapters in Stephen King’s The Stand; similar such references are far from being smug in-jokes, but rather uniquely appreciative of previous horror texts. The Rage virus itself feels particularly topical in our angry modern times. But maybe the more appropriate metaphor is that anyone who’s struggled through a grouchy, apocalyptic mood during 28 days of nicotine/drug/alcohol withdrawal will find their hostile sentiments reflected in this anger-fueled nightmare odyssey. Jeremiah Kipp

41. Piranha 3D (2010)

Piranha 3D tips its cap to Jaws with an opening appearance by Richard Dreyfuss, yet the true ancestors of Alexandre Aja’s latest are less Steven Spielberg’s classic (and Joe Dante and Roger Corman’s more politically inclined 1978 original Piranha) than 1980s-era slasher films. Unapologetically giddy about its gratuitous crassness, Aja’s B movie operates by constantly winking at its audience, and while such self-consciousness diffuses any serious sense of terror, it also amplifies the rollicking comedy of its over-the-top insanity. Aja’s gimmicky use of 3D is self-aware, and the obscene gore of the proceedings is, like its softcore jokiness, so extreme and campy—epitomized by a hair-caught-in-propeller scalping—that the trashy, merciless Piranha 3D proves a worthy heir to its brazen exploitation-cinema forefathers. Schager

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“Double tap,” the belated Zombieland sequel’s namesake, refers to the rule of shooting a zombie more than once in order to ensure that it’s dead. Like the rest of the rules devised by the series’s dweebish protagonist, Columbus (Jesse Eisenberg), it’s spelled out in large on-screen text, an amusingly self-aware touch in the original 2009 film that has, a decade later into our irony-poisoned present, lost its luster.

Part of that is because the sequel highlights these rules more frequently and prominently, injecting them with flashy text effects that are more distracting than funny. But it’s also because self-awareness doesn’t feel nearly as refreshing as it did in 2009, with seemingly every big studio movie nowadays winking and nodding at audiences, trying to swaddle us in layers of protective irony (that writers Rhett Reese and Paul Wernick went on to script the vacuous Deadpool films is no accident). Zombieland: Double Tap effortlessly operates in the same groove as the original, but that’s less a compliment than a measure of a failure to evolve.

Revising the world of Zombieland feels like returning to a television program you gave up on watching; though the cast has aged, the character dynamics remain largely the same, if slightly more exaggerated and perhaps overly familiar. Boisterous gunslinger Tallahassee (Woody Harrelson) is a little more cartoonish now, while Little Rock (Abigail Breslin) is all grown up. She’s more than old enough to drive, and thus old enough to run away with a pacifist hippie, Berkeley (Avan Jogia), prompting Columbus, Tallahassee, and conwoman Wichita (Emma Stone) to track her down. They’re a makeshift family now, despite still referring to one another by the city aliases that were meant to prevent getting too attached.

A newcomer to their group still goes by her real name, Madison (Zoey Deutch), and as a caricatured dumb blonde, she typifies much of the film’s easy, uninspired comedy. The supremely overqualified cast powers through tiresome, pop culture-laden exchanges via sheer charisma; Stone, though unfortunately reduced to playing a “jealous girlfriend” type, is particularly expressive. But returning director Ruben Fleischer, despite pairing with the usually excellent cinematographer Chung-hoon Chung, too often shoots the actors in close-up, robbing much of the film of the chemistry that the actors display in wider shots.

Double Tap also plays unthinkingly into the zombie fantasy as survivalist gun porn, even going so far as to add a Gen Z commune of idiot pacifists who melt down guns into peace symbols. This sequel, however, is too mediocre for such an idea to register with more than a shrug. The film isn’t using the concept to make a point, after all; behind the self-awareness and the irony is merely a hollow emotional core, a lack of anything to say because saying something would require ambition rather than complacent winks and nods.

Cast: Woody Harrelson, Jesse Eisenberg, Abigail Breslin, Emma Stone, Rosario Dawson, Zoey Deutch, Avan Jogia, Luke Wilson, Thomas Middleditch Director: Ruben Fleischer Screenwriter: Rhett Reese, Paul Wernick, Dave Callaham Distributor: Columbia Pictures Running Time: 93 min Rating: R Year: 2019

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“Once upon a time…or perhaps twice upon a time, for you may remember this story,” begins the voiceover narration of Disney’s Maleficent: Mistress of Evil. To its credit, the film opens by addressing the elephant in the castle: that we, as modern filmgoers, surely know this story well, through all its incarnations as old-fashioned fairy-tale romance and as insipid CG action-fantasy. But this sequel’s attempt to deflect attention from its own tiresomeness only highlights the cynicism of a corporation that insists on franchising the reboots of its adaptations—on repeating the process of filtering the imaginative irrationality of folk tales through layers upon layers of calculation.

Angelina Jolie returns as Maleficent, once one of the most deliciously evil villainesses in the Disney canon, who now—like Oz’s Wicked Witch of the West—has been reduced to a mildly grumpy environmentalist. Disney has erected a mythos around the character to explain her malevolent deeds—or rather, to expose them as truly good. Channeling themes of historical revisionism and post-colonial white guilt, the Malefi-verse positions its title character as defender of the marshlands known as The Moors and its multifarious magical inhabitants, the Dark Fey, against the incursions and crimes of the late-Renaissance Europeans who live nearby. In the film, whose subtitle has virtually nothing to do with its plot, she’s supplied with an army of fellow Feys primed to resist the destruction of their native lands by greedy humans. The deviousness suggested by Maleficent’s occasional wry, sharp-toothed smiles and curling horns is hardly on display in her actions, which have thoroughly virtuous motivations.

Mistress of Evil posits a “true story” behind the official one recorded in the Sleeping Beauty fairy tale, as rather than persecuting the princess subsequently known as Sleeping Beauty, Maleficent has adopted her and raised her. Aurora (Elle Fanning), though she’s grown up among the Fey, has fallen in love with Prince Phillip (Harris Dickinson). Throughout, we’re given little evidence of their mutual attraction beyond the fact that they’re both young humans, though Joachim Rønning’s film does attempt to elicit our sympathies for their union with an early scene that stages a YouTube-ready surprise proposal. Though she harbors doubts about this union, Maleficent initially tries to play the good mother, reluctantly accepting the match. But then, at the engagement dinner, Phillip’s mother, Queen Ingrith (Michelle Pfeiffer), frames Maleficent for the sleeping curse that befalls King John (Robert Lindsay). Wounded in the subsequent confrontation, Maleficent flees and finds herself in an enclave of other vulture-winged, goat-horned Feys, led by Borra (Ed Skrein) and Conall (Chiwetel Ejiofor).

As played by Jolie, Maleficent is less a character than a pose. Rather than suggesting potency and confidence, the character’s impassiveness conveys indifference, a disinterested neutrality that emanates from behind Jolie’s green contacts and prosthetic cheekbones. Neither Maleficent’s anger at the humans who framed her nor her muted concern for the oppressed Fey succeeds in selling the clichéd plotline concerning indigenous rebellion. As debate rages in the ranks of the outcast Fey regarding a prospective uprising against the murderous humans—the screenplay, of course, makes Conall’s plea for a moderate response to creeping genocide more appealing than Borra’s call for a revolution—Jolie’s perpetually cool persona fails to anchor our feelings in the fate of the forest’s denizens.

The rebellious Fey recruit Maleficent for the same reason that the humans fear her: the magical powers she possesses. Yet Maleficent’s powers are ill-defined, the magical green tendrils that extend from her hands little more than a reference to visual effects devised for Disney’s classic animated Sleeping Beauty from 1959. But aspects of the magic in Mistress of Evil still draw inspiration from its diluted source material: the Grimm brothers’ fairy tale classic that the animated film was based on. In that story, the wise woman’s curse not only puts the princess to sleep, but also freezes all life in the castle in place and envelops the structure in an impenetrable thorn bush. Many princes attempt and fail to forcibly enter the castle, hacking away at the bushes, but after a century, the brambles open up on their own, at last allowing a prince to enter the princess’s chamber, so to speak.

In Mistress of Evil, we see the character that Disney has dubbed Maleficent deploy similar magical effects to much less metaphorical ends: She freezes a cat in the air mid-pounce to protect her were-raven familiar, Diaval (Sam Riley), and she conjures up spindly thorn branches to shield herself and Chonall from a volley of crossbow bolts. The filmmakers, no doubt, see such references to the original tale as forms of felicitous homage, but in transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product. The film arranges a marriage between fairy-tale motifs and a CG-algorithm-driven plot that’s as bland and arbitrary as the one it stages between its nondescript human couple, processing thorny folklore into smooth, consumable pop culture.

Cast: Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Chiwetel Ejiofor, Sam Riley, Ed Skrein, Harris Dickinson, Robert Lindsay, Warwick Davis Director: Joachim Rønning Screenwriter: Micah Fitzerman-Blue, Noah Harpster, Linda Woolverton Distributor: Walt Disney Studios Motion Pictures Running Time: 118 min Rating: PG Year: 2019

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When Alex Lewis was 18 years old, he was involved in a motorcycle crash that left him with a severe case of amnesia. When he awoke in a hospital following the accident, he couldn’t recall where he lived or who his friends were. He didn’t even know his name. As for the woman babbling and pacing around the foot of his bed, he was taken aback to learn that she was his mother. The only thing Alex did remember was that the young man standing before him, Marcus, was his identical twin, and that they had a special connection.

Upon returning to their family estate, Marcus began the lengthy process of reacquainting Alex with the particulars of his life, as well as re-teaching him the basics, like how to tie his shoes. And through it all, Marcus did his best to present a rosy picture of their parents, assuring Alex that their mother, Jill, was “cool” and that they took nice vacations to France when they were kids. It wasn’t until after their parents’ death that Alex began to suspect that their upbringing may not have been as pleasant as Marcus suggested. And after Alex discovered a cabinet full of sex toys in Jill’s room and a photograph of him and his brother naked with their heads torn off, the horrible truth began to dawn on Alex: that he and his brother were sexually abused by their mother. Marcus would go on to confirm the abuse but refused to provide additional details, leaving his brother with questions that would haunt him for years.

Based on a book co-written by Alex and Marcus, Ed Perkins’s Tell Me Who I Am tells the brothers’ story with an Errol Morris-lite mix of expressionistic reenactments and interviews in which the subjects speak directly into the camera. Like the similarly themed Three Identical Strangers, the film parcels out disarming hints and shocking revelations at a steady clip, with a view toward maximizing the emotional impact of the material. It’s undeniably effective and affecting, escalating toward a harrowing confrontation-cum-reconciliation between the two brothers in which Marcus finally reveals the full horror of what they endured as kids: that, in addition to being abused by their mother, they were subjected to sexual assaults at the hands of multiple abusers, in what essentially amounted to an elite pedophilia ring.

In its richer, more rewarding moments, Tell Me Who I Am hints at the complex relationship between memory and identity. Alex relies on photographs to fill in the blanks in his memory, and yet, these seemingly objective recordings of the past, curated for him by his brother, are as conspicuous for what they reveal as for what they don’t. (As Alex muses at one point, “We take photos of weddings. You never take photos at funerals.”) But for a film about the power of getting a full and accurate accounting of the truth, it’s frustrating how little Tell Me Who I Am reckons with its own revelations. By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the sheer scope of the boys’ abuse.

Tell Me Who I Am hints at the brothers having been caught up in a seemingly extensive sexual abuse ring, one involving aristocrats and at least one well-known artist, all of whom remain unnamed. It’s a scandal reminiscent of recently exposed conspiracies of silence that surround wrongdoing, such as those involving Jeffrey Epstein, Jimmy Savile, and the Catholic Church. And while Perkins’s film wants us to believe that the brothers’ saga reaches a definitive conclusion when they tearfully embrace after Alex learns about what happened to him, it leaves the viewer with a host of unanswered questions. Who exactly was part of Jill’s social circle? How extensive was Alex and Marcus’s abuse? Were there other victims?

Even a cursory glance at news articles about the men and reviews of their book suggests how much Perkins has massaged the details of the Lewis brothers’ lives to craft his sleek, emotionally punchy narrative. From watching Tell Me Who I Am, one wouldn’t know that there was at least one other confirmed victim: Alex and Marcus’s younger brother, whose existence the film doesn’t even acknowledge. By forcing Alex and Marcus’s story into such a rigidly linear narrative of redemption, the film ends up losing sight of its subjects altogether, reducing them to mere representations of its core theme: the brother who wants to learn about his past versus the brother who’d rather keep it buried.

That’s why Tell Me Who I Am’s attempt to end on a note of closure—“It’s over finally,” Alex says, as the camera tracks away from the house where he was abused—comes off as phony. Perhaps Alex feels that he finally understands who he really is, but the film leaves us with so many unanswered questions, it’s hard not feel that the picture we’ve been given of these men is nearly as misleading and incomplete as the one Marcus provided to Alex all those years ago.

Director: Ed Perkins Distributor: Netflix Running Time: 85 min Rating: NR Year: 2019

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Erin Derham’s Stuffed opens with a montage of the various taxidermists she profiles throughout her documentary. This opening lays bare the film’s argument in unmistakable terms: that taxidermy is an art form, closer to the work of Tim Burton than that of Norman Bates. But it also exposes the film’s most unbearable flaw, as Derham supports her hagiographic argument by sewing together her case studies with a relentless, and relentlessly generic, score that speaks to her devotion to formula.

It’s an unadventurous formula at odds with the documentary’s attempts to establish taxidermy as a highly complex, anti-paradigmatic endeavor involving great amounts of scientific precision, as well as creative audacity and whimsical experimentation. Derham insists so much on taxidermists’ labor being more than the mere production of replicas that her refusal to adopt a more playful aesthetic approach as she portrays the quirky imagination of taxidermists feels like equivocation. It’s as if she approached the documentary’s making with thick rubber gloves, thus inoculating herself from taxidermy’s subversive spirit.

This may be the result of a certain courting, conscious or not, of digital streaming platforms through the mimicry of impersonally glossy production values. In any case, it leaves the viewer in a position akin to that of the fussy eater trying to pick unwelcomed ingredients out of their food. We want to savor the taxidermists’ artistry, except the clichéd polish that envelops the film keeps getting in the way. It’s an artistry that’s bold by design, as the taxidermist utilizes dead matter not with the utilitarian goal of resurrecting it, but as raw material to sculpt something altogether new. If the Paris Museum of Hunting and Nature invited artists Sophie Calle and Serena Carone in 2018 to intervene in its collection of retired guns and taxidermic realism precisely because of the unusual juxtaposition of conceptual art and refurbished dead matter, moose in red gowns and all, Stuffed defines taxidermy itself as already marrying fanciful concepts with the illusion of beastly or avian resurrection.

Taxidermist Madison Rubin tells us she loves “seeing the insides and the anatomy of things” as she skins 11 ermines with the meticulousness of a sculptor, or a dollmaker. Others evoke the resurgence of taxidermy, which used to be particularly popular in the Victorian era, in these times of digital de-materialization. And some attest to the specificity of the medium—how no other art form can convey texture the way taxidermy does. Yet Derham seems more invested in glossing over the numerous chapters she’s divided the film’s narrative into than in exploring the depths of her story. Taxidermy and sustainability, taxidermy and climate change, the ethics of taxidermy, taxidermy and museums, taxidermy as a business, taxidermy in fashion—all of these get addressed too rapidly, sometimes in just a couple of minutes.

The rush feels particularly unfortunate when Derham turns her attention to rogue taxidermy, a Lynchean subgenre located at the intersection of dioramas, cabinets of curiosities, and surrealist art. Here, Calle and Carone’s red ballgown-wearing stuffed roadkill would feel right at home—that is, delightfully out of place in the world. Instead, Stuffed quickly continues in its quest of a happy, peppy denouement to match the pristine porelessness of its sheen.

Director: Erin Derham Distributor: Music Box Films Running Time: 84 min Rating: NR Year: 2019

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In the 2000s, a film company called the Asylum flooded Blockbuster shelves with “mockbusters”: cheaply produced, straight-to-DVD knockoffs of box-office dominators with titles such as Transmorphers, Ghosthunters, and Snakes on a Train. Patrick Lussier’s horror mystery Trick feels like an Asylum spin on Todd Phillips’s Joker, as both are about marginalized white guys who paint their faces, start killing people, and become kings of the incels. But where the licensed DC spinoff is an irresponsible and irredeemable pity party for a creep, this cheap lookalike is just an incompetent, nihilistic exercise in gore and pseudophilosophy, assembled crudely from horror and cop-movie clichés.

Trick opens with a handy list of the dictionary definitions of its title, hinting at the filmmakers’ estimation of their target audience’s intelligence. Trick is also the name of the film’s villain, short for Patrick (Thom Niemann), an 18-year-old who, on Halloween night in 2015, attends a party with his classmates in their Hudson Valley town. During a game of spin the bottle—played with a knife—Trick is pressured to kiss another dude but instead starts stabbing and slashing everyone. (The subtext of repressed homosexuality is never alluded to again in the film.) Incapacitated and brought to urgent care, Patrick breaks free from his restraints and drops more bodies until police shoot him repeatedly in a hallway, knocking him out of a second-story window, neatly alluding simultaneously to both John Carpenter’s original Halloween (the defenestration) and Rick Rosenthal’s 1981 sequel (the hospital setting). Trick staggers to the river and vanishes, presumed dead.

But more killings follow, on or around Halloween, in towns downriver from the first. Detective Mike Denver, the only cop who believes Patrick survived, is played by Omar Epps, who credibly delivers preposterous dialogue like a pro. In the film’s most ludicrous killing, Trick uses a crane to swing the tombstone of an F.B.I. agent (Vanessa Aspillaga) he murdered the year before through the windshield of a car in order to smash a wounded police officer (Dani Shay) sitting inside, a scene Denver sums up to a colleague: “He murdered your deputy with the gravestone of a fed I got killed. Who does that?” Then, after a beat, “What does that?”

Good question. To be scary, a horror villain needs either to be a credible menace or tap into a more primal social fear. But Trick is just implausible. He’s resilient like Rasputin, more violent than a rabid animal. At a time when cellphones and social media are ubiquitous, no one ever got a photo of him, and his classmates can barely even describe his features, just that he was smart as fuck—like, smarter than the teachers. The film shows off his far-fetched cleverness when he kills a different F.B.I. agent (Robert G. McKay) with a Rube Goldbergian guillotine involving a sharp wire, a utility pole, and a bundle of cinderblocks. Its employment makes for Purge-level spectacle without the social commentary to back it up. The beheading is just meatheaded ultraviolence—as inane as any other aspect of Trick.

Cast: Omar Epps, Ellen Adair, Kristina Reyes, Tom Atkins, Max Miller, Thom Neimann, Jamie Kennedy Director: Patrick Lussier Screenwriter: Todd Farmer, Patrick Lussier Distributor: RLJE Films Running Time: 100 min Rating: NR Year: 2019

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David Lynch’s Mulholland Drive opens with a nighttime ride into oblivion. A limo drifts through the lightless void of the Hollywood Hills, red taillights burning in the blackness. An enigmatic woman, ebony hair and curvaceous red lips lending her the air of a tragic beauty, sits in the back by herself. The limo pulls over, and after the woman says, “We don’t stop here,” the driver aims a gun at her, but a gaggle of joyriding kids comes speeding around the curve and crashes into the vehicle. The woman climbs out of the wreckage stupefied and traipses into the hills, leaving behind the mangled metal and bodies.

Soon, a stoic detective arrives on the scene. He looks like a lawman, serious, a little sad, his face etched with the wrinkles of time. He examines the cars, offers a few terse observations, gazes out at the nocturnal city sprawling before him. It’s Robert Forster’s only scene in the film, and it’s an indelible one, imbued with mystery and menace, an attempt to explain the unexplainable. Saying fewer than 20 words and appearing in only a handful of shots, he exudes an air of wisdom and weariness—that of an indolent man who’s seen some shit and knows the horrors lurking ahead. In a film of dreamy logic and ineffaceable images, Forster’s taciturn detective acts as the final glimpse of reality before we slip into a world of Hollywood hopes and fantasy.

Forster, who died of brain cancer at the age of 78 this past Friday, was a prolific actor who experienced a remarkable second act in his mid-50s after giving a deeply empathetic and vulnerable performance as a love-struck bail bondsman in Quentin Tarantino’s Jackie Brown, a film populated by wounded characters leading unamazing lives, and who aspire to transcend mediocrity. “My career by then was dead,” Forster told the AV Club’s Will Harris in a 2011 interview. “No agent, no manager, no lawyer, no nothing…I could not believe that he [Tarantino] was talking about the Max Cherry role.”

Like so many of Tarantino’s films, Jackie Brown is replete with colorful, loquacious characters whose banter is clever, trenchant, and self-referential, but Forster’s Max Cherry is reserved and crestfallen, a man who’s settled into complacency and finds in Pam Grier’s flight attendant an unexpected inspiration. It’s one of American cinema’s great unconsummated love stories. Forster is a subtle actor, playing Max as an Everyman who chases people for a living but never seems to find what he’s looking for, and who willingly embroils himself in a dangerous situation because of love. He’s smart, self-sufficient, a decent guy, and yet for Jackie Brown he’s willing to risk his life, or whatever mundane existence he calls a life.

Forster was one of those great actors who appeared in far too few great films. His filmography is rife with bad films, though he was invariably a dependable presence in everything he did. He began his career promisingly, with a supporting role in John Huston’s Reflections in a Golden Eye, and earned renown for his turn as an ambitious and ill-fated news cameraman in Haskell Wexler’s incandescent Medium Cool. He played a private eye in 1930s Hollywood in the show Banyon (his role in Mulholland Drive almost feels like a brief homage to the short-lived series) and appeared in a slew of genre movies for the rest of the 1970s and 1980s. Of note is Lewis Teague’s Alligator, in which a gargantuan reptile terrorizes a city, William Lustig’s nihilistic grindhouse flick Vigilante, and a rare villainous turn in Delta Force, opposite the indefatigable Chuck Norris.

It wasn’t until Jackie Brown and his subsequent Oscar nomination that Forster reentered the public consciousness. The way Tarantino exhumes old, often “trash” films when crafting his paeans to moving pictures, he also has a preternatural skill for resurrecting the careers of forgotten or faded actors. Tarantino fought for Forster to get the part. When news of Forster’s death went public, the director said in a statement:

“Today the world is left with one less gentlemen. One less square shooter. One less good man. One less wonderful father. One less marvelous actor. I remember all the breakfasts we had at silver spoons. All the stories. All the kind words. All the support. Casting Robert Forster in Jackie Brown was one of the best choices I’ve ever made in my life. I will miss you dearly my old friend.”

Forster appeared in a panoply of listless films and television programs throughout the 2000s (his appearance in Alexander Payne’s The Descendants in 2011 being an exception) but became a household face again in 2018, when he took on the role of Sheriff Frank Truman, Harry S. Truman’s brother, on the third season of Lynch’s Twin Peaks. Whereas Michael Ontkean exuded a mercurial youthfulness on the original series, that of a warm-hearted, just man capable of fiery spontaneity, Forster plays the elder Sheriff Truman rather pensively, sagacious and serene. Which is to say, he acts with the wisdom accrued by experience.

Forster also appeared in a season five episode of Breaking Bad, as a vacuum store owner and “disappearer” named Ed who helps Bryan Cranston’s Walt change identities. A stable presence amid the histrionic theatrics that defined the show’s approach to acting, Forster gives an understated performance and a sense of the real-world left behind by Vince Gilligan’s increasingly combustible melodrama. Forster reprised the part this year in El Camino: A Breaking Bad Movie, the actor’s final screen credit. In a film-stealing scene, Forster stands steadfast and stoical against Aaron Paul’s desperate, bedraggled Jesse Pinkman, refusing to perform his disappearing service over a $1,800 discrepancy. The viewer is, of course, rooting for Jesse, yet one can’t help but respect the conviction of Forster’s unruffled professional. The actor brings a sense of honor and dignity to the role, as he did with every role. Forster was a safe, reliable presence, someone you trusted, unflustered, earnest, whether he was fighting monstrous alligators or swooning after air stewardesses.

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Alexis Michalik’s Cyrano, My Love wears its fondness for Shakespeare in Love very much on its sleeve. Though it serves up nuggets of truth, its take on Edmond Rostand (Thomas Solivérès) and the turbulent circumstances surrounding his creation of Cyrano de Bergerac is an outlandish one, imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls John Madden’s Oscar winner. And while Michalik positions Rostand as the story’s triumphant artist, the French dramatist is often reduced to a skittish ninny—as opposed to the pompous ass that Joseph Fiennes’s Shakespeare was positioned as—whose great art emanates not from the mind, but the cockles of the heart.

For a film so hellbent on the notion that Cyrano de Bergerac was inspired not only by actual events, but real emotions, there’s surprisingly little effort made to articulate with any specificity the conflicted feelings behind Rostand’s penning of what would become the most famous French play of all time. The initial catalyst for his play’s central conceit occurs when he steps in to help an actor friend, Léonidas (Tom Leeb), struggling to find the words to woo a costume designer, Jeanne (Lucie Boujenah), on whom he has a crush. Rostand, in one of the film’s many blatant nods to Cyrano de Bergerac, begins to feed his friend a barrage of romantic lines and relish the secrecy with which he can play out a love affair without disturbing his marriage with his endlessly patient and supportive wife, Rosemonde (Alice de Lencquesaing).

Yet, rather than teasing out the ample psychosexual baggage that should arise from the cognitive dissonance of Rostand writing daily love letters to Jeanne, his unknowing muse, while still professing, with complete honesty, that his only true love is his wife, Michalik pivots his focus to the swirling chaos of Cyrano de Bergerac’s production. With Rostand’s emotional conflict left fairly nebulous, Cyrano, My Love never quite gets to the root of the author’s inspiration, leaving its familiar theatrical farce about the troubles of mounting a stage play grounded in neither genuine emotion nor any palpable stakes.

As the hurdles that Rostand and company face in staging Cyrano de Bergerac grow bigger and Rostand writes pages to be rehearsed before the ink dries, the film introduces a parade of quirky, ostentatious characters. From the historical, such as Sarah Bernhardt (Clémentine Célarié) and Anton Chekhov (Misha Leskot), to the imagined, such as a prostitute (Mathilde Seigner) who’s foisted into the lead role of Roxane, each one is more thinly conceived than the next, with eccentricities dialed up to 11. The most egregious of these larger-than-life characterizations, however, is Monsieur Honoré (Jean-Michel Martial), the black café owner whose sole purpose is to repeatedly tap into his struggles as a minority as a means to galvanize the all-white cast and crew, who he then cheers on from the sidelines.

Cyrano, My Love’s lone performative bright spot comes in the form of a surprisingly nimble turn by Olivier Gourmet, known primarily for his dour turns in many of the Dardenne brothers’ films. Gourmet lends both humor and pathos to the play’s famous but desperate lead actor, Constant Coquelin. But while Coquelin steals the spotlight in a number of scenes, Rostand remains little more than a perpetually anxiety-ridden artist who virtually stumbles into writing a masterpiece during a helter-skelter production. And with little care given to rendering the intense emotional tumult that spurred his artistic process, all the pandemonium of Cyrano, My Love proves to be much ado about nothing.

Cast: Thomas Solivérès, Olivier Gourmet, Mathilde Seigner, Tom Leeb, Lucie Boujenah, Alice de Lencquesaing, Clémentine Célarié, Igor Gotesman, Dominique Pinon, Simon Abkarian, Marc Andréoni, Jean-Michel Martial, Olivier Lejeune, Antoine Dulery, Alexis Michalik Director: Alexis Michalik Screenwriter: Alexis Michalik Distributor: Roadside Attractions Running Time: 112 min Rating: R Year: 2018

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The opening credits of Greener Grass linger on a twitching, toothy smile covered in braces. Everyone in the film wears braces. Everyone drives a golf cart, too, and dresses in gentle pinks and blues. The lighting is soft and sun-drenched, an effect that’s most pronounced during the film’s soccer matches. In the opening of David Lynch’s Blue Velvet, the camera creeps through a suburb’s pleasant veneer to reveal the rot that festers beneath. But for Greener Grass co-directors, co-writers, and co-stars Jocelyn DeBoer and Dawn Luebbe, the very surface is the thing that’s so unsettling, a place populated by slithering, rictus-grinning meat puppets penned in by white picket fences and their own crippling need to conform.

The trouble, if you could call it that, begins when Jill (DeBoer) abruptly gifts Lisa (Luebbe) with her newborn baby as they watch their other children play soccer. This isn’t, in the film’s bizarre conception of suburbia, a particularly outrageous act. At worst, it’s overly generous, like giving someone a gift more expensive than they’re comfortable accepting; another neighbor, Kim Ann (Mary Holland), later laments that she wasn’t given the child instead. The children in Greener Grass are essentially property, status symbols to reflect upon their owners in their pristine homes and yards, all of which feeds into an undercurrent of pervasive competition that nonetheless reinforces conformity and simply not rocking the boat.

Everything is seemingly interchangeable in Greener Grass. At a cookout, it takes a full conversation for Jill and Lisa to notice that they’re smooching and hanging on the arms of the wrong husbands, Dennis (Neil Casey and Nick (Beck Bennett), respectively. And when Jill’s young son, Julian (Julian Hilliard), inexplicably transforms into a dog, she’s horrified, but Nick, the boy’s father, seems pleased: Julian may no longer be able to take the advanced math class, but he’s now a prodigy when it comes to playing catch in the backyard.

There isn’t much of a traditional plot to the film, which plays more as a recurring series of sketches that subtly further Jill’s downward spiral. DeBoer and Luebbe let their scenes linger long past the point of discomfort, both in the length of mannered dialogue exchanges and the amount of time they hold a shot without cutting; the camera gingerly pulls out or pushes in while characters perform odd actions in the background, like perpetually folding tighty-whities or fishing out a seemingly infinite supply of pocket change. It feels voyeuristic, and sometimes it is: In one scene, a hand appears to reveal that we’re watching a POV shot, and in another, an off-screen voice begins breathing heavily and starts mock-repeating dialogue.

A schoolteacher, Miss Human (D’Arcy Carden), fixates on the deaths of American pioneers making their way to the West. In pursuit of “a better life,” they lost things along the way, as the people of Greener Grass have lost themselves in their migration to the suburbs. The film is more unsettling for its lack of an ordinary plot structure where, say, Jill might break out of her suburban funk or get everything to explode with violence in a revolt against conformity. In the film’s world, there can be no real resistance. Here, the burbs have already won, having already sent out the white picket fences like tendrils as far as the eye can see. There is no escape.

Cast: Jocelyn DeBoer, Dawn Luebbe, Beck Bennett, Neil Casey, Mary Holland, D’Arcy Carden, Janicza Bravo, Dot-Marie Jones, Lauren Adams, Julian Hillard, Asher Miles Fallica Director: Jocelyn DeBoer, Dawn Luebbe Screenwriter: Jocelyn DeBoer, Dawn Luebbe Distributor: IFC Midnight Running Time: 100 min Rating: NR Year: 2019

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