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| Courtesy of Lurker |
(Rated R for language, some sexual content and nudity. Now playing in limited release.)
Three years ago, Anton Yelchin – perhaps best known for his work as Chekov in J.J. Abrams’ rebooted Star Trek franchise – was on the verge of making the jump from acting to directing when he was killed in a freak accident. The son of Russian figure skaters who fled the former Soviet Union, Yelchin developed a talent for performing early in his life.
He got his start as a child actor in the early-2000s, delivering strong performances in television shows like ER and otherwise forgettable films like Hearts in Atlantis and Along Came a Spider. However, as he evolved as an actor and took on weirder, more challenging roles, he earned the respect of countless co-stars and filmmakers, many of whom share their memories in the powerful new documentary Love, Antosha.
Directed by Garret Price, the bittersweet memorial utilizes an astounding amount of the Yelchin family’s home movies, as well as the late actor’s personal journals, photography, music and experimental films, to tell the story of a fascinating young man who seemed to have years of compelling work ahead of him. There’s also a stunning revelation about his health that hits like a punch to the stomach, especially considering the role it likely played in his death.
The film’s structure is standard documentary fare, a combination of archival footage and talking heads. However, it’s a smart choice for the material, allowing the beloved figure at the heart of the narrative to remain in the spotlight rather than ostentatious editing or a bombastic score.
The most affecting portions of Love, Antosha are the raw conversations with Yelchin’s mother and father, still mourning their son but determined to let the world know how special he was. (In fact, the title refers to their loving nickname for him.) Cynical viewers might think any parents would say that about their late child, but Yelchin’s lifelong friends and a staggering number of colleagues provide further evidence of his character.
Nicolas Cage gives the late actor a voice in the proceedings by narrating old journal entries and we see a sweet note that Robin Williams wrote him after the two worked together in 2004. Over the course of 90 minutes, nearly two dozen other actors, writers, directors and casting agents speak of the impact he had on their lives.
Almost everyone involved in the Stark Trek reboot appears, including Abrams, John Cho, Simon Pegg, Zachary Quinto, Zoe Saldana and Chris Pine, who speaks to Yelchin’s more avant-garde interests, as well as the maddening irony surrounding his death. We also get compelling, frequently amusing insights Jennifer Lawrence, Kristen Stewart (who reveals Yelchin was her first boyfriend), Willem Dafoe, Jodie Foster, Bryce Dallas Howard, Frank Langella, Jon Voight, Martin Landau (interviewed before his death in 2017) and plenty of others.
Even at a short 92 minutes, Love, Antosha drags a bit, but it’s understandable that Price would want to incorporate as many people’s anecdotes as possible. Overall, the doc is a sweet, frequently heartbreaking watch for both fans of Yelchin and viewers curious about the process of acting in general.
Grade: B
Ready or Not
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| Courtesy of Fox Searchlight |
(Rated R for violence, bloody images, language throughout, and some drug use.)
I’m generally not a big horror fan, so there has to be a compelling reason for me to get past my initial reluctance and buy a ticket (or attend a press screening an hour away). Sometimes that’s an exciting filmmaker and/or an unusual premise (i.e., Jordan Peele’s Get Out and Us, Drew Goddard’s The Cabin in the Woods), and other times it’s unanticipated star power (like Jamie Lee Curtis returning for another Halloween 40 years later).
Fortunately, the recent indie hit Ready or Not checks a couple of those boxes. It’s got a fun, twisted plot; it straddles the fence between pure horror and dark comedy; and there are several terrific performers who know exactly what kind of movie they’re in and act accordingly.
The film centers on young bride Grace (Samara Weaving) as she prepares to become part of her husband Alex’s (Mark O’Brien) eccentric, absurdly rich family (played by Adam Brody, Henry Czerny, Andie MacDowell and several others). They made their fortune in the board game industry, so they ask her to take part in a longstanding tradition: all new members of the family have to play a game on their wedding night.
Most of the time, it ends up being something innocuous like chess. Unfortunately for Grace, it turns out to be a much more sinister version of hide-and-seek that has everyone fighting for survival. If she can make it until dawn, there’s a happy ending. If not, Alex will go from newlywed to widower within a few hours.
The clever screenplay, credited to Guy Busick and Ryan Murphy (probably not the one you’re thinking of), was clearly influenced by the aforementioned Get Out and The Cabin in the Woods, with some You’re Next and Rosemary’s Baby thrown in. It also deconstructs familiar genre tropes (including the final girl, satanic rituals and haunted houses) in funny, entertaining ways. It’s also not afraid to address relevant cultural issues (including feminism, domestic violence and class warfare) with a clear point-of-view, although it’s never preachy.
Thanks to co-directors Matt Bettinelli-Olpin and Tyler Gillett, the $6 million flick looks like it cost quadruple that. The set design is sleek and opulent, the cinematography makes excellent use of shadows and the costumes are fantastic – especially Grace’s wedding dress/Converse high tops combo. There’s no way it doesn’t become a Halloween party/Dragon Con staple over the next few years as Ready or Not develops a cult following.
The performances are fantastic across the board, but the clear standouts are Weaving (if this movie doesn’t make her a giant star, something’s wrong), Brody (delivering his best work since The O.C. and the criminally underrated Jennifer's Body) and Czerny, gloriously over-the-top as the family patriarch.
Ready or Not feels like it’s almost great, but it’s missing that special something that makes it a future classic. Maybe it’s a lack of memorable kills along the way (although the Grand Guignol finale is a twisted delight) or that Grace is a damsel in distress for too long before turning the tables. Regardless, it finishes strong and scatters enough wicked humor throughout to keep the heightened reality from getting too dark. “Settling” for being merely good ain’t too shabby.
Grade: B
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