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doomonfilm · 5 years

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Thoughts : Cube (1997)

There are some truly odd movies out there in this world. Films that make you curious simply because they do not resemble anything else out there. When these movies are executed correctly, the way that they can expand your horizons and the way you look at film as a whole is truly a unique experience. I remember this occurring way back in my college days when an ex-roommate, good friend and fellow oenophile brought home Cube, a film neither of us had heard of previously, and a film that has since become not only a personal favorite, but largely a cult favorite.

Alderson (Julian Richings) finds himself in a strange room. As he steps forward, an invisible trap slices him to pieces. Another room finds Quentin (Maurice Dean Wint) discovering Worth (David Hewlett), who is passed out. A door near them opens, and Quentin yanks Holloway (Nicky Guadagni) into the room, scaring her nearly to death. Leaven (Nicole de Boer) appears in a room next to them after unidentified sounds emerge from the areas around them, and with the help of Quentin, she is brought into the rapidly occupied room. Moments later, Rennes (Wayne Robson) pops in with a system for testing rooms, advancing the group from room to room as they try to assess the situation. Once Rennes finds himself a victim of the trap, the remaining members of the thrown together pack must figure out how to survive in a situation that makes little to no sense.

Cube is an experience unlike any other. You are given little to no premise at the beginning of the film, and many important events take place in rapid succession before any valuable exposition is presented. The only clear indications given to us are tension and confusion, and the enclosed nature of the Cube amplifies these feelings greatly. With so limited space to work with, information and certainty become valuable commodities to both the characters and the viewers, and we are collectively pushed forward simply by a need to understand what is going on. This format lends itself to repeat viewings for the same reason films like Primer need repeat viewings... the information is dense, the concepts are deep, and the acting is incredibly solid.

The collection of characters is nearly perfect in terms of both assembly and characteristics that offset the stilted nature of the premise. Quentin is the most forward of the group, which makes the fact that he is the only one referred to by his first name interesting. Worth, as an engineer of the exterior, has the most direct connection to the Cube, and therefore must prove his namesake. Leaven is the member of the core group that does not have an official title, but her mathematical prowess as a student helps the group rise collectively. Holloway, despite her untrusting and paranoid nature, is the emotional center of the group due to her medical background. Outside of the core group, Rennes is the one who shows that even a supposed apt skill set is no help in the Cube, while Kazan is placed into the scenario as the wild card.

For such a bottled nature film, the layers and layers of information presented give the film infinite texture. The combination of numbered rooms, odd colors and designs, and the threat of traps make the Cube seem like both a game and a punishment to those unlucky enough to find themselves trapped. As mentioned above, the character traits take precedence over things like background or initial character connection, as the uniform costuming puts everyone on a level where their skill set becomes the important defining characteristic, and thus the true identifier of value and hierarchy. The connection of character names to real world prisons is a nice touch, especially with the additional layer of Worth and Leaven’s eventual connection mirroring the combined nature of their respective prison’s name.

Maurice Dean Wint brings cop energy to the performance in terms of his aggressive and entitled nature, as well as presenting himself as certain in an uncertain situation. By contrast, David Hewlett is the most existential of the group, having a deeper knowledge of the situation than most and choosing to accept defeat regardless. Nicole de Boer brings the optimism of youth to the table, looking for any and every reason to move forward despite an intensely bleak situation. Nicky Guadagni’s mental gymnastics she deals with are displayed powerfully in her eyes, making her the most manic of the group while simultaneously containing the best balance of humanity in her character. Andrew Miller’s inspired performance provides the most rewarding reveals of the entire film. Wayne Robson also provides us with a wonderful, though opposite, reveal that is largely due to his gruff choices during his performance.

I have tried my best to give insight into this film without revealing too much in terms of story, but even with a word by word description of this film, nothing can truly prepare you for the experience of sitting down and viewing it. Despite it being a long shot, I think I will have to take any opportunity I get to see Cube on a big screen, as I am sure it will greatly enhance the already unique experience.

#ChiefDoomsday #DOOMonFILM #VincenzoNatali #Cube #MauriceDeanWint #DavidHewlett #NicoleDeBoer #NickyGuadagni #AndrewMiller #WayneRobson #JulianRichings

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doomonfilm · 5 years

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Review : Ready or Not (2019)

I had high hopes for 2019 after the past couple of years for films, but I have found myself lately with less motivation to go and see new releases. I’m not sure if it’s due to the quality of work released, a seemingly slow surge of arthouse films into the mainstream that have yet to get blockbuster-length runs, or personal burnout, but I’ve fallen far below my expected viewing goals. That being said, certain premises will always pique my interest, and anything that falls into the realm of The Most Dangerous Game qualifies. This is the chief reason why I jumped at an opportunity to see Ready or Not.

Grace (Samara Weaving) and Alex (Mark O’Brien) are preparing for their wedding at the La Domas estate, the home of Alex’s strange family he finds himself estranged from. Grace is excited, but Alex seems distant and hesitant... even Daniel (Adam Brody), Alex’s brother, jokes that Grace could leave, no questions asked. Despite these ‘warnings’, Grace and Alex are married, but their wedding night is interrupted when Aunt Helene (Nicky Guadagni) beckons Grace to the music room for a family ceremony. Grace joins Alex, Daniel, Helene, Tony (Henry Czerny) and Becky (Andie McDowell), the heads of the La Domas family, as well as daughters Emilie (Melanie Scrofano) and Charity (Elyse Levesque) and in-law Fitch (Kristian Bruun), where the group heads to the La Domas family game room. Tony tells the tell of family patriarch Victor La Domas, a gamesman who met a peer in the form of a Mr. La Bail who presented Victor with a mysterious box that takes a card and places a game on it. Grace is presented with the box and told she must take part in the game chosen in order to official become a member of the family, and she chooses hide and seek, much to the dismay of many family members. Their hesitance becomes clear when Grace realizes the family’s true intention : capturing her by any means necessary for a much bigger purpose.

As a genre piece, the well-known presentation of the suspense gem that is the remake of The Most Dangerous Game is ground that has been well tread, but Ready or Not provides enough of an original twist with the secret society, cult aspect to feel fresh. The center of the family reasoning for completing their mission is not new or original by any means, but the presentation as a colloquial folk-tale and the commitment to seeing it through brought me thorough pleasure and entertainment. The suspense is palatable, the danger is believable, and the stakes are continuously risen right through the resolution of the film.

Presenting the idea of committing to a loved one and their family in the guise of a life or death game serves as a proper metaphor for the fear that many face when considering and going through marriage. This reading is the obvious one, and it is definitely nailed, but the subtext about unconditional commitment to family in the face of logic and reason is also touched upon without getting too heavy-handed. These dual seeds of conflict present a rich playground for tension : sibling protection in the face of danger from within, prodigal sons versus black sheeps, the willingness to love strangers with no guarantee it will be reciprocated, family dedication to traditions that are passed down generationally as the times change, and periphery damage of family conflict all get memorable moments in the course of the narrative.

Tonally, the movie handles its suspense and comedy quite well, never fully committing to either tone fully, but making the presentation of each tone believable and rewarding throughout. The special effects for the violence are believable, teetering on the edge of being too gruesome without going over the line. The mansion serves not only as a beauty of a location, but a deeply rewarding one in terms of providing plenty of opportunity for the game of hide and seek to be honestly captivating. The drab, muted color palette gradually takes a backseat to deep reds and oranges, matching the danger, urgency and ambition of the situation and the characters within. This film could have easily fallen into the realms of ridiculousness, shock and exploitation, but the balance of casting, nuanced writing (in terms of the interpersonal relationships) and performance keep it centered, giving us reasons to actually care about Grace and members of the La Domas family.

Samara Weaving holds down the lead role with the confidence of a seasoned veteran, channeling a Sigourney Weaver-like persona in the face of danger to pull off a believable heroine. Mark O’Brien, by comparison, broadcasts enough hesitance and weak will to offset Weaving, making his eventual character breakdown play that much better in the face of his trials and tribulations. Adam Brody is the modest heart of the film, visually presenting us with a torn protector that knows you can only play games with this level of danger for so long before you must pay the price. Henry Czerny and Andie McDowell make a perfectly absurdist couple for these proceedings, with each taking the standard husband and wife tropes to a dark degree, considering the topic and presentation. Nicky Guadagani brings a hilariously focused, Terminator-like energy to the beginning of the film, allowing layers of her character to peel and appear like a complex, dangerous onion. Melanie Scrofano handles a ton of the comedy weight, with Kristian Bruun bringing in a ton of comedic support, while Elyse Levesque serves as a younger parallel counterpart to Guadagani’s character.

I don’t think this film will win any awards or change cinema dramatically, but for those looking for a couple of hours of escapist entertainment, this will certainly check that box and then some. Funny enough, I misidentified the star, but I think that I am a newly formed Samara Weaving fan, and will probably seek out more of her films.

#ChiefDoomsday #DOOMonFILM #MattBettinelliOlpin #TylerGillett #ReadyOrNot #SamaraWeaving #AdamBrody #MarkOBrien #HenryCzerny #AndieMcDowell #NickyGuadagni #MelanieScrofano #ElyseLevesque #KristianBruun #EthanTavares #LiamMacDonald #NatFaxon

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