Nefarious (2023)

Nefarious sells itself as a demonic-possession horror thriller. However, like Kirk Cameron’s Saving Christmas presenting as a family comedy, only to reveal itself as a two-person sermon on evangelical Christianity, so is Nefarious. Thou shall not bear false witness and all …

Serial killer Edward Wayne Brady (Sean Patrick Flanery, Saw 3D) is hours away from a blind date with the electric chair. Arriving at the prison, Dr. Martin (Jordan Belfi, Surrogates) is assigned to give Brady a psych evaluation, because the law states if he is insane, he cannot be executed. Seems like a big ol’ box that could’ve been checked anytime before the felon’s last day on earth, but just go with it.

Right away, Brady tells “ignorant sack of meat” Dr. Martin four incredibly bonkers things:
1. He wants to be executed.
2. But he can’t be killed.
3. Because he’s the devil.
4. Furthermore, the doc will commit three murders before the night’s through.

That’s a terrific setup, full of story possibilities. Instead, Brady and Martin sit and debate theology for an hour, with only the occasional potty, phone and/or smoke break for the doc. Brady not only works at convincing Martin of supernatural evil, but tries to get Martin to let the satanic spirit inhabit him and write the “dark gospel.” Their elongated conversation entails the kind of philosophical blabbering and muddy analogies one witnesses through clips of fundamentalist preachers at the pulpit or from the mentally ill on street corners, both using a ton of words to talk ’round and ’round the same circle.

I bear no built-in opposition to faith-based films … when they function as a movie first and impart a lesson second. Good examples of this can be found in the feature adaptations of Ted Dekker’s House and Thr3e (not to mention Dekker’s novels themselves). His stories are constructed with propulsive suspense, and viewers leave with a clear understanding of his message and beliefs without feeling like their head was held under bathwater by someone shouting demands for their repentance. (Another? William Friedkin’s The Exorcist. No, really.)

Shot in Oklahoma, Nefarious comes from Chuck Konzelman and Cary Solomon, who have found box-office riches with God’s Not Dead, God’s Not Dead 2, God’s Not Dead: We the People and — eventually, I presume — Are You There, Margaret? It’s Me, God, Still Not Dead. While I haven’t seen any of those, I can say Nefarious’ preaching-to-the-choir moralizing struck me in an off-putting way I couldn’t put my finger on. Afterward (via Google, as the screener had no credits), I understood why: It’s based on a book by Steve Deace, the conservative talk show host, college dropout and election denier who rallies against “COVID-19 tyranny” and pronouns — the kind of hateful, ignorant, boogeyman politics that unfortunately seep into “the church” these days.

Speaking of fire and brimstone, Flanery admirably devotes his blinking, twitchy, stammering all to his performance. While he obviously has the showier part, he wipes the acting floor with Belfi, who at times seems to be impersonating Ben Stiller impersonating Tom Cruise, but seriously. Rounding out the cast is Deace’s boss, inflammatory, fact-bending conspiracy theorist Glenn Beck, playing himself. Judging from Beck’s extended, last-scene cameo to essentially plug Deace’s novel, the sartorial choices of multishirted serpent Steve Bannon have rubbed off on him, because I counted no fewer than four layers covering his torso. —Rod Lott

Get it at Amazon.

 

Extreme Movie (2008)

Andy Samberg, Will Forte, Phil Lord and Christopher Miller: just a few of Extreme Movie’s credited writers whose bona fides weren’t as bona fide when this comedy was made. By the time it was released, they likely wished they’d used pseudonyms.

Against better judgment, I laughed several times while watching it. I certainly didn’t expect to. After all, the movie:
• sat on Dimension Films’ shelves for, like, ever
• went straight to DVD
• lists 10 screenwriters
• boasts the word “movie” in the title — rarely a good sign

Oh, it’s no gem, but for something with so many strikes against it going in, Extreme Movie ain’t that bad. It’s a sketch film in the same throbbing vein as Kentucky Fried Movie or Amazon Women on the Moon, but with all the bits centered on teen sex to cash in on that American Pie fever. Several characters recur in parts scattered throughout, but there’s no pesky plot to follow.

If there’s a main character, it’s Ryan Pinkston (Soul Plane) as a scrawny high school virgin perpetually embarrassed by the sex-ed lectures of his teacher (a scene-stealing John Farley, brother of Chris). In other sequences, Screamer Matthew Lillard dishes out sex advice as himself; MTV manchild Andy Milonakis dates a sex toy (not a doll, a toy); and Frankie Muniz (Stay Alive) learns how wild his girlfriend really is. Seeing Michael Cera (Scott Pilgrim vs. the World) asked by a online hookup to show up at her door posing as a rapist — but accidentally going to the wrong apartment — is funny (and only because Cera is Cera), but seeing Jamie Kennedy do his thing is not.

Spotty is an apt descriptor for the film; even with missed targets, the brief running time won’t leave you feeling too cheated. Cameos from a gay Abe Lincoln and a horny puppet might help compensate for a surprising lack of nudity for such below-the-belt material. —Rod Lott

Get it at Amazon.

The Strange Case of Jacky Caillou (2022)

First-time actor Thomas Parigi plays the title role in The Strange Case of Jacky Calliou, a young man orphaned by a car wreck. He lives with his grandmother (fellow neophyte Edwige Blondiau) in the French Alps, where she makes a most meager living as a “magnetic healer.” From achy body parts to depressed farm animals, she’s got the touch; she’s got the power.

After he expresses interest in learning her trade, the old woman passes away. But after reviving a bird, Jacky accepts his hands indeed are imbued with the gift. Thus, he takes on his gammy-gam’s last client: a beautiful young woman (Lou Lampros, The French Dispatch) whose right shoulder bears an inexplicable patch of what looks like a Petri dish’s worth of mold spores.

Is Jacky a healer or enabler? Great question, acknowledges feature-debuting director Lucas Delangle, whose script with Olivier Strauss takes deft, measured steps to approach the edge of answering without quite stepping foot on or over it. That’s by design, and as is common in folk horror, this ambiguity is one of its strengths. Not only are we left to gauge the reality of the Caillou power, but how deeply Jacky and his grandmother believe in it. (Lest we ruin it, let’s not even touch the issue of village sheep brutally murdered in the dead of night.)

Chilly in look and feel, Jacky Calliou (as it’s blandly titled on home turf) employs the slow-burn technique that earns every reward, which it turns over to the audience. Majestic setting aside, nothing about the film is showy; Delangle asks for patience and gets it without the viewer even noticing the point at which he or she yields. Although this Strange Case is hardly for everyone, anyone curious how Blood on Satan’s Claw might play like in contemporary times, here comes the evidence, ready to make the hair on your back stand up. —Rod Lott

Get it at Amazon.

Enys Men (2022)

High-octane folk horror, this ain’t. The hype around more subdued flicks like Skinamarink suggests we may be in for a wave of slow scares drenched in a monstrous molasses. While Mark Jenkin’s Enys Men isn’t an outright bore, it painfully misconstrues meandering for tension building.

On a Cornish island in the early ’70s, Mary Woodvine (2011’s Intruders) plays an unnamed volunteer studying a mysterious flower. Weeks of noting “no change” wear on the woman until time begins to fold in on itself. Chance encounters, stomping nuns, smiling miners and a short-lived romance with a mustached boatman converge in a soft remake of “The Lonesome Death of Jordy Verrill” from George A. Romero’s Creepshow. (Without any lunkheads, unfortunately.)

Shot on 16mm film, two things should be clear about Enys Men before you nod off. First, it obviously looks old. It feels a little less superficial than the digital filter applied to Ti West’s The House of the Devil. Primary colors pop and certain images — like the bright red generator — appropriately remove the dingy coastal town from reality. Second, Jenkin’s camera is crank-operated, so slow pans and dramatic zooms are about the only “special effects” you’ll see.

And for the most part, that’s okay. The director makes up for it with some creative sound design. A rock hurled down a mineshaft ricochets like a marble in a wet pan. Meanwhile, a seagull breaks water to the sound of shattering glass. It’s an intriguing, mind-bending touch, but it doesn’t really cut through the slog.

Arguably, Enys Men is supposed to be sedating and hypnotic. But where Jeanne Dielman (the winner in Sight and Sound’s recent Greatest Films of All Time poll) has a point to its repetitious malaise, Jenkin’s thesis is less clear. Woodvine’s thousand-yard stare helps sell her character’s stasis, and not much else. Ambiguity is priceless in the right story. But here, it’s hard to believe Jenkin knew where he was going until it’s too late. —Daniel Bokemper

Get it at Amazon.

Living with Chucky (2022)

With the Friday the 13th and A Nightmare on Elm Street franchises earning their own retrospective documentary features, a Child’s Play one was only a matter of time. Meet Living with Chucky, the first feature for Directors Guild of America student award winner Kyra Elise Gardner.

Was it necessary? Nope.

Am I glad it’s here? Yep.

Why is Chucky’s hair red? Watch.

Movie by movie, the doc chronologically covers this doll of a horror series. To no one’s shock, emphasis is placed on the 1988 film that started it all. Over the journey, creator Don Mancini recounts how his original script of Blood Buddy morphed into a surprise horror hit, then into simultaneous self-parody and LGBT advocacy. Notes Mancini, Bride of Chucky deliberately marks “when we made it pretty gay.”

John Waters turns up to extol his love of watching that film’s doll sex. Child’s Play 3 is barely mentioned — and its inadvertent controversy in Great Britain glossed over. The 2019 remake is included almost as an afterthought, but that may be for the best.

At the halfway point, we learn Living with Chucky bears dual meaning: We’ve lived with Chucky in our pop-culture consciousness for 35 years now, but Gardner literally lives with Chucky; her father, Tony, a Hollywood makeup effects and animatronics extraordinaire, has been a part of the franchise since 2004’s Seed of Chucky. While good-natured, the examination of her family’s and other families’ relationship to Chucky not only feels like a different film, but the lesser half.

Living with Chucky’s highest creative point resides in the first half’s framework, depicting all the movies — VHS, then DVD — atop a TV. When it’s time for one to be discussed by a talking head — Brad Dourif, Alex Vincent, Jennifer Tilly among them — we see that title plucked from the stack and inserted into the proper player. It’s such a simple conceit, yet brilliant. —Rod Lott

Get it at Amazon.

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