Tag Archives: Alison Lohman

CAPSULE: BIG FISH (2003)

DIRECTED BY:

FEATURING: Albert Finney, , , , , , Robert Guillaume, , , Loudon Wainwright III,

PLOT: William Bloom (Crudup) returns to his Alabama hometown when he receives news that his father, Edward (Finney), is dying. William has never gotten along with his dad, a spinner of tale tales, but is it possible that any of his stories are true?

Still from Big Fish (2003)

WHY IT WON’T MAKE THE LIST: This is Tim Burton for people who don’t like Tim Burton. It’s classic Oscar bait: a sentimental story of a dysfunctional father-son relationship with the Burtonesque elements—werewolves, witches, conjoined twins—coming in on the margins. As it is, the film is quite enjoyable, but not one of Burton’s best and definitely not one of his strangest—so it’s definitely not weird enough for the List.

COMMENTS: : Big Fish is Tim Burton lite, which doesn’t mean it’s not entertaining. On the surface this is a story of father-son reconciliation, and since Burton had lost both of his parents in the few years before Big Fish, the story must have had extra resonance for him. But this is still a Tim Burton film, with moving trees , a giant and mermaids, among other contrivances, and it definitely dips into any number of fantastical realms. Ewan McGregor and Albert Finney play Edward at 30ish and 65ish, respectively, and Alison Lohman (whatever happened to her?) and Jessica Lange are the younger and older versions of Edward’s wife, Sandra. All four are convincing, as is Crudup in the thankless role of Edward’s perpetually grouchy son, Will. However, future Oscar winner Marion Cotillard makes little impression as William’s wife. Philippe Rousellot’s cinematography is digitally manipulated, which would be a hallmark of almost every Burton film after this, and everything looks so beautiful that it’s not difficult to be sincerely moved by this film’s third act—the first time that Burton attempted to tug the heartstrings since Edward Scissorhands. He certainly hasn’t tried anything similar since. Of course, this is exactly the kind of manipulation that had naysayers complaining that Burton had sold out, and that Big Fish  was too bland and impersonal. Manipulative it may be, but the film feels far more Burton-esque than the lamentable Planet of the Apes or the the dispiriting Alice in Wonderland. Big Fish may be the rare Burton film that can please both his acolytes and detractors equally.

Sharp-eyed viewers will note a very young Miley Cyrus as a little girl in a Brigadoon-like town that Edward visits, and sharp-eared listeners will notice that, except for Cyrus, there isn’t one authentic Southern accent in this Alabama-set tale. Lange still sounds like she’s doing Blanche Dubois. It all adds to the (intentional?) unreality of this charming tall tale.

WHAT THE CRITICS SAY:

“There are quirks aplenty in Big Fish, but spirited performances from a talented cast, led by a standout Finney as the slippery-fish raconteur, help domesticate the wall-to-wall weirdness.”–Megan Lehmann, The New York Post (contemporaneous)

(This movie was nominated for review by “Nick.” Suggest a weird movie of your own here.)

CAPSULE: DRAG ME TO HELL (2009)

Recommended

DIRECTED BY:  Sam Raimi

FEATURING: , Lorna Raver

PLOT: Seeking a promotion, a cute and kind-hearted loan officer decides to get tough with the wrong customer, denying a mortgage extension to an elderly gypsy woman who curses her with a demon that will torment her for three days before dragging her to hell.

Drag Me to Hell (2009) still

WHY IT WON’T MAKE THE LIST:  Because too much weirdness would have jeopardized Sam’s chance to direct the next Spiderman installment.

COMMENTS:  On the surface, Drag Me to Hell‘s blend of spurting body fluids, horror, and absurd slapstick bring to mind director Sam Raimi’s celebrated The Evil Dead 2Drag Me, however, isn’t nearly as anarchic or over-the-top with its carnage; and more importantly, it lacks the cabin-fever dream feel of Raimi’s weird wonderwork, substituting a standard ticking-clock suspense trope.  Rather than being comically unhinged, Drag Me to Hell instead feels tightly controlled, at times even micromanaged: a PG-13 Evil Dead for the cineplexes.  Not that that’s a bad thing: the movie is exactly what it’s intended to be, a spook-house carnival ride with abundant jump scares and grossout scenes to thrill the teenyboppers, along with plenty of black humor homages offered as a sop to fans of 1980s drive-in horror/comedy classics (such as the eyeball-related callback to Evil Dead 2, and the gleefully excessive catfight between a hottie and grannie using office supplies as weapons).  The diabolic plot is reminiscent of Jaques Tourneur’s 1957 classic Night of the Demon, retooled to focus on action and effects instead of oppressive ambiance.  Simultaneously satisfying the longing for classic Gothic atmosphere, the high spectacle quota demanded of blockbusters, and the nostalgia of longtime Raimi fans for those abandoned hip horror trips, Drag Me to Hell is a well-constructed, well-placed and welcome addition to Hollywood’s summer lineup.

Although it’s an entertaining movie, the enormously positive critical and audience reaction probably relates more to the relative crapiness of Hollywood’s recent efforts in the horror genre than to the inherent quality of this film.  After reviewing a seemingly endless parade of gory slaughterfest “reboots” of Halloween, Dawn of the Dead, Friday the 13th, ad nauseum, critics are eager to encourage an original supernatural script that doesn’t cynically depend on a massive bloody body count for effect. Audiences whose taste in old-fashioned spooky stories have been ignored in recent years are just thrilled to see anything arcane on the big screen.

WHAT THE CRITICS SAY:

Raimi temporarily shrugs off the A-list status the Spider-Man movies earned him and returns to his disrespectable Evil Dead ways. The blood and guts may have been tamped way, way down, but the manic intensity and delirious mayhem of those earlier zombie romps remain intact.”–Rene Rodriguez, Miami Herald