HALLOWEEN OF HORROR REVIEW: THE QUIET ONES

CAST

Jared Harris (Pompeii)
Sam Claflin (Snow White and The Huntsman)
Erin Richards (Gotham)
Rory Fleck Byrne (Bodies)
Olivia Cooke (Bates Motel)

Having hit the international jackpot with “The Woman in Black,” the revived Hammer Films label follows up with a title that lacks that haunted-house pic’s familiarity of source material, highly accessible premise and equivalently marketable star. Instead, “The Quiet Ones” presents rising actor Sam Claflin as an average guy participating in an ethically dubious scientific experiment into psychic disturbance. The 1970s setting offers a retro feel that should strike appealing chords for fans of old-school horror.May 1974, Oxford. Local lad Brian McNeil (Claflin), who works in the university’s audiovisual unit, is projecting archival research material to accompany a lecture delivered by paranormal psychology expert Joseph Coupland (Jared Harris). Would the young man be willing to film the professor’s potentially groundbreaking work with a profoundly disturbed woman named Jane Harper. The treatment seems less than academically rigorous — for some reason, Jane is subjected to music hits such as Slade’s “Cum on Feel the Noize” at deafening volumes — but an intrigued Brian agrees.

After getting shut down by a nervous university establishment, Coupland’s pet project is happily relocated to more photogenic accommodations in a sprawling country estate. There, the professor, the cameraman and two romantically entangled students — Krissi (Erin Richards) and Harry (Rory Fleck-Byrne) — hunker down with traumatized Jane in a bid to monitor and extract her “negative brain energy.” “Cure one patient, we cure mankind,” declares a messianic Coupland.

Exactly how the university employees and students are able to abruptly abandon their jobs and studies in the middle of the summer term — or where, for that matter, Brian’s footage (which is in fact shot digitally on the Arri Alexa) is being developed and printed — is left to the viewer’s imagination. Instead, attention is pulled toward the highly arresting Jane and her malignant alter ego, Evey, who resides in a child’s plastic doll. B

An easy diagnosis for Jane would be demonic possession, especially when devilish symbols start appearing on skin, and the temperature of Krissi’s bath water is raised to the boiling point, even after she and Harry have returned to the ostensible safety of campus. Really, just how far can Jane’s negative telekinetic energy go? But Coupland resists any supernatural explanations, stubbornly clinging to his own scientific hypothesis right up until the hectic climax.The presence of Brian’s camera gives director John Pogue (“Quarantine 2: Terminal”) plenty of opportunity to throw in found-footage verite as well as jittery handheld sequences, and few will worry too much about the film’s lax standards with regard to its self-filmed conceit. The opening credits make use of that oft-abused expression “inspired by actual events,” and indeed, the story here is based on an actual case in which Toronto researchers attempted to harvest their own emotional energy. The big leap from that particular scientific investigation to the freaky occurrences depicted here needn’t trouble us unduly, but the fact remains that Dr. A.R.G. Owen’s real-life “Philip Experiment” doesn’t sound interesting enough to give Lionsgate and Hammer much of an additional marketing hook equivalent to, say, the paranormal investigators whose work inspired “The Conjuring.”

REVIEW: GOTHAM – SEASON 1

CAST

Ben McKenzie (Batman: Year One)
Donal Logue (Ghost Rider)
David Mazouz (Touch)
Zabryna Guevara (All Good Things)
Sean Pertwee (Dog Soldiers)
Robin Lord Taylor (Another Earth)
Erin Richards (The Quiet Ones)
Camren Bicondova (Girl House)
Corey Michael Smith (Carol)
Jada Pinkett Smith (Collateral)
John Dorman (The Wire)
Victoria Cartagena (Salt)
Andrew Stewart -Jones (Beauty and The Beast)
Drew Powell (Straw Dogs)
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RECURRING / NOTABLE GUEST CAST

Richard Kind (Stargate)
Grayson McCouch (Armageddon)
Brette Taylor (Rescue Me)
Clare Foley (Win Win)
Lili Taylor (The Conjuring)
Carol Kane (The Princess Bride)
David Zayas (Dexter)
Jeremy Davidson (Roswell)
Margaret Colin (Independence Day)
Susan Misner (The Forgotten)
Kim Director (Blair Witch 2)
Christopher James Baker (Sanctum)
Todd Stashwick (The Originals)
Nicholas D’Agasto (Final Destination 5)
Makenzie Leigh (The Slap)
Lesley-Ann Brandt (Spartacus: Blood and Sand)
Morena Baccarin (Firefly)
Christopher Heyerdahl (Sanctuary)
Peter Scolari (The Polar Express)
Dash Mihok (Silver Linings Playbook)
Anthony Carrigan (The Flash)
Julian Sands (Smallville)
Maria Thayer (Hitch)
Cameron Monaghan (The Giver)
Jeffrey Combs (Star Trek: DS9)
Colm Feore (Thor)
Milo Ventimiglia (Heroes)
Willa Fitzgerald (Scream: The Series)
Chris Chalk (12 Years a Slave)

MV5BNTQ4MDU3NDQ5Nl5BMl5BanBnXkFtZTgwNjc0OTM3MjE@._V1_SY1000_CR0,0,1445,1000_AL_Gotham City has an old, relatively vague history independent of when Thomas and Martha Wayne were shot down in an alleyway, usually the first and primary thing that comes to mind about the motivation that drives Batman: the crime that got so bad that it took his good-natured parents away from him. The surroundings responsible for the billionaires’ murder weren’t created overnight, though, and intensified in response to their death, a time period that often goes unaddressed unless a detail about Bruce Wayne’s transformation into the brooding hero needs mentioning. As a response to the character’s unrelenting popularity the folks at DC aim to use that largely unexplored space to provide an origin story for the city’s violence and corruption, an attempt to recapture the magic of Smallville in a darker environment. The result is Gotham, a blend of crime-case procedure and mobster politics that also fills in the gaps between the orphaning of Bruce Wayne to where Batman begins.Taking pages out of the playbook of the comic-book series “Gotham Central”, the show largely focuses on the interworking parts of the Gotham City Police Department, notably the arrival of rookie detective Jim Gordon in the midst of rampant corruption. The OC star Ben McKenzie brings initiative and fire to the character, a war veteran and straight-laced servant of the law who’s thrown together with a dirty partner in Harvey Bullock, whose sympathetic flaws are marvelously embodied by Donal Logue. Their first case together? The murder of Thomas and Martha Wayne, later revealed to be connected to the city’s organized crime activity. In their investigation, Gordon quickly gets introduced to key players pulling the strings in Gotham, notably a swanky nightclub operator in Fish Mooney (Jada Pinkett Smith) and her aging, rational boss, Carmine Falcone (John Doman). Then, there’s Oswald Cobblepott (Robin Lord Taylor), an attendant to Fish whose wavering allegiances also come to the surface in response to Gordon and Bullock’s investigation, working him into a position of persistent danger and upward mobility if he plays his cards right.Against the backdrop of a Gotham City that combines Tim Burton’s gothic vision with Christopher Nolan’s stark approach into a relatively timeless metro area, Gotham comes in hard and fast with its nods to the DC universe, eliminating any early concerns about how much of the mythology it’ll incorporate. In fact, the show actually suffers from an oversaturation of these references, especially in how many of the classic villains have benign links to the GCPD in their pasts and, quite simply, how many have already shown up and taken shape into their well-known personalities. There’s nothing inherently wrong with that, nor with tweaking what’s known about the universe into its own continuity, but it does detract from the production succeeding as a credible prequel to the age of Batman — touted early on as a selling point for the show.It’s fascinating to see the riddlesome Edward Nygma (Cory Michael Smith) as an awkward, morbid Dexter-like puzzle-solver working in the precinct, and to see a young Catwoman giving prowler pointers to a young Batman not long after she witnessed the infamous Wayne murder.The areas where Gotham works are within the politics of the GCPD and the evolving criminal element, and, by association, the origin stories of Jim Gordon’s fight against the department and The Penguin’s ascent up the crime ladder. Elevated by Gordon’s furious diligence against the powers-that-be who keep him from properly doing his job. Gotham is in a comfort zone while exploring maneuverings of Robin Lord Taylor’s brilliantly grimy performance as Oswald Cobblepott. Combining the knowledge that he’ll eventually become a massive player in Gotham with the unpredictable, volatile nature of his younger self exemplifies what a prequel can accomplish.Gotham really exposes the crux of its issues in the origin story of Bruce Wayne, built around the young orphaned billionaire developing the gumption and skill to investigate his parents’ murder, planting the seeds for his growth into the Caped Crusader. As Gotham grows in it’s first season it becomes fascinating show dealing with the city before Batman came along and as it heads into it’s second season who can truly see the show has found it’s footing and will hopefully be around for sometime to come.