Displaying items by tag: Elijah Wood

THE MONKEY

US, 2025, 98 minutes, Colour.

Theo James, Tatiana Muslany, Christian Convery, Colin O'Brien, Elijah Wood, Rohan Campbell, Sarah Levy, Osgood Perkins, Adam Scott.

Directed by Osgood Perkins.

From a short story by Stephen King. Strong credential in itself. And the film has been written and directed by Osgood Perkins who achieved strong response to his 2024 horror-thriller, Longlegs.

The name of Stephen King, of course, is for many a recommendation in itself. He has been writing novels and short stories for just over 50 years, with more than 50 adaptations of novels and short stories for the big screen and for television – the film starting in 1976 with the shocks in Carrie. He is a household name. So, especially for Stephen King completists, The Monkey goes on the list of films to be seen.

While the Stephen King’s stories have an underlying base of realism, especially in his treatment of family relationships, there is also the move to an atmosphere beyond realism, in the world of the physical, in the world of the psychic, in the realms of: what if…?

This is definitely the case with The Monkey. On one hand, it is the story of twin brothers, one dominating the other, an absent father, a mother trying to raise her children, the decision to search through the absent father’s possessions and the finding of a toy, a monkey with huge eyes which stare, in extreme close-up and threatening, from the screen at the audience, the touch of mesmerising, then the turning of the key and the monkey beginning to twirl the drumsticks and then beat on the drum – with dire, in fact, a lot beyond dire, murderous consequences.

It means then that this is very much Stephen King material, ordinary audiences can appreciate the story of the two brothers and their eventual antagonism and confrontation. But, this is also Stephen King horror territory, and there are quite a number of deaths, targets of the murderous monkey. And, visually and thematically, they are grisly and gory, some audiences might find them too much.

It should be noted that the writer-director, Osgood Perkins (son of Anthony Perkins and memories of Psycho), has noted that the deaths are macabre, black-humour, and the reminder that nobody in reality could die in the style of the deaths portrayed here, that nobody could complain that in watching the film it reminded them in any way of their relatives’ or friends’ death. (And, there is an extraordinary last 10 seconds of the film, surprise and some shocking deaths.)

British actor, Theo James, takes on the role of the adult twins and quite effectively makes them very different. In fact, a lot of the drama and confrontation depends on this effectiveness. And for those who note names in casts, Adam Scott appears only in the prologue to the film, which sets the tone as he tries to sell the monkey to a dealer with shock results. And, Elijah Wood, has only a few, quite telling minutes, as a self-important family and marriage guru.

It seems that Stephen King has approved of this version of his story and so it will take his place in all the analyses of his films. In the meantime, his fans will want to see it.

1. The title? Stephen King story? The reputation Osgood Perkins and horror films?
2. The plausibility of the plot? Realism? Imagination? Beyond the natural? Psychology drama, family relationships? Terror/horror/gore?
3. The opening, Petey at the shop, the toy monkey, the shopkeeper, the discussions, the death of the shopkeeper? Setting the tone?
4. The story of the twins, Bill and Hal, the difficulties of birth, Bill dominant, growing up together, Bill strong, teasing, bullying, Hal, glasses, taking it? The absent father? Their mother, coping? Domestic scenes, school, meals? The boys in their rooms? Rivalries? The effectiveness of Theo James in differentiating the twins in adult of life?
5. Searching their father’s goods, finding the monkey? The visuals of the monkey, small, but large on-screen, the penetrating eyes, the arms, the drums, the movement, the drumsticks? The key?
6. The sinister aspects of the monkey, depending on who has the power, the key? The babysitter, agreeable, going to the meal, the decapitation? Funeral service, the inept priest? Mother dancing with the children? Hal, his reaction against Bill? With the monkey, the mockery at school, Hal covered in slime, wanting the key, the death of his mother? The funeral? The aftermath, going to their aunt and uncle? The behaviour, the monkey, its presence, the deaths?
7. Bill, on his own, bad behaviour, his appearance, his set up, the Thrasher, searching for the monkey, finding it, in Bill’s possession? The Thrasher, his character, searching for the monkey, finding it, wanting it? The phone call to Hal?
8. Hal, the years passing, the marriage, the unexpected birth of Petey, the meeting with Ted, his books, his lording it over Hal, the prospect of the divorce? His wanting time with Petey?
9. The plan, the news of the deaths, the garden sale of the monkey? Petey questioning Hal about the family tree, Hal’s lies? The contact with Bill, the contact with the Thrasher, their going to the house?
10. Bill, his intentions, the monkey, vengeance against Hal for killing their mother?
11. The madness of the monkey, the range of deaths, deaths in the neighbourhoods? The wide range of people dying, heads on fire, diving into a flaming pool, running with the pram…?
12. Hal, Thrasher and Petey in the car, the beehive, the shot, Thrasher consuming the bees?
13. Petey in the house, the confrontation with Bill, the challenge to turn the key, his turning it, Hal coming into the house, confrontation between the two? Bill’s death?
14. The final seconds of the film, the previous glimpse of the cheering group, the bus passing, the truck, the deaths, the final impact of the film?
15. Hal, Petey, the monkey, travelling together – into the future and the indications the future from the prologue?

NO MAN OF GOD

US, 2021, 100 minutes, Colour.

Elijah Wood, Luke Kirby, Aleksa Palladino, Robert Patrick, W. Earl Brown, Christian Clementson.

Directed by Amber Searley.

This is one of the many films about serial killer, Ted Bundy. There were documentaries before his execution in 1989. There were documentary investigations by writer-director, Joe Bellinger (who then made the feature film Extremely Wicked,  Shockingly Evil and Vile).. In the 2000s there seemed to be an appetite in the television watching public for dramas about serial killers including Bundy.

This film is based on records of interviews with Bundy. It opens with an outline of his life, the crimes, his being in prison, his attitude towards the media… italso indicates his execution in 1989.

In the mid-80s, the FBI was developing profiling. Bill Hagmaier was one of the young experts and took on the interrogation and profiling of Bundy. The film is mainly a sequence of the interviews, initial suspicions, Bundy manipulating, Hagmaier’s responses, increasing openness and discussion, Bundy’s self-defence, self-promotion, something of a friendship, but Hagmaier’s constant belief in Bundy’s guilt.

Elijah Wood is the surprising casting as Bill Hagmaier. However, the performance by Luke Kirby as Bundy is extraordinary, smooth and narcissistic, often erratic and overpowering.

The film ends with Bundy’s execution, the final discussions between the two, Bundy’s admissions, head shaved, preparing for execution – and, with various political complications, Hagmaier not permitted to attend the execution.

Those interested in Bundy, Bellinger’s documentaries and his feature film are well worth seeing in connection with this film.

1. The title? The focus on serial killer, Theodore “Ted” Bundy?
2. The film reminding audiences of Bundy, the television news prologue announcing his execution after eight years in prison, memories of his crimes, his public personality, media?
3. The focus of the FBI, investigations of crimes are across states, the interest in Bundy, the 1980s, the Reagan era, the interest in profiling? The headquarters, the five men chosen, the briefing with the head, the issue of Bundy, Bill Hagmeier accepting the challenge?
4. Bill Hagmeier, Elijah Wood’s presence and performance? His family background? As training, psychology interest?
5. The bulk of the film as conversations between Bundy and Hagmeier, the transcripts, extensive, over five years, their being organised for dramatic purposes? The effect of watching Bundy and Hagmeier and their interactions, psychological interactions, game players, bonding, admissions, friendship? All
6. Luke Kirby, his performance as Ted Bundy, intense, the surface charm, the inner drives, manipulation, narcissistic, psychopathic attitudes, his past in controlling interviews, his interest in profiling, especially The Green River murders, the initial response to Hagmeier, his writing Bundy letters, Bundy setting out his limits, but relenting? Tape on, tape off? The intensity of the discussions, the revelations about Bundy’s psyche, his behaviour, family relationships, attitude towards the women killed, his brutality? The cumulative effect of the discussions, Hagmeier finally telling Bundy that his motivation for killing is because he wanted to?
7. The encounter with the warden, over the years, sympathy, lack of sympathy, the message about not attending the execution?
8. The passing of the years, the effective selection of the conversations and the cumulative effect? On Bundy and his admissions, secrecy, confiding in Hagmeier, taunting him that he could be, in other circumstances, the same as Bundy (and the glimpses of Hagmeier driving his car and looking at the woman…)? The effect on Hagmeier, understanding Bundy? Reporting to his head?
9. 1989, on death row, the governor’s suddenly signing the death warrant, the short time for appeal? His lawyer, her hostility towards Hagmeier, her tactics? The introduction of the church minister, the discussions, Bundy confiding in him, then the revelation that the governor had no intention of changing?
10. The pressure on Hagmeier, knowing that Bundy was guilty, observing the tactics of the lawyer, the religious interview, the appeals, knowing that the decision came down to him because of his knowledge of Bundy? His decision?
11. Bundy at the end, head shaved, the Bible, the talking with Hagmeier, the admissions, Hagmeier wanting families to have some satisfaction of knowing that he admitted his guilt? Some of the stories and the details? Then his being refused a seat at the execution?
12. The consequent information about Hagmeier and his talent and skills and reputation for profiling?

COME TO DADDY

Canada, Ireland, New Zealand, 2019, 95 minutes, Colour.

Elijah Wood, Stephen Mc Hattie, Garfield Wilson, Madeline Sami, Martin Donovan, Michael Smiley, Simon Chin, Ona Grauer.

Directed by Ant Simpson.

What starts out as a reunion between father and long lost son, turns into a melodrama with some touches of violent horror.

While the story has an American setting, was filmed near Vancouver, has Irish finance, it was written and directed by a New Zealander, Ant Simpson, who specialised in some horror films.

This reviewer had started to review Come to Daddy but was interrupted by the coronavirus. On resuming the review sometime later, it seemed best to start again. Realising that there had been quite a twist in the middle of the film, watching the first part again was a surprise. Not so much a surprise in what was presented but the discovery of the clever ambiguity in the set up, the son visiting his father, the father’s long absence from the family, his way of dealing with his son, finding out about his life, his relationship with his mother, a test about the son’s claiming that he was a friend of Elton John, an eeriness about the relationship. It was surprising to listen to the dialogue in the light of the twist – very clever..

The success of the film rests on the shoulders of Elijah Wood as the son, alienated from his father, to receive a letter from him and making a long journey to meet him. It is quite easy to identify with Elijah Wood in most films, seeing from his point of view, feeling from his point of view. And, Stephen McHattie is intense as the father, enigmatic in his relating to his son, quite grotesque at times.

The film shifts tone with the twist, quite unexpected. There are some interesting cameos by Garfield Wilson as a seriously odd police officer who judges characters by the colour of their eyes. There is a sympathetic funeral director.

But there are also some criminals who threaten, Martin Donovan as an ambiguous presence, Michael Smiley as something of a deranged and violent Irishman. It is up to a Elijah Wood, timid in himself, fearful of the violence, to come out of himself, take tough stands, try to redeem the situation.

And, at the end, a quiet moment which gives new meaning to Come to Daddy.

1. The gentle title? Belying what was to follow? The letter from Norval’s father? The wrong father? The actual father?
2. The American settings, filmed in Canada? International production? New Zealand background of the director?
3. Elijah Wood as Norval? Age, appearance, haircut? Arriving on the bus? Across the sand and forest? The lavish house? His background, the disappearance of his father, care for his mother, response to the letter, travelling to his father? Expectations? His explanation of his drinking problem, thoughts of suicide? Small, quiet, gentle?
4. The initial encounter with his father, his appearance, suspicions, responding to the situation? The camera, destroying it? The discussions about friendships with Elton John? Lies? The meal? The wine? The father seeming suspicious? Norval and his being wary? The discussions, moments of conflict, his father coming with the axe, collapsing and dying?
5. Reflection on Norval’s encounter with his alleged father in retrospect – and all the ironies as Gordon parried all the enquiries, protecting himself?
6. The death, Norval’s reaction, the police, strange behaviour, believing Norval, not having “raisin eyes”? Gladys, the coroner, businesslike, friendly, supportive? Returning with the body, carrying him to the house? Her card? Norval drinking, calling her in the night, her response? Hanging up? Her advice about talking to the dead, telling them what they could not hear in real life?
7. Norval with the body, the strange sounds from the basement, his drinking? Finding the opening, going down, discovering his real father after looking in the photo album?
8. Brian, the torture, his writing the letter? Norval and his reaction to his father? The truth about what it happened, the kidnapping of the Thai woman, the money keeping Norval and his mother in luxury in Beverly Hills? Norval’s reaction?
9. The associates, dandy, the toilet, the confrontation, the fight and its brutality, Norval and the wrapping, the incessant beating, Dandy and his being smothered?
10. Jethro, Brian’s warning, sinister and Irish? Bryan urging Norval to kill Jethro? The fight, Jethro leaving, threatening to return?
11. Brian, the excrement needle, using it to pick the lock, failing, listening the chain, Norval taking Brian into the house, out into the sand and rocks? Jethro’s return, Norval hiding in the boot of the car?
12. Jethro, the motel, Precious, Norval trying to get into the motel, through the room with the swingers, confronting Jethro, Jethro stabbing him, through his cheeks? Precious, her initial hostile reaction, helping Norval?
13. Jethro in the car, the crash, Norval following him, Jethro saying his mother was a prostitute, Norval stabbing his wound, his death?
14. Norval’s return, Bryan losing consciousness, Norval and his questions – and the final reaching out of hand on hand?
15. The mixture of comedy, mystery, thriller, horror?

BOOKWORM

New Zealand, 2024, 102 minutes, Colour.

Elijah Wood, Nell Fisher, Michael Smiley, Vanessa Stacy.

Directed by Ant Timpson.

A family story from New Zealand, but not quite the story we might have expected. It follows soon after the release of that fine New Zealand film about three children climbing Mount Taranaki, The Mountain.

This time we are on the South Island, in the Canterbury Plains. The bookworm of the title is an 11-year-old girl, Mildred. She is a reader, a thinker, precocious for her age – and not immediately sympathetic for the audience (this reviewer may be open to correction by young girls of Mildred’s age). She is supportive of her mother who has had addiction problems in the past. No sign at all of a father.

The opening credits indicate a government statement that there are no animals in New Zealand who pose a threat to human life. Which means then that the premise of this story moves us into fantasy and imagination, a black panther haunting the mountains above the Canterbury Plains. Mildred has great ambitions to find the panther, filmed the panther on her phone, submit it the authorities who have been offering a substantial reward, and devoting the proceeds to her mother’s health.

An incident with a toaster and electric shock confines her mother to hospital after she had promised to take Mildred camping. Then, an odd -looking man arrives, a professional magician, trying out some tricks on only interested then sceptical Mildred, and the revelation that he is Mildred’s father, a chance encounter with her mother in Las Vegas years earlier.

We know that there will be a bonding between father and daughter eventually, despite the sometimes supercilious ignoring of her father and criticism of him by Mildred, and his bewilderment as he tries to understand her. And he agrees to go camping with her, never having done so in his life, climbing steep mountains, pitching tents, making fires…

There are some further adventures in some spectacularly photographed scenery, especially when the panther materialises. And there are some rather comic-book villains, an odd couple but get their comeuppance. And, then, the action items considerably: the panther, cliffs, a rope bridge… And an amusing hospital sequence

Elijah Wood, returning to New Zealand after his Frodo days, is the magician. Nell Fisher is Mildred.

1. The title, the nickname for Mildred? Her reading, her knowledge, her room, posters and photos, her imagination? For an 11-year-old?
2. A New Zealand film, New Zealand story, Canterbury, the story of a panther in the forest (and the prologue to the film with the government disclaiming any animal who would attack humans)? Mildred, her quest, the money, her cause?
3. The New Zealand landscapes, the South Island, the Canterbury Plains, the mountains and forests? The musical score?
4. Mildred, her age, her mother, background of addiction, the interaction of mother and daughter? Her education, reading, knowledge, applications? The absent father?
5. Her mother, the promise of camping, her mother’s collapse, the toaster and the shock?
6. The arrival of her father, American, the background of the one night stand, no commitment to his daughter, his being a magician, the television shows, and his being cancelled? Age, appearance, his magic tricks? The initial encounter with Mildred, her disinterested reaction, his tricks, her scepticism and explanations? The card, picking, her denials, the card on the window? The initial hostilities? Audiences expecting him to break down and to discover how this would happen?
7. Going camping, the gear, the trek, the scaling of the mountain, the effect on Strawn, on Mildred, the tense, the discussions, the fire, his magic? Seeing the panther, Mildred and her filming, the tension, its departure? Her having the film?
8. The further encounters, the couple, their story, jovial, the menace, the woman with Mildred, the man with Strawn, kidnap, robbery, their going on their way, Mildred and direction accusations against Strawn, the loss of the camera?
9. The continued journey, coming across the couple, the strategies to get everything back, stealing issues, the prickles in the feet, getting away? The film lost – and the credibility of the couple using the film, the battery?
10. The Panther, the approach, the bridge, getting across the bridge, the crash, falling?
11. Reconciliation between father and daughter, some mutual understanding, the irony of their all being in the hospital ward together?
12. Having the recording of the Panther, the reward, the media headlines? The future for the family?

GRAND PIANO

US/Spain/UK, 2013, 95 minutes, Colour.

Elijah Wood, John Cusack, Kerry Biche, Alex Winter, Tamsin Egerton, Allen Leech, Don McManus, Dee Wallace, Jack Taylor.

Directed by Eugenio Mira.

Grand Piano is a Spanish-American co-production, featuring a predominantly American cast, filmed in Barcelona, the director Eugenio Mirror, a composer of scores for several films. And, this is important, because a great deal of the running time is devoted to the audience watching and listening to a classic music concert with a guest pianist.

However, the film is also a thriller, cleverly written by Damian Shah sell, his second screenplay, in his late 20s, about to write the Oscar-winning Whiplash, moving to RRA and, First Man and his extravaganza, Babylon.

The film features Elijah Wood in a very sympathetic role, a classical pianist, men toured by a famous composer, freezing while playing a difficult piece and absent from concerts for five years. This is his comeback in Chicago, the piano of his mental or being transported to Chicago for the performance. The pianist’s nervous, harassed with an interview during his limousine ride to the concert hall, but gaining confidence, supported by his actress wife, Keery Biche, and the entrepreneurial conductor, Don McManus.

The film begins with the performance but soon the thriller aspects emerge, a red arrow seen on the score, further instructions in red inserted into the score, then contact by earphone with a sinister presence, threatening the death of his wife, urging the performance to be accurate.

The audience needs to of paid attention to a lot of the detail about the composer, his money and its disappearance, his employing a locksmith, the transporting of the piano to Chicago, some visualising during the concert of the mechanisms working within the piano, and, ultimately, the realisation that the accurate performance of the concert will mean the pianist hitting the note which will open up the piano and reveal the hidden money.

John Cusack’s voice is recognisable throughout the film is that of the man threatening, and he finally appears. Alex Winter is the Usher of the concert hall in league with Cusack.

For those who enjoy music, there is a great deal to enjoy, Elijah Wood convincing as the pianist with agile fingers. For those who are intrigued by the thriller aspects, an urge for them to pay attention to every detail.

1.     The title and expectations? The visuals of the credits? The piano itself, being transported to Chicago, its value, its reputation, the dead composer? It is being reassembled in Chicago, the plan for Tom Selznick to perform after five years?

2.     The audience having to be attentive to the piano, the story of the composer, his money, his disappearance, the mechanic and his fixing the piano, the hiding of the money, hitting the right note to release it? The piano during the performance, the visuals of the mechanism within the piano? Tom and the performance, hitting the wrong note, the consequences for his persecutor? The persecutor crashing onto the piano, Tom going back to play, hitting the correct note – and the film fade to black?

3.     The importance of the musical score, the extensive performance of concert pieces during the film? The director and his career in composing for Cinema?

4.     Tom Selznick, Elijah Wood, his character, piano skills, bond with his wife, his mentor, his skill at playing the pieces, the performance, his freezing, absence for five years? The death of the composer? His wife arranging the recital? The flight to Chicago, apprehensive? Arriving, the chauffeur, having to change his clothes, phone calls with his wife? The extent of publicity interview during the drive, the insistence of the interviewer, focusing on his nerves, reputation? The arrival of the theatre? Audience interest in him as a character, Elijah Wood persuasive?

5.     The plan for the concert, the piano arriving, it being returned after the performance? The usher and his welcoming Tom, the folder with the score, the insertion of Cinquettes, Tom finding it, screwing it up, throwing it away, the janitor putting it in the fire, the usher observing? Norman, conductor, welcoming, the orchestra?

6.     Tom and his wife, her cinema career, singer, the publicity, hosting the event, Chicago society, the full house, Ashley and Wayne, their interactions, relegated to their seats, not in the box with Emma?

7.     The audience applauding Tom, his getting ready to play, with conductor, the orchestra, his agility with his fingers and people’s comment on this agility?

8.     The performance, Tom suddenly finding the red arrow, turning the page, the list of instructions, the mysterious voice, speaking, the earpiece, the phone, the threats to Amber, the insistence on the accuracy of the performance, every note, the threat of death? The audience realising or not realising the significance of playing every note correctly – and the money?

9.     Phoning Wayne, with Ashley, the disturbance in the theatre, Wayne leaving, the usher, the interactions, his death?

10.  The relation of the usher being in contact with the persecutor, the plans, alterations, the firing of the shot and the audience not hearing? The red dot, and being seen on Emma? Tom, the dilemmas, leaving the stage, returning, continuing the performance, disturbance? Completing the first half of the concert?

11.  The intermission, Emma and Tom, his being reassured? The persecutor insisting on playing Cinquettes? The lost copy, Tom and his computer, listening to the score, his annotating the page of the theatre layout?

12.  The persecutor, the desperation, insistence, the clashes with the usher, his death?

13.  The change in the performance, Tom and the difficulty of the piece, agile fingers, then playing the wrong final note? The audience not knowing, applause? Tom and is insisting that Emma singing from the box, Motherless child?

14.  Tom, leaving, the dead bodies, the confrontation with the persecutor, the revelation of his role with the piano, behind-the-scenes, going to the top of the mechanism, the fight, Tom hanging, being pulled up, the persecutor falling, breaking the piano?

15.  Tom, the fall, saying his leg was broken, Emma safe, his going back to the piano, playing the right note – and the mechanism to reveal the money starting? Fade to black?