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Film Review - The Guest (2014)

Genre:
Psychological Thriller
Distributor:
Icon Distribution
Release Date:
5th September 2014 (UK), 21st August (FF2014)
Rating: 15
Running Time:
99 Minutes
Director:
Adam Winguard
Cast:
Dan Stevens, Maika Munroe, Brenden Meyer, Lance Reddick
Never slow to pick up on the burning issues of the day, the horror genre is always ready to use hot topics to its own benefit. During the days of atomic testing in the 1950s, mutated insects roamed the planet in films like Them (1954). By the late 1970s when space was the new frontier, threats came from beyond the stars in big budget horrors like Alien (1979).

With this in mind it was only a matter of time before contemporary filmmakers looked to a subject which touches all our lives to some extent, for the basis of their work. In the new horror / thriller The Guest (2014) director Adam Wingard does just this, investigating the psychological and emotional effect modern warfare has on soldiers and their families to disturbing effect.

Laura and Spenser Peterson (Sheila Kelley and Leland Orser), along with their teenage children Anna (Maika Monroe) and Luke (Brendan Meyre), are struggling to accept the death of their older son Caleb in the war in Afghanistan. When ex-soldier David (Dan Stevens) appears on their doorstep one morning, claiming to be a friend of their dead son, Laura and Spenser find a sense of connection with Caleb by welcoming the stranger into their home. But is David all he seems? The Peterson family are about to discover to their cost that there is more to their new houseguest than meets the eye, and that his arrival will have terrifying consequences for them all.

In his first major starring role outside of television, Downton Abbey heartthrob Stevens stays just the right side of creepy as the outwardly benign David, who hides a nastily psychotic side beneath a deceptively caring facade. Monroe - last seen in the gritty drama Labor Day (2013) - also creates impact as the suspicious Anna into whose affections David insidiously worms his way. Small town America with all its 'apple pie' charm, as well as the claustrophobic frustration felt by its inhabitants, is wonderfully visualised on screen. The intensity of the setting is merely emphasised by the arrival of the enigmatic David, heightening the film's mounting air of disquiet.

It's always dangerous for a filmmaker to utilise techniques and set-pieces which - whilst not quite ripping off past classics shot for shot - are near enough in their visualisation to warrant accusations of, at best a lack of originality, and worst plagiarism. The final scenes of Wingard's film may fall short of the latter, but are never-the-less close enough in spirit to several outings from the golden age of 1980s slashers, to show a certain absence of inspiration. What was clearly meant as an homage to those teenager-in-peril landmarks, this film's climax is instead a pale imitation of the past. Which is a shame as the previous ninety minutes holds such promise.

The question of course arises as to the taste in the use of sensitive subjects matters - in this case the possible advancements in technological warfare - for what is, after all, mere entertainment. But since the horror genre is not widely known for its diplomacy in the handling of contentious issues, such thorny moral points are unlikely to trouble the consciences of the film's core audience of thrill seekers. Considering this, The Guest effectively delivers what is required of it, in a manner which it just manages to sustain until the final reel.

★★★1/2
Cleaver Patterson

Summer In February DVD Review

Rating: 15
DVD Release Date: 14th October  2013 (UK)
Director: Christopher Menaul
Cast: Dominic Cooper, Emily Browning, Dan Stevens
Buy Summer In February: DVD [Amazon]
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Set against the idyllic backdrop of the Cornish coast, Summer in February is a haunting true tale of love and betrayal amongst a group of bohemian artists during the beginning of the 20th Century. Dominic Cooper stars as Alfred Munnings, the artist famed for his outspoken stance against modernism, and Emily Browning is Florence Carter-Woods, an aspiring artist whose introduction to the group sparks an interest from more than one viable suitor. Alongside the land owner responsible for the estate - Gilbert Evans, who is played by Dan Stevens - the trio form a tumultuous love triangle and friendships are tested to the limit as their passion for art soon becomes second to their desire for romance.

From the outset it is never too clear which direction the story will follow; as a biography focusing on Alfred Munnings the picture is considerably lacking in back story, and the audience are not provided with a full picture of what appears to be an intriguing character, with is a shame as Cooper's charismatic performance is a highlight of the film. The character of Florence is also not fleshed out enough for the audience to empathise with her, despite Browning's best attempts at bringing depth to the role which unfortunately lacks any real emotional impact.

Director Christopher Menaul does make great use of the beautiful Cornish scenery, with a number of scenes taking place amongst the luscious green woods and the inviting waters of the coastline, as Alfred paints portraits of a number of ladies who make his acquaintance, much to the frustration of Florence. It would seem that the reliable and trustworthy Gilbert would make the perfect partner for her but she eventually succumbs to the advances of Alfred, with his cheeky rogue persona weighing in his favour. The inevitable heartbreak hits the lovelorn Gilbert more than once and the story told throughout Summer in February is at times touching in its raw portrayal of romance and devotion, but could have had a greater impact if more time was invested in portraying the character's motives.

A number of characters are honoured with a small epilogue even though their appearances throughout Summer in February have little impact on the story. It is always interesting for factually based films to extend the story prior to the credits but only when this adds to characters that the audience develop an affection for, and most within Chirstopher Menaul's period piece do not have the required screentime for an emotional connection to take hold.

As a period romance, Summer in February will inevitably please fans of the genre, although those hoping for a more detailed character study of the Edwardian artists residing at the Cornish colony may be slightly disappointed. A fine diversion, but ultimately a forgettable one, Summer in February would be more suited for a primetime Saturday television slot than a trip to the cinema.

★★★☆☆

Tom Bielby

Repost of the cinema review

Summer In February Review

Rating: 15
Release Date: 14th June 2013 (UK)
Director: Christopher Menaul
Cast: Dominic Cooper, Emily Browning, Dan Stevens

Set against the idyllic backdrop of the Cornish coast, Summer in February is a haunting true tale of love and betrayal amongst a group of bohemian artists during the beginning of the 20th Century. Dominic Cooper stars as Alfred Munnings, the artist famed for his outspoken stance against modernism, and Emily Browning is Florence Carter-Woods, an aspiring artist whose introduction to the group sparks an interest from more than one viable suitor. Alongside the land owner responsible for the estate - Gilbert Evans, who is played by Dan Stevens - the trio form a tumultuous love triangle and friendships are tested to the limit as their passion for art soon becomes second to their desire for romance.

From the outset it is never too clear which direction the story will follow; as a biography focusing on Alfred Munnings the picture is considerably lacking in back story, and the audience are not provided with a full picture of what appears to be an intriguing character, with is a shame as Cooper's charismatic performance is a highlight of the film. The character of Florence is also not fleshed out enough for the audience to empathise with her, despite Browning's best attempts at bringing depth to the role which unfortunately lacks any real emotional impact.

Director Christopher Menaul does make great use of the beautiful Cornish scenery, with a number of scenes taking place amongst the luscious green woods and the inviting waters of the coastline, as Alfred paints portraits of a number of ladies who make his acquaintance, much to the frustration of Florence. It would seem that the reliable and trustworthy Gilbert would make the perfect partner for her but she eventually succumbs to the advances of Alfred, with his cheeky rogue persona weighing in his favour. The inevitable heartbreak hits the lovelorn Gilbert more than once and the story told throughout Summer in February is at times touching in its raw portrayal of romance and devotion, but could have had a greater impact if more time was invested in portraying the character's motives.

A number of characters are honoured with a small epilogue even though their appearances throughout Summer in February have little impact on the story. It is always interesting for factually based films to extend the story prior to the credits but only when this adds to characters that the audience develop an affection for, and most within Chirstopher Menaul's period piece do not have the required screentime for an emotional connection to take hold.

As a period romance, Summer in February will inevitably please fans of the genre, although those hoping for a more detailed character study of the Edwardian artists residing at the Cornish colony may be slightly disappointed. A fine diversion, but ultimately a forgettable one, Summer in February would be more suited for a primetime Saturday television slot than a trip to the cinema.

★★★☆☆

Tom Bielby