BLUE BAYOU

Justin Chon     Alicia Vikander     Linh Dan Pham     Mark O’Brien

 

            This film might have had potential, but it needed disciplined editing; way too many dramatic elements were included, resulting in a hodgepodge that strains credulity, especially at the end.  

            Antonio (Chon) is a tattoo artist who has trouble finding a job to support his wife Kathy (Vikander) and their two children, one a newborn.  He often runs into discriminatory remarks about his race, and the filmmakers want that characteristic visible throughout.  He was born in Korea, but was adopted when he was three by an American couple, so he has grown up in the U.S.  Other trouble he encounters is that his American parents never saw to it that he was made an American citizen, so he is threatened with deportation, even though he has lived here for 30 years, most of his life.

            Other issues that arise include Kathy’s ex-husband, who wants to see their daughter, but the child doesn’t want to see him after he had previously abandoned her and her mother.  He and his dirty cop partner stir up major problems, contributing to more drama, particularly as Antonio’s reactions to them add significantly to his difficulties. 

            Woven into the story is a woman who takes pity on Antonio desperately hawking tattoos on the street and asks for one for herself.  She is an immigrant from Viet Nam and has stories of her own to tell, but she is one of the few characters shown to be kind-hearted and generous. 

            Most of writer/director Chon’s previous work is as an actor, for which he has been nominated and won awards at film festivals.  He also has promise as a writer/director but needs more guidance in creating sympathetic characters and choosing one storyline that will be the prominent thrust in a work, as opposed to multiple threads that compete with one another.

            My favorite part of this film is when Alicia Vikander—one of our finest actresses—sings the song “Blue Bayou.”  Her acting skills are readily apparent in Blue Bayou, but the script would be improved by making her a stronger, more sensible force, rather than showing her as hysterical.  Having her physically attack a policeman is a huge mistake in the script.

            There are additional problems with inconsistencies and improbabilities, which reduces this this potentially moving account too implausible.

A film with potential that deserved serious editing.

 

Grade:  D                              By Donna R. Copeland

READY OR NOT

Samara Weaving     Mark O’Brien     Andie MacDowell    Adam Brody     Henry Czerny

     The entire premise on which this film is based is that family myths are true and their precepts must be heeded when, by now, we all know that everything your family tells you is not necessarily so.  The picture opens in a huge mansion with everyone running around with masks on.  It looks intriguing, but don’t hold your breath.

     Thirty years later, the Le Domas family myth lives on and the rituals are still observed, an excellent time to teach young children the traditions.  After having been somewhat estranged from his family, the oldest son and heir to the family fortune, Alex (O’Brien), has brought his bride home for their wedding.  Grace (Weaving) is a bit intimidated by the family, but sees their tradition of a game to welcome new members to the fold as amusing, and she’s ready to play along.  

     Little does she know what she’s in for; Alex has not divulged to her the bizarre aspect of “games” in their household.  He gives her a chance to back out, but she thinks he’s being silly, and goes ahead and draws the card that will indicate the game they will play:  Hide and Seek.  She’s a little puzzled, but immediately goes to look for a place to hide; the family will play the part of the seekers.  Foreboding dawns immediately when Grace elects to hide in a dumb waiter.

     That much will suffice in giving the reader a hint as to what the story will be about. Horror buffs may revel in this production filled with gore to the laughable stage.  It offers a “thrill” a minute; just leave your logic at home.  Grace will be running and fighting for her life for the next hour.

     It seems to me, the hinge on which everything depends, the script by Guy Busick and Ryan Murphy, falls short in providing material that this group of fine actors could exploit, nor does it engage the viewer in reacting to the horror and mystery.  It is something of a hack job (pun intended) where one impossible event follows another. For instance, one is not meant to question how a character can use her hands that have been shot and pierced with a nail to scale an iron fence, choke a pursuer, and use them for other means of escape.

     Samara Weaving performs admirably, showing real strength beneath a veneer of blond beauty, along with strength of will, even when it looks like she’s done for. Her feats are not always plausible, but they elicit interest and some degree of satisfaction.  Adam Brody as the loyal brother of Alex, also brings expertise to his role.  The other actors, including Andie MacDowell and Henry Czerny, are solid back-ups for the main stars.

Ready or Not is a film for horror fans who enjoy the action without having to think through the logic of the plot.

Grade:  D                                    By Donna R. Copeland