‘Jakob’s Wife’ Is Vampiric Delight

‘Jakob’s Wife’ Is Vampiric Delight

By Alex McPherson

An allegorical horror film with more on its mind than gore-splattered carnage, “Jakob’s Wife” provides some thematically juicy morsels for viewers to sink their teeth into.

Directed by Travis Stevens, the gonzo film centers around Anne (Barbara Crampton), the wife of a small-town Christian minister named Jakob (Larry Fessenden). Anne’s not happy in her marriage, and Jakob is unaware of the ways he casually disrespects her. He frequently talks over her and seems content with maintaining rigid gender norms in their household. His condescending actions have nibbled away at Anne’s psyche, leaving her feeling depressed and quietly despondent.

A Nosferatu-esque creature has different plans for her. After a brief romantic rendezvous with an old flame (Robert Rusler), Anne is bitten by the aforementioned blood-sucker, and she soon adopts a very different, ravenous lifestyle. Possessing renewed confidence in her daily life, she refuses to put up with Jakob’s B.S. any longer. She risks throwing away her previous existence if she chooses to fully give herself over to the strange presence targeting her.

“Jakob’s Wife” has a rough start, indulging in tropes such as dooming the first Black character introduced and deploying easily foreseeable jump scares. To its credit, the beginning of the film establishes a monotonous rhythm that slowly but surely builds suspense as Anne’s malaise reaches a boiling point. Thankfully, after she’s bitten by “The Master” — a pasty, scabbed-up entity spookily portrayed by Bonnie Aarons — “Jakob’s Wife” really starts to pick up. Stevens deploys a more flamboyant style in keeping with Anne’s newfound boldness that keeps viewers on their toes, notwithstanding some formulaic plot points.

Crampton is perfect for her role, and viewers see her simultaneously experience fear and thrill from her urges with real pathos. Scenes of Anne twirling around her living room holding a lamp and tasting blood within a meat package at a local grocery store are off-puttingly hilarious, particularly when juxtaposing them with her initially mild-mannered demeanor. For all The Master’s promises of liberation, though, Anne still loves Jakob, and she isn’t immediately ready to throw her old life away. Her inner battle of temptation takes center-stage in the film’s second half, where we aren’t sure whose side she will ultimately take.

Viewers might expect characters like the titular Jakob to be promptly disposed of, but “Jakob’s Wife” renders him a more complicated presence capable of positive change, despite the sharp left-turn in his arc that’s difficult to buy. Yes, he’s still cartoonish, and his high-and-mighty insistence on being the hero is deeply ironic, but “Jakob’s Wife” provides a refreshing change of pace for how these sorts of stories usually play out. Fessenden is able to flex his comedic muscles as a “man of the household” encountering a shifting power dynamic.  

The more traditional genre aspects of “Jakob’s Wife” are less involving, but they get the job done with enough gruesome kills to satiate fans’ bloodlust. The film incorporates deliciously visceral practical effects and a large helping of gallows humor. Indeed, “Jakob’s Wife” loses some of its scare factor and emotional resonance through its tonal shifts, but the humor itself works well, for the most part — the kind of dry self-awareness that this tongue-in-cheek material benefits from. Jay DeVon Johnson is particularly amusing as a jaded police sheriff who wouldn’t be out of place in a Coen Brothers joint. 

It’s disappointing, however, that the themes are staked so heavy-handedly into viewers’ brains by the end. Stevens brings up prescient topics — sexism and what it means to live your life on your own terms among them — without reaching anything particularly illuminating. The satirical, B-movie qualities rub against its more serious implications, rendering both somewhat less biting by the other.

Most sins being forgiven, there’s still enough batty fun here to recommend “Jakob’s Wife.” Stevens’ film is a knowingly goofy, surprisingly multifaceted horror outing. It delivers fittingly violent set pieces, while also wrapping its ghoulish tale up in important, disconcerting societal truths.

“Jakob’s Wife” is a 2021 horror film directed by Travis Stevens and starring Barbara Crampton and Larry Fessenden. It is not rated and runs 1 hour, 38 minutes. It is available streaming on Shudder and on video on demand platforms. Alex’s Grade: B

‘Together’ Is Muddled Lockdown Story

‘Together’ Is Muddled Lockdown Story

By Alex McPherson

Directors Stephen Daldry’s and Justin Martin’s new film set during the current COVID-19 pandemic, “Together,” is an intense, powerfully acted, and morally troubling drama.

The film centers around an unnamed couple in the UK struggling to maintain their sanity in pandemic lockdown. “He” (James McAvoy) is a self-satisfied, conservative Alpha Male who manages a boutique consulting firm. “She” (Sharon Horgan) is a left-leaning charity worker with an acid tongue of her own. They live a middle class existence, while neglecting to give their introverted son, Artie (Samuel Logan), much parental attention.

From the moment viewers lay eyes on them, He and She bicker incessantly, piling on the insults in semi-teasing awfulness. The two opposites are stuck together in dire times, developing some semblance of compassion toward each other and the world at large as they endure the COVID-19 emergency.

Daldry and Martin’s film, with a screenplay by Dennis Kelly, is timely to a fault — using current events that have impacted us all as a background for an irritatingly predictable narrative. Despite this, however, “Together” is still a captivating viewing experience, largely thanks to its theatrical presentation and the dynamism of the two leads.

Indeed, “Together” feels highly reminiscent of a stage play, as He and She talk directly to the camera from the first scene onwards, vying for the center of viewers’ attention. This cinematic technique successfully puts viewers in the uncomfortable position of feeling like they’re right in the thick of things with these two flawed “adults,” forced to view their chaotic conversations without a possible exit. As interactions oscillate between being mean-spirited and hopeful, smirk-inducing and devastating, “Together” is relentless during the full 90-minute runtime.

Horgan and McAvoy have tangible chemistry, and their fast-paced dialogue conveys a mostly believable relationship. They’re able to handle comedic lines effortlessly — including an embarrassing exchange about their sex life — while also nailing the more dramatic beats as the months drag on. McAvoy, likably hyper as ever, showcases the insecurities that bely his character’s cynicism. Horgan shines as someone firm in her “good” beliefs who retains her own selfish tendencies. Combined with the film’s fourth-wall-breaking presentation, He and She seem like real people viewers might know. They both dislike and, deep down, care for one another.

Still, “Together” can only stay afloat on acting talent for so long. The story, good intentions notwithstanding, plays upon real-world traumas to somewhat generic effect. A particular subplot involving She’s elderly mother is emotionally devastating but foreseeable from the get-go. It concludes with an impassioned speech from Horgan about the meaning of the word “exponential” regarding viral infection and the government’s fumbling of crucial facts surrounding the illness. In retrospect, it all seems pretty obvious for anyone who isn’t a devoted consumer of misinformation.

“Together” is packed with scenes designed to elicit tears from viewers, but it doesn’t add anything particularly new to the discussion surrounding the global health crisis, nor does it illuminate a perspective that needs to be illuminated. The protagonists are so privileged, all things considered, and their respective character arcs surrounding basic human decency and not taking loved ones for granted aren’t exactly revelatory. If films like “Together” set during COVID times become more common, filmmakers run the risk of using it as a gimmick to grab viewers’ attention, instead of exploring it from new, insightful angles. This film, unfortunately, falls into the former category.

For all its attempts at relevance and its first-rate performances, “Together” doesn’t sit particularly well amid our current climate, where there’s no end in sight regarding the virus’ evolving mutations. It brings together broad social commentary and standard plotting to end up with something above average, but markedly inessential.

“Together” is a 2021 romantic comedy-drama directed by Stephen Daldry and co-directed by Justin Martin and starring James McAvoy, Sharon Horgan and Samuel Logan. Rated R for language throughout, the movie runs 1 hour, 31 minutes. In theaters Aug. 27 and on demand and digital Sept. 14. Alex’s Grade: B-

‘Nine Days’ Is Enthralling Sci-Fi Debut

‘Nine Days’ Is Enthralling Sci-Fi Debut

By Alex McPherson

A thoughtful, meditative, unabashedly far-out sci-fi gem, Edson Oda’s directorial debut, “Nine Days,” asks intriguing questions about the rollercoaster of life.

This quietly bonkers film centers around Will (Winston Duke), an individual deciding which souls get the privilege of being born in a human body. He watches present-day Point Of View footage from everyone he’s allowed into the “real world” from the comfort of his modest house in the middle of nowhere, a salt lake limbo, taking copious notes on their day-to-days in an attempt to understand humanity.

Sometimes accompanied by his good-hearted helper and friend, Kyo (Benedict Wong), Will takes pride in seeing them lead healthy, happy lives. One of them unexpectedly perishes, however, tearing Will apart inside as he struggles to make sense of what happened — vowing to never let it happen again. 

Thus, a vacancy opens that needs to be filled. Will meets a variety of applicants wishing to experience life. This archetypal group of souls includes the self-doubting Mike (David Rysdahl), the laid-back Alexander (Tony Hale), the hard-justice-driven Kane (Bill Skarsgård), the earnest, wide-eyed Maria (Arianna Ortiz), and the inquisitive, plot-altering Emma (Zazie Beetz), among others.

They are asked to watch the POV screens and to give answers to various questions examining their moral toughness over the course of nine days, with a victor announced at the end. Upon failing, some applicants get a chance to have a moment they’ve observed recreated for them before disappearing into nothingness. As the group winnows in the passing days, Will is forced to reckon with his own inner demons and consider the unknowable nature of life itself.

A captivating effort from everyone involved, “Nine Days” uses this bold premise to explore what it means to be alive. Oda’s unconventional allegory plays out in frequently powerful fashion — carried by excellent performances and an ethereal, at times mournful atmosphere pulsing with feeling. Along with methodical editing, arresting cinematography, and Antonio Pinto’s haunting score, the film brings viewers into this twisted median space in a manner mixing warmth with menace. 

Although the finer details of the film’s universe aren’t clarified (don’t think too much about how or why Will acquired his “job”), “Nine Days” sinks emotional hooks into viewers from the first frames onward. It’s somewhat of a downbeat watch, prizing patient reflection over bombast, but “Nine Days” knows when to strike lighter notes as well and occasionally poke fun at itself despite the bleakness.

Duke does sterling work portraying a mysterious man playing God who’s trapped by his own cynical worldview, his decisions rooted in a desire to protect the applicants from a reality he views as cruel and demoralizing. Thanks to Duke’s pathos and the script’s empathy towards Will, his troubled mindset remains easy to connect with regardless of his flaws. Duke, with wire-rimmed glasses and a reserved demeanor, conveys Will’s inner tensions with a subtle performance that brilliantly showcases his severe facade gradually being chipped away.

Similarly effective is Beetz, a compassionate critical-thinker who doesn’t view human beings in a simplistic manner. Rather, she realizes the importance of relishing the good in the world, not letting negativity or nihilism corrupt her worldview. Her conversations with Will, inquiring into his own troubled past and encouraging him to reflect on what it all means, feature some of the most moving moments in “Nine Days,” tying into overarching takeaways. 

Wong is a lovable, comforting presence as Kyo, helping Will recognize his faults and his potential to grow as a human being, providing the bulk of the film’s unexpected humor. The other characters, brought to (sort-of) life by a wonderful cast, get less screen time and aren’t as well developed as the main three, but there’s more to most of them than meets the eye. Like every human soul, they cannot be simplified to a few characteristics — rendering their passage or failure all the more heartbreaking. Their “Last Moments” are masterfully directed and difficult to forget. 

Heavy without being dour, intricate yet accessible, “Nine Days” builds towards a conclusion that contains one of 2021’s best scenes. All the emotions felt throughout the film coalesce into a marvelous, life-affirming, slightly convenient resolution that’s aware of its own bizarreness while remaining highly impactful. 

An assured effort from everyone involved, “Nine Days” satisfies both the mind and the soul. The world is full of darkness, but there’s still rays of hope bursting through the shadows. Oda’s film is a provocative reminder to appreciate the light where we can and strive to see another day in our beautifully inexplicable existence. 

“Nine Days” is a 2020 sci-fi fantasy drama written and directed by Edson Oda and starring Winston Duke, Benedict Wong, Zazie Beetz, Tony Hale, David Rysdahl, Arianna Ortiz and Bill Skarsgard, Rated R for language, its runtime is 2 hours, 4 minutes. The film is available in theaters beginning on Aug. 6. Alex’s Grade: A-

David Lowery’s ‘The Green Knight’ is Hallucinatory Spectacle to Behold

David Lowery’s ‘The Green Knight’ is Hallucinatory Spectacle to Behold

By Alex McPherson
Based on the 14th-century Arthurian tale “Sir Gawain and the Green Knight,” director David Lowery’s film, aptly titled “The Green Knight,” is an impeccably constructed fantasy epic with bizarre imagery and dense themes begging to be mulled over for years to come. 

The story begins in Camelot, with Gawain (Dev Patel), an aimless young warrior and nephew to King Arthur himself (Sean Harris), getting the chance to finally give his life purpose beyond drinking and cavorting his days away. During a Christmas gathering, the aging King and his wife, Queen Guinnevere (Kate Dickie), draw attention to the fact that Gawain doesn’t have any stories to tell — not yet, at least — and a mysterious, bark-covered giant shows up, calling himself the Green Knight (voiced by Ralph Ineson with imposing gusto).

The gritty medieval Groot offers a challenge to the Round Table — he will allow anyone brave enough to strike a blow against him, so long as they agree to receive the same treatment in one year. Gawain, careless as ever and wanting to impress his company and his suspicious mother, Morgan Le Fay (Sarita Choudhury), agrees to the challenge when nobody else will, promptly decapitating the Knight. He immediately regrets his decision, as the Knight, holding his severed head, gallops away on his horse laughing maniacally. In one year, Gawain must complete his end of the agreement. Oops. 

The clock begins ticking, and once the year passes, Gawain sets out on his journey across a fantastical land to reach the Green Chapel and fulfill his pact. Unsurprisingly, the quest is grueling, and the self-doubting Gawain encounters a variety of strange entities — mischievous themes, a mournful spirit, and a fox companion, among others — that require him to confront his supposedly heroic ideals and his own mortality in the pursuit of becoming a legend. 

Absolutely brimming with cinematic artistry and featuring a magnificent performance from Dev Patel, “The Green Knight” won’t appeal to viewers seeking a more traditional, action-packed epic that spoon-feeds them what to think or how to feel. Rather, Lowery’s masterpiece embraces all the sensory qualities of the film medium to fully transport viewers into Gawain’s journey, which winds up being far more existential than some viewers may be prepared for. There are certainly physical threats to be found along the way, but “The Green Knight” renders most of Gawain’s conflicts internal, as he grapples with his self-imposed burden and slowly but surely grows not only as a warrior, but as a human being, with imperfection to match his courage.

From its opening frames, “The Green Knight” is devoted to walking its own path and being undeniably weird while doing so. There’s tons to feast on stylistically — evocative, period-accurate costuming, lighting that evolves from decorated interiors to fog-drenched forests and blood red lakes, deliciously tactile sound design, and mystical yet lived-in environments, with a score by Daniel Hart fitting for a horror film in its off-kilter, slightly crazed rhythms. All of this is complemented by sweeping, at-times mind-boggling cinematography that flows through the royal interiors and vast landscapes that Gawain traverses, becoming ever-stupefying as Gawain treks onwards, further into his own soul. This is a film that demands to be watched on the biggest screen possible and with limited distractions. 

Of course, Lowery’s film isn’t pure style over substance, and there’s plenty to contemplate in terms of storytelling and characters here. Gawain is a naive and reckless individual who isn’t initially easy to care about but develops in a significant fashion by the end. He’s forced to consider the sacrifices necessary for greatness, the notion of honor itself, and the fallibility of human nature despite illusions of superiority. Like Lowery’s other films, especially “A Ghost Story,” “The Green Knight” is focused on the concept of death, mortality, and Nature’s grip over us all. Indeed, the proceedings are depicted so ambiguously that some viewers may become frustrated with the film’s opaqueness. For this critic, however, the events — especially a nightmarish, darkly poetic sequence late in the film — haven’t left my mind, and keep revealing additional thematic layers the more I ponder them.

Lending “The Green Knight” an emotionally grounded core despite its vagueness, though, is Patel. A subversive casting choice for a story typically dominated by white men, he portrays the warrior’s growing insecurities in a subtle fashion that endears us to him from his first appearance onwards. Alicia Vikander also does excellent work playing dual roles, as Gawain’s lower-class girlfriend, Essel, and as a seductive temptress later on. Ineson, as the Green Knight, is intimidating, but has an aura of warmth and amusing self-awareness nevertheless. Barry Keoghan and Joel Edgerton give memorable turns as a creepy brigand and an uneasily jovial lad that Gawain encounters near the finale. 

There’s a lot to digest once the credits roll — make sure to stay through them —  that I’m eager to dive back into this wondrous, often frightening world to decipher all the symbolism and peculiar characters to unearth more meaning. I haven’t felt this way about many other films released in 2021 so far, but “The Green Knight” stands head and shoulders above most of them in terms of pure intellectual engagement and eye-popping creativity. Cinephiles shouldn’t expect anything less from A24, and viewers should go in knowing that “The Green Knight” engages the mind just as much as the senses, even if multiple viewings are all but required to fully appreciate it.

“The Green Knight” is a 2021 historical drama directed by David Lowery and starring Dev Patel, Joel Edgerton and Alicia Vikander. Rated R for violence, some sexuality and graphic nudity, it has a runtime of 2 hours, 10 minutes. The movie opened in theaters on July 30. Alex’s Grade: A+ 

‘Fear Street Part 3: 1666’ – A Riveting Final Chapter

‘Fear Street Part 3: 1666’ – A Riveting Final Chapter

By Alex McPherson

Well, dear readers, the time has sadly come for the conclusion of director Leigh Janiak’s “Fear Street” series. Fortunately, “Part 3:1666” ends the trilogy in an emotionally fulfilling, adrenaline-fueled fashion.

Without going too far into spoiler territory, “1666” sees Deena (a wonderful-as-ever Kiana Madeira) being transported back in time in Sarah Fier’s body, originally played by Elizabeth Scopel, to witness the origins of the curse that’s haunted Shadysiders ever since. The film features a new cast of characters, but most of them are portrayed by the same actors from former installments, some of whom adopt similar dynamics. Most notably, this includes Olivia Scott Welch, who plays Sarah’s love interest in “1666,” as well as Sam, Deena’s lover, in 1994. Ashley Zukerman, who embodies Sheriff Goode in 1994, also makes a meaningful return as Sarah’s friend Solomon, who holds his own secrets.  

Although there are opportunities for hard-working Sarah to relax, her story is relentlessly grim — containing themes of superstition, intolerance, and hatred of the Other that have remained prevalent throughout human history. As Sarah finds herself embroiled in a web of deceit, misogyny, and fateful events that have long-lasting repercussions on Shadyside’s future, there’s little hope for escape. Once her tragic ordeal wraps up, Janiak sends viewers back to 1994 once again, as Deena, Josh (Benjamin Flores Jr.), C. Berman (Gillian Jacobs), and janitor Martin (Darrell Britt-Gibson) attempt to rescue Sam from demonic possession and use their newfound knowledge to finally end the curse.

Tonal inconsistency notwithstanding, “1666” is a disturbing, intelligent, and rewarding finale that successfully ties up loose ends while enhancing what’s come before. Janiak delivers an experience with more layers than both “1994” and “1978,” capping off the overarching narrative with panache. 

“Fear Street” has progressively grown creepier with each entry, and “1666” is the eeriest of the bunch. Indeed, by bringing viewers back into such an antiquated period, the film is able to distill its horror into a more potent, disquieting brew. Most plot developments even feel scarily plausible on some level, drawing comparisons to the Salem Witch Trials. Along with convincing set design and a more immersive atmosphere than its predecessors, “1666” is able to conjure dread-inducing moments aplenty. Janiak’s serious-minded approach, at least for the first half, underscores the monstrousnesses of Sarah’s bigoted townsfolk just as much as the actual supernatural forces at play.

It’s initially jarring to be sent so far back in time and see actors we’ve grown attached to inhabiting different people, with questionable accents, but Janiak uses this dissonance for subversive effect. Throughout the films, for instance, the Shadyside curse inspires a sense of fatalism in many residents that they’re stuck in an endless cycle of death and alienation from the outside world. Seeing recognizable faces where it all began heightens viewers’ desire to see Deena and friends right the wrongs of the past in the present, attempting to break the pattern once and for all.

Additionally, forbidden love rests at the heart of Sarah’s flashback, and “1666” is able to use that connection to forge an attachment with her from the get-go, utilizing viewers’ investment in Deena and Sam’s relationship to heighten poignancy and encourage reflection on biases that carry over across timelines. Sarah remains an intriguing character on her own, and her plight is easy to become invested in as she gradually begins to doubt herself yet retains bravery in the face of humanity’s worst instincts.  

With an ever-mounting sense of hopelessness, Sarah’s tale isn’t easy viewing, replacing subtlety with visceral impact, but it leaves a chilling aftertaste. Then, however, “1666” takes a hard left turn back into the self-aware, occasionally cheesy tone of “1994” to wrap things up. The tonal shift is certainly jarring for a bit, but once viewers become acclimated, there’s pleasure to be had in watching the heroes make their triumphant last stand — not just for themselves, but for the future of Shadyside itself. 

Some elements, like the major plot twist, feel undercooked, and the second half resembles the largely scare-less final act of “1994,” yet it’s still oh-so-fun to see what happens to these courageous characters. For all the haunted-house-roller-coaster pacing, the revelation effectively adds a new layer to the previous films, encouraging viewers to rewatch them and examine how all the pieces fit together. 

Whether or not viewers can overlook the semi-fractured feel of “1666,” there’s little denying that Janiak and company have created an impressive whole, one that has matured over its duration to form an ambitious, albeit far-fetched, allegory targeting resonant societal truths. There’s definitely imperfections to be found in each film, but Janiak’s R. L. Stine-inspired project reaches its stride in “1666,” leaving the door open for future adventures in Shadyside.

“Fear Street Part 3: 1666” is the last film in a 2021 trilogy now streaming on Netflix, adapted from R.L. Stine’s book series. Directed by Leigh Janiak, it stars Kiana Madeira, Benjamin Flores Jr., Gillian Jacobs and Ashley Zukerman. Rated R for strong violence and gore, language, some sexuality and brief drug use, it runs 1 hour, 54 minutes. Alex’s Grade: A-.

‘Fear Street Part 2: 1978’ Is An Underwhelming Summer Bloodbath

‘Fear Street Part 2: 1978’ Is An Underwhelming Summer Bloodbath

By Alex McPherson

Director Leigh Janiak’s “Fear Street Part 2: 1978,” based on R.L. Stine’s novels, lacks the spark of the first installment, but still delivers a moderately engaging slasher throwback with bucketloads of gore.

After the ridiculous events of “Fear Street Part 1: 1994,” Deena (Kiana Madeira) and Josh (Benjamin Flores Jr.) meet up with C. Berman (Gillian Jacobs), a survivor of the 1978 Camp Nightwing massacre, hoping to learn how to end Sarah Fier’s witchy curse.

As the traumatized woman recounts her experiences, viewers are transported back to Camp Nightwing to witness what transpired. The protagonist is Cindy Berman (Emily Rudd), an uptight, goodie two-shoes camp counselor who becomes aggravated when other supervisors prioritize drugs and sex over doing their jobs. Her sister, the trouble-making Ziggy (Sadie Sink), holds a nihilistic view towards life — remaining an outcast among fellow campers, but a friend of counselor and future Shadyside sheriff Nick Goode (Ted Sutherland), as well as being a victim to nonstop bullying from mean girl Sheila (Chiara Aurelia), who insists that Ziggy’s an actual witch. 

Just in time for the camp’s annual “Color War,” a capture-the-flag-esque event in which the vicious rivalry between Shadysiders and their stuck-up Sunnyvale neighbors rears its head in full force, things start to get creepy. After Nurse Lane (Jordana Spiro) violently confronts Cindy’s innocent boyfriend, Tommy Slater (McCabe Slye), suspicions arise as to whether Fier’s curse has returned. Cindy, accompanied by a few others including her ex-best friend, an irritating mumbler named Alice (Ryan Simpkins), attempt to find out what’s going on themselves. You guessed it, dear readers, all hell breaks loose, and the body count grows scene by scene. Can Cindy, Ziggy, and company make it out alive, or are they doomed to perish in a seemingly never-ending murder spree by an axe-wielding attacker?

Lacking the craftsmanship of “1994” regarding character depth and creativity, “1978” ends up being a fairly straightforward genre film that’s above average, but represents a downgrade from the trilogy’s opener. The second entry loses much of the adventurous fun of “1994,” coming across as rather dour, bleak, and unforgiving in comparison — full of cliches, yet promising better things to come in “Part 3.”

It’s clear that Janiak is attempting to tackle a different tone than “1994,” more akin to “Friday the 13th” than “Stranger Things.” In keeping with the change, “1978” begins rather generically once Berman begins her story, setting up the atmosphere of Camp Nightwing in a way that mostly doesn’t break from formula.

“1978” is a definite slow-burn compared to its predecessor, taking time to get underway, but effectively conveying a sun-drenched retreat with a dark heart and sickening future. Combined with a soundtrack of 70s era songs, Janiak once again captures the time period with a fitting attention to detail. In terms of camerawork, though, “1978” doesn’t feel as precise, featuring impressive tracking shots and spooky set design — enhanced by a sinister original score — but containing some dimly lit sequences and shaky cam that break immersion.

The batch of characters are decidedly inconsistent, but a few are explored meaningfully. Among them are Cindy and Ziggy, whose tensions are grounded in reality and easy to sympathize with. Living with a single parent and barely able to keep their house, the rift between them — with Cindy trying to support their family and Ziggy being increasingly pessimistic — is huge, but just like in “1994,” Janiak shows how frayed bonds can strengthen under shared threats. Rudd and Sink both give poignant performances and have solid chemistry with one another. Their dialogue is largely convincing, but interactions overall are missing the playful dynamic present in “1994.” 

The “Shadyside Curse” rests at the heart of characters’ conflicts in “1978,” creating a sense of existential dread in their fates seeming out of their control — accentuated by Alice’s character, a young woman who uses drugs to compensate for her mental struggles. Nick Goode’s character is also cleared up a bit from “1994,” as he gradually falls for Ziggy and considers what the supernatural events entail for his career in Shadyside.

The remainder of the characters adopt boringly plain archetypes — the attention-seeking leader, promiscuous hippie, etc. — and viewers don’t spend much time with them before they’re graphically murdered (younger campers are often slain off-screen). They certainly have a lot of blood to spill, on the other hand. Indeed, “1978” almost goes overboard here, rendering many saps expendable fodder for the big baddie.

Speaking of, Janiak’s film feels limited by only having a single main threat for the characters to face, relegated to using a single weapon. “1994” was far more unpredictable in its kills, and while “1978” never ceases to shock, the violence starts to feel repetitive by the end credits. At least the sequences surrounding the destruction are more suspenseful this time around, feeling more frantic and distressing than before, as the leads scramble to save their friends and loved ones while trying to figure out what’s really going on. 

With nearly as many flaws as strengths, “1978” fails to reach the heights of the original, but still offers its own gruesome, albeit unimaginative, pleasures. If nothing else, the film successfully builds hype for “Part 3,” which takes place in 1666 and details the background of Fier’s execution. There’s plenty more questions to answer and scares to be had, and I’m ready for the trilogy to surprise me once again.

“Fear Street Part 2: 1978” is part of a movie trilogy on Netflix, the first set in 1994 and the next one in 1666. Directed by Leigh Janiak, it stars Emily Rudd, Sadie Sink and Gillian Jacobs. Rated R for bloody horror violence, sexual content, nudity, drug use, and language throughout, its run time is 1 hour, 49 minutes. The movie began streaming on Netflix July 9. Alex’s Grade: B-

‘Fear Street Part 1: 1994’ Is Brutally Excellent Slasher Film for 2021

‘Fear Street Part 1: 1994’ Is Brutally Excellent Slasher Film for 2021

By Alex McPherson

“Fear Street Part 1: 1994” is an immensely enjoyable slasher flick with real heart beneath its ultraviolent set pieces.

Based on the “Fear Street” books by R.L. Stine, “1994” unfolds in the rural town of Shadyside, Ohio. Shadyside has a history of heinous murders stretching back hundreds of years, which some denizens believe involve possessions by a witch, named Sarah Fier, who was executed in 1666. Shadyside residents harbor an intense rivalry with the considerably wealthier neighboring city of Sunnyvale. Our protagonist is Deena (Kiana Madeira), an angsty, rebellious high schooler reeling from a breakup with her ex-girlfriend, Sam (Olivia Scott Welch), who recently moved to Sunnyvale.

Sarah’s curse potentially rears its head again when a skeleton-mask-donning psycho goes on a rampage at a local mall. After a confrontation with Sunnyvalers along a roadway, Sam disturbs the witch’s burial ground and unleashes an evil that resurrects killers from Shadyside’s past to exact revenge. Together, Deena and Sam — joined by Deena’s brother, Josh (Benjamin Flores Jr.), and friends Simon (Fred Hechinger) and Kate (Julia Rehwald) — must band together to lift the curse and live another day. 

With charming characters, palpable stakes, and high production value, director Leigh Janiak’s “Fear Street Part 1: 1994” is a finely crafted horror film that represents a strong start for her “Fear Street” trilogy.

With hints of “Stranger Things” from the get-go, amplified by a brief appearance from Maya Hawke herself, Janiak’s first entry strikes an effective balance between self-aware fun and nerve-wracking suspense, with a couple of genuinely shocking moments. Indeed, this isn’t a sanitized, family-friendly romp, even though the high school melodrama is sometimes humorous. Blood flows freely, and while the film isn’t exactly “scary,” due in large part to exceedingly predictable jump scares, there are several moments where the carnage hits viciously hard.  

“1994” depicts its youthful characters without condescension, treating them as three-dimensional people with their own flaws, desires, and colorful personalities, portrayed with youthful verve by a pitch perfect cast. All these characters are familiar archetypes, but there are a few wrinkles that add texture, emphasizing their vulnerability in ways that are often amusing, but also build emotional attachment. Deena, skillfully portrayed by Madeira in a standout performance, has a troubled home life and is sent spiraling from her breakup with Sam, resenting her while also being unable to let go.

Sam is similarly layered, being forced to make difficult decisions later on. Josh, a nerdy, inquisitive chap with detailed knowledge of Shadyside’s history, is an instantly likable character who winds up essential for the group’s survival. The squirrely, immature Simon works hard to support his family, while Kate — a high-achieving student — hustles drugs to help pay for her future.

Less noteworthy are the killers themselves — referencing classic horror films such as “Scream” and “The Shining.” They’re over-the-top and not grounded enough to instill genuine fear, but they deliver in the film’s harrowing second half. Combined with fast-paced editing, atmospheric lighting, and a solid score by Marco Beltrami, however, the threats faced by the central characters work well enough to create an edgy, stressful feel to numerous sequences, where plot armour is certainly not guaranteed. 

Sure, the dialogue is a tad uneven and the story doesn’t exactly beg to be closely analyzed, but “1994” knows exactly what kind of film it is and leans into tropes while standing out on its own merits. This is a thrilling, nostalgic watch for fans of the genre and newcomers alike. Hopefully the next installments, releasing on Netflix July 9 and July 16, are equally as successful.

“Fear Street Part 1: 1994” is the first of a movie trilogy on Netflix, based on the with the others — 1978, to be released July 9, and 1666, to be released July 16. The first one, directed by Leigh Janiak, stars Kiana Madeira, Olivia Scott Welch, Fred Hechinger, Benjamin Flores Jr. and Julia Rehwald. It is rated R for strong bloody violence, drug content, language and some sexual content and runs 1 hour, 47 minutes. It started streaming on Netflix July 2. Alex’s Grade: B+   

Big Rigs in Big Trouble in Liam Neeson’s Latest ‘The Ice Road’

Big Rigs in Big Trouble in Liam Neeson’s Latest ‘The Ice Road’

By Alex McPherson

Director Jonathan Hensleigh’s new film, “The Ice Road,” is a solid, thoroughly predictable chunk of B-movie entertainment. 

The film centers around Mike McCann (Liam Neeson), a blue-collar mechanic and big rig truck driver struggling to hold a job while looking after his brother, Gurty (Marcus Thomas), a war veteran with aphasia who’s also a skilled technician.

After an isolated diamond mine operated by Big Business “Katka” collapses in Manitoba, Canada, Mike and Gurty are recruited by fellow driver Jim Goldenrod (Laurence Fishburne) to help deliver life-saving wellheads to a mining base near the disaster location. They’re joined by a young Indigenous woman named Tantoo (Amber Midthunder) and a corporate actuary from Katka named Varnay (Benjamin Walker).

Together, the group must race to their destination before it’s game over for the miners, contending with all-powerful Mother Nature and greedy, cutthroat humans along the way.

Viewers likely know exactly what they’re signing up for with the “The Ice Road.” Indeed, Hensleigh’s film isn’t high art, but it remains an enjoyable diversion nevertheless. With Neeson embracing his action hero starhood once again, some likable characters, and a few stressful set-pieces, the film’s storytelling missteps and shoddy CGI don’t completely negate its charms.

Neeson does what he usually does here — portraying an aging badass with a short fuse willing to go to extreme lengths to protect those he cares about. While “The Ice Road” could have given his character more time to develop, he’s still a gruffly amusing lead, who’s fun to watch when let off the chain in the final act.

His brotherly bond with Gurty, well-portrayed by Thomas, is believable and surprisingly poignant, albeit heavy-handed thanks to the clunky script. Midthunder is underutilized but leaves a positive impression as Tantoo, an activist working for Goldenrod whose brother is trapped in the mine. Fishburne is primarily relegated to providing exposition dumps, but his grizzled mug fits in well amidst the snow-covered landscape.

The side-characters, on the other hand, don’t leave much of an impact. The backstabbing corporate heads of Katka are cartoonishly one-dimensional, and the sketchy Varnay has an arc that most viewers can likely foresee before the trek is even underway. The trapped miners are easy to sympathize with, but none of them stand out individually. Sure, we hope they get rescued, but “The Ice Road” could have done more to flesh them out as real people and not deploy them mainly as a plot device to heighten tension.

When our intrepid truckers embark on their treacherous voyage, “The Ice Road” presents some distinctive obstacles for them to overcome. Principally among these challenges are, you guessed it, the unstable ice roads they traverse. Hensleigh does an effective job at cranking up suspense when the ice could break beneath their feet at any moment. Watching them navigate their surroundings and evade deadly “ice waves” yields some thrilling moments, and scenes of Mike and company extricating themselves from sticky situations using their engineering skills are compelling to watch. 

Unfortunately, when “The Ice Road” becomes a more traditional action thriller in its second half, Hensleigh doesn’t quite deliver the goods the material warrants — using some fake-looking CGI and iffy hand-to-hand combat that lacks any real “oomph” factor, held back by the film’s PG-13 rating. Familiar tropes of last-minute escapes, heroic sacrifice, and the bad guy who absolutely will not die are present in full force. While those clichés aren’t glaringly bad, the film has neither the emotional stakes nor the visceral action necessary to forge its own path.

Still, despite all this, “The Ice Road” is an adequate, though forgettable, way to spend two hours, trucking along at a steady enough clip without totally spinning out.

“The Ice Road” is a 2021 action-thriller written and directed by John Hensleigh. Starring Liam Neeson, Laurence Fishburne, Benjamin Walker, Marcus Thomas and Amber Midthunder, it is rated PG-13 for strong language and sequences of action and violence. Run time is 1 hour, 49 minutes. Alex’s Grade: C+ 

Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

By Alex McPherson

“Without Remorse,” roughly based on Tom Clancy’s 1993 novel, is a serviceable yet forgettable action film elevated by a committed performance from Michael B. Jordan.

We follow John Kelly (Jordan), a Navy SEAL chief who finds himself immersed in an international conspiracy with a gargantuan body count. After rescuing a CIA operative in Aleppo, Syria, and unexpectedly encountering Russian military forces, all hell breaks loose. Three months later, Russian FSB operatives brutally murder two SEAL team members who participated in the mission. They also execute Kelly’s wife, Pam (Lauren London), and unborn child. While Kelly is able to kill three of the operatives at his house, one escapes.

Mean-spirited CIA officer Ritter (Jamie Bell) and Defense Secretary Clay (Guy Pearce) want to brush the situation under the rug for fear of starting an international incident, but Kelly takes matters into his own hands. Thanks to the help of his superior officer, Lt. Commander Greer (Jodie Turner-Smith), Kelly gets the intel necessary to exact revenge without, well, much remorse or self preservation. After being arrested and branded a felon for his vengeful acts, he’s placed on a black ops team to eliminate those responsible once and for all. Copious bloodshed ensues, and Kelly eventually acquires the last name of “Clark.”

Worth watching if only for Jordan’s acting chops, “Without Remorse” ends up feeling predictable, dated, and shallow by the end credits — squandering an opportunity to give Kelly much depth, or present a storyline that isn’t swamped in clichés. That’s not to say there isn’t some entertainment value to be found here, however, as Jordan’s performance remains consistently engaging, and director Stefano Sollima knows how to stage punchy, visceral set pieces.

Indeed, even though “Without Remorse” fails to delve into Kelly’s psychology beyond the surface level, Jordan’s portrayal lends him a damaged, unhinged quality. Jordan convincingly sells the fact that Kelly has nothing left to lose and is ready to die for retribution over his family’s killing. He’s always a gripping presence onscreen, and we can infer deeper tensions from his body language alone, even if Taylor Sheridan’s script avoids any kind of real complexity in his character or the larger plot he’s embroiled in. 

Similarly, side characters, particularly Turner-Smith, turn in decent performances, but they end up feeling quite plain. There’s little to latch onto emotionally across the board, and “Without Remorse” fails to make any kind of meaningful social commentary. The plot twists are easy to foresee, ending with patriotic sentiments that caused me to roll my eyes.    

If only Sollima’s film had given us more time to grow attached to Pam before she’s unceremoniously riddled with bullets, or provided any unique spin on the “America vs. Russia” trope, then perhaps “Without Remorse” could have stood out from its military-obsessed competition. Alas, for all the film’s thematic failings, it still remains enjoyable, due to the slickly choreographed shoot-em-up sequences peppered throughout.

Jordan, ripped as ever, absolutely shines in these scenes. A brutal interrogation within a burning car, an underwater escape from a downed airplane, and a claustrophobic punch out in a jail cell stand out in particular. It’s too bad the final-act skirmishes feel repetitive and too video gamey to impress. They’re sometimes dimly lit and, reflective of other elements, feel generic.

As a precursor to more Tom Clancy films down the road, “Without Remorse” carries out its mission dutifully, but uncreatively. Jordan, holding the whole ordeal together with his jacked arms, deserves better. 

“Tom Clancy’s Without Remorse” is a 2021 action thriller directed by Stefano Sollima and starring Michael B. Jordan, Guy Pearce, Jamie Bell, Jodie Turner-Smith, Colman Domingo and Lauren London. Rated R for violence, the movie runs 1 hr. 49 minutes. Streaming on Amazon Prime beginning April 30. Alex’s Rating: B-

Oscars 2021: Alex McPherson’s Picks, Predictions

Oscars 2021: Alex McPherson’s Picks, Predictions

By Alex McPherson

Alex’s Picks and Predictions for the 2021 Oscars

Well, dear readers, the 2021 Academy Awards are nearly upon us. How unbearably exciting. Although most of my favorite films of 2020 were snubbed — “First Cow,” “Bacurau,” “Da 5 Bloods,” and “Never Rarely Sometimes Always” among them — there’s still a fine crop nominated this time around. Below are my picks and predictions for most of the categories. Please keep in mind that, as a recently graduated University student perpetually hunting for a paying job, I haven’t had time to watch every nominated film, and as such, I have omitted categories that I couldn’t weigh in on effectively. Now that we’ve gotten all that out of the way, let’s begin.

Best Picture:

  • The Father
  • Judas and the Black Messiah
  • Mank
  • Minari
  • Nomadland (prediction)
  • Promising Young Woman (pick)
  • Sound of Metal
  • The Trial of the Chicago 7

My personal picks for “Best Picture” are “Sound of Metal” or “Promising Young Woman” — two thought-provoking, eminently well-crafted experiences supported by outstanding performances from Riz Ahmed and Carey Mulligan, respectively. I never officially reviewed “Promising Young Woman,” but the film’s genre-blurring style and controversial ending have stuck in my mind ever since I watched it. “Minari” is pretty damn good as well. Sheesh, I suppose that I enjoy all the nominees on some level. 

Anywho, director Chloé Zhao’s “Nomadland” will most certainly take top honors. A well-acted, atmospheric, and resonant endeavor, Zhao’s film nevertheless became slightly too predictable for my taste in its latter half. 

Best Director:

  • Thomas Vinterberg
  • David Fincher
  • Lee Isaac Chung
  • Chloé Zhao (prediction; pick)
  • Emerald Fennell

In keeping with her film’s awards season spark, I predict Chloé Zhao to win for “Nomadland.” Zhao, who also wrote and edited the film, is a prime choice for this category. Lee Isaac Chung and Emerald Fennell also stand out among the nominees. However, I wasn’t on set for any of these films, so who am I to judge?

Best Actor:

  • Riz Ahmed (pick)
  • Chadwick Boseman (prediction)
  • Anthony Hopkins
  • Gary Oldman
  • Steven Yeun

Every nominated actor gave a superlative performance, rendering my personal choice an arbitrary one. Chadwick Boseman’s portrayal of Levee Green in “Ma Rainey’s Black Bottom” is undeniably powerful (my prediction to win), but I’d have to go with Riz Ahmed as Ruben in “Sound of Metal.” A complex and massively conflicted character, Ahmed imbues Ruben with a soulful edge that renders him one of the most memorable and empathetic protagonists in recent memory.

Best Actress:

  • Viola Davis
  • Andra Day
  • Vanessa Kirby
  • Frances McDormand
  • Carey Mulligan (prediction; pick)

I haven’t seen “The United States Vs. Billie Holiday” or “Pieces of a Woman” yet (sue me), but I’m still confidently choosing Carey Mulligan’s performance in “Promising Young Woman” as the hopeful winner here. A shattered, sardonic soul fueled by grief, Cassandra is always a compelling presence. Mulligan’s portrayal captures her turbulent emotions with searing impact. Who will actually take home the Oscar, though? No clue, really. There isn’t a clear frontrunner going into the ceremony. 

Best Supporting Actor:

  • Sacha Baron Cohen
  • Daniel Kaluuya (prediction; pick)
  • Leslie Odom, Jr.
  • Paul Raci
  • Lakeith Stanfield

Good grief, what an outstanding collection of performances. Paul Raci’s portrayal in “Sound of Metal” is first-rate, but I’m picking Daniel Kaluuya’s masterful turn as Chairman Fred Hampton in “Judas and the Black Messiah” as deserving of the trophy. Kaluuya gives a dynamite performance — conveying Hampton’s authoritative grandeur, but also quieter moments of reflection and intimacy. There’s little doubt in my mind that he won’t walk out empty handed. He should have been nominated for the “Best Actor” category, though. Hmph.

Best Supporting Actress:

  • Maria Bakalova (pick)
  • Glenn Close
  • Olivia Colman
  • Amanda Seyfried 
  • Yuh-Jung Youn (prediction)

Besides the strange nomination of Glenn Close for her over-the-top performance in “Hillbilly Elegy,” this is a highly contested category. I loved Yuh-Jung Youn’s performance as the grandmother in “Minari,” but Maria Bakalova’s fearless work in “Borat Subsequent Moviefilm” deserves all the accolades. It’s a downright impressive feat of acting and bravery, and she is most definitely my choice for this category. Even so, I predict Yuh-Jung Youn to win due to her previous awards showings.

Best Adapted Screenplay:

  • Borat Subsequent Moviefilm (pick)
  • The Father (prediction)
  • Nomadland
  • One Night in Miami
  • The White Tiger

I’d have to pick the zany, oddly emotional screenplay for “Borat Subsequent Moviefilm” as my preference here. I can definitely see Academy voters going for “The Father,” because of its theatrical structure and the ways it attempts to subvert viewer expectations of what’s really going on in Anthony’s daily life. 

Best Original Screenplay:

  • Judas and the Black Messiah
  • Minari
  • Promising Young Woman (pick)
  • Sound of Metal
  • The Trial of the Chicago 7 (prediction)

Academy voters will probably side with Sorkin’s quippy, rapid-fire dialogue in “The Trial of the Chicago 7.” While that film’s script is definitely enjoyable, I find the incisive, darkly comedic screenplay of Emerald Fennell’s “Promising Young Woman” far more compelling. Chock full of memorable sequences and shocking twists, it forges a path all its own.

Best Cinematography:

  • Judas and the Black Messiah
  • Mank
  • News of the World
  • Nomadland (prediction; pick)
  • The Trial of the Chicago 7

The cinematography of “Nomadland” is richly textured, conveying both the ruggedness of Fern’s lifestyle, but also utilizing her environment as a symbolic representation of her personal journey over the course of the film. “Mank” also features expert camerawork, but its presentation lacks the variety and thematic weight of the former.

Best Editing:

  • The Father (prediction)
  • Nomadland
  • Promising Young Woman (pick)
  • Sound of Metal  
  • The Trial of the Chicago 7

There’s something to be said for all these nominees — each of the films has a different feel, and their editing accounts for that. Yorgos Lamprinos’ (not acclaimed director Lorgos Lanthimos) editing in “The Father” is especially noteworthy for the ways it manipulates and intentionally obfuscates the proceedings to immerse viewers into Anthony’s declining mental state. We never quite get our footing on reality in any given moment.

Best Production Design:

  • The Father (pick)
  • Ma Rainey’s Black Bottom
  • Mank (prediction)
  • News of the World
  • Tenet

I admire how “The Father” manipulates Anthony’s environment to reflect his disorientation and the passage of time, but Academy voters will in all likelihood choose the meticulous attention to detail of David Fincher’s “Mank.” I wouldn’t be upset by that winning — the film has extremely high production value, but a lackluster screenplay supporting it.

Best Original Score:

  • Da 5 Bloods 
  • Mank
  • Minari (pick)
  • News of the World
  • Soul (prediction)

It’s difficult to choose a favorite here — I’ve frequently revisited “What This Mission’s About” from Terrence Blanchard’s score for “Da 5 Bloods” — but my personal pick is Emile Mosseri’s score for “Minari.” Incredibly emotional and moving, Mosseri’s compositions perfectly complement the film’s poignant story of the American Dream. I’m predicting Jon Batiste, Trent Reznor, and Atticus Ross to win for “Soul” because of their previous awards momentum, as well as the musical contrast they create throughout the film. Side note: I bet “Soul” wins “Best Animated,” too, because it’s Pixar.

Best Original Song:

  • Fight for You
  • Hear my Voice (prediction)
  • Husavik (pick)
  • Seen
  • Speak Now

I don’t feel particularly strongly about any of these nominees, but I’m choosing “Husavik” from “Eurovision Song Contest: The Story of Fire Saga” as my favorite for its strangely poignant, multilingual lyrics, with in-your-face sentimentality that’s kind of infectious. “Hear My Voice,” from “The Trial of the Chicago 7,” will doubtless emerge victorious — it’s simple, blunt, and fits in nicely with previous winners.  

Best Sound:

  • Greyhound
  • Mank
  • News of the World
  • Soul
  • Sound of Metal (prediction; pick)

The sound design in “Mank” is impeccable in how it evokes films of the “Citizen Kane” era, but “Sound of Metal” should win this category, unquestionably. Utilizing innovative techniques to depict Ruben’s hearing loss, it becomes a character itself as his story unfolds.

Best Documentary Short Film:

  • Colette
  • A Concerto is a Conversation
  • Do Not Split (pick)
  • Hunger Ward
  • A Love Song for Latasha (prediction)

This category was, yet again, a frustrating decision. Each of these nonfiction gems are stylistically distinct, but deeply poignant and immersive in their own ways. I was particularly gripped by the raw, uncompromising “Hunger Ward” (about the ongoing conflict in Yemen), and “Do Not Split” (an up-close-and-personal look at the pro-democracy protests in Hong Kong). “A Love Song for Latasha,” documenting the life and murder of Natasha Harlins, will likely win. Presented in a mesmerizing, vivid fashion. “Love Song” is incredibly moving and would absolutely be deserving of the Oscar. 

Best Live Action Short Film:

  • Feeling Through
  • The Letter Room
  • The Present
  • Two Distant Strangers (prediction; pick)
  • White Eye

An amazing collection of short films, I predict and really hope that “Two Distant Strangers” — about a young black man trapped in a time loop where he’s always killed by the same cop, no matter how he acts — wins the Oscar. A brilliant, heartbreaking film, it’s extremely relevant to today’s climate and remains absolutely essential viewing for anyone with a Netflix account.

Best Animated Short Film:

  • Burrow
  • Genius Loci
  • If Anything Happens I Love You (prediction; pick)
  • Opera
  • Yes-People

This year’s batch of nominated animated shorts was an eclectic one, filled with varying tones, styles, and subject matter. The inventive construction of “Opera” and the twisted, fever-dream beauty of “Genius Loci” stand out in particular. Alas, my personal pick is the heartbreaking gut-punch of a film, “If Anything Happens I Love You.” Focusing on two emotionally distanced parents reeling from their daughter’s death, the film is profoundly well-made, and a prime example of doing less with more. The topic of gun violence is, sadly, ever-relevant, and this film is unflinching in confronting the grief left in its wake.