Review: ‘Ransomed’ (2023), starring Ha Jung-woo and Ju Ji-hoon

August 8, 2023

by Carla Hay

Ha Jung-woo and Ju Ji-hoon in “Ransomed” (Photo courtesy of Well Go USA)

“Ransomed” (2023)

Directed by Kim Seong-hun

Korean and Arabic with subtitles

Culture Representation: Taking place in 1986 and 1987, in Lebanon, South Korea, and Switzerland, the action film “Ransomed” features a predominantly Asian cast of characters (with some white people) representing the working-class, middle-class and wealthy.

Culture Clash: A South Korean diplomat, who is assigned to duties in the Middle East, goes to Lebanon to rescue a kidnapped colleague, and the diplomat teams up with a rebellious taxi driver, who’s a South Korean living in Lebanon, as they make an unlikely duo for the rescue mission.

Culture Audience: “Ransomed” will appeal primarily to people who are interested in watching thrilling action films that use the tried-and-true storyline of a seemingly mismatched duo learning to work together for a common goal.

Ha Jung-woo in “Ransomed” (Photo courtesy of Well Go USA)

“Ransomed” uses a familiar formula of a bickering duo forced to work together in stressful situations. However, this suspenseful political thriller transcends its clichés by having great action sequences and believable performances from the principal cast. “Ransomed” is set in the 1980s, and it’s filmed as a throwback homage to 1980s live-action films, by having action sequences done by real people, not generated by excessive computer imagery.

Directed by Kim Seong-hun, “Ransomed” takes place briefly in 1986 and mostly in 1987. An opening statement shown on screen says that the story is “based on true events,” but many parts are fiction. The “true events” part of the story is about the real-life 1986 kidnapping of Do Chae-sung, who was a second secretary of the Korean embassy and was abducted in Beirut, Lebanon. Kim Jung-Yeon and Yeo Jung-mi wrote the gripping screenplay for “Ransomed.”

The beginning of ransom takes place in Beirut, where thousands of people are dying in Christian/Muslim conflicts. Amid this turmoil, a South Korean diplomat named Oh Jae-seok (played by Kim Jong-soo), a married father who has been assigned to work in Lebanon, is kidnapped by gunpoint by a group of Lebanese terrorists. He’s thrown into the trunk of a beat-up Mercedes and goes missing for a year. During that time, many people assume that Jae-seok is dead.

Meanwhile, in 1987, at the Korean Ministry of Foreign Affairs, one of Jae-seok’s colleagues has grown frustrated in the job. Lee Min-jun (played by Ha Jung-woo), a Korean Ministry of Foreign Affairs director in his 40s, and has just been passed over for a promotion to be assigned to the South Korean embassy in London. The job instead went to a younger man, who is praised during a meeting as being an “heir apparent,” which implies that he got the job because of nepotism. Min-jun wanted to transfer to London instead of the war-torn Middle East, where Min-jun has been assigned to be diplomat.

Min-jun complains to his boss about someone with less experience getting the job opportunity that Min-jun wanted. Min-jun’s boss responds by saying that the other man got the job because he’s was a political science major at the University of Seoul. Min-jun mutters that he’s tired of these University of Seoul grads taking the jobs of more qualified people. Min-jun is so bitter about not getting the promotion, when he’s alone in the office, he sprays pesticide on a bouquet of congratulator flowers that his office rival has on this desk.

Min-Jun will soon have bigger things to deal with than jealousy over a younger colleague. It isn’t long before Min-jun gets a strange phone call at work. The person on the other end of the line is not speaking. Instead, whoever is calling Min-jun is tapping out a special code that only people who work for the Korean Ministry of Foreign Affairs are supposed to know. The coded message says that the person calling is identifying himself the long-lost Jae-Seok.

Min-jun faces skepticism from many people about this phone call. To get to the bottom of the mystery, the Korean Ministry of Foreign Affairs consults Richard Carter (played by Burn Gorman), a British expert on the Middle East and a private political investigator for hire. Richard is up for the challenge of finding Jae-seok, but only if Richard is paid well for this job.

As a compromise, Min-jun says that Richard will only get paid if he shows “proof of life” for Jae-seok. It takes a little while, but that proof finally comes from a photo taken of Jae-seok holding up a recent newspaper with the date of the newspaper clearly shown. Keep in mind, this is in 1987, when Photoshop and other image-altering computer technology did not exist.

Richard tells the Korean Ministry of Foreign Affairs that Jae-seok’s kidnappers are terrorists who want a fortune in cash, as ransom money to release Jae-seok. The terrorists insist that the money has to be paid by the South Korean government. Min-jun goes to Switzerland to enlist the help of a wealthy man named Hay Shaito (played by Marcin Dorociński) on arranging where the ransom drop-off

It doesn’t take long for Min-jun to go to Lebanon, where he encounters several obstacles during his time there. While in Lebanon, Min-jun soon meets a taxi driver named Kim Pan-su (played by Ju Ji-hoon), who is originally from South Korea. Pan-su is a Vietnam War veteran, who later admits he “went mad” after his time in this war. Pan-su is married to a Lebanese woman named Layla (played by Nisrine Adam), who is a stereotypical “worried wife at home” in this male-dominated action film.

Someone else who gets involved in this kidnapping rescue is a Lebanese intermediary named Karim (played by Fehd Benchemsi), who helps Min-jun convert the ransom money into Lebanese cash. Karim, who is accustomed to dealing with terrorists, also gives Min-jun advice on how to deal with these terrorist kidnappers and how to plan to bring Jae-seok safely back to South Korea.

Min-jun needs Pan-su to be his translator and to teach Min-jun how to adjust to being in Lebanon as someone who is originally from South Korea. To further entice Pan-su into helping, Min-jun tells Pan-su that Min-jun can arrange for Pan-su and his wife to get a U.S. visa.

These two unlikely partners have opposite personalities, Min-jun is very orderly and “by the book.” Pan-su is a freewheeling loose cannon. Min-jun doesn’t know if he can fully trust Pan-su. A series of events force them to work together to keep each other alive.

“Ransomed” has some aspects of the story that seem far-fetched by actually makes some sense, under the circumstances. Min-jun is essentially the only Korean Foreign Ministry of Affairs official who’s going to be the one dropping off the money. Why doesn’t Min-Jun have more backup from his colleagues?

It’s explained in the movie that the terrorists have spies who are checking to see if Min-jun is planning an ambush with his colleagues or law enforcement. Typically, in a kidnapping ransom dropoff, the kidnappers only want to see one person dropping off the money. An exception is made for Min-jin, who relays a message to the terrorists through Karim, that Min-jin needs Pan-su to be with him as a translator.

As is expected in this type of action flick, there are car chases and shootouts. However, these scenes are better-than-average because of the skillful cinematography and the way these scenes are filmed to put viewers right into the action. Hardly any of it looks fake, although there are a few moments that look somewhat far-fetched in a “dangling from a building” scene.

Aside from the action scenes, the believable chemistry (sometimes friendly, sometimes hostile) between Min-jin and Pan-su will be what viewers will remember the most about “Ransome.” The argumentative conversations between Min-jin and Pan-sue are often intentionally comedic. The performances of Ha and Ju are completely entertaining to watch.

The last half-hour of “Ransomed” takes a turn into something more meaningful than just a “heroes versus villains” story. “Ransomed” also gives a realistic look at how the trauma of captivity can really damage someone and what human compassion looks like in the midst of death and destruction. “Ransomed” won’t be considered a classic action movie, but this adrenaline-packed movie gets the job done well in all the right places.

Well Go USA released “Ransomed” in select U.S. cinemas on August 4, 2023. The movie was released in South Korea on August 2, 2023.

Review: ‘Guillermo del Toro’s Pinocchio,’ starring the voices of Gregory Mann, David Bradley, Ewan McGregor, Christoph Waltz, Ron Perlman, Tilda Swinton, Finn Wolfhard and Cate Blanchett

December 6, 2022

by Carla Hay

Geppetto (voiced by David Bradley) and Pinocchio (voiced by Gregory Mann) in “Guillermo del Toro’s Pinocchio” (Image courtesy of Netflix)

“Guillermo del Toro’s Pinocchio”

Directed by Guillermo del Toro and Mark Gustafson

Culture Representation: Taking place in World War II-era Italy in the 1940s (and briefly in 1916), the animated film “Guillermo del Toro’s Pinocchio” features cast of human characters (all white Italians) and magical creatures representing the working-class and middle-class.

Culture Clash: An elderly wood carver/carpenter makes a puppet boy that comes alive and then goes on a quest to become a human being. 

Culture Audience: “Pinocchio” will appeal primarily to people who are fans of filmmaker Guillermo del Toro and the original 1940 “Pinocchio” movie and are interested in seeing a unique retelling of this classic story.

Sebastian J. Cricket (voiced by Ewan McGregor) in “Guillermo del Toro’s Pinocchio” (Image courtesy of Netflix)

“Guillermo del Toro’s Pinocchio” is a stellar example of how to do a highly creative movie remake that maintains the spirit of the original while making imaginative revisions. It’s destined to be a classic in stop-motion animation. The movie takes a while to get to the action-adventure part of the story, so be prepared for a lot of very talkative scenes in the first half of the film. “Guillermo del Toro’s Pinocchio” is such a visual treat that lets viewers get to know the characters in a meaningful way, the leisurely pace in the movie’s first half is not too much of a detriment to the film overall.

Oscar-winning filmmaker del Toro had been trying to make a stop-motion animation version of “Pinocchio” since 2002, when the Jim Henson Company acquired the rights to make Carlo Collodi’s 1883 children’s fairy tale “The Adventures of Pinocchio.” “Guillermo del Toro’s Pinocchio” (whose animation is inspired by illustrator Gris Grimly’s interpretation of Pinocchio) is directed by del Toro and Mark Gustafson, with the movie’s adapted screenplay written by del Toro and Patrick McHale. The book was famously made into Disney’s 1940 musical animated film “Pinocchio.” “Guillermo del Toro’s Pinocchio” keeps the gist of the story (an Italian wooden puppet named Pinocchio that wants to become a human boy) and brings it into the 20th century.

It’s not a political movie or a preachy film, but “Guillermo del Toro’s Pinocchio” is primarily set during World War II, when Italy was under the fascist regime of Benito Mussolini. A such, “Guillermo del Toro’s Pinocchio” has themes about the horrors of war and how people can become puppets under an oppressive government. The movie keeps the original story’s meaningful messages about family love, coping with death and self-acceptance. There are touches of comedy in “Guillermo del Toro’s Pinocchio,” but people should not expect a perky musical. The movie’s overall tone is dramatic.

“Guillermo del Toro’s Pinocchio” begins with a flashback to 1916, in an unnamed part of Italy, where a kind and amiable wood carver/carpenter named Geppetto (voiced by David Bradley) lives happily with his son Carlo (voiced by Gregory Mann), who’s 10 years old. Geppetto is a single parent. Carlo’s mother is not seen or mentioned in the movie. The movie’s intermittent narrator is a nomadic cricket named Sebastian J. Cricket (voiced by Ewan McGregor), who has settled in Geppetto’s home workshop to write a memoir about his extensive travels.

One day, Carlo finds a pine cone and gives it to Geppetto so that Geppetto can plant the pine cone, with the expectation that it will grow into a tree. Carlo gives this gift to Geppetto on the day that he accompanies Geppetto to a carpenter job at the local church, where Geppetto is restoring a giant statue of Jesus Christ on a crucifix. Suddenly, military airplanes appear in the sky, and a bomb is dropped on the church. Geppetto escapes, but Carlo is killed instantly.

About 25 years later, Geppetto is a very lonely elderly man, who is still grieving heavily over the death of Carlo. He sometimes gets drunk to try to cope with his emotional pain. The pine cone that Carlo gave to him all those years ago has now grown into a pine tree. In a drunken rage, Carlo cuts down the tree and makes a wooden boy puppet out of the tree, as a tribute to Carlo. Sebastian observes it all.

One night, the benevolent Wood Sprite (voiced by Tilda Swinton) visits the workshop, and finds out from Sebastian that the puppet was made so that Geppetto wouldn’t be lonely and to remind Gepetto of his son Carlo. (The Wood Sprite is called the Blue Fairy in other versions of “Pinocchio.”) The Wood Sprite brings the boy puppet to life, and names the puppet Pinocchio (also voiced by Mann), while Sebastian witnesses this magical spell. The Wood Sprite calls herself a “guardian” on Earth. She tells Sebastian: “I care for little things, the forgotten things, the lost ones.” And she asks Sebastian to help her look after Pinocchio.

At first, Geppetto is frightened by the sight of Pinocchio being alive, but he eventually loves Pinocchio like a son. One day, Pinocchio follows Geppetto to church, where the parishioners treat Pinocchio with fear and suspicion. The churchgoers think that this talking puppet is demonic, but Geppetto assures them that Pinocchio is just a puppet. Still, Pinocchio is treated like an outcast in the village from then onwards.

The church’s priest (voiced by Burn Gorman) and the village’s podesta (voiced by Ron Perlman), who represent the village’s top authority figures, order Geppetto to send Pinocchio to school, so that Pinocchio can learn the rules and laws of this Italian society. Viewers will have to overlook that most of the main characters have British accents in the English-language version of this movie. Because most of movie’s voice actors do not have Italian accents, it’s one of the few details that “Guillermo del Toro’s Pinocchio” gets wrong, but most viewers won’t notice or care.

The very stern podesta has a son named Candlewick (voiced by Finn Wolfhard), who often lives in fear of his domineering father and tries hard to please his father. The podesta is quick to judge others harshly and is eager to dole out punishment to anyone he thinks doesn’t follow his orders. Candlewick and Pinocchio are around the same age, in terms of emotional maturity level, and their relationship at first consists of Candlewick being a bully to naïve Pinocchio.

For example, Candlewick plays a mean-spirited prank on Pinocchio by suggesting that Pinocchio move closer to a fire to get warmer. As a result, Pinocchio’s legs get partially burned off, but Geppetto compassionately makes new and improved legs for Pinocchio. Candlewick and Pinocchio eventually become friends in a poignant storyline where they find out they have more in common than Candlewick thought. Pinocchio also wants to please Geppetto like a dutiful son. These father-son issues are recurring themes in the movie’s story.

Pinocchio doesn’t go to school as planned, and he ends up being lured into working at a carnival as the star act. The carnival is led by greedy and unscrupulous Count Volpe (voiced by Christoph Waltz), who is cruel and abusive to his loyal and sweet-natured monkey Spazzatura (voiced by Cate Blanchett). The rest of “Guillermo del Toro’s Pinocchio” has faithful renditions of the original story while adding very different new plotlines to the movie.

Sebastian the cricket (who is a purple instead of the traditional green) is not an ever-present sidekick with Pinocchio. In this movie, Pinocchio actually spends more time with Candlewick. “Guillermo del Toro’s Pinocchio” also has a character called Death (also voiced by Swinton), who is the sister of the Wood Sprite. Both sisters are blue magical creatures that talk without moving their mouths. The character of Death has a lot to do with some of the main changes to the story.

There are some pleasant original songs performed in “Guillermo del Toro’s Pinocchio,” but none that will become iconic such as “When You Wish Upon a Star” from Disney’s 1940 version of “Pinocchio.” Alexandre Desplat, who wrote the terrific musical score for “Guillermo del Toro’s Pinocchio,” collaborated with Roeban Katz on the movie’s original songs “My Son” (performed by Bradley) and the Mann-performed “Fatherland March,” “Big Baby Il Duce March” and “Ciao Papa.” It certainly would have been easier (and lazier) to try to replicate the Disney songs from 1940’s “Pinocchio,” so the filmmakers of “Guillermo del Toro’s Pinocchio” deserve some credit for not relying on the same old type of tunes.

The voice cast in “Guillermo del Toro’s Pinocchio” is top-notch and delivers the expected emotions on a very entertaining level. John Turturro has a supporting role as a doctor, while Tim Blake Nelson voices the four Black Rabbits that encounter Pinocchio. Mann’s high-pitched British voice is perfectly fine, but might be a little bit of a distraction for people who think Pinocchio should’ve sounded more Italian or southern European in this movie.

Waltz has played many villainous characters, so his interpretation of Count Volpe has the expected amount of sleaze and smarminess. Blanchett’s voice work is the biggest surprise because many people would never guess she’s the wordless voice of a monkey in this movie. McGregor’s distinctive voice seems underused, since the cricket character isn’t as prominently featured in “Guillermo del Toro’s Pinocchio,” compared to other “Pinocchio” movies. However, Sebastian gets a big scene in “Guillermo del Toro’s Pinocchio” where his strong-willed and opinionated personality is expressed in full force when scolding Geppetto for not appreciating Pinocchio.

As for the movie’s visuals, the animation is striking, gorgeous and often emotionally rousing. It is stop-motion animation that represents the best of what could be done creatively and technically when this movie was made. The ending of “Guillermo del Toro’s Pinocchio” is a major departure from the original book and 1940’s “Pinocchio,” but the conclusion is handled in a way that’s of a much higher quality than Disney’s inferior 2022 remake of “Pinocchio.”

Fantasy films of del Toro often walk the line between whimsy and melancholy in telling stories of life and death. “Guillermo del Toro’s Pinocchio” is no different and is, without question, one of del Toro’s most impressive movies. Some people looking for more action sequences in this movie might be disappointed, but “Guillermo del Toro’s Pinocchio” has much more to offer than being a superficial joy ride.

Netflix released “Guillermo del Toro’s Pinocchio” in select U.S. cinemas on November 9, 2022. The movie will premiere on Netflix on December 9, 2022.

Review: ‘Watcher’ (2022), starring Maika Monroe, Karl Glusman and Burn Gorman

February 15, 2022

by Carla Hay

Maika Monroe in “Watcher” (Photo courtesy of IFC Films/IFC Midnight)

“Watcher” (2022)

Directed by Chloe Okuno

Some language in Romanian with subtitles

Culture Representation: Taking place in Bucharest, Romania, the horror movie “Watcher” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: After a young married couple moves from New York City to Bucharest, the wife begins to suspect that a man in a nearby apartment building has been stalking her.

Culture Audience: “Watcher” will appeal primarily to people who are interested in horror movies that take their time to build suspense, even if the movie’s ending is entirely formulaic.

Maika Monroe in “Watcher” (Photo courtesy of IFC Films/IFC Midnight)

“Watcher” succeeds more often than not when it comes to immersing viewers into a tension-filled stalker mystery. The cast members’ believable performances elevate the movie’s repetitive tendencies and predictable ending. As far as horror movies go, “Watcher” is slightly better-than-average, but it’s not outstanding.

“Watcher” is the feature-film directorial debut of Chloe Okuno, who previously directed the “Storm Drain” segment for the 2021 anthology horror film “V/H/S/94.” Okuno co-wrote the “Watcher” screenplay with Zack Ford. It’s a movie with a very straightforward, easy-to-follow story—even if it recycles the over-used horror concept of a pretty young woman who thinks she’s being harassed by a “fill-in-the-blank” attacker, but she has a hard time getting anyone else to be believe her. “Watcher” had its world premiere at the 2022 Sundance Film Festival.

There are no ghosts in “Watcher,” but the movie’s protagonist, whose name is Julia (played by Maika Monroe), feels haunted by her own feelings of inadequacy of being unemployed in a country where she can’t really speak the language. Julia (who’s in her late 20s) and her husband Francis (played by Karl Glusman), who’s in his early-to-mid-30s, have recently moved from New York City to Bucharest, Romania, because of his job. Francis is a businessman who works for an unnamed company. The movie never mentions any further specifics about what Francis does for a living.

Francis, who grew up in the United States, feels comfortable living in Bucharest because his mother is Romanian, so he’s fairly fluent in the language. By contrast, Julia knows only a few words in Romanian and is starting to learn the language. She feels ill-at-ease about not being able to communicate in the way that she was accustomed to when she lived in the United States. There are enough people who speak English in Romania that Julia can get by on speaking English in most places, but she still feels like an “outsider.”

The language barrier isn’t the only thing that makes Julia feels insecure. When she was living in New York, she was an aspiring actress, but things didn’t work out for her, and she’s now given up on her dream to be an actress. In Bucharest, her employment prospects are also very slim. Her immigration status is unclear, since she doesn’t have a work visa. So, for now, Julia is a homemaker with a lot of time on her hands. Luckily, Francis makes enough money to support the both of them.

Soon after moving into their high-rise Bucharest apartment, Julia and Francis get the first inkling that something might be wrong. On their first night in their new home, Julia notices that a man in the high-rise apartment building across from theirs is looking directly into their apartment and staring at her while she’s alone. Julia can only partially see the man’s face, because the room he’s in is fairly dark, and his face is somewhat obscured by shadows. The man (played by Burn Gorman), who appears to be in his 40s, is of average height and build.

It unnerves Julia that this man might be spying on her, but there’s not much she can do because they’ve just moved into the apartment and haven’t had time to install drapes or blinds on all the windows facing this other building. Julia tells Francis that they might have a neighbor who’s a voyeur, but he tells her not to jump to conclusions. He also thinks that this mystery man is probably curious to see the new residents of this apartment.

Soon after Julia and Francis have moved into the apartment, they have a small dinner party with one of Francis’ male co-workers and his wife. It’s during this dinner that Julia and Francis first hear about a serial killer who hasn’t been caught and has been targeting young women in the area. The unknown serial killer beheads the murder victims and has been nicknamed The Spider in the media. You know where this movie is going as soon as you find out that the movie has a serial killer on the loose.

Julia then meets the neighbor who lives alone in the apartment unit next door. Her name is Irina (played by Madalina Anea), who’s about five or six years older than Julia. Irina asks Julia if she can hear any noises coming from Irina’s apartment. Irina seems relieved when Julia says no. However, Julia’s first impression of how soundproof the apartment walls are might not be a correct impression.

Not long after Julia and Irina meet for the first time, another creepy incident happens to Julia. She’s watching an Audrey Hepburn film by herself at a movie theater. There are only a few other people in the room, but she notices that a man has decided to sit directly behind her, even though there are plenty of other seats that he could’ve taken.

Julia can sense that the man is staring at her, but she’s so frightened that she doesn’t turn around to get a good look at this stranger. The theater is pretty dark anyway. Instead of moving to another seat, Julia quickly leaves the theater before the end of the Hepburn movie.

And then another incident happens. But this time, it’s at a grocery store, and Julia can clearly see the man who appears to be following her. Julia is pretty sure that it’s the same man who was staring at her from the apartment building across from hers. Julia and the man don’t say anything to each other, but he noticeably follows her in the grocery aisles, keeping enough of a distance away to not invade her personal space.

Julia impulsively hides in a stock room at the grocery store, in order to get this man to lose track of where she is. However, a store employee named Sebastian (played by Stefan Iancu) sees Julia in the stock room and tells her to leave this employees-only room. He doesn’t know much English, so he doesn’t understand her explanation of why she was in the stock room.

When a terrified Julia gets home, she tells Francis about this stalking incident and asks him to go back with her to the store, so they can look at surveillance footage to prove that the man was stalking her. Francis thinks Julia might be overreacting, but he accommodates her request. They find store employee Sebastian, and Francis explains to him in Romanian what happened to Julia and why they need to look at the surveillance footage.

The footage does show the man looking at Julia in the store and appearing to follow her. Julia exclaims, “See! He’s staring at me!” Francis is still skeptical: “Maybe. Or he’s staring at the woman who’s staring at him.” Because no crimes were committed, there’s nothing more that can be done about this incident.

After Julia has this scare at the grocery store, Irina invites Julia to hang out with her in Irina’s apartment for a drink. During their conversation, Irina tells Julia a little bit about herself: She studied ballet in London, but her dream of becoming a professional ballerina was crushed when she injured her knee.

Julia mentions that she once thought that she’d be an actress, but she’s has given up on pursuing that dream. Because Julia and Irina have a similar experience of not having their dream career in the arts, it establishes a rapport between them. It seems like Julia might have found her first friend in Romania.

During this get-together, Irina’s ex-boyfriend Cristian (played by Daniel Nuta) shows up and bangs on the door. Irina doesn’t want to see him, so she tells him to go away. When he leaves, Irina shows Julia the gun that Cristian gave to her. It’s at this point in the movie that you know that gun is going to be used. “Watcher” is not subtle at all when it comes to foreshadowing.

The rest of “Watcher” is about more stalker incidents experienced by an increasingly terrified Julia, who turns to law enforcement for help but also decides to do her own investigating. Meanwhile, because many of these incidents are a “he said/she said” situation, what Julia experiences is a little hard to prove. Far from being a supportive husband, Francis questions Julia’s credibility. And eventually, he questions her mental stability.

Yes, it’s another horror movie where the woman who’s the “target” is not believed and is perceived as mentally ill by certain people. However, where “Watcher” is most effective is in creating a growing sense of dread that something terrible really is going to happen. The movie also keeps viewers guessing until the last 30 minutes if the mystery man in the apartment building is just a stalker, or if he could be the notorious Spider serial killer too.

Monroe has been in other horror movies before where she’s played the “female in peril” leading role—most notably, 2014’s critically acclaimed “It Follows.” Therefore, she’s definitely got the skills to make her Julie character in “Watcher” look authentic and relatable. Glusman’s Francis character isn’t very interesting and isn’t in the movie as much as some viewers might think he is, mainly because Francis is at his job during a lot of the moments that Julia experiences terror.

However, what makes this movie work so well (in addition to Monroe’s acting) is Gorman’s ominous performance as the stalker. (The stalker’s real name is eventually revealed in the movie.) One of the best scenes in “Watcher” is when Julia sees him looking out his window, but she can’t be entirely sure if he’s staring at her. As a test, she gives him a slow wave. And he gives a slow wave too. It’s a moment that will give chills to viewers. The rest of the movie’s cast members give serviceable performances.

The movie’s last 15 minutes stretch some bounds of credibility and could have been handled better. And the way that the serial killer is revealed is sloppily edited, because the serial killer suddenly disappears from sight in a moving subway car when a certain person finds out the killer’s identity. Despite these flaws, “Watcher” is an overall solid horror thriller that doesn’t really do anything particularly inventive, but there’s enough to the story to keep viewers in suspense.

IFC Films/IFC Midnight will release “Watcher” in select U.S. cinemas on June 3, 2022. The movie is set for release on digital and VOD on June 21, 2022. Shudder will premiere “Watcher” on August 26, 2022.

Review: ‘Enola Holmes,’ starring Millie Bobby Brown, Sam Claflin, Henry Cavill and Helena Bonham Carter

January 17, 2021

by Carla Hay

Henry Cavill, Millie Bobby Brown and Sam Claflin in “Enola Holmes” (Photo by Robert Viglaski/Legendary/Netflix)

“Enola Holmes”

Directed by Harry Bradbeer

Culture Representation: Taking place in England in 1884, the dramatic mystery thriller “Enola Holmes” features a predominantly white cast of characters (with a few black people and Asians) representing the working-class, middle-class, wealthy and criminal underground.

Culture Clash: Sherlock Holmes’ teenage sister Enola Holmes, who is determined to outsmart Sherlock and solve the mystery of their missing mother, ends up getting entangled in another mystery of a teenage lord who is the target of an assassination plot.

Culture Audience: “Enola Holmes” will appeal primarily to fans of Sherlock Holmes and the stars of this movie, as well as to people who are interested in a feminist-leaning perspective on mystery stories.

Millie Bobby Brown and Helena Bonham Carter in “Enola Holmes” (Photo by Alex Bailey/Legendary/Netflix)

“Enola Holmes” vibrantly does justice to the mystery book series for which it is named, thanks to a splendid cast and a twist-filled, engaging adventure that will leave viewers wanting more “Enola Holmes” movies. There’s a lot to like about this cinematic adaption of the book “The Case of the Missing Marquess: An Enola Holmes Mystery,” written by Nancy Springer as part of the “Enola Holmes” mystery book series. The “Enola Holmes” movie (directed by Harry Bradbeer and written by Jack Thorne) offers a dashing and often socially conscious interpretation of what it would be like to be a female teenage sleuth in 1880s England while navigating a patriarchal society that constantly underestimates her or tries to undermine her.

In the movie, Enola Holmes (played Millie Bobby Brown, who is one of the producers of “Enola Holmes”) is trying to establish her identity as a detective, apart from her older brother Sherlock Holmes, who’s a famous detective. Enola has been raised by her eccentric, non-conformist widowed mother named Eudoria (played by Helena Bonham Carter, mostly in flashbacks), who has taught Enola not to let her gender prevent her from learning things that have been traditionally male-dominated, such as math, science and martial arts. Eudoria has been enthusiastically training and homeschooling Enola in these male-dominated fields.

The words “feminist” and “free-thinking” are never said in the movie, but it’s a life outlook that Eudoria is teaching Enola to have. The movie takes place in 1884 England, and by this particular society’s standards, Enola is considered a bit of a “wild child” because she’s not very interested in traditionally feminine things or looking prim and proper. For example, Enola often wears her long hair in a way that was considered very un-ladylike at the time: by letting her hair loose and without pinning it up or wearing a hat.

Throughout the movie, Enola talks directly to the audience, as if she’s letting viewers into her own private thoughts. It’s a creative decision that works well in the movie, for the most part, especially when it comes to showing Enola’s comedic sarcasm. However, there are times when this “breaking the fourth wall” technique gets a tad grating because it disrupts the flow of a scene and takes viewers, however briefly, out of the scene’s intended tone.

On Enola’s 16th birthday, Eudoria mysteriously disappears with no indication of where she has gone. Enola, who has a very close relationship with Eudoria, suspects that Eudoria has not been kidnapped. Eudoria was very private and liked to keep secrets. Enola is determined to find her mother and get to the truth.

But before she can start investigating, Enola (who is the youngest of three children) is horrified when she’s told that because of Eudoria’s disappearance, Enola now has to be in the custody of one of her older bachelor brothers: middle child Sherlock Holmes or eldest child Mycroft Holmes, who are both about twice the age of Enola. Sherlock and Mycroft left home when Enola was very young and never really visited. Therefore, she barely knows them.

In fact, Sherlock and Mycroft haven’t seen Enola since she was a prepubescent child. When she goes to meet Mycroft and Sherlock at the train station, they don’t even recognize Enola at first. In a private meeting that Mycroft and Sherlock had before reuniting with Enola, Mycroft (who is greedy, bossy and very snobbish) agreed to take custody of Enola because he has an ulterior motive: He wants possession of the house where Enola grew up, in case their mother has permanently vanished.

Sherlock (who is even-tempered, analytical and usually compassionate) is somewhat relieved that he won’t have the responsibility of taking care of Enola. His true love is his detective work, and taking care of a rebellious teenage sister doesn’t fit into his lifestyle. Mycroft doesn’t really want to have Enola live with him either, so he immediately makes plans to send her to a boarding school. The school is headed by an uptight middle-aged spinster named Miss Harrison (played by Fiona Shaw), who is infatuated with Mycroft and will do anything he asks her to do.

Mycroft makes it clear to Enola that he doesn’t respect Enola or the way that their mother raised Enola. It’s revealed later in the movie that Mycroft was cruel to their mother, which is one of the reasons why Eudoria didn’t seem to mind that she hadn’t seen him for years. Mycroft mentions the difficulty of finding a boarding school that won’t consider Enola a “complete failure.” Mycroft adds, “With Miss Harrison’s help, we’ll make [Enola] acceptable to society.”

Enola’s first meeting with Miss Harrison doesn’t go well at all. Enola defiantly tells her, “I don’t need to go to your ridiculous school!” In return, Miss Harrison slaps Enola in the face. Enola pleads with Sherlock to live with him, but he tells Enola that the matter is out of his hands because Mycroft is now the legal guardian of Enola.

Sherlock is Enola’s idol (she keeps newspaper clippings of all his cases), but she also feels competitive with Sherlock to solve the mystery of their mother’s disappearance before he does. Just like Sherlock, Enola is smarter than the average person, but she has more obstacles than Sherlock at being taken seriously because she has three strikes against her in this society: She’s female, she’s underage, and she’s a non-conformist.

In a flashback memory, Eudoria tells Enola: “There are two paths you can take, Enola: yours or the path others choose for you.” It’s a philosophy that Enola takes to heart. And more often than not, Enola trusts her own instincts, even if things don’t always work out the way that she planned. Luckily, Enola is a quick thinker who can come up with alternative solutions when she finds herself in a jam.

In a candid conversation, Sherlock tells Enola what she already suspected: There must be a very important reason for their mother’s disappearance, which seems to have been staged by Eudoria. Enola can’t solve the mystery while confined at a boarding school, so she runs away from home before she can be taken to the boarding school. Before she leaves, Enola finds some clues left by her mother that lead to a large stash of cash that Enola takes with her because it will come in handy during her investigation.

Enola disguises herself as a boy and sneaks onto a train. While in her private passenger car, Enola is surprised to find another runaway, who’s been hiding in a travel bag stowed in the car. He’s a boy around her age named Viscount Tewkesbury, the Marquis of Basilwhether (played by Louis Partridge), who has left home because he says his relatives are too controlling.

Enola immediately wants nothing to do with Tewkesbury, which means that later on in the movie he’ll become her love interest, in that “I like you but I’m going to pretend that I don’t” kind of way. She doesn’t have much time to kick him out of her train quarters because a sinister-looking man, whose name is later revealed to be Linthorn (played by Burn Gorman), has followed and ambushed Tewkesbury and tries to throw him out of the moving train. (And like a true villain in stories like this, Linthorn wears a derby/bowler hat.) Enola comes to the rescue of Linthorn and saves his life. The two teens jump off the train and immediately run away together, even though they don’t really know where they are.

During their time on the run, Enola and Tewkesbury get to know each other, and they find out that they have some things in common, besides not wanting to be under the control of bossy relatives. Enola and Tewkesbury both have fathers who have died. They both are resisting being “sent away” by relatives in restrictive environments. Enola doesn’t want to go to boarding school, while Tewkesbury doesn’t want to give in to his relatives’ demands that he enroll in the army. The two teens have also been following the news of about the Representation of the People Act 1884 (also known as the Third Reform Act), which proposes the expansion of voting rights to more citizens and which Parliament will decide on in an upcoming vote.

The beginning of a romantic spark between Enola and Tewkesbury is evident when Enola decides that Tewkesbury’s hair needs to be cut, so she cuts it for him. She acts as if she’s too independent to think about dating boys, but it’s easy to see that she’s growing fond of Tewkesbury and doesn’t want to admit it to him or to herself. Enola wants to solve the mystery of what happened to her mother, and she thinks dating someone would be too much of a distraction.

Tewkesbury and Enola eventually go their separate ways when Tewkesbury changes his mind about being a runaway and decides to go back home. He lives on a lavish estate with his widowed mother Lady Tewkesbury (played by Hattie Morahan); his paternal uncle Sir Whimbrel Tewkesbury (played by David Bamber); and his paternal grandmother called the Dowager (played by Frances de la Tour). Enola decides to move on and go to London. Even though Enola and Tewkesbury amicably part ways, it won’t be the last time they see each other in the story.

Enola has been declared a runaway, so she has to dodge the authorities. Mycroft has enlisted the help of a Scotland Yard inspector named Lestrade (played by Adeel Akhtar) to track down Enola. Mycroft feels angry, humiliated and insulted that his teenage sister was able to slip out of his custody. During her time on the run, Enola also comes across a female jiu jitsu class led by an instructor named Edith (who Susan Wokoma), who knows Eudoria and provides Enola with some valuable information, as well as a crash course in jiu jitsu.

Most of the charm of “Enola Holmes” can be credited to Brown and her spirited and charismatic performance of this intrepid sleuth. Enola is no shrinking violet, as she can get down and dirty in some fight scenes. However, the violence is tame enough that “Enola Holmes” can be considered a family-friendly film that adults and kids over the age of 7 can enjoy. The movie’s production design and costume design are on point, as are other technical elements such as cinematography, musical score and the stunt/action scenes.

“Enola Holmes” at times gets a little too heavy-handed with its feminist messages by making feminism look like it’s anti-men, based on some snide male-bashing comments that Enola makes in the movie. True feminism isn’t about being demeaning to men; it’s about believing in gender equality. Let’s hope that in future “Enola Holmes” movies (and you know there will be sequels), the filmmakers have Enola espouse more of the true gender equality spirit of feminism, because Enola doesn’t need to have a negative attitude toward men to be a good feminist.

There are enough twists and turns in the movie to please fans of mystery detective stories. Cavill’s Sherlock Holmes isn’t as intense as the character has been portrayed in other movies, but that’s because this Sherlock Holmes is at the beginning of his illustrious career. Claflin’s portrayal of Mycroft Holmes is fairly standard as a selfish villain, and it’s pretty obvious that Mycroft is a symbol for oppressive patriarchy. The supporting actors all do good jobs in rounding out this well-cast ensemble.

Overall, director Bradbeer keeps a brisk pace and infuses some modern-ish elements to the story (such as the female jiu jitsu class) to lighten up some of the stuffiness that would have dragged down this 123-minute movie if it strictly adhered to replicating everything about the real 1884 England. Purists can watch documentaries for that type of historical realism. “Enola Holmes” is what it is: good, fun escapism.

Netflix premiered “Enola Holmes” on September 23, 2020.

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