Culture Representation: Taking place in an unnamed city in Pennsylvania, the horror film “Cobweb” features a predominantly white cast of characters (with a few black people) representing the working-class and middle-class.
Culture Clash: An 8-year-old boy thinks that a mysterious girl is living inside the walls of his house, while his parents try to convince him that he’s imagining things.
Culture Audience: “Cobweb” will appeal primarily to people who are fans of stars Lizzy Caplan and Antony Starr or slow-moving horror movies that aren’t very imaginative.
Lizzy Caplan in “Cobweb” (Photo by Vlad Cioplea/Lionsgate)
“Cobweb” struggles to be a creepy horror film, and it falls very short of being terrifying or suspenseful. There are too many monotonous stretches of this sluggishly paced movie. The mediocre acting performances and poorly conceived ending don’t help.
Directed by Samuel Bodin and written by Chris Thomas Devlin, “Cobweb” certainly had the potential to be a much better horror movie. The problem is that “Cobweb” has too much stagnant repetition that doesn’t do much to move the story forward. Even some of the principal cast members look bored during crucial parts of the film, which is filled with a lot of weak jump scares that don’t really go anywhere. The essential plot of “Cobweb” gets run into the ground very early.
Taking place in an unnamed city in Pennsylvania, “Cobweb” focuses on the Hall family and what appears to be the family’s haunted house. (“Cobweb” was actually filmed in Bulgaria.) Carol Hall (played by Lizzy Caplan) and Mark Hall (played by Antony Starr) are parents to 8-year-old Peter Hall (played by Woody Norman), who is alarmed because he keeps hearing things inside the walls of their house. The movie’s opening scene shows a frightened Peter waking up his parents at night because he heard noises coming from inside a wall.
Carol knocks on the wall and says she doesn’t hear anything. She tells Peter: “This is an old house. There’s bound to be bumps in the night.” As Carol tucks Peter into his bed, she adds, “You have a great, beautiful imagination.” The family house is predictably dark inside and somewhat shabby. Apparently, the Hall family doesn’t know the meaning of having lightbulbs with regular wattage.
Peter is a student at Holdenfield Elementary School, where he is bullied by a fellow student named Brian (played by Luke Busey), who is a stereotypical brat in a movie. A substitute teacher named Miss Devine (played by Cleopatra Coleman) notices that artistically talented Peter is withdrawn and troubled because he’s too frightened to go outside for recess. Miss Devine takes an interest in Peter’s well-being.
One evening, when the Hall family members are having dinner together, Mark tells Peter that a girl named Rebecca Holbrook, who lived on the same street, disappeared from the neighborhood on Halloween a few years ago. Rebecca still has not been found. The house where Rebecca lived is now abandoned and boarded up.
Carol says to Peter about Rebecca’s disappearance: “It was a very traumatic event for everyone in the neighborhood—and I personally don’t like remembering it.” Peter nervously asks Carol, “Am I going to disappear?” Carol assures him: “Peter, of course not. No. We would never let that happen to you.”
But then, it should comes as no surprise in a predictable horror flick like “Cobweb,” Peter starts to hear a girl’s voice talking to him from the walls in the house. She won’t say what her name is when Peter asks her. It’s an obvious way that the movie wants viewers to think: “Is the girl trapped in the walls the ghost of Rebecca Holbrook?”
“Cobweb” is yet another horror movie where a child makes disturbing drawings that are noticed by adults. Peter’s illustrations are seen by Miss Devine, who thinks that Peter might be getting abused at his home. And you know what that means: Miss Devine is going to show up at the Hall house unannounced to ask the types of questions where she’s acting more like social services worker than a substitute teacher.
Carol, who is a former teacher, is offended that anyone would question the parenting skills of Carol and Mark. There’s also a long stretch of the movie about the bullying that Brian inflicts on Peter, what the adults and Peter do about it, and how the violent bullying escalates. Throughout the film, Mark is portrayed as mysterious and a little weird. Carol is overprotective of Peter and very neurotic about not letting him get too close to the other students at school.
At least half of “Cobweb” rehashes the same things in a very bland manner: Peter hears sounds, such as a girl’s voice, in the walls. His parents tell him that he’s imagining these things. At school, Peter is bullied by Brian. Meanwhile, Miss Devine becomes convinced that something very wrong is going on in the Hall household.
Norman’s performance as Peter is adequate but not very interesting compared to child performances in other movies about kids who experience horror that is not believed by adults. Caplan portrays Carol as the type of Stepford-like housewife whose smile looks forced and whose mannerisms suggest that she’s hiding a lot of secrets. Starr’s performance as Mark is particularly stiff and flat. Coleman gives an average portrayal of Miss Devine, who is written as a generic character.
Of course, the reason for the noises in the wall is eventually revealed. That revelation doesn’t come until the last 20 minutes of the film, which is ruined by a ludicrous showdown that is just stupid, not scary. The big reveal just brings up questions that the movie never bothers to answer. The end of “Cobweb” hints that there’s potential for a sequel, but considering there’s very little about this tedious dreck that is crowd-pleasing, this “Cobweb” is a mess that is better off being swept aside and forgotten.
Lionsgate released “Cobweb” in U.S. cinemas on July 21, 2023. The movie was released on digital and VOD on August 11, 2023, and on Blu-ray and DVD and September 12, 2023.
Culture Representation: Taking place in 1897, mostly on a ship sailing from the Carpathian mountain range in continental Europe to London, the horror film “The Last Voyage of the Demeter” (based on a chapter in Bram Stoker’s “Dracula” novel) features a predominantly white cast of characters (with one black person and one Asian person) representing the working-class and middle-class.
Culture Clash: The people on a ship that’s carrying livestock for a sales transaction find out too late that a vampire named Dracula is on the ship.
Culture Audience: “The Last Voyage of Demeter” will appeal primarily to people who are fans of stories about Dracula or other vampires, but this violent flick drags on with underdeveloped characters and lot of boring repetition.
Martin Furulund and Javier Botet in “The Last Voyage of the Demeter” (Photo courtesy of Universal Pictures and Amblin Entertainment)
Considering the large number of vampire movies that exist, “The Last Voyage of the Demeter” is as creatively comatose as a vampire victim drained of blood. It takes entirely too long to get to any real action in this story, which is a dull mess of clichés. The movie has a talented cast, but they can’t save this disappointing movie that’s the equivalent of a sinking ship.
Directed by André Øvredal and written by Bragi F. Schut and Zak Olkewicz, “The Last Voyage of the Demeter” is based on the chapter “Captain’s Log” in Bram Stoker’s 1897 novel “Dracula.” Making an entire movie based on only a book chapter can either limit the movie when mishandled or open up a lot of innovative possibilities from filmmakers with enough imagination. Unfortunately, “The Last Voyage of the Demeter” is hampered by a limp plot that’s essentially just a checklist of people on a ship getting attacked by the evil vampire Dracula on the ship. This vampire (played by Javier Botet) looks more like the alien-like Nosferatu as it was orginally conceived, rather than the elegant Count Dracula.
The movie begins in Whitby, England, on August 7, 1897. On a stormy night, two coast guard men in raincoats find a deserted schooner, with a dead man tied to its wheel. The man has a crucifix in his hand. In his pocket is a bottle, with a rolled-up piece of paper inside. It’s a journal entry log that warns of danger. Suddenly, an unseen force attacks the two coast guard men.
The movie then does a flashback to July 1897. A cargo ship called The Demeter is about to set sail from the Carpathian mountain range (which spans from Bulgaria to the north and Romania to the south), with the final destination to London. The cargo consists of several livestock animals, such as goats, pigs and chickens. Viewers soon find out that the schooner with the dead man originally came from The Demeter.
Right before The Demeter is about to set sail, several men who were hired to be crew members on the ship end up quitting when they hear that the ship will be leaving after the sun sets. The leader of this superstitious group says that the group will only leave if the ship sails before sunset. The ship’s first mate Wojchek (played by David Dastmalchian), a Polish immigrant who grew up as an orphan, tries to convince the men to change their minds, but they stand firm and then leave the harbor.
The Demeter then leaves with a very understaffed crew, which will soon find out how dangerous this voyage will be. The evil vampire Dracula starts attacking people on the ship, one by one. Everything that you think will happen in this movie does happen, because it’s a rote rehash of other vampire flicks, except it takes place on a ship in 1897. And if there’s a lone survivor in the story, you can easily predict who it will be.
In addition to first mate Wojcheck, the other people on this fatal voyage of The Demeter are intelligent British physician Clemons (played by Corey Hawkins), level-headed Captain Eliot (played by Liam Cunningham), Captain Eliot’s curious 8-year-old grandson Toby (played by Woody Norman) and a mysterious stowaway named Anna (played by Aisling Franciosi), who is found in a comatose state with bloody welts and bites all over her body. Clemons has to give her blood transfusions to keep her alive.
Other people on the ship are four crew members: a dependable Romanian named Olgaren (played by Stefan Kapicic); reliable second mate Larsen (played by Martin Furulund); loudmouth Petrofsky (played by Nikolai Nikolaeff); and youngest crew member Abrams (played by Chris Walley), who has a special bond with Larsen. All four of these crew members don’t say much that’s worth remembering after watching the movie. During a meal around a dining table the men talk about going to a brothel, and they have a laugh when Toby tells them that a brothel is where women take off their knickers.
Also on the Demeter is the ship’s ultra-religious cook Joseph (played by Jon Jon Briones), who is originally from the Philippines. Joseph gets very offended when he hears people curse, because he thinks cursing is a serious sin. Someone should’ve told Joseph that he picked the wrong job, working with a bunch of sailors. He is also highly superstitious.
Not much happens for the first 20 minutes of the movie. Viewers find out that Toby is in charge of looking after the animals. This voyage is going to be Captain Eliot’s last voyage before he retires. Soon after The Demeter sets sail, Captain Eliot tells Vojchek that he wants Vojchek to be his successor. Vojchek, who sees Captain Eliot almost like a father figure, is flattered by this decision.
Captain Eliot keeps the ship’s log. His written entries are occasionally read aloud as voiceovers in the movie. These entries start off as very routine, but then the entries become more alarming as more disturbing things happen on the ship. It’s all so formulaic.
It’s explained early on in the movie that Clemons, who is a graduate of the University of Cambridge, is on the ship because he had been hired for a physician job in Eastern Europe. But once the employers saw Clemons in person (he’s black), they withdrew the job offer. Clemons decided to go back to England and needed a ride, which is how he ended up on this ship of strangers. Other than this backstory, Clemons mostly has a blank slate of a personality.
The issue of racism is briefly mentioned, in relation to Clemons getting a job taken away from him because of his race and a few other racist incidents that he’s experienced outside of this ship. No one on the ship treats Clemons with overt racism. However, he sometimes has to remind some of the crew members of his education to convince them that he’s capable of making certain medical decisions.
There could have been so much more done with the Clemons character, in terms of his character and his life experiences, but “The Last Voyage of the Demeter” filmmakers gave Clemons a cardboard cutout type of character: He’s there, and he’s noticeable, but he doesn’t have much depth. By the end of the movie, viewers will literally not know much about Clemons except that he’s a compassionate doctor who experiences racism.
Likewise, the Anna character and her life story also remains largely unknown. When Anna emerges from her coma and warns that Dracula is on the ship, the crew barely asks her any questions about who she is and what she knows about Dracula. Part of this lack of curiosity is because, at first, most of the crew members think that Anna is hallucinating from her medical injuries. “The Last Voyage of Demeter” has a lot of gore, but it avoids the messy and realistic issue of what it means to be a physically vulnerable woman who’s the only female on board a ship with some coarse sailors.
One of the more idiotic scenes in the movie is when Joseph finds out that something on board is killing the crew, he doesn’t leave during the day when he as a chance—in other words, when things on the water will be much easier to see. Instead, Joseph waits to leave by himself on a rowboat on a very foggy night. Although nothing is wrong with the cast members’ acting in “The Last Voyage of Demeter, ” none of it is special either, because the screenwriting makes all the characters fairly hollow.
Visually, “The Last Voyage of Demeter” is just a dump of mediocrity. This movie is bloody, but it’s not very scary. The best Dracula movies show the glimmers of humanity in Dracula. “The Voyage of the Demeter” just makes Dracula a drab monster who’s on the loose, with no concern in telling anything interesting about Dracula. For a movie about a vampire icon, “The Last Voyage of the Demeter” is bloodless and toothless when it comes to telling a good story.
Universal Pictures/DreamWorks Pictures will release “The Last Voyage of the Demeter” in U.S. cinemas on August 11, 2023.
Culture Representation: Taking place in various U.S. cities (including Los Angeles, New York City and New Orleans), the dramatic film “C’mon C’mon” features a predominantly white cast of characters (with a few African Americans and Latinos) representing the working-class and middle-class.
Culture Clash: A never-married, middle-aged bachelor, who works as a radio producer, finds out for the first time in his life what it feels like to be a parent when he takes care of his estranged sister’s 9-year-old son for an extended period of time.
Culture Audience: “C’mon C’mon” will appeal primarily to people who are interested in watching emotionally intimate, well-acted movies about family relationships.
Woody Norman and Gaby Hoffmann in “C’mon C’mon” (Photo by Tobin Yelland/A24)
What does “family” mean to you? The answer depends on who’s answering the question. The dramatic film “C’mon C’mon” (written and directed by Mike Mills) is an emotional portrait of three family members coming to terms with their individual identities and what the concept of “family” means to them. The movie also takes an equally impactful, broader look at children’s various perspectives of the world, because the male lead character (who’s a radio producer) travels across the U.S. to interview children about the world for his radio show.
As the three family members who go through various ups and downs in the story, Joaquin Phoenix, Gaby Hoffmann and Woody Norman give noteworthy performances that will make more than a few viewers shed some tears, but not in a manipulative, melodramatic way. The acting in the movie looks natural and somewhat effortless. In some ways, “C’mon C’mon” is a road trip movie, but the real journey is how the three main characters discover new things about each other and themselves.
“C’mon C’mon,” whose cinematography is entirely in black and white, was filmed from November 2019 to January 2020, before the COVID-19 virus infection rate turned into a pandemic. However, the movie seemingly aims not to identify the story by any particular year in the early 21st century. “C’mon C’mon” made the rounds at a few film festivals (such as the Telluride Film Festival, Chicago International Film Festival and New York Film Festival), because of the movie’s pedigree as an awards contender. The entire story of “C’mon C’mon” takes a low-key approach, so don’t expect extreme plot developments or surprising twists to happen.
In the movie, Phoenix is a radio producer named Johnny, who lives in New York City, but he travels a lot because of his job. Johnny is a never-married bachelor in his 40s, he has no children, and he’s currently not dating anyone. Later on in the film, it’s revealed that Johnny hasn’t had a special love in his life for quite some time. He’s essentially “married” to his work. He’s good at his job, but he doesn’t seem emotionally attached to anyone. That’s about to change.
Johnny is currently working on a series that interviews children from all over the United States. In the interviews, Johnny asks them things such as “What do you think about the future?” or “What scares you?” or “What makes you angry?” Sometimes, the children are interviewed with their parents in the room, while other times no adults are in the room except Johnny and a co-worker. Throughout the movie, various children are shown being interviewed by Johnny. Most times, they appear on screen, but other times, Johnny is seen playing back snippets of these audio interviews.
“C’mon C’mon” opens in Detroit, where Johnny is doing some of these interviews. A 13-year-old girl who’s being interviewed says that adults have to pay more attention to what’s around them. Throughout the movie, many of the children’s comments express a hopeful but concerned outlook on life. Many of the kids worry about some of the problems that they have to deal with (a decaying environment, racism, economic insecurities) that they think will become heavier burdens when they are adults.
One day, when he’s in a hotel room, Johnny gets a call from his estranged younger sister Viv (played by Hoffmann), who is is only sibling. Viv, who is a single mother living in Los Angeles, has called to tell Johnny that she needs him to come to Los Angeles to temporarily take care of her 9-year-old son Jesse (played by Norman), who barely knows Johnny. Viv explains that Jesse’s father Paul (played by Scoot McNairy), who moved to Oakland (which is about 370 miles north of Los Angeles), is going through some personal issues, and Viv wants to be there for Paul. Viv and Paul (who were never married) are no longer a couple, and she has sole custody of Jesse.
The conversation is polite but strained. There’s obvious tension between Johnny and Viv, which they don’t want to get into over the phone. However, it’s revealed in this phone call that Johnny and Viv have some lingering resentment toward each other over their mother, who died about a year ago after an extended period of being in ill health. Eventually, viewers find out that Johnny and Viv disagreed over how their mother should be cared for in her final months of life and whether or not taking her off of life support should be an option.
Johnny agrees to put some of his work on hold to go to Los Angeles and look after Jesse. When he arrives at Viv’s home, Jesse is shy with Johnny, an uncle he hasn’t seen for years. However, Jesse is aware that Viv and Johnny have barely spoken to each other and have had an estranged relationship for quite some time. And this family discord isn’t just because of Johnny and Viv’s mother.
The tension between Viv and Johnny is also because Johnny disapproves of Paul. Not everything about Viv and Paul’s history with each other is revealed, but enough comes out in conversations for viewers to find out why Johnny considers Paul to be a disruptive force in their family. It’s implied that Johnny never really thought that Paul was good enough for Viv, especially because of the emotional pain she went through by being in a relationship with Paul.
Paul has bipolar disorder, which is not specifically said out loud in the movie, but it’s implied based on his symptoms and other clues in the movie. For example, Jesse has a children’s book called “The Bipolar Bear Family: When a Parent Has Bipolar Disorder,” written by Angela Ann Holloway. Paul has been in a psychiatric facility before to get treatment for his mental illness.
Paul apparently doesn’t have any close relatives who can look after him, because Viv seems to be the only person in his life who’s taken on the responsibility of getting him the treatment that he needs. And because Paul and Viv were never married and are no longer a couple, it explains the murky situation that comes about when Viv has to make certain decisions about Paul’s medical care. Paul is shown briefly in the movie in present-day scenes and in flashbacks.
Paul is a symphony musician, who moved to the San Francisco Bay Area because he wanted to work for the San Francisco Symphony Orchestra. As Viv explains to Johnny, “the transition fucked him up,” and Paul is having some kind of breakdown. Viv needs to go to the San Francisco Bay Area to see about convincing Paul to check himself into another mental health facility again. She would rather that he get treatment voluntarily, because she doesn’t want to be the one to force him into an involuntary admission to a psychiatric institution.
Meanwhile, Jesse is aware that his father has bioplar disorder, but no one in the family has ever told him any specific details about why Paul’s illness is severe enough that he has to get in-patient treatment for it. (The word “suicidal” is never mentioned to Jesse, but it’s implied that Paul has been a danger to himself.) All Jesse knows is that his father sometimes has to go into a hospital when he has another episode that needs treatment. The stigma of mental illness is realistically portrayed in “C’mon C’mon,” as something that family members feel secret guilt or shame about, because they often try to hide or deny the illness.
During the course of the movie, Viv has to stay in the San Francisco Bay Area longer than she expected. And so, Johnny ends up taking care of Jesse for longer than Johnny expected. The majority of “C’mon C’mon” is about how Johnny and Jesse’s uncle/nephew relationship evolves to the point where Johnny becomes the closet thing that Jesse has to a father figure. At one point, Johnny contemplates whether or not he should move to Los Angeles.
Johnny’s caretaking of Jesse doesn’t happen in one, long continuous stretch. There’s a point in the movie where Viv returns to Los Angeles and then has to go back to the Bay Area again, but Johnny can’t be in Los Angeles because of work commitments. Jesse begs Viv to let him stay with Johnny in New York City and then travel with Johnny on the job. Johnny and Jesse’s travels are not spoiler details, because they’re shown in the movie’s trailers.
Jesse is a precocious and curious child who loves to read. Viv encourages Jesse to be a free thinker and allows him to question things. It’s why Jesse asks Johnny some questions that make Jesse uncomfortable, such as why Johnny isn’t married. Johnny says that he was with someone named Louisa, but she broke up with him. Johnny says he still loves Louisa, who is not seen in the movie.
One question that’s harder for Johnny to answer is why he and Viv stopped talking to each other for a long time. Johnny tactfully explains to Jesse that it’s because he and Viv couldn’t agree on the caregiving for their dying mother. The mother’s cause of death is never mentioned in the movie, but there are flashback scenes of Viv and Johnny visiting their mother on her deathbed.
There were resentments and jealousies between the two siblings before their mother got sick. Viv always felt that she never got the full approval of her mother and that Johnny was the favored child. Johnny felt like Viv’s tension with their mother was the reason why Viv seemed to not be as compassionate with their dying mother as Johnny thinks Viv should have been.
Johnny doesn’t want to badmouth Viv to Jesse, so he doesn’t tell Jesse these things. However, Johnny and Viv do confront their bitter feelings for each other with arguments over the phone. Paul’s current mental breakdown has also triggered bad memories of when Johnny told Viv to break up with Paul in the past, when Viv wasn’t ready to end the relationship. Viv thinks that Johnny meddled too much in her relationship with Paul.
Soon after Johnny begins taking care of Jesse, Jesse tells Johnny that Viv correctly predicted that Johnny would be a little awkward with Jesse, but that Johnny will eventually get used to Jesse. During the time that Johnny spends with Jesse, he finds out that taking care of a child is a lot harder than he thought it would be. Viv has certain bedtime rituals for Jesse that Jesse wants Johnny to do too. Jesse also shows signs of hyperactivity, so Johnny calls Viv for advice on how to get Jesse to go to sleep.
Another thing that Johnny has to learn is how to be a responsible caregiver when it comes to children’s meals. Like a typical bachelor who lives alone and travels frequently, Johnny has a refrigerator that is not stocked with much that’s appropriate for a child. When Johnny takes Jesse with him to go grocery shopping, Johnny gets a scare when Jesse wanders off and Johnny frantically tries to find him.
The movie shows in a lot of tender and quiet moments how this uncle and nephew eventually learn to trust each other, like each other, and eventually become friends with each other. Johnny and Jesse find out that that they have a lot more in common than they originally thought. They both love Viv but they both dislike how she lets Paul’s problems consume her. Johnny and Jesse are also more comfortable talking about things outside of themselves rather than their innermost feelings. When Johnny tries to interview Jesse for his radio show, Jesse is very reluctant and says no.
However, Jesse notices that Johnny likes to make audio diaries, so Jesse starts making his own audio diaries too. Johnny also shows Jesse how to operate Johnny’s professional audio equipment. There’s an adorable scene that takes place on California’s Venice Beach where Johnny and Jesse discover that Jesse not only likes operating this equipment, he could end up having a passion for radio. When Jesse arrives in New York City, Johnny introduces Jesse to two other radio producers who work closely with Johnny: Roxanne (played by Molly Webster) and Fern (played by Jaboukie Young-White), who are both very friendly to Jesse.
One of the most effective aspects of “C’mon C’mon” is how unpretentious it is in showing that learning and protection between adults and children can go both ways. Too often, dramas with a story of an adult taking care of a child for the first time will put an emphasis on what the adult is going to teach the child. However, “C’mon C’mon” shows that Johnny learns a lot from the children he’s in contact with, whether it’s someone he met briefly during an interview, or a nephew who turns out to be a special and unexpected friend. The movie has a pivotal scene in New Orleans that’s an example of how powerful a child’s emotional protection and wisdom can be.
The black-and-white cinematography gives “C’mon C’mon” a timeless vibe to it that looks best in the New York City scenes. In other scenes, such as in the vibrancy of a New Orleans street parade or in the sunny glow of Venice Beach, some viewers might wish that the movie had been in color. The movie’s lack of color doesn’t take away from the exemplary performances and screenplay for “C’mon C’mon,” which have such authenticity, it will resonate with viewers.
In “C’mon C’mon,” Phoenix gives an understated and nuanced performance as a “regular guy” (the type of character that he usually doesn’t play), who finds out from a child that he’s not as emotionally mature as he thought he was. In the role of perceptive Jesse, Norman gives a breakout performance that will stand as one of the best from a child actor in a 2021 movie. Hoffmann brings heartache and grit to her performance as Viv, who feels conflicted and guilty over the messiness in her life, while doing her best to make what she thinks are the right decisions.
“C’mon C’mon” could have been a very sappy movie that goes off in very phony directions. Fortunately, it is not, although some viewers might be a little bored if they’re expecting more exciting action in this movie. As for the movie’s most emotional scenes, there are some genuinely sentimental, tearjerking moments, but this is not a tragic story. There are no over-the-top villains or crazy adventures.
It’s a story grounded in reality about people trying to get through life in the best way that they can. What inspired the title of this movie? It’s from one of Jesse’s audio diary entries, where he says that when unpredictable things happen in life, you just have to “c’mon c’mon.” This human resilience is celebrated eloquently in “C’mon C’mon.”
A24 released “C’mon C’mon” in select U.S. cinemas on November 19, 2021.
