The Fantastic Four movie we’ve wanted, The Home an effective thriller, | Film

Shakman and cast finally do Four justice

One of the more vexing things for fans of Marvel Comics is
the inability to successfully translate the initial property of the four-color
universe to the big screen. Hitting newsstands during the fall of 1961, The
Fantastic Four was the first superhero-based comic created by Stan Lee and
Jack Kirby. The book would quickly amass a devoted following, the success of
which inspired the creative duo to dip their toes deeper into the genre of their
chief rival, DC Comics. Setting the template for the Marvel
Comics line, the title featured characters more human than super, flawed people
who come to realize the strange powers they’d inherited were just as much a
curse as a blessing. Without Reed Richards, Ben Grimm and Sue and Johnny Storm,
it could be argued that Spider-Man, Iron Man and their brethren would have
never seen the light of day.

Because of its place in Marvel’s history, the expectations
for a film version of the group’s adventures have always been high and never
met. The low-budget 1994 version was so misguided it was never released, while
the 2005 and 2007 entries were serviceable but hardly worthy of the FF’s
adventures. As for the 2015 attempt, had it also been unreleased it would have
been a boon for audiences and critics alike.

So, with the property’s tattered film history and Marvel in
dire need of a hit, the pressure is on director Matt Shankman to deliver on
this latest attempt to do the characters justice.  Thankfully, he understood the assignment, his
The Fantastic Four: First Steps proving to be a vibrant jolt of fun, a
movie that never takes itself too seriously while treating the property with
the reverence it deserves.

Taking place on an alternate world where Captain America and
his peers do not exist, what’s striking is the glossy, retro-futuristic 1960s
aesthetic Shankman employs. Reminiscent of the original comic, this is a time
of transition as this world is entering an era of great hope and exploration.
The Fantastic Four represents this conceit and all its possibilities, having
become media sensations since debuting during the aftermath of an
ill-fated trip to outer space.  Upon
returning from the cosmos, Reed Richards (Pedro Pascal) is granted to ability
to stretch to untold lengths, his wife Sue (Vanessa Kirby) is able to turn
herself and other things invisible, her brother Johnny (Joseph Quinn) is
bestowed with power to fly and burst into flames, while Ben Grimm (Ebon
Moss-Bachrach) is given incredible strength but is radically altered physically
as a result.

Rather than lording over the people of Earth, they’ve
devoted themselves to helping all they encounter.  As a result, the public has embraced them,
the group’s sincere benevolence making them universally loved.  However, this is put to the test when a herald
from space, the Silver Surfer (Julia Garner), arrives to announce the coming of
Galactus (Ralph Ineson), a massive alien who consumes whole planets for
sustenance. Looking to their saviors for salvation, the people of Earth turn on
the group when it is revealed they are unwilling to make a particular sacrifice
to save them from the space being’s wrath.

One of the hallmarks of the Fantastic Four comic were
the interactions between the titular characters. Though differences would often
arise between them, their unity as a family was always seen as genuine and
heartfelt. This, as well as the grand cosmic adventures they undertook,
separated that series from the rest, making it unique within the medium.

Both elements are present here, executed with a style and
artistry that elevates it above the also-ran versions that proceeded it. The
banter among Reed, Sue, Johnny and Ben is often heated, yet there’s never a
doubt there’s a sense of mutual love and respect behind it.  Pascal, Kirby, Quinn and Ebon-Bachrach
capture this perfectly, as if it were all second nature, their interactions
having a lived-in quality suggesting a long history among them.

Much like the source material, the script by Josh Friedman,
Eric Pearson and Jeff Kaplan focuses on the humanity of the characters. The
pressure Reed faces in saving the world, Sue’s ferocity in saving her family,
Johnny’s yearning to prove himself and Ben’s insecurities are all present, each
brought to life by the actors in an intimate fashion that makes their respective
dilemmas relatable.

Long-time fans of the comic will appreciate the deep-cut
Easter Eggs that pop up throughout, citing not only the group’s earliest
exploits but also reverently alluding to the characters’ creators. More than
anything, the movie is a great deal of fun. While so many of Marvel’s latest
films have felt a bit too heavy or, at times, directionless, Steps provides
a hard reset for the entire studio. In setting the story at the dawn of the
company’s comics revolution, there’s a sense of renewal, the movie serving as a
new starting point for the franchise, one brimming with enthusiasm and
excitement.

More than anything, Steps
is the perfect anecdote for superhero fatigue. It, along with James Gunn’s
Superman, reminding us that these films should be fun as well as hopeful,
something each accomplishes with a sincerity likely to please new fans as well
as old. In theaters.

Mounting dread makes for creepy Home

Max has something in common with the residents of the Green Meadow Nursing Home – they’re all out of chances. The difference is that while time has caught up with the seniors in this facility, Max has squandered every opportunity that’s come his way. Then again, it stands to reason that the former foster child is still traumatized by his brother Luke’s sudden death years earlier and his repeated run ins with the law are a cry for help. Now, required  to complete a four-month stint of community service at the home, he notices residents have been disappearing, while the blood-curdling screams coming from the fourth floor indicate something is terribly wrong here.

James DeMonaco’s The Home is a
surprisingly effective shocker that benefits greatly from a clever script,
steadily building tension and a solid lead performance. As Max, Pete Davidson’s
at-loose-ends persona is a perfect fit for the character, a lost yet morally
sound young man who knows he’s a square peg in a round hole society.
Emotionally damaged, he still has a sense of empathy which, ironically, leads
to trouble.  Were he able to keep to
himself, he wouldn’t care when some of the elderly residents go missing, His
refusal to look away is commendable, yet foolish.

DeMonaco
and his co-writer Adam Cantor effectively create a sense of mounting dread,
each odd incident Max observes getting stranger than the last. This is
punctuated by a series of increasingly disturbing dreams our hero experiences,
each containing clues pertaining to the mystery of the missing residents, each
becoming more graphic in their depictions of self-mutilation. This film is not
for the faint of heart or squeamish.

Complementing
the writers’ fine work is Anastas Michos atmospheric cinematography, the film
cast in a perpetual autumn gloom, the hallways of the seemingly ever-expanding
facility fighting to keep the darkness at bay. Also of note is the music from
Nathan Whitehead, the soundtrack becoming more manic as Max’s mind fractures.
Unlike most genre efforts, his work never overwhelms the action, complimenting
it throughout.

Horror
fans will likely be pleased once the big reveal occurs. The answer to where the
missing patients go and just what is happening on the fourth floor holds water
within the movie’s twisted logic. Equally important, and refreshing, is that
Max is an intelligent protagonist, not required to do one stupid thing after
another to keep the action moving or put himself in peril to generate suspense.
You won’t find yourself asking “Why did he do that?” while Davidson proves to
be appealing as he brings a quiet determination to Max that’s relatable

The
film doesn’t overstay its welcome and once the blood-soaked climax occurs,
DeMonaco and company deliver the kind of cathartic end genre aficionados will revel
in. That you’ll likely feel as though you’ll need a long, hot bath afterwards
means The Home has done its job. In theaters.

Hi doesn’t know when to quit

Farce is a tricky thing to pull off. It requires a deft touch as well as a keen sense of how far to push the often-outlandish situations its built around. Naturally, the best attempts are often executed by veteran performers and writers, those who have been in this arena before and, most importantly, know how to read an audience as their suspension of disbelief will be pushed to the limit. Knowing when to pull back before it breaks is essential.