Color Out of Space

Spoiler-free!

This is a weird one, and that makes me happy. Modernizing the horror short story by the master of cosmic horror, H.P. Lovecraft, Color Out of Space tells of a mysterious event that takes place on an alpaca farm, where a meteorite lands and begins to alter the life around it.

Directed by Richard Stanley.

The event is witnessed by Ward (Elliot Knight) who stumbles across the farm as he does a survey of water tables in the secluded woods of Arkham County. The farm residents are the Gardner's, father Nathan (Nicholas Cage) mother Theresa (Joely Richardson) daughter Lavinia (Madeleine Arthur), and two sons, Benny (Brendan Meyer) and Jack (Julian Hilliard). After the meteorite crashes in their front yard they begin to experience an exponential growth of strange and disturbing happenings, that we know will lead nowhere good.

We don't get many straight-up H.P. Lovecraft movies, so I knew I was going to watch this no matter how bad it was, but I am genuinely impressed at how good an adaptation this is. It's set modern-day and there are a handful of other detail changes done, but with Lovecraft, the appeal isn't in exactly what happens, but the feel evoked -- and this felt every bit like the Lovecraftian menagerie of epic unknown terror that it should. The horror has that insane edge to it, and it creeps up slowly, focusing on the way the mystery effects the characters' mental states.

I loved this wobbly effect visible in the background.

It also withholds, but not so much that you feel cheated. You imagine, and then you get to see for yourself. And the effects are pretty darn fantastic. Sometimes in the vein of John Carpenter with practicals, sometimes with almost experimental digital -- rendering madness, and the indescribable. And it is cool. Violent and cosmic cool -- both in the concept and the way it is pulled off. As someone who doesn't like to be actively scared during a film, it was ideal for me. When you see how terrifying it must be for the characters, but are amazed, amused, and entertained yourself.

Despite having a fairly low budget, the movie doesn't lack anything, due to the original story dictating a remote location and tiny cast of characters. The woods and farm in the area are beautiful, and are made up in small ways to have an otherworldly vibe even before the changes begin. A lot of thought was put into the layout and details of the sets -- they stick in your mind with clear and unique imagery. And besides Nicholas Cage, no one is a big name, but they all sell the weird and the horror plus some. My favorites were Lavinia and Ward. Cage is like the cherry on top that brings out the crazy. Like he was born to play Lovecraft characters.

I would love to see more adaptations in this vein.

This film goes for it. The changes made are only to modernize, and to make the happenings film-able. Though Lovecraft's stories are not very cinematic, the solution, this film knew, isn't to try and "fix" the story. It fleshes out the characters and has to make up narrative scenes, but they are all in service to doing justice to the tone and nature of the story -- which is what's important. I was in awe by the end. It was wild and beautiful, disturbing and gleeful, and epic, and mad -- a true Lovecraftian film.

Spider-Man: Into the Spider-Verse

Spoiler-free!

Ever since Tobey Maguire, we've seen plenty of silver screen iterations of Peter Parker. Time to give Miles Morales a place in the spotlight. He sure does make it shine.

In a movie that could easily be overstuffed and distracted, it all serves to help him along his way.

Plot, premise -- whatever. It's a tale as old as time, really, and you know it already. There's Miles. (Shameik Moore) He becomes Spider-Man. Through related circumstances, other Spider-Men/Women/Beings accidentally get pulled into and trapped in his universe. They need to get back. Spider-Man is the only one who can get them back. And Miles Morales is the one-and-only Spider-Man!

Somehow I didn't expect this to be an origin story. Not sure why, as in retrospect it's obvious. But while it is an origin story for Miles in the sense that when the movie begins he's not Spider-Man and when it ends he is, it does away with the dragging feeling of a typical origin tale by doing away with one thing. See, the main restriction of origins like Spidey is that they're lonely. The hero randomly obtains these incredible powers, and has no one to tell. No one to confide in. No one to give clear advice. So, he flounders by himself. It's natural, and it's not like it doesn't work as a story. It can be and has been compelling. Many, many, many times. Time for a fresh angle.

Like a super strange mentor situation maybe...

Enter Peter Parker (Jake Johnson), Gwen Stacy (Hailee Steinfeld), Spider-Man Noir (Nicholas Cage), Spider-Ham (John Mulaney), and Peni Parker (Kimiko Glenn). It may sound complicated but no worries. The first is the classic Spidey, just older and a bit washed up. Then, naturally, Spider-Woman. The noir one exists in edgy black and white newsprint and wears a fedora, the next is a cartoon pig (self-explanatory if you ask me), and finally the anime version with a cute little girl and her pet spider. They're what drive Miles to truly becoming Spider-Man -- in that if he doesn't, they can't get home, and they're there to instruct and advise. There is still floundering, and loneliness to deal with too, but it all hits so much harder when it's sudden, and not par-for-the-course.

It only felt like an origin it the obligatory power-manifestation scene (which was unusually funny; it's usually just cringe to me) and then near the end for a moment. In between it could've any other day of the week, of missions and plots and action/adventuring. Miles spends a lot of time sans webslingers. A great choice because the lessened ability made for higher stakes. And he wears a Spider-Man Halloween costume. No, I'm not kidding. There were moments I wished he'd get a real suit already, but once he did, I understood why they delayed it so long. Well, besides thematically. The personality comes through so much better in the pieced-together, home-spun suit, it really does. And Miles is not a character you want to hide.

Plus, the long-awaited suit reveal moment was spectacular. (Or should I say "ultimate"?)

Anyway, the movie very respectfully but very firmly sidelines the side-Spider-Beings. If you're worried the movie might be crowded with them, don't be. They appear when they're useful and don't hog the scenery. If Spider-Ham isn't doing something worth looking at, you don't see him. Plain and simple. And there's a definite hierarchy of importance with these characters. Miles is number one. Always and forever, and the movie never forgets it. Peter is next, then Gwen. They have arcs. The rest get solid moments to shine. The temptation to overuse Spider-Ham had to be huge, but they never do. This is Miles' movie, and boy is it Miles' movie.

He's instantly established as the every-kid type, with his own passions (street art and music), his own issues that would seem big for a normal kid (being transferred to a boarding prep school) and complex relationships. He has no annoying-level problems with his dad (Brian Tyree Henry), but there's enough tension between them to be important as the plot rolls on. And he admires his maybe-not-so-great-but-definitely-very-cool uncle (Mahershala Ali). He's also enough of a dork to consider the friend-zone a fine place to be, and I think that's just too cute. Fact is, you care about this kid from the get-go, and from there it's only up.

Gwen is so extra. She has ballet shoes, and they're teal, AND they're point shoes, AND she USES them!

The voice performance by Shameik Moore is infused with teenage innocence and pathos to remarkable levels. To the point where I was shocked at how relatively inexperienced an actor he is. I took him for a long-time professional voice actor. Jake Johnson also is remarkable. He hits the comedy and the genuine drama equally well. Zoë Kravitz is Mary Jane. Liev Schreiber plays Kingpin. Chris Pine is there for a hot second. I mean -- Nicholas Cage! As a hard-boiled Spider-detective! There's not a bad performance in the lot -- whether for pitch-perfect comic delivery, or heart-breaking drama, or both together -- and since I don't have space to individually praise everyone who left an impression, I'll have to leave it at that.

Animation style is the big thing that sets this film apart. Without it, it would feel fairly typical, and even cheesy if they kept the filming style. It was a risk -- the thing that had most potential to put off viewers. Its goal was to maintain a comic-book look. There are print dots and hashing in the bright, comic-y colors. The motion is sometimes visibly choppy, like the movie's running at a slow frame-rate. (Much like The Lego Movie, for comparison.) And there's sometimes panels and split-screens. Miles' thoughts even translate to thought boxes for one sequence. In my opinion, it not only works -- it's the thing that makes the movie. I'm a firm believer in a movie's style matching the style of it's main character, and they nailed it here.

Even without the stylistic flair the animation is wonderful. Those expressions and character designs!

I couldn't ask for more. Grand, colorful, peppy and powerful in turn, uproariously hilarious beyond expectation, with gleefully involving characters and a plot line that doesn't feel stretched thin in this comic-book-movie world. Yes, this movie may be one of many, but like it's new-to-the-team hero, it plays it like it's the one-and-only. I could have happily existed in that crisp, splashy, and moving little universe for another adventure, or two, or five. So, welcome to the team, one-and-only Spider-Man!