TITLE CHANGE, JAMES CAAN AND SOCIAL COMMENTS
Film Review by Fiore
Movies often go through title changes, but this one is a
bit perplexing. THE GOOD NEIGHBOR is
scheduled for release this coming Friday, but the title THE WAITING appears on
the final screening version of the film.
THE GOOD NEIGHBOR moniker makes more sense to me. It fits in the general scheme of the film’s
plot quite nicely. THE WAITING is a misnomer
and would be akin to naming BATMAN VS. SUPERMAN, ALIEN
RESURRECTION.
Screenwriters Mark Bianculli and Jeff Richland have pieced
together a decent thriller covering a few key social issues, including: domestic abuse; the overabundance of
technology; pranking; dysfunctional families; poor parenting; lack of
consequences for actions; the improper functioning of our current judicial
system; and how a person of money and influence can manipulate that system,
even if their name isn’t Clinton. That’s
a lot of commentary for one movie.
Ethan Fleming (Logan Miller) and Sean Turner (Keir
Gilchrist) opt to use their knowledge of sophisticated, yet commonplace
technology, to run an experiment on one of their neighbors. The concept for the experiment spawned from
one conducted in England. Officials
there told a town they would be interacting with special agents for a selected
period of time. These agents would not
interfere with their lives, but rather would appear as passersbys, clerks and
other folk encountered during a normal day.
The townsfolk reported profound changes in their lives, one even claimed
to have found God. The ruse was there
were no special agents in the town. It
was all a set-up.
So, Ethan and Sean opt to apply a similar scam to the
grumpy old man in the neighborhood, Harold Grainey, played by James Caan. They rig his house with cameras and devices
destined to convince the curmudgeon his house is haunted. The result is deadly, and there is much more
to the experiment than the boys let on.
KEY SCENES TO LOOK FOR:
1. The visit by the police officer
2. The party
3. The unveiling of Grainey’s past.
I almost quit this film. The opening reels are shot in POV reality
format. My regular readers, and you are
legion, know I totally despise this type of cinematography. The one saving grace to the film’s beginning
is the camera was steady and not constantly moving like the unwatchable JASON
BOURNE. Then, Director Kasra Farahani
time shifts the tale to the courtroom hearing of the trial. Someone is dead; but who and why? The reality
footage the viewer is seeing is actually evidence in a trial. This is a very clever technique and keeps the
film moving smoothly. Personally, I wish
there were more cutaways to the courtroom than provided, as some stretches of
evidence footage seem to go for longer than a jury would tolerate.
It is good to see Caan on the
Silver Screen again. He has aged, and is
now a long cry from his ROLLERBALL and KILLER ELITE days. THE GOOD NEIGHBOR does not require a lot of
thespian work from him, but he is solid in the scenes that require him to hold
the film together. Miller and Gilchrist
are convincing as high school pranksters and reveal key foreshadowing elements
to the observant viewer.
While THE GOOD NEIGHBOR is a
comfortable 98-minute length, Editor Kathy Gato slows the film a tad too much
just before the final reels. Stay with
the movie, the conclusion is worth wading through the repetitious
segments. Thankfully, Director of
Photography Aleander Alexandrov does not sporadically move the camera, as in CLOVERFIELD
or THE BLAIR WITCH PROJECT. You can
watch the film without needing Dramamine.
His shifting from camcorder to courtroom is transitionally smooth and
effective.
Outside of the slowdown just
before the conclusion, I found THE GOOD NEIGHBOR quite enjoyable. The finale provides a rather scathing, but
not preachy, glimpse at the lack of moral fiber of the millennial
generation. THE GOOD NEIGHBOR will have
a limited theatrical release, and then be available on VOD and streaming
services. Catch this one; I think you’ll
enjoy it.
THE GRADE FOR THE GOOD NEIGHBOR = B
No comments:
Post a Comment