I’d say this movie was a disappointment but I didn’t really have high expectations for it in the first place so it’s hard to reach that conclusion. Basically this is a rip off of the concept from “Weapons” , and not a very good one at that. The idea of creepy kids being used to take retribution is a cross between a “Nightmare on Elm Street” and the film from last year where Amy Madigan played the part of an ice cream man, sorry I mean witch.
This film is told from the perspective of the young protagonist, a lactose intolerant lad who has been bullied by classmates and even a little bit by his friends, but in the end, he stands up the firmest against the evil that is encroaching on his small town. The story doesn’t make much sense until we get a data dump in exposition from a local priest about 2/3 of the way through the movie. And if by any chance you’re suspicious of the priest and what he has to say, you will not be at all surprised at the twist that comes near the end.
This is an Eli Roth film, so no one’s expecting much subtlety. When the vicious killings occur, there’s not really a lot of cutting away, we’re going to see heads separated from bodies, faces smashed to smithereens, and dismemberment galore . Once in a while we get a sly joke inserted into the mayhem, unfortunately they don’t always land. I can say however, that there was one bit that landed for me. There is a very funny scene which is basically a takeoff on the playground scene from Alfred Hitchcock’s the birds. It builds in a form that mimics Hitchcock’s style of shooting in that scene, and the juxtaposition of antagonists is what makes it work.
The Ice Cream man depicted in the film never really talks. And in spite of the horrible things that occur, there is even a slight effort to make his character somewhat sympathetic. That doesn’t work, for the obvious reasons that innocent people are harmed in the process and that in the absence of any words of contrition from the victims, the Ice Cream man just continues to smile maliciously.
So the movie plays like the gore version of The Pied Piper of Hamlin, with indiscriminate victims, and innocent children turned into murderers. Ho hum. I guess I should have known when I saw that Osgood Perkins was a producer on the film. Let’s just say he’s gone zero for three with me, and I’m someone who appreciated that Eli Roth was directing this film,
If you remember seeing “Grindhouse”, the two film collaboration between Robert Rodriguez and Quentin Tarantino, you will probably also remember that there were trailers between the two films. The fake trailers included two that were subsequently turned into actual films; “Hobo with a Shotgun” and “Machete”. We now have a third film based on those fake trailers, “Thanksgiving” is also directed by Eli Roth, who made the fake trailer for a film titled “Thanksgiving” for the 2007 Grindhouse project. Not to disparage the other films, but “Thanksgiving” turns out to be the best of the bunch, at least until “Don’t” or “Werewolf Women of the S.S.” get made.
After the success of “Halloween” back in 1978, there were dozens of films that took holiday themes to the slasher market. “Friday the 13th”, “April Fool’s Day”, “My Bloody Valentine”, and many more. Roth’s trailer for “Thanksgiving” is a parody and salute to those types of films. The full film does a great job of following that inspiration by repeating many of the tropes from those films. There is a foundational event that prompts a revenge scheme, we get a masked killer, the deaths are often played out as holiday related events, and there is macabre humor in just about all of it.
This film is very satisfying to those who enjoy a dark humored look at American Traditions and horror films. The opening section includes a scene that reminds us of real world horrors associate with Black Friday sales at department stores. Unruly crowds are pretty darn scary without throwing in the gore, but why skip the gore when you are doing a parody like this, Eli Roth doesn’t. He lays it on thick with his frequent use of skin being removed from the body by accidental means. Shopping carts and restaurant freezers are not benign objects in this movie. There are plenty of decapitations, stabbings, strangling’s and assorted other mayhem to keep all of the gore-hounds engaged, but it is all delivered with a large tongue inserted into a cheek. When a severed body is displayed next to a 50% off sign, you know that this is not meant to be taken seriously.
With one major plot exception, the film plays out the crimes with a pretty straightforward fidelity to law enforcement investigation. There has to however, be a point at which logic gets defied, and the results show up to start the third act. The creation of a mythical character, John Carver, as the avatar of the killer almost works. Like the Baby masks in “Happy Death Day”, this allows for suspicions to be cast on a variety of supporting characters and it adds the requisite mystery to the plot. There are a few moments that brush up against the torture porn that Roth has been known for, but I think it mostly stays this side of being prurient.
There are not a lot of holiday films that feature Thanksgiving as their central premise. It’s nice to have one more to add to the list, and especially one as self aware and entertaining as this one is. So fill your plate, over indulge and forget leaving room for dessert, the main course will fill you up and as the tagline says, “There will be no Leftovers”.
I love a revenge film. The catharsis and emotional satisfaction that comes from seeing justice being played out against reprehensible people is pleasing at the most base level. I think most people recognize that films like these are fantasies and not guidebooks on how to act. I can’t say on an intellectual level that vigilante action is something we should approve of, but for two hours in a movie theater it can be very therapeutic.
The original version of “Death Wish” from 1974 was one of the most controversial films of it’s time. It was also commercially successful. So much so that the character returned in a series of decreasingly relevant and quality sequels. It was a film of the moment, when urban crime was overwhelming cities and turning them into dystopian outposts in the real world, not some fictional future. The script for this remake is written in a manner to play off of that paranoia, but do so in a modern context. Screenwriter Joe Carnahan has mixed the urban danger zone that Chicago has become with the suburban setting occupied by the protagonist and his family. This changes the way the character might be perceived and it allows the fear of random violence to be part of a more contemporary story.
Another important change in the plot involves the lead now being a trauma surgeon rather than an architect. The avenging grim reaper now has a pipeline of bad guys coming through the emergency room, they provide him with a link to specific criminals. Charles Bronson’s character was not seeking the specific criminals that destroyed his family, he had become a moral cudgel to thrash the unrepentant criminal element in a somewhat random manner. He actually begins to bait criminals into their actions to be able to take them out. Bruce Willis does engage in a couple of random acts of vigilantism, but he mostly is pursuing leads that will bring him in contact with the particular gang that robbed and murdered at his house. The criminals in this film are an organized crew with a plan and an M.O.
Bruce Willis has been making straight to streaming movies for the last five years and his enthusiasm as an actor is not very apparent in most of this movie. He still has enough charisma to make us watch in some sequences but he seems to be disengaged in some of the others. It is only when he starts killing people that he seems to come to life in the film. His sequences with the family or interacting with the police lack the edginess and sarcastic humor that mark his other roles. Vincent D’Onofrio is his brother, and it is not clear in any way how he is essential to the plot. There are a couple of scenes near the end where the brothers confront some emotional issues between them, and D’Onofrio seems like he is effortlessly creating a character while Willis is just standing there.
However, director Eli Roth, has managed to inject some life into this film by making Dr. Paul Kersey, a relentless inquisitor and fledgling killer. In the original film, Bronson gets inspired by a visit to Arizona where a business contact encourages him to take up shooting. Dr. Kersey goes to Texas to bury his wife, and it is his father-in-law who inspires him indirectly by pulling to the side of the dirt road they are coming back from the graveside on, and unloading his rifle at a couple of poachers on his ranch. Coincidences become the staring point for his human hunting expedition when he recognizes a trauma patient as the kid who worked as a parking valet at his families favorite restaurant. Add a cell phone and a dropped firearm and he becomes a hooded FBI unto himself.
Roth is known for the horror films that he has made and his touch with gore is clearly visible in many spots in this film. Kersey as a doctor, knows exactly how to torture someone to get information that he needs and Roth is happy to show us the process. There are brains splattered in a couple of scenes so the violence quotient is pretty high. Early in the film, there is a set up of a device that becomes pivotal in the climax of the story. Progressives are going to hate this film but the NRA might want to use it as a commercial for membership. The unfortunate real world events that have brought gun issues to the center of national attention recently, may find that the narrative they are creating about semi-automatic weapons, will be problematic to those who have an interest in owning them for a variety of reasons other than creating mayhem.
The film lacks the grit and social relevance of the 70s original but tries to compensate with plot twists and higher levels of violence. The cop character in this movie is not as interesting as the Vincent Guardina cop in the original, but the perspective is effectively conveyed in a much more casual and subtle manner. If Bruce could manage to put just a little more effort into the non-action scenes, this could potentially be another franchise for a few years. Whether or not that happens, the revenge story is basic, brutal and as politically incorrect as you can imagine. All reasons for me to like the film at least.
Kirkham A Movie A Day 