As our society grows more comfortable with conversations about mental health and the demons that many carry throughout life, it is becoming a well-known fact that the demons our soldiers and veterans saddle on their back during and after combat can be the most deadly of all.
The new suspense-filled indie Recovery does more than offer cheap thrills, it also sheds light on a dark issue: the lack of support for those put through the perils of war when they return. “According to a study conducted by the RAND Center for Military Health Policy Research, less than half of returning veterans needing mental health services receive any treatment at all.” This is an issue that has long gone unsolved and has inevitably led to another issue of self-medication in a variety of methods, causing matters to spiral even further.
Recovery intertwines the two social epidemics of untreated mental illness and drug addiction, painting a picture of our fraught reality, while also foreshadowing a potential future when the pot eventually boils over (mild spoiler: our main character never really receives help that she needs).
The film takes place at a secluded all-female heroin treatment center in the middle of a fierce snowstorm. Stephanie Pearson gives a riveting performance as Ronnie, a young recently admitted addict who has already gone through three tours of Afghanistan in her life and struggles deeply with PTSD, along with self-denial of her illness. Her symptoms include hallucinations and blackouts that often result in violence and a lack of recollection. She is rebellious, impulsive, and quick to pick an argument with anyone in her way.
Her first interactions at the establishment are with Dr. Jessica Barnes (played by Hope Quattrocki), who is stern, yet has a soft spot for Ronnie, most likely due to the fact that her own brother also served and dealt with the after-effects. Ronnie has a series of blackouts resulting in violence during her first days at the center and the head of the facility, Dr. Taylor (Mike Starr) ultimately decides to discharge her but must wait until the police come in the snowstorm. The atmosphere is already tense until mysterious murders start occurring. All fingers are immediately pointed to Ronnie, but things just aren’t adding up in that narrative. Now, let’s get into the meat of it, shall we?
The pros:
The editing had to be my favorite part of the film. There are these infrequent flashes of ominous looking men, most likely from Ronnie’s past military experience, haunting her before she has a violent blackout. If you choose to give the film a watch, the scene where she gets her uniform out truly gave me chills. The directing and editing choices give an authentic moment of blurring trauma-induced imaginings with reality. This happens more than once, with Ronnie’s hallucinations signaling to her that she is in danger, only to have her mind betraying her as she becomes violent with someone innocent.
As said before, Ronnie’s characterization was really well fleshed out and the performance was in tune with her lines. We know her and we understand her. Everyone else’s characters lagged a bit as a result, but I found myself desperately wishing Katherine (Aily Kei) had some lines! She was a phenomenal supporting role as a young woman struggling with addiction all her life and having communication problems so severe that she is almost somewhat mute. Clearly, her lack of lines is necessary given her character, but it was so convincing that I found myself yearning for Aily Kei’s other performances.
Now for the cons:
I really struggled with some of the details of the story. First off, this is not a horror. Yes, there’s blood and gore, but as the horror genre reaches new heights with new thoughts on fear and the psychology of the viewer, this film falls much more in the thriller genre. And though it aims to touch on PTSD and mental health, as well as how these ailments intersect with drug addiction, there is an abundance of unsatisfactory tropes of rehabilitation patients being portrayed as hopeless cases.
The dialogue is lackluster, failing to explain the important background on some of these characters which just leads the way for stereotypes to manifest. In this day and age, we must get deeper with these issues. There is no true depth to anyone but Ronnie.
In conclusion..
Even though the story bored me at points, lines fell flat, and the music was just not the best, the subject matter of Recovery is important and represents a growing disdain for the lack of resources for veterans. Just take a look at the Army tweet that, well, didn’t go so well. If you’re looking for a decent thriller with some dynamic cinematic choices that also connects to relevant social issues, I would give it a watch. Though there is a clear villain in the end, the monster of unchecked PTSD is also a killer here, as well as in reality.
New horror thriller RECOVERY released on June 4th, 2019 in the U.S. and Canada in-stores, digitally, and on demand.
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
‘Mufasa: The Lion King’ Will Leave You Breathless
Is ‘Kraven the Hunter’ a Total Letdown?
A Brief Review and History of A Year Without a Santa Claus
Review: Pushpa: The Rise (2021)
KGF: Chapter 2
Kyle Gallner May I?
A Review of Krampus: A Horror Fan’s Ultimate Christmas Treat
Review of Black and White Spoon on Netflix
Holiday Movie Review: Violent Night
Y2K: Get up and Break Stuff!
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
Interview With Heroes & Villains Creative Director Doug Johnson
Thatsmye Interviews: Les Weiler on Henchin’: the Series
