The Snowman (Alfredson; 2017)

Jo Nesbo is a Norwegian crime novellist known the world over for revolutionizing modern crime fiction and has won a great many awards in addition to his popularity.  Tomas Alfredson is a Swedish film director known in the United States primarily for the Academy Award nominated Tinker, Tailor, Soldier, Spy as well as the horror classic Let the Right One In.  You would think that putting these two gentlemen together along with the phenomenal acting talent of Michael Fassbender would guarantee a quality film just awaiting critical acclaim and the attention of the film awards circuit.  That, however, is not to be the fate of The Snowman, a film which despite the pedigree of its acting, writing, and directing talents went horribly wrong.

The film opens with a series of camera shots you would expect in a Bourne film fight scene with a series of quick close ups and zoom outs cut together so quickly you barely have a moment to make out what you are seeing on screen.  But, this isn’t an action scene.  It’s just following a man entering a house then sitting at a table.  It’s an interesting choice that the most mundane action possible is filmed via frantic camerawork, but this is only done once.  Shortly after this we have a strange zoom through the windshield of a car which is reminiscent of an effect someone would use to show a space ship going into faster than light travel in a science fiction film, but it’s used for someone who is just pulling out of their garage normally.  One shot of this drive uses a very obvious CGI close up of the back of the car so out of date it looks like it was created in 1992, but none of the rest of the drive uses CGI at all, and again, it’s for the most part just a normal drive through a snowy landscape.  No high speed chase, no stunt work.  Again, nothing like this is shown again in the movie.  It’s just a strange choice for no obvious reason.

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The acting choices made throughout the film are also odd, so odd that there were times if I wondered if anyone in the movie had ever actually met another human being before.  Two characters will stare meaningfully at one another as if they were sharing some dark secret silently that only they know, or perhaps one is warning the other that they know what the other is up to only to find in the very next scene seconds later that the two have never met and are now being introduced.  Fassbender’s Harry Hole at one point attacks a person doing repair work on his apartment, and chases the repair person into the street, and we never know why nor hear from the character of the repair person again.  In fact, stares, awkward silences, and two people seemingly having completely different conversations as they speak past one another seems more common in this film than normal, recognizable human interaction.

I think these strange choices all have a reason which was found out near the film’s end, but that reason is in itself so bizarre if I am correct that it just adds yet another strange choice to the myriad of others rather than clarify anything.  Without spoiling anything, one of the characters has a trait that is a major influence on the actions of another, and all this monkeying around with strange interactions and camera work seems to be a hint to the audience about this character trait.  The trouble is that not only could this trait have been far more easily shown in mere seconds than by hinting for an entire movie, but there also seems no reason whatsoever to keep that trait a secret from the audience.

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There are some gorgeous shots of the Norwegian landscape in The Snowman, as well as some excellent framing of the city of Oslo, though I have to wonder does every house in Norway have windows on the inside so people can see into living rooms and bedrooms and the like?  Even the film being set in Norway is odd since every character speaks in English, American English, for the entire film with no establishing that they are actually speaking in Norwegian but are being broadcast in English for the sake of ease.  In the end, there is no reason to have the film set in Norway over anywhere else in the world, so why not just relocate the film to a cold climate in the United States if they are speaking American English?  This is a nitpick more than a major complaint, but when added to everything else in the film, it is just one more strange, pointless decision added to the pile.

Add all these factors together, and the crime thriller element of The Snowman just does not work partially because you are so distracted by the amateurism on display and partially because you are too busy laughing and scratching your head to be engaged in the plot.  Michael Fassbender was once an actor who would get my excited for his next project, and was good enough that I was willing to give what seemed bad choices the benefit of the doubt, but with his last few films including X-Men: Apocalypse, Assassin’s Creed, Alien: Covenant, and now The Snowman I have to now label him as an excellent actor who makes horrible decisions as to which roles to play.

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Final verdict:  The Snowman is not quite so incompetently made as to be so bad it’s entertaining, but many of its scenes are and film as a whole only barely misses that mark.  Incomprehensible writing, acting, and directorial decisions add up to make a film which leaves the audience more concerned with the ineptitude of the film makers than with the actual story.  Unless a handful of good shots of snowy landscapes are enough to pique your interest, there is nothing of value in The Snowman to recommend.  While the story itself does make sense, nothing about the way that story is put together does.

 

 

Happy Death Day (Landon; 2017)

Movies which use the same central conceit as Groundhog Day, that is that a person is reliving the same day over and over again, are becoming regular enough that it’s beginning to become a small sub-genre of its own.  Since the original we’ve had Run, Lola, Run which is different from the original in that Lola isn’t really experiencing the day over and over, the audience is just being shown the same scenario in different ways it could have played out.  Then, there is Edge of Tomorrow (Live, Die, Repeat) in which Tom Cruise relives the same day over and over due to having inherited the powers of an alien, and learns that he is not the first to have gained this power.  In ARQ a science experiment causes a time loop which has a couple of scientists and a crew of mercenaries raiding their laboratory to relive the same day over and over.  So far, the premise has continued to hold up as in each incarnation a new, interesting twist is thrown in to keep the story intriguing in a different way.  Now we have Happy Death Day, which is a film about Tree Gelbman (Jessica Rothe) who starts the day waking up in a strange bed in a dorm room after a night of heavy drinking and ends the day by getting murdered by a person in a mask.  This day also happens to be her birthday, and she keeps reliving it over and over again.

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A film like this relies heavily on the talent and charisma of its star.  Jessica Rothe (if she seems familiar, she was the blonde roommate of Emma Stone in La La Land) does have charisma aplenty, but it’s a little hard to determine the depths of her talent.  She does chew the scenery splendidly in Happy Death Day, bringing us a truly over-the-top bad stereotype level sorority bitch as the movie starts and becoming more of a decent person as the film goes on, but this is a film that isn’t interested in the least in realism, nuance, and honest character development.  To her credit, Rothe seems to recognize this and revels in her role for what it is – a walking talking plot device we are meant to root for rather than a fully fleshed out person.  She starts as a stereotype and as the movie moves forward just changes which stereotype she is for reasons that aren’t reasonably explained.  Given that’s what she has to work with, she does as admirable a job as anyone could be expected to.

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Scott Lobdell’s screenplay is another element of Happy Death Day which almost seems to revel in its imperfection.  Happy Death Day very obviously knows what kind of movie it is, going so far as to compare itself out loud to Groundhog Day at one point, and so it plays on the audience’s expectations of what they expect from a time loop movie.   The way it plays with the audience is both clever and fun, but it isn’t internally consistent.  Changes to a person’s character just happen because that’s what these movies do, not because the story gives us a real reason.  The film definitely has fun with and gives us a decent twist on the sub-genre, but it isn’t smart enough to always (and, the always is important here – sometimes it does, sometimes it doesn’t) incorporate those twists in a way that meshes with the story line, and can even seem counterintuitive to it.

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The most important factor of Happy Death Day, though, despite its many flaws and inconsistencies is that it is an entirely self aware movie.  It knows it exists simply to allow its audience to have fun via scares and playing around with our expectations.  Those things it does very well, and while I would have liked to see more from it in particularly the characterization department, I also don’t know what restrictions the cast and crew had to work with.  Perhaps this is a case of focusing almost entirely on the main thing the movie wants to do and letting other factors slide was the wise and not the lazy choice.  I’ll never know, but I do know that Happy Death Day is a film that is a ton of fun most of the time despite its flaws.

Final verdict:  While I wouldn’t quite classify Happy Death Day as a horror comedy, it is such a fun, unpretentious film that it will most definitely scratch that itch should you have it.  Its characters are shallow and change purely because in a plot like this you expect them to, but I can’t deny that all the actors here are charming and likable.  This is the exact opposite of the movie you should go to if you are looking for anything with any level of heft or depth at all, but if you like campy horror meant more to make you jump and laugh than to disturb or scare, then Happy Death Day is a surprisingly fun ride.