The Atoning (Virginia Newcomb, Michael LaCour, Cannon Bosarge, dir. Michael Williams) The real atoning in The Atoning should come from the filmmakers, for making such a slow, turgid, obvious supernatural "thriller" that takes forever to get to its belabored point, with absolutely no creepy atmosphere or suspense or surprises along the way. The entire movie takes place in a creaky old house, where Vera (Virginia Newcomb), Ray (producer Michael LaCour) and their young son Sam (Cannon Bosarge) experience strange phenomena that suggest a haunting. The movie spends the first 40 minutes building to the most overused twist in horror movies (yep, they were dead all along!), which is really just a way to kill time until getting to the actual focus of the story, as the family members must come to terms with how they died in order to move on. The explanation for what happened to them is nearly as predictable as the mid-film twist, and writer-director Michael Williams draws it out as long as possible, spending way too much time on the mundane existence of ghosts in purgatory. There are some silly-looking demons that show up near the end, but mostly this is dull, soap-opera-level family drama, poorly acted, with some supernatural nonsense thrown on top. Available on iTunes.
Fugue (Sophie Traub, George Towers, Tristan Cowen, dir. Jorge Torres-Torres) A woman wanders through the Puerto Rican island of Vieques acting erratically, and Fugue starts by placing the audience inside her disorientation, with no explanation of who she is, where she came from or what she's doing there. Director and co-writer Jorge Torres-Torres creates an impressionistic narrative that mirrors the internal state of protagonist Claire (Sophie Traub), at least at first. Eventually the story comes together, in particular via a clumsy device of Claire, post-recovery, working with a hypnotist (co-writer Tristan Cowen) to reconstruct her memories. It's a mix of straightforward mystery and more experimental storytelling, with a jumbled chronology, and the movie is more intriguing the less it explains. Traub (who also contributed to the story) delivers an immersive performance, but even she stumbles over the chunks of exposition that the movie pauses to deliver periodically. The resolution is too esoteric to be satisfying on a narrative level, but too concerned with explanations to succeed as a piece of purely avant-garde cinema. Available on No Budge.
Unleashed (Kate Micucci, Justin Chatwin, Steve Howey, dir. Finn Taylor) I've enjoyed Kate Micucci in quirky comedic supporting roles, but I'm not sure she's quite up to playing the lead in a romantic comedy. It doesn't help that Unleashed's premise is so dumb and seems like a relic of late '80s/early '90s rom-coms: Lonely singleton Emma (Micucci) wishes there were men out there as wonderful as her cat and her dog, and thanks to some nonsensical magic whatever, her cat and her dog are transformed into people (played by Justin Chatwin and Steve Howey, respectively). There's a lot of strained comedy about these two dudes behaving like a cat and a dog, and their whole attempt to seduce Emma (who doesn't know that they're really her pets) is more creepy than funny (I can guarantee this movie will satisfy someone's very specific fetish). Emma is really meant to end up with well-meaning contractor Carl (Sean Astin), but Carl has almost no personality, and Astin and Micucci have no chemistry. The cutesy music, frequent montages and pseudo-hip workplace setting (Emma is an app developer) make the movie feel like a 2010s riff on movies like Mannequin, and I don't mean that as a compliment. Available on Amazon and elsewhere.