Triskaidekaphilia: 'Scooby-Doo and the Curse of the 13th Ghost' (2019)

On the 13th of each month, I write about a movie whose title contains the number 13.

Over the decades, cartoon dog Scooby-Doo and his human friends have starred in many, many different series, some of which lasted for numerous seasons, some of which were cut short after just a short run. The 1985 series The 13 Ghosts of Scooby-Doo lasted for just 13 episodes, and it's mostly just a footnote in the long franchise history. But the proliferation of online fandom means that nothing in pop culture gets lost anymore, and thus the latest straight-to-video Scooby-Doo original movie is an exercise in integrating this obscure series into some kind of overarching continuity.

That makes Scooby-Doo and the Curse of the 13th Ghost an extremely niche product, and yet it plays out mostly like a typical kid-friendly Scooby-Doo production, albeit with more self-awareness. Anyone who (like me) has never seen the original 13 Ghosts series can easily follow the movie, and it wouldn't be hard to believe that all the silly back story imported from the old show was just made up for this new movie. That includes the character of Vincent Van Ghoul, who is modeled after and was originally voiced by Vincent Price, and here gets an impressive soundalike vocal performance from veteran voice actor Maurice LaMarche.

Vincent summons the Scooby gang to help him capture the 13th ghost who escaped from an ancient chest of demons ("demon" and "ghost" are used pretty much interchangeably throughout) when it was accidentally opened by Scooby and Shaggy in the first episode of 13 Ghosts. The show only lasted long enough for the gang (also including Daphne, but minus regulars Fred and Velma) to capture 12 of the ghosts before it was canceled, and so the 13th ghoul has just been hanging out in continuity limbo. The gang travels first to Vincent's spooky castle home and then to a remote village in the Himalayas in order to track down and capture that final ghost.

Curse is full of familiar Scooby-Doo elements, including groan-worthy puns and ineffectual, ultimately harmless bad guys. But it's also surprisingly clever, at least for someone who hasn't kept up with the various incarnations of the show for the past 30 years. After an opening prologue establishing Vincent's origin story, the movie introduces the Scooby gang as they seem to thwart one of their typical nemeses (a creepy farmer sabotaging the development of a new mall). But it turns out that this isn't a masked criminal, and they've in fact caught an innocent man. A local cop tells them to stop trying to solve mysteries, or he'll have to haul them in.

When Vincent reaches out for help, Daphne has to clue Fred and Velma in on who he is, because they weren't part of that incarnation of the show. She also takes over as leader, changing into a stylish version of her very '80s jumpsuit from the 13 Ghosts series, prompting an existential crisis from Fred as to what his role is within the group if Daphne is leader. Sure, it's all fan service, but there's an element of intelligent deconstruction that keeps it from just coming across as pandering.

The plot drags in the second half (this probably did not need to be a feature-length story), and the villain is underwhelming, but overall Curse is lively and entertaining, with strong voice work from a mix of veterans (Frank Welker has been voicing Fred sine 1969!) and relative newcomers (Matthew Lillard has taken his live-action role as Shaggy into the animation realm, and Kate Micucci is an inspired choice as Velma). The animation is colorful and appealing, and there's enough here to engage both the primary Scooby-Doo kid audience and the nerdy adults who care about the continuity minutiae of cartoons.

Bette Davis Month Bonus: 'Phone Call From a Stranger' (1952)

Although she gets a fancy "Also Starring" title card in the opening credits, Bette Davis doesn't actually show up until Phone Call From a Stranger is nearly over, and her role is the kind of maudlin old lady that she rarely played, even later in her career. The real star of Phone Call is Davis' husband at the time, Gary Merrill, and Shelley Winters plays the kind of sassy-dame role that Davis would have gotten if this movie had been made a decade or two earlier. The movie is awkwardly structured, with the scenario indicated by the title not coming up until halfway through the story, and the relaxed first half is a lot more enjoyable than the heavy-handed, melodramatic second half (of course, Davis only gets called on for the heavy-handed melodrama).

In that first half, Merrill's lawyer David Trask is a passenger on a flight to Los Angeles, where he bonds with three other passengers as they wait for the delayed departure, and then again when they have to make an emergency landing in Utah to sit out a storm. David befriends struggling singer/actress Binky Gay (Winters), loudmouthed novelties salesman Eddie Hoke (Keenan Wynn) and brooding doctor Robert Fortness (Michael Rennie), and they exchange contact information so they can stay in touch after they go their separate ways. There's a loose hangout vibe to these early scenes, even when Robert discloses a dark secret to David so he can ask for legal advice.

The exchanging of contact info becomes crucial to the second half of the movie, after the plane crashes and David is one of the only survivors. He takes it upon himself to contact the families of his three dead friends (I guess the rest of the dead passengers are out of luck), both learning and imparting important lessons in each case. The movie devotes lengthy flashbacks to each passenger's sob story, robbing a lot of the liveliness and fun from the characters in the process. Binky is unable to please her overbearing mother-in-law. Robert is tormented by a fatal mistake that ended up estranging him from his family. And Eddie uses an old sexy photo of his wife (Davis, finally) and a jovial attitude to mask his difficulties at home.

David, too, has domestic troubles, and he's on the plane fleeing from his cheating wife, who's at home with their children, begging to be forgiven. He doesn't get a flashback, but he explains his situation pretty thoroughly, and he has a couple of fraught phone conversations with his wife. His final revelation that he should go back to his family and forgive his wife is jarring and abrupt, and it makes it seem like the only reason he offered closure to these other families was so he could find an excuse to go back to his own. Davis, as Eddie's disabled wife, gives a florid speech about forgiveness and love, which is obviously meant to be a big showcase for her but just sounds hokey and pathetic. If she showed up in the movie as a favor to Merrill, she wasn't able to do enough to save it.

Triskaidekaphilia: 'Nightmare on the 13th Floor' (1990)

On the 13th of each month, I write about a movie whose title contains the number 13.

It's not actually a pilot for a TV series, but the 1990 made-for-USA movie Nightmare on the 13th Floor could very well have been the extended first episode of a forgettable procedural about a travel writer who solves crimes on her various trips. Michele Greene is actually pretty charming as Elaine Kalisher, who's assigned to write an article about the historic Wessex Hotel in Los Angeles and ends up stumbling on a Satanic murder cult. The plot is totally idiotic and takes way too long to get to its predictable reveals (even though the movie only runs 85 minutes), but there's a kind of comforting familiarity to the tone and style, which matches the kind of reruns USA was probably airing before and after showing this movie.

The opening even features Elaine at home in Florida before her trip, bantering with her sassy kid neighbor, as if establishing a supporting cast for a series that will never come. Once in LA, she checks in to the fancy Wessex, but while exploring the hotel for her article, she gets stuck between floors in the service elevator, accidentally witnessing the murder of a man on the hidden 13th floor. All the employees insist that there is no 13th floor and that she must have been hallucinating (after taking a bump on the head when the elevator jolted to a stop), and a seemingly kind local doctor (played by James Brolin) assures her that it's all in her imagination.

Of course, all these people are part of the conspiracy, and there's a nice touch as Elaine describes the old-timey 13th floor and its gaslights while being told that her own observations aren't to be trusted. Writers J.D. Feigelson and Dan DiStefano don't really do anything else with the idea of a woman's trauma being minimized and disbelieved, but it's still a smart reference for a movie that's mostly just interested in grinding through plot mechanics. Elaine is actually very determined and resourceful and never really doubts herself, pushing forward until she discovers the (obvious) sinister truth.

There's not a lot of suspense in that discovery, and since this movie was made for basic cable in the '90s, almost all of the violence takes place offscreen, with virtually no blood. Director Walter Grauman tries to lend some style to that necessary constraint, showing the shadow of the killer's axe descending on each victim right before a scream and a cut to the next scene, but it's more cheesy than evocative. That applies to the movie as a whole, which might have been a little bold for USA in 1990, but now just seems clunky and quaint.

Triskaidekaphilia: '13 Fighting Men' (1960)

On the 13th of each month, I write about a movie whose title contains the number 13.

I'm not certain exactly how many fighting men are in the 1960 Civil War drama 13 Fighting Men, or how they're meant to be counted, but either way I'm pretty sure there aren't 13 of them. There are fighting men on both sides of the North/South divide in this movie, which takes place just as the Civil War has ended and the two armies are no longer meant to be at odds (or at least not violently). Conveniently, the main characters find out about this development via a newspaper headline that reads "Civil War Over." That's indicative of the kind of bland, straightforward storytelling on display here, despite occasionally lively moments of interpersonal conflict.

A regiment of Union soldiers led by the upstanding Capt. John Forrest (Grant Williams) is escorting a U.S. Treasury agent and his literal box full of gold coins back to safe territory when the slimy Maj. Simon Boyd (Brad Dexter), leader of a rogue Confederate unit, finds out about the gold and decides he and his men should take it for themselves. The Union troops take shelter in a farmhouse, and most of the movie involves the Confederates laying siege to the house, determined to get the gold by any means necessary. The frontier siege and the conflict over a cache of gold make Fighting Men more like a Western than a war movie, and indeed the war is used mostly as background for a stodgy morality play.

Boyd and his men aren't the only greedy ones, and Forrest faces betrayal and potential violence from some of his own men, as well as the residents of the farm, who find themselves caught in the middle of the battle. Screenwriters Robert Hammer and Jack W. Thomas find some nuance in the various motives of the characters, who aren't all just either selfish thieves or honorable patriots. The Treasury agent guarding the gold is a cold bureaucrat, more concerned about government property than about the lives of the soldiers, and the lady of the house, Mrs. Prescott (Carole Mathews) is a pragmatic schemer whose life has been destroyed by a war she had no part in. Boyd is a pretty one-dimensional villain, but his soldiers aren't just minions who fall in line.

Mathews is good as the devious Mrs. Prescott, but the otherwise all-male cast is pretty stolid, and there isn't a lot of suspense or excitement in the lengthy stand-off. The movie runs only 69 minutes, but director Harry W. Gerstad still takes his time getting all the major players together, and the meatier drama doesn't really start until the second half. Even then, the threats never seem particularly dire, and the violence is all bloodless and brief. The moral issues of the war itself are never raised, and the characters' various positions on right and wrong play out in largely expected ways. Like the movie itself, they're just going through the motions.

My top 10 non-2018 movies of 2018

As always, one of my most satisfying projects of the year is this recap of my favorite movies from previous years that I saw for the first time this year.

1. Princess Cyd (Stephen Cone, 2017) If I'd seen this movie just a few months earlier, it would almost certainly have been at the top of my 2017 best-of list. Instead it was a low-priority catch-up that I got around to almost as an afterthought, only to find myself with tears running down my face as I watched this beautiful, sweet, endlessly empathetic coming-of-age story about women of two different generations both finding themselves as they find each other. When spunky, athletic teenager Cyd (Jessie Pinnick) moves in for the summer with her author/professor aunt Miranda (Rebecca Spence), it could be the recipe for a cliched story about relatives with nothing in common learning to relate to each other. And it sort of is that, but in the most natural, touching way, as niece and aunt build a lovely rapport despite occasional conflicts. Cyd explores her attraction to a local female barista, while Miranda luxuriates in her middle-aged singlehood. There isn't much plot, but there are so many rich, complex emotions that any more plot would have been too much. Pinnick and Spence are both fantastic, and should land a ton more roles if anyone ever sees them in this. I hope more people do.

2. The China Syndrome (James Bridges, 1979) I watched this movie as part of the prep for my David Magazine feature on movies with eco-friendly messages, and I didn't expect much more than a competent social-issue drama. So I was pretty blown away by the level of suspense and character development that goes along with the nuanced political and social commentary. Yes, this is a movie about the dangers of nuclear power plants, but it's also a movie about the decline of journalistic standards, about the unfair ways that women and older people are treated in the workplace, and about Jane Fonda being delightfully sassy. Fonda, Jack Lemmon and Michael Douglas are all excellent, and the movie lays out its case clearly without sensationalism and without ever forgetting to tell an engaging story with fully realized characters.

3. Phantom Thread (Paul Thomas Anderson, 2017) This is another 2017 movie that I got to just a little too late to make it onto my 2017 top 10 list, and I procrastinated on seeing it in part so that I could watch it in a theater and in part because I'm often left cold by Anderson's films. But "cold" is exactly the right word to describe the tone of this story, which is calculating and methodical in its depiction of what turns out to be a lovingly kinky relationship between demanding fashion designer Reynolds Woodcock (Daniel Day-Lewis) and headstrong waitress Alma (Vicky Krieps). It's a slow burn that is often dryly funny, with sharp performances from the leads (including Lesley Manville as Reynolds' protective sister) and, of course, gorgeous (if often ridiculous) costume design.

4. Show People (King Vidor, 1928) There are always lots of fascinating discoveries at the TCM Classic Film Festival, but what struck me most about this movie is how fully formed its Hollywood satire already was, 90 years ago. This silent comedy starring Marion Davies as a small-town girl who makes it big in the movies and loses touch with her roots is clever and lively and quite funny, with some fun slapstick and some entertaining performances, and it also features the movie business poking fun at itself via celebrity cameos and movies-within-the-movie, in much the same way a movie like this would do in 2018. The more things change, etc.

5. Season of the Witch (George Romero, 1972) When Romero passed away in 2017, not many obituaries mentioned this little-seen psychodrama about a bored suburban housewife who takes up witchcraft (but mostly in a non-horrific, buying-supplies-at-an-occult-store kind of way). It's not really a horror movie, although it eventually does involve murder (maybe), and it has a constant unsettling, off-kilter tone. Instead it's a knowing exploration of the frustrations of married women in the early 1970s, still expected to fulfill traditional roles even as the world is changing around them. The frequent fantasies and dream sequences give the movie a sense of disquieting unreality, and star Jan White brings a sly, sensual quality to her lead performance.

6. The Student Nurses (Stephanie Rothman, 1970) The Nevada Women's Film Festival presented a rare screening of this Roger Corman production in a tribute to unsung exploitation filmmaker Rothman, and the movie makes a strong case for her as an undervalued talent who brought a progressive, proto-feminist sensibility to her work. I was impressed with this movie's frank and even complex takes on radical activism, sexual liberation, drug use and abortion (that last one in a more honest way than most movies today, really), via its cheesy framework of a group of sexy (and occasionally topless) young nursing students living together. It's rough around the edges, of course, and the plot about one of the main nurses falling for a terminally ill teen is way too maudlin, but overall this is a hidden gem worthy of rediscovery.

7. Finishing School (George Nichols Jr. and Wanda Tuchock, 1934) Speaking of exploitation, this is essentially the 1930s version of a teen sex comedy, starring Frances Dee as a sheltered good girl who learns all about smoking, drinking and premarital sex (this is a pre-Code movie, thankfully) from her naughty roommate at an upscale girls' boarding school. Ginger Rogers is very entertaining as the exuberantly sinful roommate Pony, and the movie has a refreshing lack of moralizing. There's still a central love story ending in marriage, but characters are allowed to explore their vices without judgment or comeuppance, and the story is driven by the choices of the female characters, in a rare co-directorial effort for that era (or any other, really) from a woman.

8. People Places Things (Jim Strouse, 2015) The generic title and the mediocre reviews didn't give me high hopes for this indie dramedy, but it turned out to be a sweet and affecting romantic comedy that doesn't give in to cliches, and features warm, multilayered performances from Jemaine Clement, Regina Hall and Jessica Williams (around whom Strouse later built an entire romantic comedy, the equally lovely The Incredible Jessica James). The relationships are low-key and natural, and even though there's some silly comedy about the newly single Will (Clement) dealing with his cheating ex, the characters are all grounded and believably flawed. Strouse even makes some insightful observations about comic books as an art form via Will's job as a creator and professor of graphic novels.

9. Gaslight (George Cukor, 1944) The term "gaslighting" has grown way beyond this movie and seems more prevalent than ever in 2018, but going back to its best-known inspiration is still an enlightening and entertaining experience. This movie is pure melodrama, with Charles Boyer hamming it up as the obviously sinister playboy Gregory, who's tricking his fragile wife Paula (Ingrid Bergman) into believing she's losing her mind. The suspense isn't in wondering whether Paula is crazy (she's clearly not), but in seeing how she will figure it out, and what revenge she'll take once she does. Boyer and Bergman play off each other masterfully, especially in their final confrontation, and the 19th-century London setting is just as seedy as any modern urban wasteland in any other film noir.

10. Baby Face (Alfred E. Green, 1933) I previously expressed my fondness for pre-Code comedies about shameless gold diggers when I wrote about the Jean Harlow vehicle Red-Headed Woman last year, and Baby Face is the much more famous version of a similar story about a resourceful, clever young woman who deploys her sexuality to get ahead in the world. Barbara Stanwyck is just as wonderfully devious in the role as Harlow in Red-Headed Woman, although her Lily is a bit colder and more premeditated in what she does, with a more tragic back story. That makes this movie a little sobering at times, but it's still always on Lily's side against the hapless men she manipulates to get ahead, just using whatever advantages she can find in a system that is rigged against her.

Honorable mentions: Digging for Fire (Joe Swanberg, 2015); Eat Drink Man Woman (Ang Lee, 1994); Girls About Town (George Cukor, 1931); A Star Is Born (George Cukor, 1954)

Previous lists:

• 2017
• 2016
• 2015
• 2014
• 2013
• 2012
• 2011
• 2010
• 2009
• 2008

The best movies of 2018

I wrote a lot of things about a lot of movies in a lot of places this year, but I don't have an official outlet for my top 10 list, so it's ended up here. These are the movies I enjoyed most in 2018, along with some honorable mentions, some favorite performances, and (why not?) a few picks for the worst of the year, too.

1. Thoroughbreds The biting wit, both verbal and visual, on display in writer-director Cory Finley's debut feature is pretty astonishing, aided by fantastic lead performances from Anya Taylor-Joy (quickly becoming one of my favorite actors) and Olivia Cooke as two dysfunctional teenage girls plotting a murder. (Credit also to the late Anton Yelchin for some vital supporting work in one of his last onscreen roles.) This is a movie that builds slowly and inexorably, with a final line that clarifies and illuminates everything that came before it. I first saw it very early in the year (in March), but it stuck with me the entire time, and a recent second viewing just solidified its position at the top of the list. More thoughts in my year-end appreciation for Crooked Marquee and in the Piecing It Together podcast episode I co-hosted.

2. Disobedience The English-language debut from Chilean filmmaker Sebastian Lelio (Gloria, A Fantastic Woman) is another sensitive portrait of marginalized women, in this case two queer women in London's Orthodox Jewish community. Rachel Weisz and Rachel McAdams are both excellent as the old lovers who deal with forbidden emotions when they unexpectedly reunite, and Alessandro Nivola turns what could have been a one-dimensional agent of oppression into a nuanced character torn between his community's values and his commitment to seeing his wife happy. The movie is sensual and passionate but never salacious, treating its characters' desires with tenderness and understanding.

3. The Kindergarten Teacher Maggie Gyllenhaal gives possibly the best performance of her career in Sara Colangelo's remake of the 2014 Israeli film about a kindergarten teacher who becomes dangerously obsessed with one of her students. Gyllenhaal and Colangelo take what could have been an off-putting, unpleasant character and make her sympathetic and tragic, even when her decisions are so obviously misguided and self-destructive (and tough to watch). It's an extremely delicate balance, especially when the character's actions potentially put a child at risk, but the movie pulls it off by focusing on raw emotions and never sensationalizing its central relationship. More thoughts in my review for Film Racket.

4. Cold War Pawel Pawlikowski's romantic drama set against the backdrop of 1950s-era European Communism is as gorgeous as his last film, 2013's Ida, with the same museum-quality black-and-white, Academy-ratio cinematography, in service of a story that's a bit more visceral and immediate. Thomasz Kot and Joanna Kulig are wonderful as the star-crossed Polish lovers (Kulig especially), and Pawlikowski beautifully captures every triumph and heartbreak of their stormy, melancholy relationship. More thoughts in my review for Film Racket.

5. Annihilation I was fascinated by Jeff VanderMeer's novel, and even though Alex Garland's film adaptation changes a lot, it still captures the sense of dread and unease in the expedition of five scientists to a mysterious contaminated area on the American coast, possibly inhabited by aliens or elder gods or something. Garland makes some aspects of the story more explicit and others more opaque, but in all cases he finds beauty in the grotesque and horrible, and the cast led by Natalie Portman brings a delicate humanity to the increasingly inhuman encounters.

6. Leave No Trace The father-daughter relationship at the center of Debra Granik's adaptation of Peter Rock's novel is both dysfunctional and heartwarming, with Ben Foster and impressive newcomer Thomasin Harcourt McKenzie embodying the fragile dynamic between a mentally ill parent and a teenager forced to take on too much responsibility. The movie is also lovely and meditative, full of quiet moments as the characters commune with their delicate natural surroundings. More thoughts in my review for The Inlander.

7. First Reformed Ethan Hawke's captivating performance drives Paul Schrader's disquieting and transporting examination of a pastor on the edge, who's contemplating the destructiveness of human behavior in contrast to the immense beauty of the universe (and of a fierce, pure-hearted wife and mother played by a radiant Amanda Seyfried).

8. Eighth Grade Elsie Fisher is so authentic as gawky teenager Kayla that it can be physically painful to watch as she navigates the endless pitfalls of junior high, but Bo Burnham's debut feature is so warm and genuine that it finds hope and humor even in the most unpleasant and cruel teenage interactions.

9. Never Goin' Back I feel like it's been my mission this year to promote Augustine Frizzell's hilarious and affecting stoner comedy about two teenage-girl best friends in grubby south Texas, and I'll say again that the lead performances from Maia Mitchell and Camila Morrone should have made them stars, and this movie should have been a mainstream hit on the level of Superbad or Harold and Kumar Go to White Castle. More thoughts in my year-end appreciation for Crooked Marquee and in the Piecing It Together podcast episode I co-hosted.

10. Damsel The movies of brothers David and Nathan Zellner can be pretty polarizing, and I've been irritated and exasperated by their work as often as I've been entertained. But I really connected with the bone-dry humor and oddball performances (by Mia Wasikowska, Robert Pattinson and David Zellner himself) in this deliberately confounding Western. More thoughts in my Las Vegas Film Festival recap.

Honorable mentions: Bisbee '17, Gemini, Minding the Gap, The Old Man & the Gun, Revenge, Searching, A Simple Favor, Spider-Man: Into the Spider-Verse, Suspiria

Top five lead performances: Maggie Gyllenhaal, The Kindergarten Teacher; Ethan Hawke, First Reformed; Anya Taylor-Joy, Thoroughbreds; Joanna Kulig, Cold War; John Cho, Searching

Top five supporting performances: Amanda Seyfried, First Reformed; Mia Wasikowska, Damsel; Blake Lively, A Simple Favor; Zoe Kazan, The Ballad of Buster Scruggs; Steve Buscemi, Nancy

Worst movies of 2018 (theatrical releases only): The 15:17 to Paris, Show Dogs, Truth or Dare, Demon House, Destroyer, Hunter Killer

Triskaidekaphilia: 'Flight 313: The Conspiracy' (2015)

On the 13th of each month, I write about a movie whose title contains the number 13.

I wouldn't have expected a serious drama about airline safety regulations to join the ranks of movies that get retitled for home video release with the number 13 in order to make them sound more ominous, but that's exactly what happened to the British social-issue drama A Dark Reflection, released on VOD in the U.S. as Flight 313: The Conspiracy. Really, both of the movie's titles promise more intrigue than is actually on display in what is essentially a dramatized position paper about the phenomenon known as "aerotoxic syndrome."

That's the idea, still mostly unsubstantiated, that the air in commercial airliner cabins is contaminated by chemicals from jet engines, causing illness in both passengers and crew members. Flight 313 director, co-writer, producer and editor Tristan Loraine is a former British Airways pilot, and the movie was financed entirely by airline crew unions and other advocacy groups. So it's mostly concerned with sending a message, which makes the narrative and character development secondary to the political and social cause. That's fine for a documentary, but it means that Flight 313 is clumsy, ineffective drama that frequently pauses to deliver dry statistics and explanations of the mechanics of jet engines.

Loraine clearly wants to emulate crusading-journalist dramas like The Insider, The China Syndrome and All the President's Men (even explicitly referencing Woodward and Bernstein at one point), but there's very little suspense in the story of newspaper reporter Helen Eastman (Georgina Sutcliffe) and her efforts to expose a cover-up of toxic cabin air at fictional airline JaspAir. Helen and her colleague Natasha Stevens (Rita Ramnani) very slowly connect the dots from the "near-miss" landing of the titular flight to JaspAir's policy of ignoring and hiding evidence of contamination in its cabins.

The drama here is mostly inert, though, and the characters are one-dimensional ciphers representing various points of view on the issue, even as Loraine attempts to flesh out a bit of Helen's back story (via an opening sequence set in the Middle East, where she witnesses a co-worker get killed). None of the flimsy character beats are relevant to the story, and the dialogue is always clunky and awkward, whether it's expressing outrage over toxic air or attempting to convey personal feelings. Plus, half the time it's muddled and difficult to make out. From a technical standpoint, Flight 313 comes across as a movie made by someone with more passion than skill, and while it's hard to fault Loraine for wanting to call attention to what he believes is an important issue, framing that issue as a dull movie-of-the-week-style drama isn't going to win him very many supporters.