"The Sisters Brothers" spins a unique Western yarn                "Colette" is another period piece showcase for Kiera Knightley                John C. Reilly looks like a late breaking Academy Award player in the Trailer for "Stan & Ollie"                Brie Larson saves the day in the First Trailer for "Captain Marvel"                The Toronto International Film Festival boosts "Green Book" with its Top Prize                Updated Academy Award predictions for early September                "White Boy Rick" is a compelling character study and period piece                Taking a look at potential Best Supporting Actress contenders                Shane Black gives "The Predator" his signature clever spin                Venice Film Festival award winners include "The Favourite" and "Roma"                Taking a look at potential Best Supporting Actor contenders                Watch out for Ben Foster in Best Supporting Actor for "Leave No Trace"                "The Favourite" releases a new Trailer to build off of its positive festival buzz                "All About Nina" and "Fahrenheit 11/9": Films to look forward to in September                Trailer for "The Front Runner" and Buzz from Telluride suggest another Oscar player for Jason Reitman        

‘Devil’ is a great old-fashioned throwback of a horror film

By Scott Mendelson

HollywoodNews.com: “Devil” is a deliciously old-fashioned throwback of a horror film. It is a myth, a ghost story told around a campfire, and a deliciously entertaining piece of pop entertainment. It is overly moralistic and quite heavy-handed in spots, but it succeeds in its very limited ambitions. It will not gross you out or send you to bed deeply disturbed. But it will make you jump out of your seat, nervously giggle to yourself, and send you out of the theater with a big goofy grin on your face. It’s not high art, but it’s quite a bit of fun.

A token amount of plot: Five random strangers find themselves stuck in an elevator in the middle of a large office building. But this is no ordinary elevator failure, and the five strangers may just be there for a reason. Meanwhile, an emotionally wounded cop is sent to investigate a suicide in the same building, and he soon finds himself in the middle of a second investigation as violence strikes the five trapped passengers. Just why have these five people been brought together? What is seemingly trying to do them harm? Is one of them a murderer, or is there a possibly spiritual answer to the mayhem?

The film is based on a story by M. Night Shyamalan, but the screenplay comes from Brian Nelson (“Hard Candy”) and it’s directed by John Erick Dowdle (“Quarantine”). As such, the film feels like a meld of all three talents, as you get agnostic theology and predestination from Shyamalan, hard-nosed dialogue of people crumbling under stress from Nelson, and strong direction for unknown character actors by Dowdle (like “Quarantine,” this is a solid portrayal of normal people caught up in unthinkable circumstances). The less-is-more edict also feels like a return to Shyamalan’s roots, as a single ghostly face on a security camera elicits chills in a manner similar random specks of blood in “Unbreakable” or a single blurry alien being caught on tape at a child’s birthday party in “Signs.”

While “Devil” eventually dives into schmaltz right at the finish line, it works as a bruised-forearm picture almost right up to the end. I could have done without yet another unnecessary voice over, which not only spells out the themes, but actually operates as a spoiler for the movie itself. But it’s somewhat forgivable as it solidifies the film as a read-it-aloud-at-bedtime ghost story that it’s striving to be. But the film is well-acted by a generally unknown cast (I recognized only Matt Craven), and it succeeds in being a goofy bit of scary fun. In terms of pure entertainment value, this is the best thing that Shyamalan has put his name on since Signs eight years ago. For a man with such a legendary ego, it’s interesting that he’d allow someone else to tell his stories, let alone tell them better than he has been doing for the last several years.

To read more go to Mendelson’s Memos.

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