I Saw the Light: Mini-review


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Tom Hiddleston

Tom Hiddleston is the main reason I Saw the Light

C+Watching the new Hank Williams biography, I Saw the Lightis like listening to an album of Williams’ greatest hits. In part, that’s because Tom Hiddleston, who plays Williams, performs many of Williams’ best known tunes in a voice remarkably similar to the country singer’s.  But when Hiddleston isn’t singing, many of the remaining scenes in I Saw the Light depict the troubled Williams’ drinking, drug problems, and womanizing with no more depth than what’s contained in a typical melancholy country lyric.

The movie follows Williams’ career from his marriage to his first wife Audrey (Elizabeth Olsen) in 1944 to his death at age 29 on New Year’s Day in 1953. As he graduates from club dates and a morning radio show to big time recording contracts, Williams’ drinking escalates and he becomes increasingly difficult to work with. Eventually, Audrey divorces him and he carries on affairs with two different women, fathering a child by one and marrying the other. By the time of his death, the Grand Ole Opry had dropped him because of his erratic behavior, and he was again reduced to secondary bookings. 

Even though he’s onscreen for almost every scene in I Saw the Light and often acts like a complete jerk to those closest to him, the character of Hank Williams remains elusively beyond the reach of the somewhat inexperienced writer/director Marc Abraham. The audience sees Williams’ often bizarre behavior, but the only explanation, beyond the obvious alcohol and pain killers he took to excess due to a painful spinal condition, comes in an interview he gives to a New York newspaper writer (David Krumholtz). There, he opines “Everybody has a little darkness in them.”  Although the audience won’t get any answers about the inner Williams, they will understand how he became so popular. Hiddleston captures not just the voice but the mannerisms and performing style that made audiences love Williams and women very willing to go to bed with him. Olsen is also quite good as Audrey, sometimes supportive and sometimes quite vindictive. Ironically, I Saw the Light does a better job of explaining Audrey’s motivations (she was a mediocre singer who wanted his help to boost her career) than Hank’s. I Saw the Light is worth seeing for the performances and the music, but the movie fails to shed any real light on the troubled life or career of Hank Williams.
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Crimson Peak: Mini-review


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Jessica Chastain

Jessica Chastain is far creepier in Crimson Peak than here

BGuillermo del Toro‘s Crimson Peak is one of the best 100-minute Gothic horror films in recent memory, easily reminiscent of the 1940’s Alfred Hitchcock. Unfortunately, the movie lasts two full hours, and, in those last 20 minutes, director del Toro manages to undo a good bit of the mood he’s created and replace it with ineffective CGI ghosts and campy histrionics. 

Crimson Peak begins in the most unlikely of venues, turn-of-the-century Buffalo, NY, where aspiring writer Edith Cushing (Mia Wasikowska) falls for British visitor Thomas Sharpe (Tom Hiddleston). She marries Sharpe and returns with him and his sister Edith (Jessica Chastain) to his ancestral home, Crimson Peak, so named because it sits on top of red clay mines Sharpe is trying to modernize to save the family’s finances. But Edith soon discovers that the decaying mansion is home to lots of secrets, both natural and supernatural.

Crimson Peak is a ghostly horror story in which the ghosts are the least scary and most distracting part of the movie. Simply put, the mansion has tons of them, and when they show themselves, they resemble nothing more than leftover extras from The Walking DeadBefore that however, del Toro has crafted a masterful suspense tale with his three lead actors in an isolated wintry setting with plenty of sinister goings on. It’s not giving too much away to reveal that Thomas married Edith more for her family money than anything else, and that he and Lucille may not have her best interests at heart. Jessica Chastain delivers a deliciously wicked performance here as the sister who does not wish Edith well. And, by making Edith more of a feminist than the wallflower the Sharpes had originally envisioned, del Toro alters the dynamic of the eventual duel of wits among them considerably. The director has also created a perfect setting for the film, a magnificently rendered, gigantic decaying monstrosity of a mansion (the roof has holes in it so snow falls indoors). But then, in what’s apparently a woefully misguided attempt to appeal to more jaded, modern horror fans, del Toro dissipates all the erotic tension and suspense he’s created in favor of buckets of CGI ectoplasm and blood. Crimson Peak is too good of a cinematic experience to be completely ruined by its ridiculous ghostly manifestations, but these ghosts were definitely better left unseen.
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