Ron Livingstone

  • The Pretty One (2013)

    The Pretty One (2013)

    ByChristian Sauvé Movie Review

    (In French, On TV, March 2021) Strange plotting things start to happen when you use twins as a plot device. In the case of The Pretty One, it means being able to treat a quasi science-fictional device in a realistic fashion, as a young woman takes over her dead twin sister’s life after a case of meticulously engineered identity confusion. Zoe Kazan carries the film on her shoulders in the dual lead role, both as the unpleasant outgoing glamorous career-driven Audrey, and the likable shy frumpy homebound Laurel. Invading some else’s life is easier when you look exactly like her, but it’s not easy, and much of the film plays along the lines of a classic thesis/antithesis/synthesis structure, as our introverted heroine learns to take the best parts of her sister’s life in order to improve her own. Jake Johnson does well as the romantic interest, with Ron Livingstone providing one of his usual handsome schmucks. Still, the film always goes back to Kazan in a challenging dual role, not simply playing different parts for a chunk of the film, but also playing someone playing a part and reacting to various strong emotions along the way. It’s all handled with some restraint and glossy cinematography by writer-director Jenée LaMarque, and the result is a minor but very enjoyable film that stays nicely grounded despite a premise that is more often found in genre fiction.

  • The Conjuring (2013)

    The Conjuring (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2014) There’s something to be said for a well-executed horror film even when it doesn’t try to reinvent the genre or leave the viewers with permanent trauma.  So it is that The Conjuring harkens back to simpler times, when ordinary people were imperilled by supernatural horrors and extraordinary people could come to help them out.  Here, the Perron family (two adults, five daughters) finds itself threatened by demonic forces shortly after moving into a dilapidated farmhouse in 1971.  Financially desperate and concerned by increasing signs of evil, they call upon paranormal investigators to investigate and hopefully solve the case with minimal loss of life.  It’s as basic a premise for a horror film as can be, but there’s a lot to be said for director James Wan’s approach to the material and the quality of the script: from the first few moments, The Conjuring is carefully controlled, beguiling in the way it sets up its characters, creepy in showing us the setting and well-accomplished in its visuals.  We’re never comfortable, especially when the characters are so sympathetic. (Lili Taylor has a substantial role as the matriarch while Ron Livingstone plays dutiful husband, but it’s Patrick Wilson and Vera Farmiga who are most compelling as the Warrens, carefully inhabiting roles halfway between credible people and unflappable demon-hunters.)  Like an un-ironic old-school classic, The Conjuring carefully ramps up its creepiness into chills into scares into full-blown horror… and remarkably enough without showing much gore, nudity or profanity.  There’s nothing really new here (nor is there much in terms of thematic depth), but in horror even more than in other genres, execution is key and this film nails down the fundamentals.  It works even better as an antidote for routine horror movies that fail to even provide the basic scares.  Even the comforting finale is exactly what the film (and the characters) needed.  Throw The Conjuring in with films such as Sinister and its prototype Insidious, and you’ve got a good argument for an ongoing revival of good American mainstream horror.