The Last Voyage of the Demeter: Medium-well stake

The Last Voyage of the Demeter (2023) • View trailer

3.5 stars (out of five). Rated R, for strong gory violence

Available via: Movie theaters

By Derrick Bang

This is a genius idea for a horror film.

 

Bragi F. Schut and Zak Olkewicz’s script expands upon a portion of a chapter from Bram Stoker’s Dracula, wherein newspaper clippings detail the strange case of a Russian schooner that runs aground at the Yorkshire seaside town of Whitby, during a ferocious late-night storm. The sole person aboard is the ship’s captain, dead two days, and lashed to the wheel.

 

Larsen (Martin Furulund) desperately tries to light a lantern, amid a raging rain and wind
storm. Alas, he won't like what the illumination ultimately reveals...

His recovered log book recounts the strange and ultimately horrifying events that took place on the Demeter, after it left the city of Varna a month earlier, bound for London.

Schut and Olkewicz take us aboard the doomed vessel, granting faces and personalities to the crew — most of them well played by the multinational cast — while, um, taking some license with Stoker’s version of his malevolent vampire.

 

There’s no way this Dracula could subsequently move about London in the guise of an ordinary-looking man. But Schut, Olkewicz and Norwegian director André Øvredal aren’t required to adhere religiously to Stoker’s 1897 classic; their goal is simply to frighten the hell out of us.

 

They succeed, to a degree; the atmosphere, gruesome shocks and period authenticity are excellent. But Øvredal is too self-indulgent; his lethargic pacing works against the story’s suspense. He should have let editors Julian Clarke, Patrick Larsgaard and Christian Wagner do a better job. This pokey two-hour horror flick would have been far scarier if, say, 20 minutes shorter.

 

Instead, each fresh burst of gory violence is telegraphed by a mile (and Bear McCreary’s ear-splitting synth score doesn’t help).

 

The story begins as the Demeter takes on its final cargo: a series of large wooden boxes, one of them bearing a dragon seal that prompts a strong response from a newly hired hand, who resigns on the spot. He’s replaced by Clemens (Corey Hawkins), a well-spoken doctor seeking travel to London. First mate Wojchek (David Dastmalchian) warns that this “dandified” fellow better pull his weight, but the ship’s captain (Liam Cunningham) has good reason to accept his presence.

 

Once at sea, Clemens proves remarkably capable; he also befriends the ship’s cabin boy, Toby (Woody Norman). These two are by far this story’s most interesting characters, with whom we immediately bond; both are well played by Hawkins and Norman.

 

Among his various duties, Toby has been placed in charge of the ship’s animal cargo (future meals for the crew, while at sea). The boy is assisted by Huckleberry, his faithful black Lab.

Deadpool: Gleefully revolting

Deadpool (2016) • View trailer 
Three stars. Rated R, for strong violence, gore, relentless profanity, sexual content and graphic nudity
By Derrick Bang • Originally published in The Davis Enterprise, 2.12.16

This is a flick for folks who felt the Kick-Ass movies weren’t violent enough.

And those who believe that Melissa McCarthy and Amy Schumer could be more potty-mouthed, if they worked harder at it.

Much to the disgust of companions Negasonic Teenage Warhead (Brianna Hildebrand)
and Colossus, and moments before facing dozens of gun-toting thugs, Deadpool (Ryan
Reynolds) addresses his audience directly, to discuss precisely how silly everything
has been, up to this moment.

Which is to say, Deadpool is outrageously smutty, profane and gory: about as far from the usually family-friendly Marvel Universe movies as could be imagined. It’s another of those merrily anarchic Hollywood projects that makes ultra-conservatives fret about the end of Western Civilization as we know it.

It’s also rather funny at times, in a tasteless, dark-humor sort of way. But only at times; the shtick wears thin rapidly. Not even Ryan Reynolds can hold our interest with 108 minutes of nonstop mugging and smart-assery. Although — give him credit — he makes a game effort.

The character has an odd history in Marvel’s comic book world, having been introduced in the early 1990s as a villain in various X-Men titles. He gradually morphed into an amoral antihero with a back-story as an unscrupulous mercenary for hire, eventually granted the mutant power of accelerated healing at the cellular level.

Meaning, he can’t be killed in the usual sense. Bullets perforating his body, a knife to the head ... no problem. Hack off a limb, and it regenerates, like a lizard’s tail.

You can imagine what today’s unrestrained special effects wizards can make of that gimmick ... and director Tim Miller — a CGI/VFX designer/producer making his feature directorial debut here — is just the guy to orchestrate the requisite mayhem.

But messy invulnerability isn’t Deadpool’s primary characteristic; he’s best known for his refusal to acknowledge his role as a member of the tightly plotted Marvel Universe. Deadpool knows that he’s a comic book character; he frequently breaks the fourth wall and addresses the readers, or indulges in arguments with the writers who concoct his word balloons.

In that sense, Deadpool is a smug and sassy, 21st century update of Marvel's equally cynical 1970s icon, Howard the Duck. Deadpool also upsets the “regular” Marvel superheroes, who can’t be their usual, carefully scripted selves with this loose cannon shredding the pages.

I’m also reminded of Jasper Fforde’s marvelously whimsical novels, with heroine Thursday Next as a “literary detective” who can jump into classic books, interact with their characters, and even change the endings of stories we know and love. Except that, well, Deadpool is a lot nastier. And more callous. And unapologetically juvenile.

And ... you get the idea.