A Zoom Interview with ‘Ravage’ Writer/Director Teddy Grennan (by Alycia Ripley)

Ravage writer/director Teddy Grennan, with star Annabelle Dexter-Jones.

Writer Alycia Ripley speaks with Teddy Grennan, writer/director of Ravage about his new film: motivation, influences, the trials of shooting on location, film funding, his casting process, Ravage‘s inventive third act, and the film festival he founded (Sun Valley Film Fest). An engaging and down-to-earth creative force, Grennan shares the kind of tidbits aspiring writer/directors can build upon in their own work and sheds humor on the challenges of the film industry. (Check out Alycia’s review of the film here.)

Capsule reviews: Helmut Newton, John Lewis, Relic, The Beach House, and Fisherman’s Friends

Helmut Newton, ARENA, MIAMI
IMAGES FROM HELMUT NEWTON: THE BAD AND THE BEAUTIFUL — PHOTOS BY HELMUT NEWTON, COURTESY OF THE HELMUT NEWTON FOUNDATION.STILLS FROM THE BEACH HOUSE COURTESY OF EXILE PR.

Helmut Newton: The Bad and the Beautiful

Available through the North Park Theatre

The documentary Helmut Newton: The Bad and the Beautiful might not be as provocative as the work of the photographer, but it is nevertheless a wildly entertaining, conversation-starting study of a master artist. The late Newton was known for his nudity-filled photos of women for magazines like Vogue, and the work still packs a punch. The Bad and the Beautiful is appropriately celebratory but also explores the controversies of Newton’s work. A TV exchange with Susan Sontag is particularly compelling. Featuring interviews with an array of fascinating figures — among them, Anna Wintour, Grace Jones, Marianne Faithfull, Isabella Rossellini, and Charlotte Rampling — and interview footage of Newton himself, Bad is as colorful as its subject. 

John Lewis: Good Trouble

Available through Dipson Theatres and the North Park Theatre, and VOD

Congressman John Lewis passed away on July 17 after a lifetime of advocacy and service. That life is chronicled in detail in the documentary John Lewis: Good Trouble, a must-see film — now more than ever. The sight of Lewis as the film begins, walking slowly but with great purpose through Washington, D.C., is tremendously powerful. So is the film, which explores his important role in the fight for civil rights and his continued efforts for the greater good. Good Trouble is a fitting tribute to a legendary figure. 

Relic

Available on VOD

Relic, the debut film from writer-director Natalie Erika James, is a haunting story of an elderly woman’s strange disappearance and even stranger reappearance. The woman’s daughter (Emily Mortimer) and granddaughter Sam (Bella Heathcote) come to help, but both are soon drawn into the mystery of the family home. It culminates in a genuinely moving finale, one that might not thrill all horror fans but, with contemplation, feels remarkably bold.

The Beach House

Available on VOD

The Beach House, the feature directorial debut of Jeffrey A. Brown, is just as gripping as Relic. The story involves a young couple visiting a seaside home, the sudden appearance of an older couple, and an icky contagion. Just wait until you see what happens to the foot of the protagonist, nicely played by Liana Liberato. With a dash of Cronenberg and a touch of COVID paranoia, The Beach House is a legitimately strong horror film.

Fisherman’s Friends

Available through the North Park Theatre and on VOD

British comedy Fisherman’s Friends is the kind of audience-pleaser Miramax Films and Fox Searchlight once excelled at — consider the likes of Brassed Off and The Full Monty. While Friends is not as memorable as those 1990s favorites, it’s a sweet, enjoyable effort about a London music exec who — as a joke — signs a group of sea shanty-singing fishermen in a small town. 

‘Ravage’: Can’t Keep a Good Woman Down (Guest Review by Alycia Ripley)

Very excited to have Alycia Ripley back on the site with a review of Ravage. -C.S.

Several things stay with you long after watching Teddy Grennan’s Ravage, but one is for sure — you’ll never look at a cow the same way again. 

Ravage is a thrill-ride plucked from the grindhouse era of the 1970s, infused with its paranoia and wilderness foes, but topped with 2020 feminism. Even its title card refers back to days of gritty revenge thrillers. Although gruesome in plot, the filmmakers maintain a rare sense of restraint that elevates the material and engages the viewer. The nastiness remains mostly off-screen and out of focus but we deal with its ramifications alongside our heroine. Regardless of Ravage‘s visual subtleties, your manicure may remain in serious jeopardy. The 84-minute runtime is a nonstop, full-throttle charge that’ll have you biting your nails and jangling your legs. 

Harper Sykes is a nature photographer comfortable in the wilderness. Whether her survival skills are learned on the job or taught by family isn’t shared — when you’re chased by a group of killers after witnessing a brutal murder, there’s little time for backstory. Ravage may not re-invent the wheel but it presents its woman-in-peril story from a very different perspective. Visiting a remote valley to photograph a rare stag, Harper is in touch with only her editor and boyfriend. Unlike films in which the heroine struggles with opening a can yet progresses to expert handling of automatic weapons, we’re confident in Harper’s abilities from the get-go. We see her shark through the water in a canoe, scurry through ravines, and make smart decisions that would’ve delivered her to freedom had she not found herself in a horror movie. For the first time since 1984’s The Terminator, the local police station holds no sense of comfort or safety. It’s surreal and still and as in Ravage‘s ancestral grandfather, Deliverance, we’re unsure of who can be trusted. Harper is soon captured and brought to a nearby farm. Led by an excellent Robert Longstreet, the killers exhibit banal evil and delusional motivation. After an initial brawl-call to exhibit her might and a mercifully off-screen rape, Longstreet’s group ties Harper up and leaves her alone to complete an errand. Bad move. She uses materials at her disposal to escape and plan against her enemies. Revenge fantasy though it is, Harper is focused on survival. The valley wilderness is vast and boasts exit points the killers know well. To get out, it’ll be through rather than over them. 

Calm, capable, and brave, Harper elicits our admiration and sympathy and Annabelle Dexter-Jones plays her with relatable real-girl sensibility. But lest you forget, she’s a real girl who apparently paid extra attention in Girl Scouts and 4H. We follow Harper through harrowing locations beautifully shot by Christopher Walters, and Jacques Brautbar’s cacophonous score indicates Harper’s inner state. A key moment, sure to be an audience favorite, is Harper’s interaction with an older man living in a beautiful, remote home, in need of frequent, self-administered medication. He’s played by the inimitable Bruce Dern with hypnotic ambiguity. Their entire scene plays across Dexter-Jones’ face like a light-meter. Between Dern’s words and set decoration riddled with foreshadowing, Harper recognizes that the complicated chess game she’s now in has many players and a long, long history. 

Although I’ll never understand the need for film heroes to expose their knowledge and plans to the villains, our girl makes up for it with inventive elimination strategies. Opening in several cities for a drive-in experience, followed by a VOD release the following week, Ravage nails the point home that in Harper’s situation, many of us would be more up the creek, no pun intended, than we’d like to admit. Watching this smart, resourceful woman utilize her environment to her favor allows us to experience survivalism from the comforts of our cars or homes. 

Ravage‘s opening audio and first glimpse of Harper walking, shotgun in tow, across a sunset landscape carries a retro aesthetic of 70s grindhouse cinema. Both then and now, women hold a certain resilience under pressure. You won’t be sure of much in Ravage—the film holds many surprises — but very little, including a cow (hold tight for the pure insanity of the third act) can keep Harper down. Some people refuse surrender with a little more force. Survival is more prescient a concept to some. Harper doesn’t just push back — she pushes over, under, and through. Stay through the entire credit sequence. The main theme is there, immortalized in its very last shot. 

Girl power isn’t a catchphrase — it’s what lies in the heart of a woman who refuses to be tossed aside, digested, and forgotten by those who feel threatened by her very existence in their wilderness.

Capsule review: 1BR is a nasty good time

This year has seen some strong horror flicks — Relic and The Beach House come to mind. While 1BR is not as impactful as those aforementioned, more artful chillers, it is still a nasty, clever good time with a touch of Shyamalan. (In a good way!) This story of a young woman who discovers her apartment complex is, well, not what it seems, is involving, well-acted by newcomer Nicole Brydon Bloom, and genuinely frightening. It’s also a bit too brutal and upsetting to want to watch more than once. The film’s final shot, with echoes of Karyn Kusama’s The Invitation, adds a nice Twilight Zone touch. It will be fascinating to watch what’s next for Brydon Bloom and writer/director David Marmor.

Watch the trailer here.

Grade: B-