You Should Have Left (2020)

Score: 2 / 5

You Should Have Left could refer to several things here. It could refer to Theo Conroy, the protagonist of this spooky little flick, who really should have left his first wife before things ended especially badly. It could also refer to Susanna, his new wife and Hollywood actress, who probably should have left their current marriage before starting an affair. Most clearly, it refers to the sort of Amityville-esque "GET OUT" foreshadowing these characters should have heeded before deciding to live in a rural vacation home in Wales that happens to be very haunted. Finally, it acts as a clear warning to us, its audience, that unless we are just looking for some mindless entertainment, we'd do better elsewhere.

In its defense, haunted house movies are awfully difficult, especially if you want to do something new and interesting with one. This tries neither, and rests happily on the premises of other, well, premises. Though this particular house is no Overlook Hotel, the story is only a shy replication of The Shining while the characteristics of the abode behave similarly to that iconic building. Easily the most interesting thing in this movie, the house is not the sort of pastoral cottage you might envision in Wales; its cold, modern architecture marries cool tan wood and sharp gray stone for a severe, notably not-Gothic atmosphere that even throws a few glimpses of pastel coloring in for good measure. It's quite pleasant to view, and most of the film takes place during the day, lulling us into a sense of warmth and safety.

But the house seems to be conscious. Though the haunting initially manifests as shadows that move around on their own, they quickly suggest a more psychologically-driven basis. Doorways appear in one shot but are gone in the next; characters measure internal spaces that are larger than the external structure allows; the shifting layout lengthens staircases and hallways or adds hidden spaces that cannot architecturally fit. And then, of course, there's the mysterious caretaker named Stetler who never seems to be present but is often around, and might be taking candid Polaroid photos of the new tenants. These elements, like those of the Overlook, suggest that the scariest hauntings aren't necessarily vengeful spirits to be placated a la Ghost Whisperer but are in fact places where bad things have happened, the knowledge of which torments and twists the minds of those caught within its walls.

And it's fair to say that, despite the less-than-original plot and themes, the performances of its small cast also help the movie. Kevin Bacon plays Theo, the much-older husband and father figure, who seems about as tightly wound mentally as he is physically. I mean, honestly, the man is gorgeous, and the salt-and-pepper thing he's got with his facial hair is hard to ignore. While he's no Jack Torrance, he is a writer suffering block; he is the older, jealous husband of a young woman; he is the father of a child who learns secrets about their family. Amanda Seyfried plays Susanna with surprising restraint, and her coy, seductive demeanor belies a strikingly acute awareness for the fractures in their otherwise happy relationship. Seemingly-happy, rather, as we learn. The filmmakers clearly understand these characters well, and as the house haunts them, we also become haunted. Neither we nor these characters are ever fully aware of what's real, what's warped or exaggerated, or what's fake.

The biggest problem for me, here, is that writer/director David Koepp has done this kind of thing before, much more effectively and beautifully. In Secret Window, he magnificently pulls off the kind of home-invasion psychological thriller that could easily translate to a haunted house, one in which fabulously inventive character drama married genuine terror on screen. Literary and witty, that film fully fleshed out its own complexity and managed to make perfect sense the whole time. Conversely, this new flick rarely makes sense, twists and turns often not because of character development but for the sole purpose of audience manipulation, and ends with a bizarre attempt at catharsis that answered few of the questions I still had. And its laughably bizarre quasi-religious explanation neither fits nor sits here. Not that horror should always explain itself, mind, but it should at least be interesting -- and consistent -- enough to allow for theoretical discussion afterward.

Da 5 Bloods (2020)

Score: 4.5 / 5

Four aging Vietnam War veterans reunite in Ho Chi Minh City. Catching up doesn't take long -- the bonds forged in war clearly have not weakened -- and we quickly learn their purpose. The four black Americans recently learned of a landslide that revealed what they hope is the plane near which their squad leader was killed. The "Bloods", as the group called themselves, hope to reclaim what's left of the body or at least memorialize the site; they also hope, as we discover, to reclaim a buried locker of gold bars they had buried there during the war.

The four men, older if not necessarily wiser, embark on their journey into the heart of darkness much as we might expect in any movie dramatizing the war in Vietnam. Tempers run as high as the jungle temperatures, dangers lurk around every palm frond, and madness slowly manifests before the group fractures. It doesn't help that each successive scene reveals -- mostly through quickly paced, jargon-infused expository dialogue -- increasingly disturbing details about the relationships between the men. After all, the character who is perhaps most like a protagonist declares very early on that he is a vocal Trump supporter. Later, as the group explores the city, one reunites with his old Vietnamese girlfriend and learns he fathered a now-grown child. One man reveals his financial bankruptcy and consequential desperation for this journey. All seem to have varying degrees of PTSD.

The story, far from inventive, nevertheless manages to feel consistently fresh, clearly due to the uncompromising vision of its writer and director Spike Lee. Though this movie doesn't reach the horrific immediacy and jolting timbre of his previous feature, Da 5 Bloods must be ranked among the best of the director's films. Its surprising humor and sudden, gory violence combine into a fever dream of an experience, one that I would have preferred to see on the big screen instead of streaming on Netflix. Don't be daunted by its lengthy runtime; this movie is electric with energy, both thematically and dramatically. I found myself only briefly getting lost in the implications of certain developments before getting absorbed into the next crucial sequence. And its mix of genres (the heist aspect of the plot feels very Western, as if Lee were turning The Treasure of the Sierra Madre into an homage of Apocalypse Now) keep it fabulously engrossing in terms of aesthetics.

And, as only Lee can do, this movie wears its relevance on its sleeve without beating us over the head with its significance. A stock story of warring men journeying into the wild for gold could be storytime fodder for any time and place. Add elements of racial injustice, colonial and imperial fallout, gender politics, mental illness, etc., and you can start to actually say something audiences might consider relevant. Lee, with his typical flair, combines all these elements and more until such easy "lessons" become impossible to untangle, much less critically defend. Instead, he simply allows the complexity of the story he presents to be just that -- complex -- while framing it with timely and equally complicated stock footage. Here, he frames the story of the Bloods with the voices of Muhammed Ali and Dr. Martin Luther King, Jr., both of whom are synonymous with Civil Rights activism in the U.S. and both of whom were vocal opponents of the war in Vietnam.

Through this frame, Lee also seems to be repurposing the trope of American films that deal with Vietnam. They are, far and wide, populated by macho white men who behave very badly and are glorified in cinematic history as a result. Name any major movie about the Vietnam War and it will not indicate that nearly one-third of the soldiers sent by the U.S. were black. But here, bolstered by what I would call the most surprising and award-worthy performance of the year so far by Delroy Lindo, the focus is firmly on black men. Sure, they don't behave much better than their white counterparts in other flicks, but the dramatic depth is far more profound. During flashbacks, the Bloods squad leader Stormin' Norman (played by Chadwick Boseman) educates his comrades (and audience) on the history of a racist country relying on black and brown bodies to die in its wars, on the few significant soldiers of color actually recognized by history, and on viewing the gold they seek as the first step toward reparations for slavery.

Perhaps most welcome, for me, was that this movie isn't nearly as on-the-nose as BlacKkKlansman was. Granted, Lee's wit and messages worked magnificently well there, and it spoke keenly to the America he was trying to entertain and teach. But here, despite Lee's insistence that Trump be named multiple times in this movie, Lee is not simply "bashing" anybody, much as they may deserve it. In playing a longer, more delicate game, he reveals the devastating legacy of "President Fake Bone Spurs", as one character says, pointing out that while his red MAGA hat floats around the Vietnamese jungle, the man himself never did. Delroy Lindo's character, the Trump supporter, makes his case for the Oscar this year in one particular scene as he cuts his way, alone, through the jungle and rants and raves directly into the camera. As Lindo speaks about the U.S. government and grows more incensed, Lee twists our expectations by not having the character go mad; rather, he reaches a cathartic revelation (an apocalypse, now, if you will) before calling on a cruel God and -- well, there's still more irony to be had in the scene.

As always, Lee can be enjoyed as pure entertainment. But what I love best about him is that he layers so many complications atop each other -- dramatically, thematically, artistically -- that you could never fully and absolutely understand one of his movies. I haven't even mentioned the score by Terence Blanchard (and soundtrack by Marvin Gaye!) which also deserves an Oscar nomination, or the Vietnamese woman who acts as a sort of Greek chorus, accentuating themes of racial injustice in history and wartime governments while raising questions about the narrative filters on this film. Further, Da 5 Bloods would seem to be Lee's means of revisiting his earlier movie The Miracle at St. Anna and putting it in a crucible to make new art that is dramatically and intellectually more dense and satisfying. And, by framing it the way he does, Lee performs the haunting revelation that this war, for black Americans, is far from over.