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‘The Peasants’ Review: ‘Loving Vincent’ Directors Return With a Sumptuous Animated Portrait of a Polish Village

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‘The Peasants’ Review: ‘Loving Vincent’ Directors Return With a Sumptuous Animated Portrait of a Polish Village

It would have been natural for directors DK Welchman and Hugh Welchman to follow up their highly acclaimed, arthouse smash hit Loving Vincent, about Vincent Van Gogh, with another film exactly in the same vein: Pining for Picasso, Mooning Over Monet, Rhapsodizing About Rembrandt — the possibilities seem aimless. But this talented husband-and-wife filmmaking team has taken their distinctive style of painterly cinema in an even more ambitious direction with their new effort, which received its world premiere at the Toronto International Film Festival. Adapted from Polish author Wladyslaw Reymont’s Nobel Prize-winning novel, released in four parts from 1904 to 1909, The Peasants is a ravishingly beautiful visual triumph.

The folklore-style tale, set in a 19th-century rural Polish village, revolves around star-crossed lovers. Jamila (Kamila Urzedowska, stunning in animated form) is a young woman whose striking blonde beauty has made her both the subject of intense gossip among the villagers and the object of the attention of nearly every male in the vicinity. Occupying herself with creating paper cutout artwork and nursing injured animals back to health, she lives a life that becomes tumultuous when she enters into a torrid affair with older married man Antek (Robert Gulaczyk, who played Van Gogh in Loving Vincent), the headstrong son of the village’s most prosperous landowner, the recently widowed Maciej (Miroslaw Baka).

The Peasants

The Bottom Line

A sumptuous visual experience.

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Venue: Toronto International Film Festival (Special Presentations)
Cast: Maila Urzedowska, Robert Gulaczyk, Miroslaw Baka, Sonia Mietielica, Ewa Kasprzyk, Cezary Tukaszewicz
Directors-screenwriters: DK Welchman, Hugh Welchman

1 hour 54 minutes

Antek deeply resents his tyrannical father, who refuses to share any of his wealth with him or his two siblings until after his death. Their combative relationship becomes even more troubled when Maciej enters into a marriage with Jamila arranged by her mother. Jamila and Antek continue their assignations at greater and greater risk, leading to a dramatic chain of events that culminates with the villagers violently turning on the adulterous bride.

The melodramatic storyline and broad characterizations are the least compelling element of the Polish-language film adaptation, which can feel overlong with its nearly two-hour running time. (The length is understandable, however, considering that Reymont’s novel — divided, like the film, into parts linked to the four seasons — runs 1,000 pages or so.)

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Rather, it’s the sheer luminosity of the images on display that keeps you thoroughly enthralled. The filmmakers’ technique involves shooting the entire film in live-action form, with real actors and sometimes real sets, and then painting tens of thousands of frames in rotoscoping fashion to produce the feeling of oil paintings come to dynamic life.

The result is near hallucinatory in its effect, as if walking through an art museum filled with masterpieces that have lives of their own. The actors’ performances inevitably take on a larger-than-life aura — if this filmmaking style had been prevalent during the Golden Age of Hollywood, the top stars wouldn’t have been demanding the best make-up artists, lighting directors and cameramen, but rather the studios’ most talented oil painters.

Not surprisingly, the sequences benefiting the most from the approach are the most painterly to begin with, from landscape and nature shots spanning the various seasons to a lively wedding bursting with folk dancing and music, the latter enlivened with contemporary rhythms by Polish composer/rapper Lukasz “L.U.C.” Rostkowski. The film also pays homage to art history, a la Loving Vincent, with recreations of celebrated paintings by several notable Polish artists.

The Peasants is definitely not an animated movie for younger viewers; it contains adult themes, brutal violence and full-frontal nudity, the last no less erotic for being rendered in painterly form.

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Full credits

Venue: Toronto International Film Festival (Special Presentations)
Production: Digitalkraft, Breakthru Productions, Canal + Polska, Narodowe Centrum Kultury,  
Cast: Maila Urzedowska, Robert Gulaczyk, Miroslaw Baka, Sonia Mietielica, Ewa Kasprzyk, Cezary Tukaszewicz
Directors-screenwriters: DK Welchman, Hugh Welchman
Producers: Sean Bobbitt, Hugh Welchman
Executive producers: Laurie Ubben, Steve Muench, Sita Saviolo, DK Welchman, Kyle Stroud, Tom Ogden
Directors of photography: Radoslaw Ladczuk, Kamil Polak, Szyman Kuriata
Director of animation: Piotr Dominiak
Editors: DK Welchan, Patrycja Pirog, Miki Wecel
Production designer: Elwira Pluta
Costume designer: Katarzyna Lewinska
Composer: Lukasz “L.U.C.” Rostkowksi
Casting: Ewa Brodzka

1 hour 54 minutes

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Movie Reviews

Speak No Evil (2024)

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Speak No Evil (2024)

Chilled American couple Ben (Scoot McNairy) and Louise (Mackenzie Davis) meet overfriendly Brits Paddy (James McAvoy) and Ciara (Aisling Franciosi) on an Italian holiday and accept an invitation to spend a weekend with them in the West Country.  However, it becomes apparent that the charming hosts have a sinister hidden agenda. 

Christian Tafdrup’s 2022 horror Speak No Evil — available on Shudder — was an impressive, frog-boiling psycho picture about polite Danish folks who unwisely agree to spend a weekend away with the hearty Dutch family they met on holiday and are subjected to many, many micro-aggressions before the macro ones start up. For a while, James Watkins’ English-language remake hews close to the original… then, the films diverge (around the time of the excruciating decision to go back for the daughter’s toy rabbit) and become different, if complementary experiences.

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There’s no denying that the first film was upsetting, and having watched that you wouldn’t want to go back again, so new twists are satisfying. James McAvoy, with a Mummerset burr and an imposing too-much-time-in-the-gym physique, is a charismatic, intimidating presence. He’s not played an all-out villain before, and goes to town with this, repeatedly springing some unforgivable trespass on his guests before taking it back and begging for sympathy, or acting hurt that they’re offended and stringing it out for another few hours, even as clues pile up about the depth of the hole they’re falling into.

Director James Watkins is very good at ratcheting screws.

Both Watkins’ major horror films — Eden Lake, The Woman In Black — are fairly ruthless in killing off characters who ought to be safe in the genre, aligning his vision with the bleakness of Tafdrup’s film. However, this fight is more even-handed, and a Straw Dogs-ish farmhouse battle rousingly pays off multiple Chekhov establish-deadly-weapons-for-use-later moments, throwing in extra revelations which add bite.

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The business of this story in both versions is suspense, and Watkins is very good at ratcheting screws — stringing out moments like a possible getaway, one the villain seems happy to let play out, in such a manner that a companion even compares him to “my aunt’s cat” because he insists on playing with his food — but also springs satisfying reversals and pay-offs.

It’s not Speak No Evil (2022)— because what would be the point of that? — but Speak No Evil (2024) is a quality horror-suspense picture. 

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Movie Reviews

Creeping Death – Review | Screambox Halloween Slasher | Heaven of Horror

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Creeping Death – Review | Screambox Halloween Slasher | Heaven of Horror

Watch Creeping Death on Screambox

Creeping Death comes from writer-director Matt Sampere who makes his feature debut with this Halloween horror movie. As mentioned earlier, it’s based on his short film of the same name.

The cast works well overall and the design and practical effects for the Celtic spirit Aos Si are all impressive. With the one big and unfortunate exception of the writer-director himself who plays Tim.

As good as he is at directing the rest of the cast, he does not work in front of the camera for me. Not at all. In fact, the movie only works briefly for me, when he isn’t on screen.

love when a movie is made with passion, but it must be accompanied by talent. For this movie, there is passion and also talent, but someone needs to come in and “kill the darlings” because Matt Sampere isn’t quite able to do this himself.

This may sound harsh, but my intention is an honest and heartfelt recommendation. I think he could make solid horror movies as a writer and director, but not with himself in front of the camera.

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Creeping Death is out on SCREAMBOX on September 10, 2024.

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Movie Reviews

Movie review: Say ‘Beetlejuice’ twice and an unnecessary sequel appears

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Movie review: Say ‘Beetlejuice’ twice and an unnecessary sequel appears

Michael Keaton as Beetlejuice in “Beetlejuice Beetlejuice.” Credit: Parisa Taghizadeh/Warner Bros. via TNS

When one hears “Beetlejuice,” the 1988 Halloween classic often comes to mind, conjuring up memories of over-the-top campiness, oddball characters, zany horror and everything out-of-the-ordinary that is to be expected from a Tim Burton project. 

The 2024 sequel “Beetlejuice Beetlejuice,” despite having twice the title, possesses half of the spooky charm as its 36-year-old predecessor.

In “Beetlejuice Beetlejuice,” Winona Ryder reprises her role as Lydia Deetz; only this time around, Lydia isn’t the teenage daughter of a couple being haunted by the demon Beetlejuice. Instead, she’s the middle-aged star of a paranormal talk show — titled “Ghost House” — during which she provides families consultations on their haunted houses à la “Ghostbusters.”

Jenna Ortega steps into the cynical teenager role as Lydia’s daughter Astrid, who is skeptical of her mother’s profession and questionable new relationship with her business partner following the death of her father.

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“Beetlejuice Beetlejuice” is primarily preoccupied with resituating the classic Halloween story in a modern context, and perhaps that’s the main reason why the original’s charm feels beyond saving. It’s hard to feel cozy and spooky watching a Burton film when the characters drive luxury sports cars and whip out their iPhone-esque cellphones with possessed vigor. 

Beyond the natural growing pains of moving into the 21st century, “Beetlejuice Beetlejuice” lacks the first film’s eye-popping gothic chic. The campy, unrealistic practical effects and costumes are thrown out and substituted with air-brushed counterparts that strip the sequel of authenticity. 

Though to be fair, complaints about the corporate-washed soul of the film could be excused if the story didn’t feel like it was vomited out by a trick-or-treater who had too much Halloween candy. 

It’s undeniably true that the plot of the original “Beetlejuice” didn’t follow the most cohesive structure, but it never felt boring or convoluted. The same can’t be said for its sequel, which can’t seem to figure out if it wants to spend more time resurrecting characters from the first film or introducing half-baked new ones. 

This dilemma is seen in Lydia’s new partner Rory (Justin Theroux), who overstays his welcome both in the world of the film and in screen time. 

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Additionally, Ortega is once again typecast as a grumpy, dark-humored teenager whose presence is made infinitely less interesting by a cringe-worthy romance subplot.

“Beetlejuice Beetlejuice” still recaptures some of the original’s wacky exuberance, particularly when Michael Keaton gets to shine as the titular character, enabling his morbid charisma to — once again — be the film’s standout factor. 

Unfortunately, Keaton is drastically underutilized, particularly in the film’s first two acts, during which it feels as though his character is given the bare minimum amount of screen time that still allows the film to be titled after him. 

If you’re craving the spooky whimsy of “Beetlejuice,” you’d be better off relishing the original’s tricks and treats than going to see “Beetlejuice Beetlejuice,” a ghost of its precursor that didn’t deserve to be resurrected.

Rating: 2/5

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