“Are you telling me that the fate of thirty million inhabitants is in the hands of these criminals?”

Now that we are in the middle of phase two of Marvel’s movie universe, a new batch of characters have been given a movie of their own to help set the stage for what is to come in the ever-expanding Marvel cinematic universe.  The Guardians of the Galaxy announcement for many left fans scratching their heads; after all, just how would a talking raccoon, a lumbering tree and various other space aliens fit in with the established Avengers team comic and film fans have grown to love already?

With the exception of killer clowns, I think the creepiest villains you can find in a horror film are possessed kids.  After all, they’re kids, so the knee-jerk reaction of letting them be overtaken by evil or letting them die is a bad thing in many circles.  Personally, if I’m being chased by some murderous kid who claims to have the devil in him, well, I’m not taking any chances, and they are going to end up on the unfriendly end of a handgun.  Thankfully I don’t believe the evil will be rising any time soon to kick off the ultimate war between good and evil.

In the new horror film Speak No Evil, the members of a small town are confronted with the dilemma “to kill, or to pray” after the children of their town are possessed by an evil that seems to have an unquenchable thirst for murder.   Seeing possessed kids isn’t anything new; in fact Here Comes The Devil and Come Out And Play are a pair of recent releases that set the standard for creepy possessed kids films.  Oddly enough, if you were to blend the plots of these two films together, you would get Speak No Evil, unfortunately without as much impact.

Erle Stanley Gardner wrote crime fiction, and while many of his 100 or so works are unknown to most of us, he created a character who has become as identified with criminal lawyers as any other in fiction. It was in these crime novels that Perry Mason first faced a courtroom. He developed a style where he would investigate these terrible crimes his clients were on trial for. He would find the real killer, and in what has become a Hollywood cliché, reveal his findings in a crucial moment during the trial. While we may not remember the novels, we all remember the man in the persona of Raymond Burr.  Burr had a commanding presence on our screens and enjoyed a well-deserved 11-year run as the clever lawyer. What makes this run so amazing is that the show followed pretty much the same pattern the entire time. We always know what’s going to happen, but we wait eagerly for that gotcha moment when Perry faces the witness on the stand. We know when he’s got the guy squarely in his sights, and we can’t sit still waiting for him to pull the trigger. OK, so maybe that’s a little over the top, but so was Perry Mason. From the moment you heard that distinctive theme, the stage was set. To say that Perry Mason defined the lawyer show for decades would be an understatement. Folks like Matlock and shows like The Practice are strikingly similar to Perry Mason.

Perry Mason officially ended in May of 1966, but that wasn't going to be the end. Twenty years later the surviving cast members reunited for Perry Mason Returns. It was Perry and Della back together again. Both Raymond Burr and Barbara Hale returned to their roles. William Hopper had died in 1970, so William Katt joined the reunion as Paul Drake, Jr. Katt might not have really been Drake's son; he was Hale's son. When Katt left the films he was replaced by William R. Moses as Ken Malansky. Ken was a young law student helped by Perry once when he was framed in law school for a rival's murder. He ends up being both a legal assistant and investigator for Perry in the reunion films. Ken's girlfriend is Amy, played by Baywatch's Alexandra Hastings. Amy was a rich girl who had too much time on her hands. It led to her involving herself in Ken's investigations. The films also often starred James McEachin as Lt. Brock, the cop on many of the cases. The team would continue to do 30 television movies from 1985-1995. CBS has now begun to package these reunion films in collections like this.

The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story. 

The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.

The story is simple. It chronicles a conversation between two people. Joe (Charlotte Gainsbourg) is found bloody and beaten in an alley by an older man, Seligman (Stellan Skarsgard). He takes her to his sparse flat to care for her and help her. What takes place is a long conversation full of intellectual digressions about Joe. It slowly reveals what led to her downfall. Seligman is a sheltered bookworm who has a detached curiosity about her story. 

The cast is impressive including Shia LeBeouf, Uma Thurman, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Udo Kier among others. The director is Lars von Trier, the famed Danish auteur and provocateur. Von Trier has always tried to find hidden and shameful areas of human behaviors in his films. Many of his films are rigorous exercises in the depths of human pain. They attempt to push expectations. They explore behaviors that seem too absurd to be real, but that is because most of us refuse to acknowledge certain parts of ourselves.