The Bay (2012, Barry Levinson)

Most of The Bay is tolerably tedious and mediocre. Levinson’s doing a found footage documentary—he may also provide the voice of filmmaker—about a bunch of sea cockroaches eating its way through a little Maryland town. It plays like a combination low rent Michael Crichton adaptation—the action skips to various government agencies and their internal camera systems—and a lower rent Jaws. Or more accurately Piranha.

There’s one problem so significant they can’t succeed with it—they’re going to need a bigger boat—that problem is narrator and occasional protagonist Kether Donohue.

So three years after Homeland Security covers up a bunch of mutant sea lice eating hundreds of people in a vacation town on the Fourth of July, Donohue and an unseen documentarian (voice by Levinson I think) get together to have Donohue narrate all the video footage from the incident.

They’re able to get it because screenwriter Michael Wallach and Levinson’s target audience is people who don’t understand how WikiLeaks worked; the in-movie WikiLeaks, Wiki-whatever, gets all the footage and so then Levinson assembles like a horror movie and has Donohue record narration.

The problem is Donohue’s terrible at the narration, terrible at the speaking directly to the camera. She ends up ruining the movie in the end, but for a steady clip during the second act she’s barely narrating and it’s… tolerable.

Though it helps some of the cast can act even with the found footage thing going on. Levinson mixes all sorts of formats without much thought, though I suppose putting too much work into realizing Wallach’s insipid screenplay might have been hard to get excited about. The movie's target audience is also people who don’t understand how 24-hour clocks work. In addition to technology and probably protein in chicken shit. The film’s got a strong environmental message about pollution but it’s also very bad and very silly at times so it’s impossible to take it very seriously.

If it weren’t for Donohue—and if the acting from government officials weren’t so terrible—The Bay probably would be okay. It wouldn’t be good because Levinson’s got zero touch for the found footage thing and no apparent ear for “real” dialogue, but it wouldn’t be as bad.

Stephen Kunken’s okay as the doctor—it’s obvious The Bay does not care about verisimilitude when they don’t even bother finding out what Kunken’s position at an ER would be called. He’s something like the attending personal physician for waiting room patients. It must have been hard to watch this one as a personal friend of Levinson and have to talk to him about it.

Frank Deal’s terrible as the mayor, who’s got that factory farmed chicken money in his corrupt pockets and calls in the National Guard without anyone knowing to keep the outbreak isolated.

Christopher Denham and Nansi Aluka are okay as the oceanographers who get a very important flashback subplot threaded throughout the micro-monster movie so it’ll have maximal impact for presumably disinterested audience. Levinson’s pretty craven in his indifference to trying to make The Bay good at all. It’s contemptuous of the found footage horror audience it assumes it’ll have.

Kristen Connolly is almost good as a vacationer. She’d be good if it weren’t for the movie itself being bad.

And then a quick shoutout for Robert C. Treveiler, who plays the CDC guy who’s got terrible, goofy dialogue but Treveiler still holds it together reasonably well. He’d probably be the hero in a big budget version.

The Bay is bad. It’s worse than it needs to be thanks to Donohue’s terrible turn as narrator; she’s even likable in the found footage parts too. Even though you’re predisposed to dislike her because of the narration. Worse, the opening scene with her is she and Levinson talking about how he should’ve hired someone who would do the narration better.

It’s like you’re agreeing to give it a pass on the bad from the start, which is an interesting device but maybe shouldn’t be the most significant device you come up with for a piece of work. Then again Levinson giving up after the first three minutes are a flop explains a lot.

Fast Color (2018, Julia Hart)

Fast Color spends most its runtime saying it’s not a superhero movie—it’s just about people who happen to have superpowers—only for the third act to play like a low budget X-Men outing. And it’s not just the not-battle-in-the-streets battle-in-the-street resolution, it’s also how lead Gugu Mbatha-Raw’s character arc becomes all about her superpowers and not her returning to her abandoned home, abandoned mother (Lorraine Toussaint), and abandoned tween daughter (Saniyya Sidney). It’s also not about how Mbatha-Raw’s gotten sober—drugs help keep her out-of-control powers in check—or how the world hasn’t had rain in the last seven or eight years. There’s a lot going on in the world of Fast Color and director Hart does a great job showing its more mundane side—utilizing the limited budget well—but engaging with the superhero movie tropes after promising to avoid them… it doesn’t undue the work of the film through most of its runtime, but it does leave the potential unrealized.

For instance, just when Mbatha-Raw and Sidney could be really connecting, the film concentrates on the superpowers. And it doesn’t even go all the way with the superpowers. It doesn’t just not show them, it doesn’t show their effect on anyone, so it’s like they’re not even there. Sorry, Fast Color’s finish is about the only disappointing thing in the film (as it compounds the problems with Toussaint’s part). Hence the harping.

The film opens with Mbatha-Raw on the run. She’s got some kind of earthquake power, which she can’t control at all but she at least tries to mitigate the damage. Water is an expensive item because of the lack of rain fall, but there’s still booze, eggs, electricity, all sorts of things just no smartphones. The whole no more rain subplot is fine but doesn’t add anything to the film. It mostly ends up serving as a budget limiter; so fine. But just fine.

Pretty soon we discover nerdy government scientist Christopher Denham is after Mbatha-Raw but also she’s gotten to her hometown, which he doesn’t realize. So she goes to mom Toussaint’s farm, even though Mbatha-Raw’s never met Sidney and Sidney doesn’t have any expectation of ever meeting Mbatha-Raw and then Toussaint makes Mbatha-Raw sleep out in the barn because her powers are so out-of-control. The film never directly addresses how Mbatha-Raw’s terrible life, on the run but also before, instead focusing on what she can do to improve her footprint, which is fine because it centers itself around Sidney’s well-being. Mbatha-Raw’s motivations and thoughts play out in her expressions versus actions or dialogue. She’s haunted by flashback sequences too. Mbatha-Raw gives an excellent lead performance but her part isn’t really enough the lead as far as the plot goes.

Most of the film is about what’s going to happen without raising much expectation. David Strathairn plays the local sheriff who’s also on Mbatha-Raw’s trail, trying not to let Denham and the feds take his case. Given how much the film ends up leveraging Strathairn, at the expense of other characters (and their actors), it’d have been nice if Strathairn weren’t involved in one of Fast Colors big secrets. The film has a lot of big secrets—well, either secrets or lies, because Toussaint wants to keep Sidney sheltered. See, Toussaint and Sidney also have powers, but they’re not as potentially damaging or affecting as Mbatha-Raw’s. When Mbatha-Raw bonds with Sidney, it’s over the powers, which is weird but the acting’s good—Sidney’s phenomenal—so Color can do whatever it wants as long as it stays focused on the characters.

The end abandons that focus and… the film suffers.

Technically, the film’s outstanding. Save the occasionally too DV night time photography. Many of photographer Michael Fimognari’s night time shots are fantastic, but when there’s a lot of movement on the screen… it looks off. Martin Pensa’s editing is good, Rob Simonsen’s music is good, Hart’s direction is good… Fast Color’s got all the pieces—well, okay, not Denham (who’s way too eh)—the script just doesn’t quite get them assembled right at the end.

The film gives Mbatha-Raw a solid lead, Sidney an okay supporting showcase (Sidney could handle more), and Toussaint a disappointing one. The film utilizes her but doesn’t showcase her, which really hurts in the third act.

Fast Color’s successful without exactly being a success.