Ghost Stories (2017): written and directed by Jeremy Dyson and Andy Nyman; starring Andy Nyman (Professor Goodman), Martin Freeman (Mike Priddle), Paul Whitehouse (Tony Matthews), Alex Lawther (Simon Rifkind), and Paul Warren (Woolly):
Adapted from a play by co-director Jeremy Dyson and starring co-director Andy Nyman as a psychic debunker, Ghost Stories creeps up on the viewer, building towards a harrowing final 20 minutes or so. The three ghost stories investigated by Nyman's rigid, unsympathetic Professor Goodman have changed their participants irrevocably, and not necessarily for the better. Goodman tries to remain unchanged as weirdness increases in his own life.
Some viewers (like me!) will be initially put off by the characterization of a psychic investigator as a bad guy, even as he exposes a fraud early in the movie in pretty much exactly the way that longtime debunker James Randi did. Stick with it, though. What seems like a general observation on the part of the movie may turn out to be something very much else.
I'd love to see how this play was originally staged. The movie has done such a terrific job of 'opening it up' that I'd be hard-pressed to cite any moments in which it seems like an adaptation of a stage play. Recommended.
Cargo (2017): written by Yolanda Ramke; directed by Yolanda Ramke and Ben Howling; starring Martin Freeman (Andy), Anthony Hayes (Vic), and Simone Landers (Thoomi): One of those Netflix movies whose lack of a theatrical appearance baffles the viewer. It's a zombie-plague movie set in Australia with fine performances from Martin Freeman and Simone Landers. Landers is especially good as Thoomi, the 11-year-old aboriginal girl whom Freeman meets in the countryside at a dire moment.
The plague has been around long enough that "countdown watches" are available to those recently bitten, giving a 48-hour count to the point at which a person will zombify. Freeman has been bitten as the movie begins. But in the depopulated countryside of Australia, he needs to find someone to take charge of his young daughter Rosie, the cutest 1-year-old girl ever to appear in a zombie movie.
Thoomi has her own trauma to deal with. The film-makers handle the growing friendship between the two delicately. It helps that Freeman's default acting mode is a sort of baffled, affable humanity. Thoomi is understandably cautious around him, but Rosie The World's Cutest Baby eventually wins her over.
There isn't a ton of violence in Cargo, though there is some zombie-fighting action (and human vs. human action, these catastrophic zombie events never bringing out the best in humanity). Cargo does hold out hope, though, in the manner of some of George Romero's genre-defining zombie classics. I shed a manly tear or two at the end. Recommended.
