A Special Day?
?for a special girl! One of the best girls I know is celebrating her twentieth-something birthday today! Happy, happy birtday, Ate Ronna! She is one of our Peer Counselors and I was surprised to know later on that she is one of our neighbors! Yay! We have few common friends who are also Peer Counselors and one of them shared that a friend of his identifies Ronna as the girl who always has lots of food in her bag. Indeed, this girl is a food-lover! She loves to cook (and most often, we get to taste what she prepares) plus she almost always has food inside her bag. Haha! One is never hungry whenever she’s around. But don’t be deceived. Even if she likes eating and is a great cook, she is so slim and skinny and does not need the help of the best diet pills available.
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She is a big sister to almost everyone (that is why we call her Ate) since this is her second course. I once told her that when my girl grows up, I want her to be just like her Tita Ronna. She has been so kind and nice and loving to Therese and the little one totally adores her. She is very soft-spoken and kind, obedient to her parents and God-loving. Who wouldn’t want to have a daughter like that? 
Anyway, I am off to wrap our pretty gift for her and troop to her house and guess what? eat of course!
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The Haunting of Molly Hartley
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Horror fans should know better than to waste precious Hallowe’en hours on tepid fright flicks, but someone had to review Mickey Liddell’s The Haunting of Molly Hartley. Experiencing lackluster horror on the big screen on October 31 order prednisone just doubles our disappointment, though — maybe our expectations for horror are artificially high around Hallowe’en, and we get bitter when we’re let down. There are some good ingredients in Liddell’s film, but they’re wasted by inept execution. Liddell and his writers (who I won’t shame by naming) borrowed from horror standbys like Carrie and The Omen without understanding their sources. They dab religion and parental angst and scary voices and Satanism onscreen without coming up with a cohesive painting — not even a half-decent expressionistic one. What’s worse, the movie seems to have been focus-grouped to a pack of pearl-clutchers; there are edits in Molly Hartley that suggest the filmmakers intended to show or tell us more about scenes that wound up getting torn out or calmed down by Liddell’s overlords. Add to this dialogue that would have been sniffed at by an ’80s-TV audience, six (six!) faux screen-startles better suited to horror spoofs, contrivances good horror directors learned to avoid decades back, and acting that can be called, at best, unenergetic. I’m not sure even the teen demographic the movie was intended for will take much home from this one, except maybe crushes on Haley Bennett (who plays the title role) or Chace Crawford (under hair and eyebrows so Zac Efron, they’ve probably been trademarked).
Molly Hartley opens in a forest in 1997, where a teenager named Laurel (Jessica Lowndes) is following a clothes-line decorated by notes that read Follow and Keep going. The line leads her to a cabin, and when she steps inside, we get our second screen-startle in the form of Laurel’s boyfriend (we’ve already been startled by wildlife), whose idea of romance is a Blair-Witch shack and a piece of jewelry. Laurel is creeped out, but she’s also touched. Their kiss is broken by a searing pain in Laurel’s head and by the appearance of her father (screen-startle number three), who drags his daughter off in his truck and starts ranting about The Darkness. Laurel, on the edge of eighteen, is about to Become something her father can’t stomach — he rams the truck into a tree and finishes his kid off with a shard of glass. Cut to the Present Day, where Molly Hartley (Bennett) suffers from the same kind of headache Laurel experienced — we know it’s the same because it’s accompanied by the same high-pitched reverb sound effect. She also has auditory and visual hallucinations, and multiple nosebleeds — just the sort of baggage welcomed by any teenager about to deal with her first day at a new school. She and her father (Jake Weber, who’s dialed to the same harried-parent frequency he adopts in “Medium”) have just relocated to a new town, and Molly’s been enrolled in a tony prep academy. She’s not a happy kid — she hates her uniform and her dad when we first meet her, and she’s sick of nightmares.
From here on in, it’s a lazy game of connect-the-dots on the part of the filmmakers: Molly attracts the attention of the class heartthrob, Joseph (Crawford), who naturally has a jealous girlfriend (AnnaLynne McCord), who in turn harasses Molly, whose only allies are the two most unpopular girls in school: Alexis the Christian wingnut (Shanna Collins) and Leah the tough-chick outcast (Shannon Marie Woodward). Molly’s social trauma is aggravated by the fact that her mother, who tried to kill her with a pair of scissors, makes her home in the local nuthouse. It’s also aggravated by the fact that Molly’s on the cusp of her dirty-pillows years — like Laurel (and countless screen teens before her), Molly has a parent who would rather kill her than let her grow up. That parent may be locked away, but Molly’s link to the dead Laurel suggests her mother may be more martyr than psychopath. Pitting parent against child — generation against generation — is a tried-and-true horror trope; sometimes the commentary takes the elder’s side (like in The Omen) and sometimes the offspring’s (my favorite example in this vein is Bob Balaban’s Parents, which deserves a Pajiba retrospective). Sometimes filmmakers tap into our fear of authority and sometimes our fear of unfathomable teens and the disconnect between generations. Liddell, it turns out, is dealing buy movie online with the latter, here, but he doesn’t deal with it in any memorable or cohere …
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