Not After Midnight and Other Stories

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Daphne du Maurier was obsessed with the past. She intensively researched the lives of Francis and Anthony Bacon, the history of Cornwall, the Regency period, and nineteenth-century France and England. Above all, however, she was obsessed with her own family history, which she chronicled in Gerald: A Portrait, a biography of her father; The du Mauriers, a study of her family which focused on her grandfather, George du Maurier, the novelist and illustrator for Punch; The Glassblowers, a novel based upon the lives of her du Maurier ancestors; and Growing Pains, an autobiography that ignores nearly 50 years of her life in favour of the joyful and more romantic period of her youth. Daphne du Maurier can best be understood in terms of her remarkable and paradoxical family, the ghosts which haunted her life and fiction. How will these two mesh during the show? What will they find out they have in common? What about their differences? Find out here.While together, Shane points out the absurdity of Hank’s claims about the monster. He reminds Hank that they should be family now. That he and Abby should be married. Hank admits that he has been an asshole. He admits that they should have been family by now. He disagrees with Shane, though, and tells him the monster is definitely real. After Midnight – Just Plain Awkward Endearingness: 3/2/3/2/3. Not the warmest, most friendly stories, but some are reasonably likeable.

The second story, Not After Midnight, presents us to a history teacher at a preparatory school, a man who says about himself:A British schoolmaster travels to Crete to enjoy his hobby of painting by the ocean in "Not After Midnight." A strange couple in a neighboring cottage are involved in a mysterious activity when they go off in their boat every day. The title story, "Don't Look Now," was my favorite in this collection of five short stories. A grieving husband and wife are on vacation in Venice when some strange supernatural events occur. Written by Gardner, who co-directed with Christian Stella, “After Midnight” channels this state of mind for half a movie, and it can feel relatively narrow. The timing is padded out with some kooky monologues by his dopey, not-so-helpful friend Wade ( Henry Zebrowski), who drinks from the mat at Hank's bar, and an appearance by Justin Benson as an old-fashioned cop and sibling to Abby. The movie is almost so proud of its monster metaphor that it doesn’t dig into it; instead it’s more images of Abby, juxtaposed with Hank’s grungy shield. And despite the progressive physical wear that comes from Gardner's beat performance, like whenever the monster pops up, “After Midnight” appears to be limited and let itself stay that way. At its worse, it risks losing the viewer with Hank's shallow sulking and aimless bangs of the monster in the night. But here is a monster story with an exciting bait-and-switch, whose heart bleeds slowly like “ Blue Valentine.” If the emotions don’t hit you, if the conversations don’t look like previous crossroads you’ve faced with a long-time partner, at least the ambition behind them will. And the final scenes are punchy, with a legitimate, winning jolt. The balance that "After Midnight" strikes between a two-hander and a monster story warrants a Valentine's Day weekend look, and maybe even a scary conversation.