Saw Foreign Correspondent (thanks, Anne!) It was a glorious old Hitchcock film set just before England is pulled into the second world war. The protagonist must foil a budding German plot to pull England into war but we know of course that his mission is doomed. The film was mostly a taut action/drama, ratcheting up the intrigue and the stakes unto geopolitical levels. Like a good mystery, it uses ingenious solutions and the exploitation of social conventions to foil the villains. The backdrop of just-barely-prewar England is ingenious and well drawn, the characters well acted and the plot knotty and twisting. I loved it.
The film is made in the 40s for American audiences. Hitchcock no doubt wanted America to join the war effort but understood that this was not a popular opinion. Thus, the film is strangely equivocal for a WW2 film. The Brits are the true heroes but the main villain is an aristocratic sort of German and even behaves selflessly and nobly, just at the very end. About that ending too: the whole film has been this elaborate dance in hotel lobbies and train cars, far removed from the actual realities of fighting and war until, fleeing the country in an airplane and still engaging in back-room intrigues, suddenly the war becomes very real and inescapable. What was a clever word-game becomes a bloody reality. Just a wonderful scene. Then, as though we had not been given enough gifts in this film, we get a gloriously over-sincere speech from the protagonist about how the lights have all gone out in England, that the lights in America must be kept burning, so ring them with guns and cover them with a canopy of battleships! And the credits roll as the chorus lauches into a mighty "Oh say does tha-at star spangled banner yet waaaave?" Just glorious.
The film's great. It's Hitchcock. What can I say? Such great 1940s declamations and overwrought, dainty references to sex. The film is kind of campy in parts but this just adds to my enjoyment of it. Such a fun film!
Jul 31, 2016
Jul 30, 2016
Rambo: First Blood Part II
Saw Rambo: First Blood Part II. It was a perfect film for the Vietnam war. An utterly pointless, ugly, confusing quagmire that no one wanted except a few really war-hungry Americans. It's nominally about Rambo (America) vs the Vietcong but is really another chapter in America's ongoing feud with the Russians (who, it turns out, are the real bad guys all along.) The film opens with Rambo being recruited out of prison to do some really bad-ass running around. He asks the general who's recruiting him "do we get to win this time?" To which the general smiles and says "of course, my darling boy, you get to do whatever you like in the magical land of make-believe."
The film operates as a sort of action-horror with Stallone as the monster, sneaking up on unsuspecting people and suddenly murdering them. Gone is the non-violent protagonist of the first Rambo film. True to its horror-film roots, the sexually active are punished and the monster moves silkily through the shadows. Innocent bystanders are mowed down en mass by thermonuclear-tipped arrows. Utter nonsense.
The film has some message about how shitty it was of the US gov to abandon POW in Vietnam after the war and fine, yes that was shitty, but this message is soon forgotten after Stallone delivers some overwrought monologue about how he wishes America would love its veterans. This is a great point to make, I love it, but why does it have to come out of Stallone's half-paralyzed sneer? Ugh. I didn't like this film.
The film operates as a sort of action-horror with Stallone as the monster, sneaking up on unsuspecting people and suddenly murdering them. Gone is the non-violent protagonist of the first Rambo film. True to its horror-film roots, the sexually active are punished and the monster moves silkily through the shadows. Innocent bystanders are mowed down en mass by thermonuclear-tipped arrows. Utter nonsense.
The film has some message about how shitty it was of the US gov to abandon POW in Vietnam after the war and fine, yes that was shitty, but this message is soon forgotten after Stallone delivers some overwrought monologue about how he wishes America would love its veterans. This is a great point to make, I love it, but why does it have to come out of Stallone's half-paralyzed sneer? Ugh. I didn't like this film.
Jul 24, 2016
Breaker Morant
Saw Breaker Morant, an Australian military courtroom drama set during the Boer War. The film follows a trio of Australian soldiers who are fighting on behalf of Britain and who are on trial for the murder of some Boer prisoners. From the beginning, it's clear that the deck is stacked against these soldiers and that this is part of some political theater the Brits are trying to play. The film follows the typical beats of a crooked courtroom drama from there, the soldiers are assigned an inexperienced lawyer who arrives with a messy sheaf of wrinkled papers, asking questions of the soldiers and then miraculously becoming competent in court, cross-examining the first witness to within an inch of his life. You know.
the film is interestingly political. The Boer war was a guerrilla war, fought by locals against colonial invaders. Likewise the drama of the courtroom mirrors the conflict, with one side virtuously playing fair and the other side breaking some rules and making up new ones. Also this is a film told from an Australian perspective. At this point Australia had just recently become an independent nation, eager to make allies and to be taken seriously. The stuffy Brits ruling the courtroom sneer at the soldiers but, later of course, must begrudgingly take them seriously. So, in this way, the courtroom reflects the outside world as well.
The film is interesting and well shot. It's not the most engaging film, preferring still shots of talking heads to dramatic reenactment but it held my attention anyway. It's very dramatic and frustrating, rewarding and then punishing. A film about soldiers caught up in a game they don't understand or that, perhaps, they understand only too well.
the film is interestingly political. The Boer war was a guerrilla war, fought by locals against colonial invaders. Likewise the drama of the courtroom mirrors the conflict, with one side virtuously playing fair and the other side breaking some rules and making up new ones. Also this is a film told from an Australian perspective. At this point Australia had just recently become an independent nation, eager to make allies and to be taken seriously. The stuffy Brits ruling the courtroom sneer at the soldiers but, later of course, must begrudgingly take them seriously. So, in this way, the courtroom reflects the outside world as well.
The film is interesting and well shot. It's not the most engaging film, preferring still shots of talking heads to dramatic reenactment but it held my attention anyway. It's very dramatic and frustrating, rewarding and then punishing. A film about soldiers caught up in a game they don't understand or that, perhaps, they understand only too well.
Jul 23, 2016
Steamboat Bill, Jr.
Saw Steamboat Bill, Jr., a silent film starring the wooden-faced Buster Keaton. It's a delightful piece of buffoonery, Keaton managing not only to trip multiple times but, each time he's tripped, to do magnificent flips and pirouetting pratfalls. Just great. The story is the usual: Keaton is the bumbling son of an angry man who runs a steamboat. This man is locked in a bitter rivalry with another riverboat man, but one who wears a suit, so you know he's rich. This rich man has a daughter who takes a fancy to the bumbling Keaton and, now that this teetering, ridiculous scaffolding of a premise is constructed, the film gleefully watches it all fall over and explode.
There's not much to say here. The film is essentially a series of high-budget vaudeville skits, with Keaton risking his life to bring the funny. It's great fun but of course the characters are paper-thin and the plot is an afterthought. There's apparently some fancy camera-work on display but I'm too ignorant to spot it. In any case, this is a nice, dumb little film.
There's not much to say here. The film is essentially a series of high-budget vaudeville skits, with Keaton risking his life to bring the funny. It's great fun but of course the characters are paper-thin and the plot is an afterthought. There's apparently some fancy camera-work on display but I'm too ignorant to spot it. In any case, this is a nice, dumb little film.
Jul 17, 2016
Beverly Hills Cop
Saw Beverly Hills Cop, an obscenely 80s film which pretends to be a comedy despite only being a kind of lighthearted actions film. The action is light and humorous, but only in a riffing, quippy sort of way. There are no setup/punchline style jokes. Anyway, the film is fairly light and fun. The style of the whole thing is very, very 80s, with big hair, vinyl suits, and the gaudiest art gallery you've ever seen. In addition to being set in an inherently ridiculous era, it features Eddie Murphy quipping and joking and having a grand old time. This must be one of his more serious roles however as he spends most of it being serious and acting and only a tiny part of the time sleepwalking through easy-going jokes. It's a nice little film.
I was kind of annoyed at how Eddie Murphy's character smilingly introduces corruption and cronyism into the police force, but then again as an outsider I would prefer cops behave like the sort of pedantic, humorless, stick-in-the-mud that this film pokes fun at, so fair enough. Much more interesting to me were the moments that were not actually homoerotic but could easily be read that way. Several times men declare that they love each other and when Eddie is getting round the cops who are supposed to be tailing him, the sequence is shot in a seductive soft-focus lens. This is just me snickering at gay jokes I'm telling myself, but it was a source of amusement to me.
A light and amusing film, it's a paragon of an 80s film, not only in terms of the fashions on display, or in terms of the little slobs-vs-snobs theme, but also in that it's a by-the-numbers blockbuster. Winning protagonist, sexy femme, and big shoot-out set piece finale. A perfect time-waster all around.
I was kind of annoyed at how Eddie Murphy's character smilingly introduces corruption and cronyism into the police force, but then again as an outsider I would prefer cops behave like the sort of pedantic, humorless, stick-in-the-mud that this film pokes fun at, so fair enough. Much more interesting to me were the moments that were not actually homoerotic but could easily be read that way. Several times men declare that they love each other and when Eddie is getting round the cops who are supposed to be tailing him, the sequence is shot in a seductive soft-focus lens. This is just me snickering at gay jokes I'm telling myself, but it was a source of amusement to me.
A light and amusing film, it's a paragon of an 80s film, not only in terms of the fashions on display, or in terms of the little slobs-vs-snobs theme, but also in that it's a by-the-numbers blockbuster. Winning protagonist, sexy femme, and big shoot-out set piece finale. A perfect time-waster all around.
Jul 16, 2016
A Town Called Panic
Saw A Town Called Panic (thanks, John!) It's a freewheeling children's movie about a cowboy and Indian who live with their horse. The horse is a sort of father figure to them, gruffly ordering them around and making sure they don't get into trouble. The cowboy and Indian decide to build the horse a barbecue pit for his birthday, instead of just getting him a hat like they do every year. Accidentally they order 50 million bricks for the barbecue though which is the start of zany adventures. The whole thing is stop-motion with a few 2D animated segments thrown in. It's extremely fun and delightful.
The film is fairly unsubstantial, dealing more with whimsy and fun than profound ideas or pop culture. The film has a timeless, fairy-tale quality. The story of the cowboy and the Indian dealing with millions of bricks, being scooped up by robotic penguins, being chased through the sea by barracudas, is timeless. The film is just pure joy. Very silly, very fun. I loved it and have nothing further to say about it.
The film is fairly unsubstantial, dealing more with whimsy and fun than profound ideas or pop culture. The film has a timeless, fairy-tale quality. The story of the cowboy and the Indian dealing with millions of bricks, being scooped up by robotic penguins, being chased through the sea by barracudas, is timeless. The film is just pure joy. Very silly, very fun. I loved it and have nothing further to say about it.
Jul 10, 2016
Trollhunter
Saw Trollhunter, a Norwegian docu-comedy shot in the hand-held, Blare Witch style. We follow some film students who are trying to track down a man they believe to be a bear poacher but, as we quickly discover, is hunting much larger game. The film is not remotely scary, with the trolls themselves looking rubbery and CGI-generated. Also several of the actors are well-known Norwegian comedians, so this is a sort of straight-faced comedy. The best jokes come from the grizzled hunter confirming fairy tale trivia about Trolls (hey do indeed smell the blood of a Christian mun) and angrily denying others ("Do they live under bridges?" "No. That's just fairy tale stuff.") Also there's the great slow-burn of talking about trolls like they're any other big game, talking of bull and sow trolls, territorial markings, spoor. Good fun!
the film is essentially a big-game ride-along. Most of the time is spent getting to know the grizzled troll-hunter and world-building to explain why the trolls are such a close secret. It's played completely straight. Most of the film is spent in the wilds of Norway and Sweden, admiring the rugged beauty of the frozen mountains and fjords. Every so often they come face to face with a troll but not often. It's very high-concept, cerebral silliness. Interesting but a bit slow for me.
the film is essentially a big-game ride-along. Most of the time is spent getting to know the grizzled troll-hunter and world-building to explain why the trolls are such a close secret. It's played completely straight. Most of the film is spent in the wilds of Norway and Sweden, admiring the rugged beauty of the frozen mountains and fjords. Every so often they come face to face with a troll but not often. It's very high-concept, cerebral silliness. Interesting but a bit slow for me.
Jul 9, 2016
The Year My Voice Broke
Saw The Year My Voice Broke, a coming of age film about the wild girl Freya and her would-be boyfriend Danny. They have a hideout from the world and are both into psychic messaging and ghosts. Danny is in love with Freya but she's only interested in Trevor, the school quarterback, who is fond of practical jokes and giggling. Being a teenage boy and all, Danny pines away and becomes a good friend, although he also steals her panties and continues to kind of awkwardly try to romance her. He's sensitive and writes songs and is beat up at school for writing poetry and is clearly the audience insert.
This being a film for and about Nice Guys, I was all set to point out how selfish Danny is being, skulking around waiting for his moment to capture Freya when she at last turns to him out of boredom or desperation, but in fact he's fairly selfless and kind throughout, even as he's unhappy about Freya's (and even Trevor's) suffering. The small-town villagers come off the worst in this film, spreading innuendo, feigning indignation to cover pure delight at the scandal of a teen having sex.
The ghosts of the past become a major theme, Freya's parentage colouring the town's image of her. The kids imagine themselves to be haunted by spirits, but they are actually haunted by the lives of their parents' generation. The rumours of the town are borne of bitterness directed at people who are now long-dead, who the kids have the misfortune to be related to. Atop all of this, though, is a teen romance and angst-fest which I enjoyed immensely. All of their hyperbolic statements, their poses they strike. It's a really sweet film with interesting themes peaking up just above the surface.
This being a film for and about Nice Guys, I was all set to point out how selfish Danny is being, skulking around waiting for his moment to capture Freya when she at last turns to him out of boredom or desperation, but in fact he's fairly selfless and kind throughout, even as he's unhappy about Freya's (and even Trevor's) suffering. The small-town villagers come off the worst in this film, spreading innuendo, feigning indignation to cover pure delight at the scandal of a teen having sex.
The ghosts of the past become a major theme, Freya's parentage colouring the town's image of her. The kids imagine themselves to be haunted by spirits, but they are actually haunted by the lives of their parents' generation. The rumours of the town are borne of bitterness directed at people who are now long-dead, who the kids have the misfortune to be related to. Atop all of this, though, is a teen romance and angst-fest which I enjoyed immensely. All of their hyperbolic statements, their poses they strike. It's a really sweet film with interesting themes peaking up just above the surface.
Jul 7, 2016
An Affair to Remember
Saw An Affair to Remember, a romance about a man and woman, both engaged to other people, who suddenly fall in love on a cruise ship. The woman is a sort of shut-in, once a cocktail lounge singer, now the kept woman of an industrialist. The man is a playboy who is marrying a rich lady. It's the sort of film that starts off cute and just gets progressively sweeter and sweeter and sweeter, smothering your cynicism and overwhelming you with its adorable sweetness until at last you rebel and start shouting "oh for God's sake!" at the screen, making eye contact with your cat and asking her "Are you seeing this?"
For me, the first ominous rumblings of the treacly sweetness to come was during the visit to the man's grandmother. She's so fucking adorable she brings the woman to tears. She can see that the man and woman have something special together, although she's only met this woman for five minutes. Okay, I can deal with this. But I can't deal with the following tearful piano playing, the tearful farewells, and the tearful run back for just one last hug. Oh! How sweet it all is!
The film comes out of the depths of the Hayes Code era. Every kiss happens off-screen or becomes a hilariously unlikely hug at the last moment. The actors do their best to show physical affection, but of course they can't really do much beyond grip each other's elbows because for heaven's sake this isn't a porno! The film gets yet more mawkish after the granny visit, but I'd have to give some serious spoilers to talk about it. Suffice to say there's a chorus of adorable little white kids (plus exactly one black boy and exactly one black girl) singing a song about following "the little scout" (i.e. your conscience.) Ugh.
I'm being very mean here and I should admit that this is a very well-respected film. It clearly wasn't made for me though but I admit I did enjoy the falling-in-love shenanigans, and some of the twists and turns in the film. The writing and acting are top-notch but it's really way too precious and cute for me in a slightly ugly, repressive 1950s sort of way. This is escapism but I feel it has escaped entirely into some weird and lurid fantasy.
For me, the first ominous rumblings of the treacly sweetness to come was during the visit to the man's grandmother. She's so fucking adorable she brings the woman to tears. She can see that the man and woman have something special together, although she's only met this woman for five minutes. Okay, I can deal with this. But I can't deal with the following tearful piano playing, the tearful farewells, and the tearful run back for just one last hug. Oh! How sweet it all is!
The film comes out of the depths of the Hayes Code era. Every kiss happens off-screen or becomes a hilariously unlikely hug at the last moment. The actors do their best to show physical affection, but of course they can't really do much beyond grip each other's elbows because for heaven's sake this isn't a porno! The film gets yet more mawkish after the granny visit, but I'd have to give some serious spoilers to talk about it. Suffice to say there's a chorus of adorable little white kids (plus exactly one black boy and exactly one black girl) singing a song about following "the little scout" (i.e. your conscience.) Ugh.
I'm being very mean here and I should admit that this is a very well-respected film. It clearly wasn't made for me though but I admit I did enjoy the falling-in-love shenanigans, and some of the twists and turns in the film. The writing and acting are top-notch but it's really way too precious and cute for me in a slightly ugly, repressive 1950s sort of way. This is escapism but I feel it has escaped entirely into some weird and lurid fantasy.
Jul 6, 2016
Jackass: Number Two
Saw Jackass: Number Two. I was not amused. Don't get me wrong, I didn't hate it. I was worried, going in, that the film would be very cruel to innocent people, but most of the violence is meted out to the Jackassians and their parents (who, let's face it, are at least partly to blame.) There's only one scene, where they almost provoke some random guy into a fistfight. That scene I actually thought was the most transgressive and challenging. It makes me wonder what difficult material could have been, if only Harmony Korine (who is involved in this film) could have finished Fight Harm.
Anyway, most of the skits in the film are more shenanigans than pranks. At one point they just skateboard straight into a piece of plexiglass, later they put a fart-helmet on some dude and pretend to fart into it, prompting the guy to fake-vomit. They are funny in a sort of awful teenage way. I didn't like however that about 50% of the film is just people introducing themselves or laughing like idiots. Maybe all of the best stuff was in the first film? I really liked the big-finish ending however.
People have written about the homoeroticism of Jackass and oh lordy that ending. That there is some well-researched faggotry. A show-stopping musical number in the vein of Busby Berkeley, all singing a song from the musical La Cage Aux Foles (remade in the US as The Birdcage. Une comedie tres gay indeed) as the castmembers cycle through the costumes of construction-crew men, firemen, and cowboys (only a few costume changes away from The Village People!) One guy strips to reveal a patriotic thong and bowtie. And then there's Rip Taylor, putting the ribbon on top of this cake of camp at the very end.
Apart from the ending however, it was all in all a regrettable experience. It had some interesting moments, but felt a lot like hanging out with a bunch of teenage boys. It's all laughing at their own jokes and gross-out humor which is, okay, gross but not all that bad. There are a few moments when it transcends itself and becomes this more awesome and intersting and almost sinister thing but not often. I didn't hate it as much I thought I would, and I guess that's an endorsement coming from me.
Anyway, most of the skits in the film are more shenanigans than pranks. At one point they just skateboard straight into a piece of plexiglass, later they put a fart-helmet on some dude and pretend to fart into it, prompting the guy to fake-vomit. They are funny in a sort of awful teenage way. I didn't like however that about 50% of the film is just people introducing themselves or laughing like idiots. Maybe all of the best stuff was in the first film? I really liked the big-finish ending however.
People have written about the homoeroticism of Jackass and oh lordy that ending. That there is some well-researched faggotry. A show-stopping musical number in the vein of Busby Berkeley, all singing a song from the musical La Cage Aux Foles (remade in the US as The Birdcage. Une comedie tres gay indeed) as the castmembers cycle through the costumes of construction-crew men, firemen, and cowboys (only a few costume changes away from The Village People!) One guy strips to reveal a patriotic thong and bowtie. And then there's Rip Taylor, putting the ribbon on top of this cake of camp at the very end.
Apart from the ending however, it was all in all a regrettable experience. It had some interesting moments, but felt a lot like hanging out with a bunch of teenage boys. It's all laughing at their own jokes and gross-out humor which is, okay, gross but not all that bad. There are a few moments when it transcends itself and becomes this more awesome and intersting and almost sinister thing but not often. I didn't hate it as much I thought I would, and I guess that's an endorsement coming from me.
Jul 5, 2016
Valhalla Rising
Saw Valhalla Rising (Thanks, Sneakers!) It was a slow and morbid film set in pre-medieval Britain (I think.) The protagonist is a silent, one-eyed man kept captive and forced to fight to the death in some kind of Viking prize fighting thing. Though silent, he's clearly sullenly plotting for escape. Also there's talk of the white men with crosses who are destroying the land.
The film is slow the way Terrence Malick or Tarkovsky films are, brooding and hypnotic. There's about a page of dialogue in the entire film and there's plenty of slow pans across gloriously rugged landscapes. The protagonist also has visions of the future, shot in a red filter. Also very red is all of the blood in the film. It practically glows.
I don't want to give away too much of the film, but religion becomes a more important part of the film after the Christians show up. They themselves seem to be in it more for the money than for any spiritual reason, but the metaphysics is dealt with in the film via symbolism and allusion. Consider, for example, that the protagonist only has one eye, much like Odin, the Norse god. Also like Odin, he can see bits and pieces of the future. However, he also sacrifices himself in the end of the film so that others may live. Remind you of any other gods?
The film is slow and mesmerizing. It reminds me very much of the style of Tarkovsky in that not much is explained and things are left evocative, allowing for you to provide your own explanation. This may be frustrating for some viewers, but if you can stand living with ambiguity, check it out. A bit morbid, but very interesting.
The film is slow the way Terrence Malick or Tarkovsky films are, brooding and hypnotic. There's about a page of dialogue in the entire film and there's plenty of slow pans across gloriously rugged landscapes. The protagonist also has visions of the future, shot in a red filter. Also very red is all of the blood in the film. It practically glows.
I don't want to give away too much of the film, but religion becomes a more important part of the film after the Christians show up. They themselves seem to be in it more for the money than for any spiritual reason, but the metaphysics is dealt with in the film via symbolism and allusion. Consider, for example, that the protagonist only has one eye, much like Odin, the Norse god. Also like Odin, he can see bits and pieces of the future. However, he also sacrifices himself in the end of the film so that others may live. Remind you of any other gods?
The film is slow and mesmerizing. It reminds me very much of the style of Tarkovsky in that not much is explained and things are left evocative, allowing for you to provide your own explanation. This may be frustrating for some viewers, but if you can stand living with ambiguity, check it out. A bit morbid, but very interesting.
Jul 4, 2016
Dead Snow
Saw Dead Snow, an action horror about a group of sexy Norwegian twenty-somethings who go on a skiing/camping/wilderness adventure of some kind. Anyway, there they are in the cabin in the woods and, yup you guessed it, zombies. Not just zombies, Nazi zombies. That by itself should pretty much tell you if this movie is for you or not. The film is clearly borrowing heavily from Sam Raimi's Evil Dead series (it even name-checks it fairly early on) so there's jump scares galore. Everything is an opportunity to make you jump, even just closing a door suddenly gets a soundtrack sting. It's ridiculous but this is everything-and-the-kitchen-sink style horror, so love it or leave it.
Once the protagonists accept that, yes, they are being attacked by zombies and start fighting back, we get some nicely kickass scenes. There's one moment when the heroes use a hammer and sickle to kill one of the Nazi zombies which I thought was one of those moments that's so sly and clever, I wish it had been in a better movie. There's also some scenes which grossed me out a bit. Without going into details, let's just say that all of the protagonists are pre-med and jury-rig some emergency medical procedures. Ick. Also there's one moment (pre-zombie attack) when one character just straight-up starts smothering his girlfriend with a pillow. It's supposed to be a slightly creepy scene, but only slightly. I guess attempted murder is kind of not-so-serious in Norway.
It should surprize no one that I didn't really dig this film. It was too goofy and silly for me. That mixed with jump-scares results in a perfect storm of disinterest from me. That said, if you're kind of a horror junkie, this certainly isn't a bad film. It's basically another Evil Dead film, but with more running around outdoors.
Once the protagonists accept that, yes, they are being attacked by zombies and start fighting back, we get some nicely kickass scenes. There's one moment when the heroes use a hammer and sickle to kill one of the Nazi zombies which I thought was one of those moments that's so sly and clever, I wish it had been in a better movie. There's also some scenes which grossed me out a bit. Without going into details, let's just say that all of the protagonists are pre-med and jury-rig some emergency medical procedures. Ick. Also there's one moment (pre-zombie attack) when one character just straight-up starts smothering his girlfriend with a pillow. It's supposed to be a slightly creepy scene, but only slightly. I guess attempted murder is kind of not-so-serious in Norway.
It should surprize no one that I didn't really dig this film. It was too goofy and silly for me. That mixed with jump-scares results in a perfect storm of disinterest from me. That said, if you're kind of a horror junkie, this certainly isn't a bad film. It's basically another Evil Dead film, but with more running around outdoors.
Muriel's Wedding
Saw Muriel's Wedding, a film that is essentially a romance. It stars Muriel, stout and dim-witted, eternally shouted at and called useless by her has-been, never-was politician father, barely tolerated by her attractive and contemptuous "friends" who clearly only ever hang out with her because she's a charity case, who snap at her to think of others for a change whenever Muriel needs the least bit of attention. Her siblings are similarly bovine, smilingly beating up on Muriel to save themselves from being the family loser.
This film reminded me of Welcome to the Dollhouse. It's got the same pitch-black satire feel. It's not misery porn, but some of the situations are fairly painful. Also this is a romance, so the way out of this hell is revealed. The definition of happiness and success in Muriel's mind is a giant, fancy, beautiful wedding which would prove to the world (and to Muriel herself) that she is worthy of love. Muriel is so obsessed with this idea that she sees love as a sort of proof of worth in the world. To her, to be loved is to succeed at life, but the love she seeks, we learn, should be coming primarily from within.
This is a lovely and uplifting film with some really bleak parts in it (Muriel's poor mother thinks very similarly to Muriel and suffers greatly as a result.) Also I found the over-the-top super-villainy of her "friends" too cruel to really enjoy. However there are truly satisfying scenes when Muriel is starting to break out of her shell and there's also lots of 90s-hot guys, which was nice.
This film reminded me of Welcome to the Dollhouse. It's got the same pitch-black satire feel. It's not misery porn, but some of the situations are fairly painful. Also this is a romance, so the way out of this hell is revealed. The definition of happiness and success in Muriel's mind is a giant, fancy, beautiful wedding which would prove to the world (and to Muriel herself) that she is worthy of love. Muriel is so obsessed with this idea that she sees love as a sort of proof of worth in the world. To her, to be loved is to succeed at life, but the love she seeks, we learn, should be coming primarily from within.
This is a lovely and uplifting film with some really bleak parts in it (Muriel's poor mother thinks very similarly to Muriel and suffers greatly as a result.) Also I found the over-the-top super-villainy of her "friends" too cruel to really enjoy. However there are truly satisfying scenes when Muriel is starting to break out of her shell and there's also lots of 90s-hot guys, which was nice.
Jul 2, 2016
Deliverance
Saw Deliverance, the man-rape survival film. The actual story is about four men who decide to ride a canoe down a river before it's flooded due to a hydro-electric dam that's being built downstream. For the first half, it's just a camping story, with the guys hanging out and drinking, telling jokes while one of them, their ringleader and most nature-man-minded, waxes philosophical about how modern civilization has cynically sold all of this wild beauty to make a few bucks. Yes, he says, in his gore-tex vest, holding his fiberglass recurve bow, we must return to nature.
There is the famous rape scene, parodied hundreds of times because it is rather shocking and because basically people can't believe men are capable of being penetrated, but the film is mostly about harrowing survival when everything goes wrong. They do difficult things and live through traumatic events, but the difficulty of living with what they've done is dwelt on far more than what they actually do. There's a recurrent image of the hand of a dead man, its relaxed fingers seeming to point accusingly at the viewer. This is a fresh and interesting angle. Usually in horror movies, the bad guy is killed and then that's it. We maybe see some cops and the surviving protagonists draped in blankets, but we don't deal with the PTSD. In this one, we do. Good.
Anyway, the film is shot in a messy, loose 70s sort of way, with a focus on naturalism. The use of deformity and physical ugliness to symbolize back-woods evil is kind of lazy and distasteful. Also, as a confirmed urbaite, I didn't really dig that one character's praise of nature, although I think the entire rest of the film is supposed to serve as counterpoint to this, revealing his idolization of the wilds to be a luxury of the affluent city-dweller. It's an interesting film, not nearly as horrifying as I'd been lead to believe, focusing less on survival than on having survived.
There is the famous rape scene, parodied hundreds of times because it is rather shocking and because basically people can't believe men are capable of being penetrated, but the film is mostly about harrowing survival when everything goes wrong. They do difficult things and live through traumatic events, but the difficulty of living with what they've done is dwelt on far more than what they actually do. There's a recurrent image of the hand of a dead man, its relaxed fingers seeming to point accusingly at the viewer. This is a fresh and interesting angle. Usually in horror movies, the bad guy is killed and then that's it. We maybe see some cops and the surviving protagonists draped in blankets, but we don't deal with the PTSD. In this one, we do. Good.
Anyway, the film is shot in a messy, loose 70s sort of way, with a focus on naturalism. The use of deformity and physical ugliness to symbolize back-woods evil is kind of lazy and distasteful. Also, as a confirmed urbaite, I didn't really dig that one character's praise of nature, although I think the entire rest of the film is supposed to serve as counterpoint to this, revealing his idolization of the wilds to be a luxury of the affluent city-dweller. It's an interesting film, not nearly as horrifying as I'd been lead to believe, focusing less on survival than on having survived.
Subscribe to:
Posts (Atom)