Jeff Vandermeer's Shriek, an Afterword is a novel-length followup to his story "The Hoegbotton Guide to the Early History of Ambergris" apparently written immediately afterwards (1999 for the story, and 199-2006 for the novel).
Shriek tells the story of the author of "Early History", narrated by his sister, annotated by himself, and edited by their employer at Hoegbotton Books. In keeping with the style of "Early History", these individuals are given their voice in different components in the work; the sister speaks in the main text, the author in his annotations (similar to his persona appearing in the footnotes of "Early History"), and the editor in the appendix.
The story itself is biographical, tracing the backgrounds of the author and his sister from childhood through recent events that have radically changed the city itself (Ambergris, a setting for perhaps too many of Vandermeer's tales). The setting is purely fantasy genre, though to dismiss Vandermeer as a fantasy writer would be a disservice to one of the most imaginative writers out there.
A bit tough to start into, a bit slow at times, but ultimately a rewarding read with some interesting commentary on fame, ambition, and obsession.
Sunday, December 9, 2007
No Country For Old Men
Grim. Life is cheap and can be taken at any time, without fuss or effort.
The Coen brothers' latest film can in no way be construed as uplifting. The humor that runs through their other films is mostly lacking, replaced by a merciless eye for detail and an almost sociopathic lack of concern for the fate of any of the characters.
The plot is straightforward: guy stumbles across a drug deal gone sour, guy decides to make off with the less-than-sour proceeds, guy gets hunted down by a psychopath with a silenced shotgun. It soon becomes clear that the hunter and the hunted are a fairly even match on many levels, though as usual in these guys' films, nothing quite turns out as expected. Tommy Lee Jones stars as the world-weary sheriff who can do nothing but watch it all unfold.
* * * R A T I N G * * *
No Country For Old Men, or 101 Uses for Compressed Air
Wince : [*____]
Flinch : [****_]
Retch : [**___]
Gape : [***__]
Beerequisite : [*____]
Pornability : [_____] There is nothing sexy about this movie.
Obscurity : [_____]
Explicability : [****_]
The Coen brothers' latest film can in no way be construed as uplifting. The humor that runs through their other films is mostly lacking, replaced by a merciless eye for detail and an almost sociopathic lack of concern for the fate of any of the characters.
The plot is straightforward: guy stumbles across a drug deal gone sour, guy decides to make off with the less-than-sour proceeds, guy gets hunted down by a psychopath with a silenced shotgun. It soon becomes clear that the hunter and the hunted are a fairly even match on many levels, though as usual in these guys' films, nothing quite turns out as expected. Tommy Lee Jones stars as the world-weary sheriff who can do nothing but watch it all unfold.
* * * R A T I N G * * *
No Country For Old Men, or 101 Uses for Compressed Air
Wince : [*____]
Flinch : [****_]
Retch : [**___]
Gape : [***__]
Beerequisite : [*____]
Pornability : [_____] There is nothing sexy about this movie.
Obscurity : [_____]
Explicability : [****_]
Apathy and other small victories
Pail Neilan's Apathy and Other Small Victories is the kind of book one loves to hate. A first-person narrative of a self-deprecating but narcissistic slacker, with no plot or character development to speak of: this is the type of book of which there are too many, all done poorly.
Except Neilan is hilarious. The book opens with a darkly humorous tone that is maintained consistently throughout the book, even when trying to wrap up the story through exposition (always a bad sign!) at the end. No mean feat.
It is difficult to describe this as a good book, but it is a quick and very enjoyable read. Easy to lend out, even to non-readers.
Except Neilan is hilarious. The book opens with a darkly humorous tone that is maintained consistently throughout the book, even when trying to wrap up the story through exposition (always a bad sign!) at the end. No mean feat.
It is difficult to describe this as a good book, but it is a quick and very enjoyable read. Easy to lend out, even to non-readers.
Thursday, December 6, 2007
The Future Is Unwritten
The trailer for the Joe Strummer film presents his life as inevitable: a guy with no talent who became a rock star through sheer force of will, who was driven by a need to be famous, and who would serve as inspiration to all aspiring musicians: if HE could do it, YOU can too.
Needless to say, this is a huge turnoff if you have any sort of respect for Joe Strummer. Thankfully, the documentary is much more insightful and enjoyable than the trailers give it credit for.
The film begins discussing Strummers' childhood: a rebellious student in a public school, the son of a diplomat who dragged him to India, Turkey, and Mexico on his holidays. After art school, he becomes a musician first in rock bands, then punk, and eventually in what is probably called 'world music' (flatteringly: a musical cross-pollination that knows no ethnic or political boundaries), not so flatteringly: white labels co-opting non-white music to be distributed for the profit of white-owned record labels).
What emerges is an intimate portrait of Strummer as an embodiment of the punk ethos: the disdain for convention, the do-it-yourself attitude, the bond between bands and audience, the importance of community over government, and above all the need to get the word out. Strummer's essence permeates the film: animations of his artwork are used to illustrate anecdotes or transition between scenes, interviews are all performed huddled around the bonfires of which he grew so fond, the soundtrack is largely taken from Strummer's London Calling radio show from the BBC World Service.
A must-see, and surprisingly positive film which ultimately serves as further proof that anyone not constantly re-inventing themselves is not worth knowing.
* * * R A T I N G * * *
Joe Strummer: The Future Is Unwritten
Wince : [_____]
Flinch : [_____]
Retch : [_____]
Gape : [**___]
Beerequisite : [**___]
Pornability : [_____] (* for the ladies, there is a naked guy dancing around)
Obscurity : [**___]
Explicability : [****_]
Best Joe Strummer Philosophy: "No non-smoker should be allowed to purchase anything created by a smoker."
Interviewees to keep an eye out for: Cusack! Depp! Buscemi! Grandmaster Flash!!!
Needless to say, this is a huge turnoff if you have any sort of respect for Joe Strummer. Thankfully, the documentary is much more insightful and enjoyable than the trailers give it credit for.
The film begins discussing Strummers' childhood: a rebellious student in a public school, the son of a diplomat who dragged him to India, Turkey, and Mexico on his holidays. After art school, he becomes a musician first in rock bands, then punk, and eventually in what is probably called 'world music' (flatteringly: a musical cross-pollination that knows no ethnic or political boundaries), not so flatteringly: white labels co-opting non-white music to be distributed for the profit of white-owned record labels).
What emerges is an intimate portrait of Strummer as an embodiment of the punk ethos: the disdain for convention, the do-it-yourself attitude, the bond between bands and audience, the importance of community over government, and above all the need to get the word out. Strummer's essence permeates the film: animations of his artwork are used to illustrate anecdotes or transition between scenes, interviews are all performed huddled around the bonfires of which he grew so fond, the soundtrack is largely taken from Strummer's London Calling radio show from the BBC World Service.
A must-see, and surprisingly positive film which ultimately serves as further proof that anyone not constantly re-inventing themselves is not worth knowing.
* * * R A T I N G * * *
Joe Strummer: The Future Is Unwritten
Wince : [_____]
Flinch : [_____]
Retch : [_____]
Gape : [**___]
Beerequisite : [**___]
Pornability : [_____] (* for the ladies, there is a naked guy dancing around)
Obscurity : [**___]
Explicability : [****_]
Best Joe Strummer Philosophy: "No non-smoker should be allowed to purchase anything created by a smoker."
Interviewees to keep an eye out for: Cusack! Depp! Buscemi! Grandmaster Flash!!!
Wednesday, December 5, 2007
Primer
The first time I saw Primer, I stayed up watching it a second time, then tracking down the script online. This demonstrates the two main qualities of the film: the dialogue is difficult to make out, and the writing is fantastic.
The budget for the film is incredibly low: no special effects, not even a cheezy attempt at CGI like in The Specials. IMDB claims it was made for $7K; I'd guessed $8K just for the film stock. Truly proof that, contrary to popular belief in Hollywood, a lot can be done with a little. The direction is very tight and methodical, giving the impression that the director is showing you exactly what he intends to, no more and no less. Should be required viewing for all amateur filmmakers.
To put it simply, the movie is about time travel. Two garage-Einstein entrepreneurs discover they can travel backwards in time, to a limited extent. Each has their own ideas regarding how the technology should be used, and eventually they come into conflict. One (IMDB?) forum thread discussing interpretations of the film coined the phrase 'Time War' to describe the result, and it fits.
This is a movie for people who like to think. Be prepared to spend hours pondering the movie, it timelines, and the nature of paradox -- not only re-watching the movie, but even taking the time to track down a version with subtitles. The implications of the film should make one's head hurt, or at least draw murmurs of appreciation from the temporal physicist in the room.
* * * R A T I N G * * *
Primer (IMDB)
Wince : [**___]
Flinch : [_____]
Retch : [_____]
Gape : [**___]
Beerequisite : [_____]
Pornability : [_____]
Obscurity : [***__]
Explicability : [***__]
The budget for the film is incredibly low: no special effects, not even a cheezy attempt at CGI like in The Specials. IMDB claims it was made for $7K; I'd guessed $8K just for the film stock. Truly proof that, contrary to popular belief in Hollywood, a lot can be done with a little. The direction is very tight and methodical, giving the impression that the director is showing you exactly what he intends to, no more and no less. Should be required viewing for all amateur filmmakers.
To put it simply, the movie is about time travel. Two garage-Einstein entrepreneurs discover they can travel backwards in time, to a limited extent. Each has their own ideas regarding how the technology should be used, and eventually they come into conflict. One (IMDB?) forum thread discussing interpretations of the film coined the phrase 'Time War' to describe the result, and it fits.
This is a movie for people who like to think. Be prepared to spend hours pondering the movie, it timelines, and the nature of paradox -- not only re-watching the movie, but even taking the time to track down a version with subtitles. The implications of the film should make one's head hurt, or at least draw murmurs of appreciation from the temporal physicist in the room.
* * * R A T I N G * * *
Primer (IMDB)
Wince : [**___]
Flinch : [_____]
Retch : [_____]
Gape : [**___]
Beerequisite : [_____]
Pornability : [_____]
Obscurity : [***__]
Explicability : [***__]
Death Trance
It only takes a few minutes to realize that Death Trance is brought to you by the same people that did Versus: the metal soundtrack-driven stylized violence gives away the game immediately.
There is some sort of a story about an unbeatable samurai (who seems to lose an awful lot for being unbeatable) stealing a coffin containing the Goddess of Destruction, and an inept priest trying to track him down. Throw in a phallic apocalypse sword, the two-fisted (assuming both of them hold revolvers) son of Steven Seagal, vampiric spider-humans, and a child sidekick slightly less annoying than the kid from Six-String Samurai, and you have ... this movie. And did I mention the two (count 'em!) combat-as-sex scenes?
Decent mindless, over the top fun, with what has to be the best demonstration of gun-fu to hit the screen (and not from Seagal either).
The ending, for some reason, is reminiscent of Meatball Machine.
* * * R A T I N G * * *
Death Trance (IMDB), aka The Movie Put Me To Sleep Three Times
Wince : [****_]
Flinch : [***__]
Retch : [**___]
Gape : [***__]
Beerequisite : [***__]
Pornability : [*____]
Obscurity : [***__]
Explicability : [**___]
There is some sort of a story about an unbeatable samurai (who seems to lose an awful lot for being unbeatable) stealing a coffin containing the Goddess of Destruction, and an inept priest trying to track him down. Throw in a phallic apocalypse sword, the two-fisted (assuming both of them hold revolvers) son of Steven Seagal, vampiric spider-humans, and a child sidekick slightly less annoying than the kid from Six-String Samurai, and you have ... this movie. And did I mention the two (count 'em!) combat-as-sex scenes?
Decent mindless, over the top fun, with what has to be the best demonstration of gun-fu to hit the screen (and not from Seagal either).
The ending, for some reason, is reminiscent of Meatball Machine.
* * * R A T I N G * * *
Death Trance (IMDB), aka The Movie Put Me To Sleep Three Times
Wince : [****_]
Flinch : [***__]
Retch : [**___]
Gape : [***__]
Beerequisite : [***__]
Pornability : [*____]
Obscurity : [***__]
Explicability : [**___]
Sunday, November 18, 2007
Divorce, Italian Style
Ah, those wacky Italians and their strange customs.
An aristocrat in a small Sicilian town has tired of his wife and fallen in love with his jailbait cousin. Given the impossibility of divorce under Roman Catholicism, he decides he should catch his wife in an affair and murder her on the spot in order to escape his marital woes and win the girl of his dreams. A dry and rather cynical comedy of errors inevitably ensues.
Marcello Mastroianni is of course fantastic, gradually developing a nervous tic as his plans come closer and closer to failure. The film abounds in details that are understated yet poignant: the pencilled-in unibrow and moustache of the wife that only appear during moments of intimacy, the conveyance of respect or scorn by the townspeople through their background actions, even the husband's occasional fantasies of his wife's untimely demise. And who can forget the maid-groping grandfather?
* * * R A T I N G * * *
Divorzio all'italiana (IMDB)
Wince : [**___]
Flinch : [**___]
Retch : [_____]
Gape : [**___]
Beerequisite : [**___]
Pornability : [_____]
Obscurity : [**___]
Explicability : [****_]
An aristocrat in a small Sicilian town has tired of his wife and fallen in love with his jailbait cousin. Given the impossibility of divorce under Roman Catholicism, he decides he should catch his wife in an affair and murder her on the spot in order to escape his marital woes and win the girl of his dreams. A dry and rather cynical comedy of errors inevitably ensues.
Marcello Mastroianni is of course fantastic, gradually developing a nervous tic as his plans come closer and closer to failure. The film abounds in details that are understated yet poignant: the pencilled-in unibrow and moustache of the wife that only appear during moments of intimacy, the conveyance of respect or scorn by the townspeople through their background actions, even the husband's occasional fantasies of his wife's untimely demise. And who can forget the maid-groping grandfather?
* * * R A T I N G * * *
Divorzio all'italiana (IMDB)
Wince : [**___]
Flinch : [**___]
Retch : [_____]
Gape : [**___]
Beerequisite : [**___]
Pornability : [_____]
Obscurity : [**___]
Explicability : [****_]
Monday, November 12, 2007
My Super Ex-Girlfriend
As if there weren't enough existential questions keeping me up nights, I've stumbled across another one: How the hell did Hollywood produce something this funny?
Most people should remember this film: when it was released, billboards and buses were plastered with advertisements for it. Which is a huge mistake, because the people who would like this type of movie are also the ones who refuse to see anything advertised via saturation bombing.
The plot is evident from the title: some guy dates a superheroine named G-Girl, breaks up with her, and suffers the fury of a wonder woman scorned. The gags can be predictable but are well timed and funny as hell; there's a car, a shark, a chainsaw, and a meteor chucked in at odd moments to keep things interesting. And Eddie Izzard has some plot to destroy G-Girl by stripping her of her powers.
All that, and a supergirl-catfight thrown in at the end. How can you go wrong?
* * * R A T I N G * * *
My Super Ex-Girlfriend (IMDB)
Wince : [**___]
Flinch : [***__]
Retch : [*____]
Gape : [***__]
Beerequisite : [****_]
Pornability : [*____]
Obscurity : [*____]
Explicability : [***__]
Most people should remember this film: when it was released, billboards and buses were plastered with advertisements for it. Which is a huge mistake, because the people who would like this type of movie are also the ones who refuse to see anything advertised via saturation bombing.
The plot is evident from the title: some guy dates a superheroine named G-Girl, breaks up with her, and suffers the fury of a wonder woman scorned. The gags can be predictable but are well timed and funny as hell; there's a car, a shark, a chainsaw, and a meteor chucked in at odd moments to keep things interesting. And Eddie Izzard has some plot to destroy G-Girl by stripping her of her powers.
All that, and a supergirl-catfight thrown in at the end. How can you go wrong?
* * * R A T I N G * * *
My Super Ex-Girlfriend (IMDB)
Wince : [**___]
Flinch : [***__]
Retch : [*____]
Gape : [***__]
Beerequisite : [****_]
Pornability : [*____]
Obscurity : [*____]
Explicability : [***__]
Diva
A postman makes a bootleg recording of an opera singer, steals her dress (I'd assumed to masturbate onto, and I wasn't far off), gets mixed up with a white slavery ring, and is pursued through Paris by a Taiwanese record label and a Carribean crime syndicate. Throw in a moped chase through the Metro and an underaged asian gal for good measure, and you end up with quite a good film.
There's a lot to like about this one : a throwing awl (a nice complement to Master of the Flying Guillotine's Indian throwing owl), a cat named Ayatollha, the Zen of toast. As the pace picks up, so does the cinematography, and towards the end of the film there are some very beautiful shots.
* * * R A T I N G * * *
Diva (IMDB)
Wince : [_____]
Flinch : [*____]
Retch : [_____]
Gape : [**___]
Beerequisite : [_____]
Pornability : [**___]
Obscurity : [*____]
Explicability : [***__]
There's a lot to like about this one : a throwing awl (a nice complement to Master of the Flying Guillotine's Indian throwing owl), a cat named Ayatollha, the Zen of toast. As the pace picks up, so does the cinematography, and towards the end of the film there are some very beautiful shots.
* * * R A T I N G * * *
Diva (IMDB)
Wince : [_____]
Flinch : [*____]
Retch : [_____]
Gape : [**___]
Beerequisite : [_____]
Pornability : [**___]
Obscurity : [*____]
Explicability : [***__]
Sunday, November 11, 2007
Electric Apricot
It is very, very difficult to describe this film without using the word 'mockumentary' or invoking Spinal Tap. So why try?
A camera crew (well OK, 1 guy with a videocamera) follows the jam band Electric Apricot (nee Electric Knectarine) as they play a few gigs, record their first album, and achieve their dream of playing at Oregon jam band festival Festeroo.
Done to death, you say? No sir, not when it's written and directed by, not to mention starring, bass guru and all-around oddball Les Claypool. The humor is top-notch, as disparaging of its subject as the original Tap and coupled with enough musician insider insight (how long to set up a drum kit?) to keep what should be a worn-out subject from getting stale.
* * * R A T I N G * * *
Electric Apricot (IMDB)
Wince : [*____]
Flinch : [**___]
Retch : [*____]
Gape : [***__]
Beerequisite : [****_]
Pornability : [_____]
Obscurity : [***__]
Explicability : [*****]
Favorite character: The Dead-hating bartender. Really made all that 'Jerry lives!' stuff much easier to take.
Orgazmo inbreeding: Keep an eye out for Choda Boy as the assistant studio technician, and Matt "I'm not gay or nuthing" Stone as a tapehead.
Lagunitas placement: It's everywhere from the guitarist's t-shirt to every beer the band drinks. Viva Lagunitas!
A camera crew (well OK, 1 guy with a videocamera) follows the jam band Electric Apricot (nee Electric Knectarine) as they play a few gigs, record their first album, and achieve their dream of playing at Oregon jam band festival Festeroo.
Done to death, you say? No sir, not when it's written and directed by, not to mention starring, bass guru and all-around oddball Les Claypool. The humor is top-notch, as disparaging of its subject as the original Tap and coupled with enough musician insider insight (how long to set up a drum kit?) to keep what should be a worn-out subject from getting stale.
* * * R A T I N G * * *
Electric Apricot (IMDB)
Wince : [*____]
Flinch : [**___]
Retch : [*____]
Gape : [***__]
Beerequisite : [****_]
Pornability : [_____]
Obscurity : [***__]
Explicability : [*****]
Favorite character: The Dead-hating bartender. Really made all that 'Jerry lives!' stuff much easier to take.
Orgazmo inbreeding: Keep an eye out for Choda Boy as the assistant studio technician, and Matt "I'm not gay or nuthing" Stone as a tapehead.
Lagunitas placement: It's everywhere from the guitarist's t-shirt to every beer the band drinks. Viva Lagunitas!
Saturday, November 10, 2007
The Warped Ones
What's Japanese for A Clockwork Orange? Kyonetsu no kisetsu! This movie plays out like the first act of Clockwork, with Akira and his pals plucking motorcars from the trees, taking pretty Polly, and all that -- all to a cool jazz soundtrack. There's some manner of a plot involving Akira raping a girl and her falling in love with him, and Masaru moving into big-time gangsterdom, though these seem inconsequential even as they unfold.
The real joy of this film is watching Tamio Kawaji sneer his way through society, insolent and barbaric without an ounce of respect in his body. It is truly a wonder to watch: the simple act of eating a fruit or reading a newspaper becomes a vehement rejection of society.
A truly worthy member of the proto-punk canon.
* * * R A T I N G * * *
Kyonetsu no kisetsu (IMDB)
Wince : [*____]
Flinch : [**___]
Retch : [**___]
Gape : [****_]
Beerequisite : [*____]
Pornability : [*____]
Obscurity : [**___]
Explicability : [***__]
Most over-the-top 'holy crap!' moment: The chicken. Saying any more would ruin it.
Biggest gasp from the well-off audience in the UES theater I saw this at: Yuki pleading with Akira to defile her fiance in the same way that he had defiled her, apparently so they would have something in common.
Best unintentionally humorous cross-cultural scene: The Japanese patrons of the Jazz club bopping their heads to the crazy beat.
Best unintentionally homoerotic scene: Akira and Gill going for a swim. What the hell did these guys think they were filming?
The real joy of this film is watching Tamio Kawaji sneer his way through society, insolent and barbaric without an ounce of respect in his body. It is truly a wonder to watch: the simple act of eating a fruit or reading a newspaper becomes a vehement rejection of society.
A truly worthy member of the proto-punk canon.
* * * R A T I N G * * *
Kyonetsu no kisetsu (IMDB)
Wince : [*____]
Flinch : [**___]
Retch : [**___]
Gape : [****_]
Beerequisite : [*____]
Pornability : [*____]
Obscurity : [**___]
Explicability : [***__]
Most over-the-top 'holy crap!' moment: The chicken. Saying any more would ruin it.
Biggest gasp from the well-off audience in the UES theater I saw this at: Yuki pleading with Akira to defile her fiance in the same way that he had defiled her, apparently so they would have something in common.
Best unintentionally humorous cross-cultural scene: The Japanese patrons of the Jazz club bopping their heads to the crazy beat.
Best unintentionally homoerotic scene: Akira and Gill going for a swim. What the hell did these guys think they were filming?
Thursday, November 8, 2007
Confessions of a Superhero
Four aspiring actors struggle to make a living by impersonating costumed superheroes (Superman, Batman, the Hulk, and Wonder Woman) on Hollywood Boulevard.
While some attempt is made at depicting the plight of the aspiring actor in Los Angeles (where it sometimes feels like everyone is waiting for their 'big break' into acting, directing, or script writing), this is basically a character study: Superman is obsessive (and compulsive, according to his psych-major girlfriend) about the Man of Steel, Batman has delusions of bad-assery worthy of Steven Seagal himself, Wonder Woman is a naive country gal who wonders (hah!) why success isn't coming to her as easily as back home, and the Hulk ended up homeless after arriving in LA during the Rodney King riots.
There is no attempt to depict the characters in a flattering light; Batman's boasts of his various martial arts black belts are followed by footage of his sensei correcting his form in the most basic of white-belt moves, and candid interviews with the heroes' significant others reveal that the audience aren't the only ones thinking these guys are a few capes short of a Justice League.
At the end of the film, though, you have to hand it to the Hulk (Joseph McQueen). Not only has he refused to sink into the mire of self-delusion that has taken hold of the other characters, but by the end of the movie he's been given a cameo part in the Breeze Loo film-within-a-film of Finishing the Game!
* * * R A T I N G * * *
Confessions of a Superhero (IMDB)
Wince : [****_]
Flinch : [*____]
Retch : [_____]
Gape : [**___]
Beerequisite : [*****]
Pornability : [_____]
Obscurity : [***__]
Explicability : [****_]
While some attempt is made at depicting the plight of the aspiring actor in Los Angeles (where it sometimes feels like everyone is waiting for their 'big break' into acting, directing, or script writing), this is basically a character study: Superman is obsessive (and compulsive, according to his psych-major girlfriend) about the Man of Steel, Batman has delusions of bad-assery worthy of Steven Seagal himself, Wonder Woman is a naive country gal who wonders (hah!) why success isn't coming to her as easily as back home, and the Hulk ended up homeless after arriving in LA during the Rodney King riots.
There is no attempt to depict the characters in a flattering light; Batman's boasts of his various martial arts black belts are followed by footage of his sensei correcting his form in the most basic of white-belt moves, and candid interviews with the heroes' significant others reveal that the audience aren't the only ones thinking these guys are a few capes short of a Justice League.
At the end of the film, though, you have to hand it to the Hulk (Joseph McQueen). Not only has he refused to sink into the mire of self-delusion that has taken hold of the other characters, but by the end of the movie he's been given a cameo part in the Breeze Loo film-within-a-film of Finishing the Game!
* * * R A T I N G * * *
Confessions of a Superhero (IMDB)
Wince : [****_]
Flinch : [*____]
Retch : [_____]
Gape : [**___]
Beerequisite : [*****]
Pornability : [_____]
Obscurity : [***__]
Explicability : [****_]
Friday, November 2, 2007
Defenceless
I knew from the DVD box that this was dialog-free, but when I saw the subtitle "A Blood Symphony" I thought, "Uh-oh. This is no Aria." And it wasn't.
The film consists of a typical rape/revenge plot set entirely to music. This is not a bad idea: with a suitable score, a brilliant choreographer, and lurid visuals, this could be quite effective. In Defenceless, though, the music is not at all choreographed to the events on-screen, and in fact rarely changes from the inane classical pieces. The acting is hammed-up and unnatural, and the violence is jaw-droppingly unconvincing. This last one is really a sore point for me in low-budget slasher films: have none of these directors seen Doom Generation? Katiebird? It doesn't take a big budget to produce convincing violence, but it does take talent.
As far as rape/revenge films go, the plot of this is fairly standard, though the events are presented in such as way as to make them unbelievable. A woman refuses to sign a contract with her three business partners (to get her land, according to the DVD box, though this is not conveyed in the film), apparently changing her mind at the last minute (I say this because a contract signing party is generally not the time to express your concerns about the deal). Her partners have her husband killed, and send her photos with a note saying "You should have signed the contract BITCH" (I'm not making this up).
Like any rational person provided with direct evidence of a murder, she tries to kill herself. Some random woman nurses her back to life, falls in love with her, gets raped and killed by the business partners who send a video of this to the main character. Again she tries to kill herself. She takes her son to the beach, is raped and murdered by her business partners who apparently throw her body into the sea (evidently this was too difficult to film).
Nine months later she washes ashore, a cannibal corpse that sleeps in a tidal pool and is bent on revenge. Sort of. After a housewife shows her the articles about the death of her and her family at the hands of her business partners who, in a really heavy-handed piece of exposition, were cleared of murder charges. She kills the three of them in ways that would be gruesome and unsettling if they were, in fact, gruesome and unsettling.
Looking at the IMDB comments for this, it seems that people are afraid to give a negative review in case they are accused of not understanding it, not being prepared for it, or not liking art-house cinema. Well, I understand it, I was prepared for it, and I do not shy away from art-house cinema, so I'll be the one to say it: this movie is BAD.
* * * R A T I N G * * *
Defenseless (IMDB)
Wince : [*****]
Flinch : [*____]
Retch : [*____]
Gape : [*____]
Beerequisite : [****_]
Pornability : [**___]
Obscurity : [***__]
Explicability : [**___]
What I would do different: This movie could probably have been saved with tight editing and a proper score.
Sub-genre concerns: Why is it that every murder/revenge movie (e.g. family killed by the Mob) has five minutes of background and 90 minutes of revenge, but every rape/revenge movie has 90 minutes of background and five minutes of revenge?
The film consists of a typical rape/revenge plot set entirely to music. This is not a bad idea: with a suitable score, a brilliant choreographer, and lurid visuals, this could be quite effective. In Defenceless, though, the music is not at all choreographed to the events on-screen, and in fact rarely changes from the inane classical pieces. The acting is hammed-up and unnatural, and the violence is jaw-droppingly unconvincing. This last one is really a sore point for me in low-budget slasher films: have none of these directors seen Doom Generation? Katiebird? It doesn't take a big budget to produce convincing violence, but it does take talent.
As far as rape/revenge films go, the plot of this is fairly standard, though the events are presented in such as way as to make them unbelievable. A woman refuses to sign a contract with her three business partners (to get her land, according to the DVD box, though this is not conveyed in the film), apparently changing her mind at the last minute (I say this because a contract signing party is generally not the time to express your concerns about the deal). Her partners have her husband killed, and send her photos with a note saying "You should have signed the contract BITCH" (I'm not making this up).
Like any rational person provided with direct evidence of a murder, she tries to kill herself. Some random woman nurses her back to life, falls in love with her, gets raped and killed by the business partners who send a video of this to the main character. Again she tries to kill herself. She takes her son to the beach, is raped and murdered by her business partners who apparently throw her body into the sea (evidently this was too difficult to film).
Nine months later she washes ashore, a cannibal corpse that sleeps in a tidal pool and is bent on revenge. Sort of. After a housewife shows her the articles about the death of her and her family at the hands of her business partners who, in a really heavy-handed piece of exposition, were cleared of murder charges. She kills the three of them in ways that would be gruesome and unsettling if they were, in fact, gruesome and unsettling.
Looking at the IMDB comments for this, it seems that people are afraid to give a negative review in case they are accused of not understanding it, not being prepared for it, or not liking art-house cinema. Well, I understand it, I was prepared for it, and I do not shy away from art-house cinema, so I'll be the one to say it: this movie is BAD.
* * * R A T I N G * * *
Defenseless (IMDB)
Wince : [*****]
Flinch : [*____]
Retch : [*____]
Gape : [*____]
Beerequisite : [****_]
Pornability : [**___]
Obscurity : [***__]
Explicability : [**___]
What I would do different: This movie could probably have been saved with tight editing and a proper score.
Sub-genre concerns: Why is it that every murder/revenge movie (e.g. family killed by the Mob) has five minutes of background and 90 minutes of revenge, but every rape/revenge movie has 90 minutes of background and five minutes of revenge?
The Hamiltons
A family of blood-swilling serial killers has moved to Petaluma, and are just trying to fit in.
This movie really has a lot going for it: the pacing is good; the acting is, well, good enough; the story unfolds nicely. Its greatest asset is probably its ambiguity: throughout the film, you are uncertain as to who is a sympathetic character, or even what the nature of the movie truly is. I was struck by the way the film shied away from gore, which is a staple of any serial killer film, but by the end I could understand the decision.
I think the directors took the film a tad too seriously, especially with the whole "we could be living next to you right now" narration at the end (not to mention the handling of Lenny), but on the whole it was a decent film.
* * * R A T I N G * * *
The Hamiltons (IMDB)
Wince : [***__]
Flinch : [**___]
Retch : [**___]
Gape : [**___]
Beerequisite : [***__]
Pornability : [**___]
Obscurity : [***__]
Explicability : [***__]
Favorite line even though I saw it coming: "Here, kitty kitty!"
What I would do different: Shot the entire thing through the younger brother's video camera, keeping the slow buildup but providing it the kind of 'found object' feel that Blair Witch tried for and making it much more personal.
This movie really has a lot going for it: the pacing is good; the acting is, well, good enough; the story unfolds nicely. Its greatest asset is probably its ambiguity: throughout the film, you are uncertain as to who is a sympathetic character, or even what the nature of the movie truly is. I was struck by the way the film shied away from gore, which is a staple of any serial killer film, but by the end I could understand the decision.
I think the directors took the film a tad too seriously, especially with the whole "we could be living next to you right now" narration at the end (not to mention the handling of Lenny), but on the whole it was a decent film.
* * * R A T I N G * * *
The Hamiltons (IMDB)
Wince : [***__]
Flinch : [**___]
Retch : [**___]
Gape : [**___]
Beerequisite : [***__]
Pornability : [**___]
Obscurity : [***__]
Explicability : [***__]
Favorite line even though I saw it coming: "Here, kitty kitty!"
What I would do different: Shot the entire thing through the younger brother's video camera, keeping the slow buildup but providing it the kind of 'found object' feel that Blair Witch tried for and making it much more personal.
Dynamite Warrior
I love this movie. Rockets, rockets, rockets, rockets. Sure the acting isn't all that great, the story is needlessly convoluted, and Muay Thai is a poor choice for a martial arts epic, but the man has turned rocketry into a martial art. He rides them, powers carts with them, launches a fusillade of them at his enemies. You want rockets? We got 'em.
The absurdity of the story only adds to the charm. A tractor salesman is tired of the competition from water buffalo, so he hires bandits to take out the buffalo traders. The most successful trader is a magician, so the entrepeneur teams up with a rival magician to defeat him. In the course of this he crosses paths with Jone Bang Fai, a legendary warrior who is looking for the tattooed cattle thief who killed his parents and left him to be raised by Rocket Monks.
Apparently this movie tanked in Thailand; the acting and humor turned off most theater-goers, and the endless knee-drops turned off the rest. It was a crowd pleaser at NYAFF, though, and sure to be entertaining if you only watch it for the rockets.
* * * R A T I N G * * *
Khon fai bin (IMDB)
Wince : [***__]
Flinch : [**___]
Retch : [*____]
Gape : [***__]
Beerequisite : [*****]
Pornability : [_____]
Obscurity : [**___]
Explicability : [**___]
The absurdity of the story only adds to the charm. A tractor salesman is tired of the competition from water buffalo, so he hires bandits to take out the buffalo traders. The most successful trader is a magician, so the entrepeneur teams up with a rival magician to defeat him. In the course of this he crosses paths with Jone Bang Fai, a legendary warrior who is looking for the tattooed cattle thief who killed his parents and left him to be raised by Rocket Monks.
Apparently this movie tanked in Thailand; the acting and humor turned off most theater-goers, and the endless knee-drops turned off the rest. It was a crowd pleaser at NYAFF, though, and sure to be entertaining if you only watch it for the rockets.
* * * R A T I N G * * *
Khon fai bin (IMDB)
Wince : [***__]
Flinch : [**___]
Retch : [*____]
Gape : [***__]
Beerequisite : [*****]
Pornability : [_____]
Obscurity : [**___]
Explicability : [**___]
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