Category: Movies

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Dead don't die

The Dead Don’t Die is nothing but delightful. Jim Jarmusch’s star-laden zombie flick is part homage, part send-up, and entirely, absurdly, hilariously meta. I laughed. A lot.

In addition to an amazing number of Romero references, Jarmusch infuses The Dead Don’t Die with bits of Phantasm, The Walking Dead, and even a healthy dose of Plan 9 From Outer Space. I’m sure I missed others, because many of the tropes he so pointedly played on are almost standard-issue for the movies he mocks.

***

The set-up is familiar: Man’s quest for cheap energy has knocked the earth off its axis. Terrible things are happening. The sun doesn’t set. Animals run away. The moon gives off strange rays. And the dead are up and walking around.

It’s a good thing that the people of Centerville know a zombie apocalypse when they see one.

***

In tribute to the low-budget zombie movies of yore, The Dead Don’t Die features low-tech zombie makeup, cheap special effects, and wonderfully stilted dialogue. It would be inaccurate to call many of the small details foreshadowing, since the film’s assumption is that the audience already knows how this story goes.

The cast certainly does.

The players are a mix of Jarmusch regulars and new faces along for the ride. Bill Murray and Adam Driver as most of Centerville’s police force step in and out of character seamlessly to discuss random details and bicker about the script. Tilda Swinton gleefully chews the scenery as a katana-wielding Scottish mortician. Tom Waits, Chloë Sevigny, the ever-quirky Steve Buscemi, Danny Glover, and Caleb Landry Jones back them up as assorted varieties of townsfolk. A slew of other famous and familiar actors round out the cast in smaller roles and in cameos–as zombies and their first victims.

***

From Tom Waits’s framing moral philosophy to Tilda Swinton’s extraordinarily pointless deus ex machina, The Dead Don’t Die delivers exactly what you would expect from a cheesy zombie movie, but with a wonderful awareness of its conventions.The actors, for the most part, play it straight–which only serves to exaggerate the irony of the dialogue and the deadpan inversion of predictable situations.

Despite decidedly mixed reviews, I found The Dead Don’t Die to be quite simply brilliant. It’s an affectionate take on a nearly tapped-out genre, delivered by people who seem to revel in the silliness. And that’s my kind of summer movie.

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lurker in the lobby

Lurker in the Lobby: A Guide to the Cinema of H.P. Lovecraft is an older but still handy guide to the many attempts made at filming Lovecraft’s cosmically weird tales. Authors Andrew Migliore and John Strysik bring a fan’s enthusiasm to the project, producing an often unpolished but still joyful compendium of Lovecraftian media. They approach their subject from several different angles, and end up giving quite a rich experience to their readers.

***

Since Lurker in the Lobby dates from 2006, it serves primarily as an historical reference. But what a history! The authors cover all the major films to that point, from Quartermass to The Thing to Dagon, with many familiar and lesser-known movies in between.

And when seen through the right lens, Lovecraftian elements show up in many places you wouldn’t normally think to look. Unexpected additions to the movie list include The Trollenberg Terror (1958) with its giant crawling eyes, Uzumaki (2000), based on a horror manga, and The Maze (1953), about the classically subversive threat of hereditary evil.

The television show list is also surprising, with Lovecraftian themes and references showing up not just in the usual horror anthology series but in the Saturday morning cartoons, as well.

***

But while the capsule reviews of the movies and TV shows are great fun, the interviews end up slowing the book down. Guillermo del Toro, John Carpenter, Roger Corman, Jeffrey Coombs, and Bernie Wrightson are among the luminaries the Lurker spoke with, and their interest in Lovecraft and filmmaking is inspiring. But the overall tone of the interviews is uneven. The questions are fairly formulaic and not particularly probing. They end abruptly. And while many of the interviewees have long had an active interest in the source material, others are included only by the chance of having worked on an adaptation.

***

To round out their offerings, the authors include a picture gallery featuring art by Richard Corben, Mike Migliore, and Bernie Wrightson, a pretty thorough list of short Lovecraft adaptations, and an index of feature films listed by year and again by the story that provided the basis for them.

So while it is imperfect and rough around the edges, Lurker in the Lobby is still an essential read. It is an affectionate look at some of the many, many films and filmmakers inspired by Lovecraft, presented in a way that can only inspire more.

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captain marvel

Captain Marvel’s reviews are all in, and the arguments for and against her are in full swing. I’m not going to get involved in either, really. I have my own thoughts on the latest entry in the MCU. My standard disclaimer is that I am not familiar with the original (or multiply retconned) comic book version of the character. So this is the best chance for Captain Marvel to make a good impression.

***

While it is formulaic (and really, what expensive studio blockbuster isn’t?), it’s no surprise that Captain Marvel ticked all the boxes for me. It has well-drawn and well-played characters, an exciting, nicely-paced plot, and an emotionally honest core.

As a film, Captain Marvel is not as epic as I was expecting, yet it is still satisfying enough. Despite all the excitement and hype around it, this is, after all, an origin story. I think origin stories are by their very nature lower-key–especially when they spread out to cover multiple origins. In addition to the transformation of Carol Danvers, we get to see Nick Fury’s initial inspiration for the Avengers, and are given a glimpse of the little girl who will also, someday, be Captain Marvel. And since the Marvel machine is nothing but efficient at connecting dots, we’ll get a heaping dose of epic to make up for anything we missed when Avengers: Endgame opens.

But epic isn’t actually enough. To me, the reason the Marvel movies work so well is the casting. It’s A-list all the way. Brie Larson brings a convincing sharp humor, insouciance, and and appropriate arrogance to her Carol Danvers– a woman who does difficult things well, and knows it. Lashana Lynch exudes the same capability and confidence in her role as Carol’s best friend, Maria. Annette Benning is a pleasure to watch as both a force of mercy and a means of control. Samuel L. Jackson continues to be his remarkable self, and Jude Law turns in another reliably sturdy performance.

***

This is one superhero movie that passes the Bedchel test with flying colors, with the story driven by the relationships between Danvers, Mar-Vell/Lawson, Rambeau, and Monica. It is refreshingly free of romantic subplots or flirtations, and allows its female characters to exist simply as people.

I’m not entirely comfortable with how much that stands out for me–because what does it say about all the other MCU films out there that I’ve also enjoyed?

Another response I didn’t expect to have is to wonder how well Carol Danvers will handle Captain Marvel’s immense power. Maybe it was the Dark Phoenix trailer that triggered my train of thought, but it strikes me that many of Marvel’s most powerful superheroes are haunted by psychological issues, as they struggle to balance their humanity against their almost god-like abilities. Scarlet Witch, multiple X-Men, even Wade Wilson all wrestle with it. Perhaps the arrogance that comes of being a highly-trained, highly- skilled Air Force test pilot (or highly-skilled surgeon, in the case of Doctor Strange) overrides the expected mortal weaknesses.

***

So, in summation: It made me think, but not about the storyline or, specifically, the characters. Not much new to see but well worth seeing, if only for the questions it raises outside the limits of the MCU.

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Rare Exports: A Christmas Tale is absolutely delightful. Written and directed by Jalmari Helander, the 2010 Finnish comedy-horror film has a sly sense of humor, a creepy troupe of monsters, and a youthful sense of wonder. Based on his somewhat grimmer 2003 and 2005 shorts, the full-length version of Rare Exports plays like a children’s movie that took a left turn at Albuquerque and just kept on going.

rare exports

***

Rare Exports’s plot is quite simple, resembling nothing so much as a strange, silly fairy tale. It is set just before Christmas, on Korvatunturi Mountain at the Finnish-Russian border. Legend has it that the mountain is a vast grave where ancient Laplanders buried the frozen body of a gigantic demon.

A foreign mining company is excavating there, looking for the legend. They uncover something big, and dangerous–especially if you misbehave. Pietari, a young boy who still believes in Santa Claus, accidently sees what the miners have dug up and realizes that he will need to work fast to keep his family safe.

No-one believes Pietari’s warnings. But when his father captures a bloodthirsty, not-so-jolly old elf and tries to sell him back to the mining company, they discover that the elf is not the real problem at all. And so Pietari takes control of the situation, ordering his father and the other men around according to his own clever plan and ultimately saving the day.

rare exports***

The cast is outstanding. Onni Tommila and his father, Jorma, play the heroic Pietari and his father, Rauno. Ilmari Järvenpää plays Pietari’s slightly older and cooler friend, Juuso, while Tommi Korpela plays Juuso’s English-speaking dad Aimo. Rauno Juvonen rounds out the group as Piiparinen, Rauno’s friend and sometime village Santa Claus–the traditional kind.

rare exports***

Rare Exports’s horror element is not exactly horrifying. The dirty, feral, naked old elves are as ridiculous as they are dangerous. They are Santa’s helpers, all right, eating gingerbread, sniffing the air for children, killing anyone who curses, drinks, or smokes, and working to release their master from his imprisonment. Wisely, Rare Exports’s monster-Santa is left to our imaginations, showing up as illustrations in various old books and as a huge pair of curved horns jutting out of an enormous block of ice.

The comedy is rather gentle, as well. Pietari, his father, and their friends tend toward goofiness rather than cruelty, and they are all basically honest people. But that does not mean there isn’t a lot of blood. Pietari’s dad butchers reindeer for a living. Somebody loses an ear. The elves do their killing with shovels and pickaxes. Gore happens, but somehow the movie manages to keep the mood light and playful.

I think the never ending supply of gingerbread has something to do with it.

***

Will Rare Exports: A Christmas Tale become a holiday staple like It’s a Wonderful Life, or Gremlins? Maybe. It certainly has plenty of family warmth, charm, and the magic of the season to go with its murderous elves and commercial aspirations.

And really, isn’t that what Christmas is all about?

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don't look now

don't look nowNicholas Roeg’s 1973 film Don’t Look Now has long been considered a classic of the horror genre. But it was the director’s recent death that inspired me to finally watch it. I’m glad I did. Based on Daphne du Maurier’s chilly short story, Don’t Look Now is not just a grim, ghostly tale. In fact, the supernatural elements are background to the central agony. Don’t Look Now is a study in two people crumbling under the weight of grief, and watching their pain is disturbing in a way that monsters cannot be.

Nothing Is What It Seems

Don’t Look Now is driven by the painfully direct performances of Donald Sutherland as John Baxter, and Julie Christie as Laura Baxter. Hilary Mason and Clelia Matania are more collected as the sisters Heather and Wendy. The rest of the cast manages a consistent, cool disconnectedness from the Baxters’ pain.

don't look nowThe story begins with a tragedy. John and Laura Baxter have moved to Venice temporarily, following the accidental drowning of their daughter, Christine. John is preoccupied with his work restoring an ancient church, while Laura is left at loose ends.

Laura is on the verge of a breakdown. John is distant. Their marriage is fraying.

When they meet a pair of sisters, one of whom claims to be clairvoyant, Laura attaches herself to them. They tell Laura that her daughter is there, with her parents, and happy. They also warn her that John is in danger, and needs to leave Venice.

Laura is thrilled to know her daughter is happy, and actively chooses the comforting fantasy while still urging her husband to go home until the threat is past. John believes the sisters are running a scam of some sort, yet he begins to notice a small, cloaked figure that he conflates with his daughter. As the film progresses, John’s and Laura’s beliefs see-saw between what is true, what is imagined, and what they want to be real.

don't look nowThe sense of dread in Don’t Look Now comes from the reactions John and Laura have to their daughter’s death. While Laura is heartbreakingly fragile, John too is coming apart at the seams. He tries to appease his wife, indulging her growing friendship with the sisters. But when he snaps at her that their daughter is “dead, dead, dead” she places the blame on him so blithely, so matter-of-factly, that its impact is stunning.

A Study in Scarlet

Don’t Look Now has few secrets after forty five years, but its impact is still profound. Stylized and portentous, the story is doled out in intercut scenes and flashes of memory. Roeg’s technique keeps the viewer off-balance without confusing the narrative. The once-shocking sex scene has become tame over the years, but the graphic pain of Christine drowning will never dim.

don't look nowThe use of the colour red throughout is already well-known, as is the recurring motif of water–flowing, spilling, dripping. Onscreen the juxtaposition of colour and texture is absorbing, pulling the viewer into the subtly threatening world of the film. Close-ups of the actors create an uncomfortable effect. Rather than inspiring intimacy, they become alienating. We are shown things that may or may not exist outside the characters’ imaginations. We are left as lost as they are.

The muddy ugliness of the child’s death is echoed by the dank loneliness of Venice. The city is filmed as dim and full of echoes, with too many dark, empty alleys to get lost in. And although Laura and John are familiar with Venice and its old ways, they remain outsiders. There is a distance between the English visitors and the native city dwellers expressed through unreadable expressions and dismissive questions, and attitudes that treat the Baxters as difficult and troublesome.

Dead, Dead, Dead

Roeg’s film is a classic for a reason, and I recommend it for what it reveals. The horror infecting Don’t Look Now is not the supernatural. It is the inescapable pain of loss. Loss drives the characters to believe in the impossible, to follow leads they know are lies, to pretend everything is finally all right. None of it works. The only escape is, at last, to break with the real world and accept the ghosts.

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automata

automataAutomata, a bit of Spanish-Bulgarian science fiction from 2014, begins in familiar territory. A post-apocalyptic world. A monolithic city with the remains of humanity huddled inside. A vast, radioactive wasteland. And, naturally, sentient robots.

Many films have made these components work. But despite some talented actors, dramatic scenery, and the best of intentions, Automata does not manage to bring its vision fully to life. After a strong start, Automata falls into the trap of easy sentimentality and loses its way.

***

Automata is set in 2044, after the world has effectively ended. Humankind has been reduced to a only few million, living in fortress-like cities and served by ROC Corporation’s Pilgrim 7000s–humanoid robots designed for protection and manual labor. The robots operate under two immutable protocols: They cannot cause harm to any living thing, and they cannot repair or modify themselves or any other robot.

And then, one is discovered making its own modifications.

Insurance investigator Jacq Vaucan is assigned to find out who broke the robotic protocols and enabled the robot’s new ability. His search leads him deep into the remains of society’s underbelly, where he encounters dirty cops, dirtier corporate enforcers, child assassins, robotic sex slaves, black market “clocksmiths,” and, eventually, evolving, self-determining robots.

***

automataVisually, the cityscape is very much Blade Runner, right down to the rain, but without all the teeming people. The depopulation aspect spoke more to Do Androids Dream of Electric Sheep, while the dull cubicle apartments hearkened back to Brazil.

Yet despite its obvious derivativeness, Automata’s worldbuilding is pretty good. The aged machinery, the old cars, and the ancient tech all contribute to the weariness of the world. What is left is either industrial and dirty, with monolithic structures and walls, piles of garbage, or a bleak, dusty wasteland. The culture is adapted to the conditions without becoming outlandish. The slang seems unforced, with the bulky robots nicknamed “clunkers” and the radioactive desert called the Sandbox.

But Automata is less successful with building its characters.

***

automataThe cast, overall, is overqualified and quite good, but many of the roles are flatly written or simply stock-types, too underdeveloped to be fully alive.

Antonio Banderas stars as Jacq Vaucan, an insurance investigator sucked into the heart of a mystery. He is as brooding and mournful as ever, bringing a believable jadedness to his character. Dylan McDermott is threatening, cynical, and wasted as the corrupt cop, Wallace. Robert Forster plays Jacq’s supervisor Robert Bold believably as a worn-down but still compassionate company man. Birgitte Hjort Sørensen plays Jacq’s pregnant wife, Rachel, with convincing frustration and fear. Melanie Griffith, on the other hand, fails to convince as the robot-altering clocksmith, Doctor Dupré, with her baby voice and painfully slow delivery. She is more credible as the voice of the modified robot Cleo. 

The remaining cast is filled out by Tim McInnerny, Andy Nyman, David Ryall, Andrew Tiernan, Christa Campbell, Bashar Rahal, and, surprisingly, Javier Bardem. The actors’ talents far outshine the scopes of their roles.

***

automataAutomata’s plot also has problems. The film wants us to believe it is deep, but it is more stylish than substantive. The story builds steadily until Jacq leaves the city and enters the desert with a group of robots. From there, the plot loses its focus enough that at a reasonable 109 minutes, Automata felt padded. The long, sweeping scenes of desert and sky, the multiple flashbacks to the sea, the lingering close-ups of automata, all add length without contributing any needed development of the characters or story.

For all the visual grandeur, Automata is far less philosophically nuanced than Ex Machina or even Chappie. The robots are credited with incredible intelligence that far outstrips humanity’s. Unfortunately this intellect is expressed in soppy platitudes like, “Surviving is not relevant–living is,” and in creepy human-robot interactions that fail to highlight the intelligence of either species. Characters frequently toss out the idea that someone thought a robot was alive, but the implications of a living robot are addressed in a cursory, melodramatic way. The idea that the automata have become autonomous remains unexplored. The attempted religious overtones are not supported by the underlying themes, and the predictable action and sentimentality of the ending feels lazy rather than revelatory.

***

Automata is no classic, but it is not entirely a waste of time. While the plot is thin and the story stretched, the film is still quite beautiful. Banderas turns in one of his reliably lovely, melancholy performances, and the supporting cast is polished. In the end, I enjoyed it for what it is–an average film that wants to be more, but never does figure out how to get there.

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Dark City

dark city Dark City, Alex Proyas’s 1998 follow-up to his legendary The Crow, is an ambitious, overfull classic in its own right. I had not seen it since it was a new release on VHS, and wondered about how well it would hold up twenty years on. It did not disappoint.

Dark City remains gorgeously noir, infused with cyberpunk and steampunk elements as well as touches of horror and romance. Although its inspirations are often obvious, it twists them together into an ambitious homage that provided its own inspiration to later films.

“I feel like I’m living out someone else’s nightmare”

The story moves at a fast pace, opening in the middle of a mystery and immediately taking a series of sharp, strange turns. The only difficulty I have with it is a too-sentimental conclusion.

John Murdoch wakes up in an unfamiliar apartment with no memory of who he is or how he got there. He doesn’t know the murdered woman he stumbles over, or who the people chasing him are. With the help of a mysterious psychiatrist, Murdoch begins to piece together what has happened to him.

He discovers that the world is run by the Strangers, alien creatures who inhabit dead humans and psychically control the city and everyone in it. The Strangers reconfigure the physical world every night–and the population, as well. People are changed out for each other, their memories stolen and reassigned, their social roles and relationships altered. It is all a grand experiment. The Strangers want to understand what it is to be human.

But part of the experiment has gone wrong, and now Murdoch has the same psychic powers as the Strangers.

“The city is ours. We made it”

Dark CityProyas’s highly stylized vision is a wonder to behold. The effects are familiar now because they have been used in many films since (most notably The Matrix, which even filmed on some of the sets used in Dark City, and Inception–I’d even say Doctor Strange felt its influence). But they are still effective, and carry the story along rather than overwhelming it.

Beside the special-effect wonders of a city in motion through frangible time and space, more traditional techniques are just as vital to the film’s style. This is where the impact of film noir on Proyas’s work truly shows. Lighting is used to great dramatic effect, with fragments of jewel tones standing out sharply from the dull, dark world, mimicking the bright fragments of memory the characters try to hold on to. Light is constantly framed and limited by swallowing darkness. The smoky nightclub, the shadowy pool, the bright but dingy automat all contribute to the interplay between the seen and unseen.

“A cure for their own mortality.”

Dark CityWith the exception of Rufus Sewell’s John Murdoch and Colin Friels’s Detective Walenski, the performances are all also highly stylized in a way that highlights the unreality of the situation.

Murdoch awakens in confusion and panic, while Walenski slowly comes to his realization–but their actions and reactions make sense as they discover the instability of the world and their memories of it,

Kiefer Sutherland’s Doctor Schreber already knows what is going on, and he is played with a strange, strained, out of breath speech pattern that manages to convey the moral agony of the man. Jennifer Connelly’s Emma is acted entirely at a remove, as if her very real passions were being felt from a distance. William Hurt’s Inspector Bumstead shares Emma’s distant affect, with the undercurrent of knowing there is more to his life but unable to remember it.

But the Strangers are the most stylized of all. Visually, the alien hosts are constructed from a multitude of cultural references, from Nosferatu to Bat Boy, with a dash of the dying, unhelmeted Darth Vader for good measure. Their physical sameness reinforces the idea of the insectile hive mind driving them.

“The only place home exists is in your head”

dark cityDark City won both the Saturn and Bram Stoker Awards in 1998, and was nominated for the Hugo. But then it sort of slipped away from wider recognition. It barely earned back its production cost, but the film’s lack of box-office success belies its resonance. While hardly the first film to present a world where reality is an illusion, Dark City did it with an emotional center that still connects.

That much, I remembered.

 

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Ghost Stories

ghost storiesGhost Stories is a low-key movie that blends the supernatural and the mundane into a genuinely eerie episodic tale. In structure Ghost Stories is a loose anthology, with the traditional three short stories surrounded by the framing story. But instead of tying everything neatly together, the framing story becomes more and more disjointed until it finally falls apart entirely. What is revealed is frightening, but not in the way you would expect.

Ghost Stories uses all the trappings of traditional supernatural fare, with revenants, wild devils, and irresistibly spooky places creating the chills. There are well-placed jump scares, but no blood and little violence. It doesn’t need it. The fine cast and mysterious episodes are quite terrifying without any gore.

“Like everyone else I presumed you were dead.” “How do you know I’m not?”

Ghost StoriesGhost Stories begins with Phillip Goodman, a professor who has devoted his life to debunking claims of the paranormal. He is summoned to a remote seaside caravan by Charles Cameron, a fellow debunker who disappeared many years earlier. Cameron gives Goodman three cases he has not been able to disprove, and challenges him to show that the cases can be explained as ordinary events.

The first is a night watchman at an abandoned asylum, tormented by the ghost of a young girl. The second is a teenaged boy who ran into the Devil on a lonely road. The last is a successful businessman haunted by a poltergeist, who may be his wife who died giving birth to a monstrous child.

It soon becomes clear that Goodman is somehow connected to these cases. For him, that is the scariest thing of all.

“No frayed edges, no loose ends, all straight, all smooth”

Ghost StoriesGhost Stories is full of strange cuts and stutters in the visual flow, building the sense of unreality. The colors are rich but diminished by a wintery, overcast light. Scenes are set in desolate, run-down places full of trash and broken things, or in spaces so sleek and spare there is no human warmth to them. The atmosphere these techniques create is one of loneliness and threat, with no safe place to run to.

The film loses some of its sharp edge when it borrows too obviously. Ghost Stories lifts the rushing-over-the-ground effect straight from Evil Dead, and the tearing of the fabric of reality is a familiar trick from multiple films. Still, though, the obvious cribbing can’t weaken the overall sense of dread.

“I don’t want anyone thinking there’s anything wrong with me”

Ghost StoriesThe film is written and directed by Andy Nyman and Jeremy Dyson, based on their play of the same name. Nyman also stars in it as the brittle, troubled Phillip Goodman. Martin Freeman plays the overachieving businessman Mike Priddle, with his usual likability buried under arrogant cynicism. Alex Lawther is heartbreaking as the fragile, terrorized teenager Simon Rifkind, while Paul Whitehouse is effectively blunt as the beleaguered watchman Tony Matthews.

Watching these characters suffer as they try to understand their experiences is as disturbing as the horrors themselves. 

“The brain sees what it wants to see”

Ghost Stories sets itself in the vast grey area between supernatural phenomena and a mind’s tricks on itself to craft its sad and spooky narrative. Objective truth doesn’t matter, here. The twist in the tale makes the anthology’s conclusion a moral tragedy. But it doesn’t lessen any of the fears–real or imagined.

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Mandy

MandyMandy isn’t the kind of movie that can be ranked on a scale of good to bad. It it horror? Action? Satire? There is too much of everything going on to pin it down. It has a seventies-style murder cult. It has early eighties Satanic monsters. It has timeless, Z-grade movie revenge fantasy. And it has Nicholas Cage in a star turn, chewing the scenery to shreds with unwavering passion and enthusiasm. And still, so help me, this goofy, dreamy, blood-spattered mess pretty much works.

“So, what you hunting?”

Mandy is at its heart that old story of love and revenge. It begins with Red smoking, scowling, and cutting down a tree with a chainsaw. He returns home to his girlfriend Mandy, who is oblivious to the world as she creates her fantasy art. In a tidy bit of foreshadowing, Red wants to move away from their isolated house in the woods. Mandy wants to stay.

It isn’t long before the leader of a religious cult notices Mandy and becomes fixated on her. Naturally, the cult summons a demonic biker gang, captures Mandy and Red in their isolated house in the woods, and does some very bad things. Unfortunately for the cult, killing Red isn’t one of them. They make the mistake of leaving him wounded, bereaved, and alive–which sets the stage for vengeance, mayhem, and a whole lot of Nicholas Cage grimacing like a maniac.

“Bikers and gnarly psychos”
mandy
A quiet night at home

The cast does a remarkable job with some very strange material, and the performances are balanced between the absurd and the sublime. Nicholas Cage is the center of the film as  as Red, muttering and screaming in anguish, in pain, in battle, pulling out all the stops in a riveting orgy of overacting. 

In contrast, Andrea Riseborough turns in a beautifully underplayed performance as Mandy. Riseborough resembles Shelly Duvall in The Shining, and her Mandy seems to exist half in this world and half in her own imagination. Her flattened inflection is hauntingly realistic when she speaks–which makes her mocking laughter all the more devastating when she lets it out.

mandy
Gotta have a religious cult

Linus Roache plays Jeremiah Sand, the charismatic cult leader, with the depraved mania of Dennis Hopper in Blue Velvet. His Jeremiah is intense, crazy, dangerous, and musically-inclined, just like Charles Manson. Also like Manson, his followers refer to their victims as “pigs”.

Filling in the rest of the characters are Ned Dennehy, Olwen Fouere, and Hayley Saywell as cult members, Bill Duke as Red’s well-armed friend Caruthers, and Richard Brake as a psychic drug maker with a pet tiger.

“You’re a special one, Mandy”
mandy
Enough said

For all its weirdness, Mandy is a deliberate, artful piece of movie-making. Each component supports the precisely off-kilter whole.

Live action is interspersed with psychedelic animated segments, turning Mandy into a spacey and hallucinogenic experience. The pacing of the entire film is slow, with elongated scenes and fantastic imagery that make watching it feel like seeing a video for a concept album. The music certainly helps build that feeling, with a dirgelike opening song and a creepy synthesiser soundtrack.

The dialogue manages to be off the cuff, over the top, deadly serious, and pure pulp snark nearly simultaneously. There is plenty of intentionally garbled mysticism tossed in from all directions, creating an air of ironic self-importance and pseudo-profundity. Characters veer between deep thoughts and bad jokes and back again.

The whole film feels at once familiar and alien, using recognizable references to other horror/thriller movies but giving them a very wry twist. In addition to the hints of Charles Manson, there are the Black Skull bikers that look like cousins to the Hellraiser crew, an image like the vampire boy at the window in Salem’s Lot played in reverse, and a location named Crystal Lake.

Mandy is the kind of film that flatly dares you to try to categorize it.

Oh, Mandy
mandy
More than enough said

Mandy’s strange vision is hard to process. The action doesn’t really start until nearly three quarters of the way through the movie, when Nic Cage’s Red is covered in blood and coked to the gills, with a crossbow and a battle axe in hand. There are stagey, cartoonish kill scenes any slasher film would be proud of, spectacular and cheesetastic gore, and one of the oddest chainsaw duels I’ve ever seen.

But I enjoyed this movie far more than I ever thought I would. Mandy is a tour de force for Cage, and a hell of a ride for the rest of us.

 

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ghoul

ghoulGhoul, the new three-episode miniseries from Netflix, generates its chills with a blend of tried-and-true tropes borrowed from multiple well-known films and a dash of modern dystopia. While the derivative nature of the scares is a downside, Ghoul political dimension provides a different layer of darkness. Overall the film is a predictable but effectively-done horror movie, with an engaging cast and plenty of well-placed gore.

“False sense of patriotism that seems to be spreading through the country.”

Ghoul unfolds in a near-future India that has fallen into fascism, with secret prisons, brutal re-education, enforced political orthodoxy, and questions of how religion impacts patriotism.

The story centers on Nida, a young Muslim woman training to be a government interrogator. Her father refuses to toe the political line. She turns him in, choosing patriotism over faith and family. Soon after, she finds herself assigned to a secret interrogation center where the arrival of a dangerous new prisoner sends the whole command structure spiralling into chaos and death.

Nida is played with great sincerity by Radhika Apte. S. M. Zaheer is her stubborn, seditious father. Manav Kaul is sympathetic as the drunk and troubled Colonel Sunil Dacunha, the man in charge of the prison. Ratnabali Bhattacharjee’s Lieutenant Laxmi Das is convincingly twisted as Dacunha’s duplicitous second in command. And Mahesh Balraj brings a creepy stoicism to the monstrous terrorist Ali Saeed.

“The ghoul shows as the reflection of our guilt.”

ghoulAnyone who watches horror movies will recognize plenty of familiar tropes. But an old story told well is still worth watching. And I think Ghoul tells its old story well.

The film is atmospheric, with a haunted house vibe that uses the desperation of The Blair Witch Project, the industrial oppression of Alien, and the paranoia of The Thing among its many inspirations.

Visually, the decrepit prison setting where Ghoul happens is also very familiar. Built as a bunker against nuclear attack, the site is of course not in any official records. But the film adds a few extra details that ramp up the totalitarian mood. Black-painted windows disguise night and day. Exterior shots of brutalist architecture reinforce the heavy-handed repression at work in this society. The incessant rainfall outside the massive buildings produces its own claustrophobia.  Everything is bleak, dull, and colorless, except for the stunning splashes of red when the monster is revealed.

And the reveal comes quickly. Unlike the graveyard-dwelling, corpse-eating demon of pre-Islamic folklore, the ghoul in Ghoul is a demon of vengeance summoned in retribution. It takes the form of the last person whose flesh it ate, but here it teases out confessions of guilt before it attacks.

“Finish the task, reveal their guilt, eat their flesh”

ghoulGhoul is written and directed by Patrick Graham with inconsistent levels of subtlety. The dialogue is at times very formal and stagey, with power struggles and plot turns telegraphed far in advance. The plotting is slow, grim, and pointed. Terrorism and political orthodoxy are major themes, as is suspicion of any display of faith. If there was any doubt about the point Graham was aiming at, the pile of pulled gold teeth and a crematorium should remove it. The three episodes could have easily been trimmed to two hours. The padding betrays its origins as an intended feature film.

It is still creepy as hell. The slowness, the obvious references, even the predictability of events do not diminish the skill of the cast and the strength and style of the storytelling. Ghoul may not break any new ground, but it is a solid reminder of why stories like it continues to be retold.