“Through me you go into a city of weeping; through me you go into eternal pain; through me you go amongst the lost people.” ― Dante Alighieri, The Inferno
**CONTAINS MINIMAL SPOILERS**
The concept of Katabasis is a descent of some kind, such as moving downhill, or a military retreat, or in this context, a violent journey into the underworld. The term has multiple related meanings in poetry, psychology and Greek Mythology. Heroes such as: Orpheus, Odysseus and Lazarus went down into the depths of Hades to locate lost loved ones, collect information and battle their demons. Conversely, writer-director S. Craig Waller has produced something akin to Sam Peckinpah reinventing the story of Orpheus. But instead of employing beautiful music to crush the enemy, Waller’s anti-hero Bradley Thomas, uses his fists, head, body, bats, bars, guns, and hulking power to defeat his foes.
The story opens with a stunning shot from behind of Vince Vaughn’s bald, bulking head emblazoned with a startling crucifix tattoo. As a means of establishing character and showing us the world we’re in it is emphatic, visceral and deviously economic. You know immediately not to mess with Bradley Thomas as he is a coiled spring of masculine power, yet he also has a strong moral compass. Finding himself out-of-work and in difficult financial times, Thomas takes up drug courier work to support his pregnant wife portrayed by Jennifer Carpenter. All is going smoothly until a deal with a Mexican drug cartel goes awry and, from when Thomas enters prison, all manner of sickening and brutal hell breaks loose.
The film is shot on a low budget but the style is impressive. The cinematographer, Benji Bakshi, along with the director Waller, are brave in their choices; utilising natural light, drained colours, shadows and darkness. Often Thomas’ is lit by a slit or shaft or box of light as his character finds himself trapped in corridors and cells as well as his own life choices. Much will also be made of the ultra-violence which includes some impressive bone-crunching Foley sound work. But, the hyper-real violence, while reminiscent of the cartoon horror gore of early Peter Jackson and Sam Raimi’s Evil Dead series, is paradoxically not exploitative. This is because it is contextualised within the brutal crime setting and driven by Thomas’ powerful desire to save the people he loves.
The screenplay, also written by Waller, is full of witty one-liners and deadpan repartee between hard-bitten, desperate criminals and jailers who look as though they have been transported right out of hard-pipe thrillers such as: John Carpenter’s Assault on Precinct 13 (1976), Sam Peckinpah’s Bring Me the Head of Alfredo Garcia (1974) and Don Siegel’s crime gem Charley Varrick (1973). While over two hours long the plot moves pretty quickly, yet Waller takes his time deliberately building character, suspense and tension before busting out into spectacular violence. Having previously directed the stunning B-movie Western Bone Tomahawk (2015), S. Craig Waller is certainly making a name for himself as an independent film director of some note.
Waller finds a compelling cinematic partner-in-crime in Vince Vaughn too. Vaughn, who burst on the scene with a hilarious performance in brilliant indie-hit Swingers (1996), could be argued to have not lived up to his full acting potential. While he has performed in some excellent movies his CV is also peppered with unfunny comedies, soporific romances and bland family films. Don’t get me wrong, we have to pay the mortgage but there’s always been a nagging sense Vaughn was not utilising his meaty acting ability. Having said that in Hacksaw Ridge (2016) and now Brawl in Cell Block 99, he proves himself to be a character actor of some force. Indeed, his natural comedic timing, muscular frame and searing intensity are all utilised here to mesmeric impact in a career-best performance.
Katabasis, as aforementioned, is about descent; but the archetypal hero will usually return triumphant in victory. Brawl in Cell Block 99 offers an alternative vision of moral redemption though within Bradley Thomas’ avenging-angel-versus-the-devil narrative. As such, Brawl in Cell Block 99 joins a list of recent lower-budgeted-independent-minded movies such as: Cold in July (2014), Green Room (2015), Out of the Furnace (2013) and Hell or High Water (2016), which rip into the dark underbelly of United States’ industrial and criminal landscape leaving us in no doubt to the destructive nature of the American dream.
As I’ve written before I’m an avid short film viewer and maker. To tell an impactful story in a lesser period of time to a feature film can be a very difficult but ultimately rewarding experience. Plus, as a member of the audience and filmmaker myself I love seeing the different ways other creatives tell their stories in this medium.
‘Thrill of the Chase’ was curated by the London Film Festival and featured five shorts from Europe and I must say they were of the highest quality. I mean some of the budgets on these must have been very good because they were shot, acted and edited to an exceptionally brilliant standard.The first short, 1745, was a period pursuit drama. Two slaves, wearing big, colourful, tartan, traditional and unwieldy dresses of the Jacobean era, have escaped from a nearby castle and are chased by a steely Scottish Laird, hell bent on recovering his “property”. It’s incredibly well shot as the colour of the costumes countered the misty, green and vast mountainous landscapes up close and from a spectacular god’s-eye view. Overall, it’s a commendable story of two women escaping patriarchal oppression and abuse, set amidst an exquisite looking but harsh Scottish Highlands.
Next up was Oksijan. Set in the harsh contemporary now it also involved a set of characters escaping an oppressive regime. This time is was a group of Asylum seekers, adults and children, encased in the potential moving tomb of an articulated lorry transporting them from a refugee camp. Their deadly journey from Calais to the United Kingdom was made perilous by the air running out. A thrilling and suspenseful short it both raised the pulse and important issues in regard to the plight of human beings fleeing war torn countries.
After Scottish and English film productions we next had Hot and Cold from Poland. This was a very harsh film, thirty-five minutes long, and all shot in one take. Technically, it was incredible as the camera follows a young junkie mother throughout her day and her encounter with woman looking to get revenge on her husband. It’s a towering study of motherhood, grief and addiction which creates a claustrophobic nightmarish drama with the colour-bled bleakness of Polish council estates. I wasn’t sure the one-take was actually necessary as the narrative could’ve been pruned but it was very powerful nonetheless.
The final two films came from France and Germany respectively. Both reminded me of mini-versions of excellent feature films. The French film Les Miserables (not the Victor Hugo version) concerned cops on a dangerous estate and their heavy-handed dealings with gang-members. It’s well filmed and acted, containing the bruising feel of the classic French movie La Haine (1995).
Similarly, the final short was another drama but this time of the romantic kind. Till One Cries concerned two drug-addled millennials sharing a crazy night within an urban German milieu. It reminded me somewhat, without the shot-all-in-one-take business, of the brilliant crime-romance Victoria (2015) and showed the hedonistic highs and lows of two free-wheeling characters.
Overall, the programme was full of gripping drama and thought-provoking subject matter. I’d say the ‘Thrill of the Chase’ title was slightly misleading in my mind, as the films tended toward, not your classic genre thrillers, but rather more social realism and cinema verité than movie artifice. Indeed, it may have benefited throwing in a shorter, punchier thriller with an element of comedy to break up the incredibly heavy themes of the films presented. Nevertheless, this was a set of Premier League short films, in terms of production, performance and storytelling quality.
SCREENWASH CINEMA REVIEWS – SEPTEMBER 2017 – including: IT, WIND RIVER and KINGSMAN 2
**MINIMAL SPOILERS**
I’m a tad tardy on my cinema reviews for last month mainly because I have been writing a couple of short script projects to be filmed. One is a sharp little horror story called Flatmates and I’m looking to shoot in November. The casting has been going well, after which I will rehearse and film on HD video. The other is a follow-up to our Star Trek fan film Chance Encounter (2017) released earlier this year online, which has now has over 40,000 views on YouTube!! Not quite Gangnam Style or dancing cats on a piano but pretty good nonetheless to have one’s work viewed that much.
Anyway, enough of the filmmaking hobby momentarily to switch back to the film reviewing pastime. Below are reviews of three excellent genre films, plus a little reprise of my opinions on Aronofsky’s two hours of hell that was Mother (2017). As usual they are marked out of eleven in tribute to This is Spinal Tap!
IT (2017)
Stephen King is clearly a genius. To be able to maintain creativity and longevity as a writer, plus give birth, as it were, to any number of iconic narratives, characters and events is a testament to his massive energy and talent. When I was young one of the scariest things I ever saw on TV was the horror serial Salem’s Lot (1979), which was about vampires taking over a small town. His book Carrie (1976) was also adapted into one of the best horror films of the seventies too. Moreover, the ‘80s TV and cinema screens were peppered with King’s work notably: The Shining (1980), Stand by Me (1986) and the under-rated Pet Semetary (1989). In 1990, Tommy Lee Wallace directed a mini-series of IT, with the terrifying Tim Curry as Pennywise the Clown. IT proved to be an excellent horror story until the – faithfully sticking to the novel of course – ridiculously silly ending.
Flash forward twenty-seven years and Pennywise is back to haunt the dreams, drains and sewer pipes of Derry, Maine, using manipulation and fear to lure teenagers to their death. Developed by, among others Cary Fukunaga, the film was eventually directed by Andy Muschietti and has deservedly become a big box office hit. I say deservedly because, while it is not a particularly amazing cinema offering, it is a highly entertaining genre horror film. As an experienced Stephen King cinema and TV viewer all the staples are there such as: geeky-small-town-outsider-kids; abusive tough-guy-bully types; negligent parents or appropriate adult; monstrous beings hidden in the shadows; plus coming-of-age teenage friendship and love.
The clown in this case is portrayed with fiendish joy by Bill Skarsgard and there are some fantastic stand-out scares. My only criticism is, and this is my fault being over-familiar with King’s work, is that with the recent Super 8 (2011) and over-hyped Stranger Things (2016), I felt as if I had seen it all this before. I also felt they crammed too much into the two hours and some of the character emotion was lost at times. However, the cast of kids are excellent in their respective roles, the horror set-pieces are brilliantly staged and King’s iconic bad guy Pennywise makes it well worth the cinema admission fee alone.
(Mark: 8 out of 11)
KINGSMAN: THE GOLDEN CIRCLE (2017)
The first Kingsman: The Secret Service (2014) film was one of my favourite genre films of the past couple of years. It showed a clean pair of spy heels to the, occasionally brilliant but overlong Bond disappointment Spectre (2015); while at the same time confirming Taron Egerton as an actor with great star potential. Having done the business at the box office then Jane Goldman and Matthew Vaughan have once again written and directed an explosive, funny, pacey and adrenaline-filled spy spoof sequel.
In this story, Eggsy / Galahad is back with Merlin (Mark Strong), battling with the United States counterparts The Statesmen, against Julianne Moore’s perky, yet deranged, Americana obsessed drug baroness. The Statesmen are represented by such heavyweight acting talent in Jeff Bridges and a cracking turn from Pedro Pascal as the hilariously named Jack Daniels. Channing Tatum pops up too but he is lightweight compared to the effervescent Pascal. Poppy’s fiendish plot is actually quite a decent motivation for the story and the subplot involving a Lazarus-type-return from a major character from the first film is well developed.
To be honest the story is just the bare bones to hang a series of fantastic set-pieces, car chases, shoot-outs and fights, as Eggsy and his kick-ass team once again attempt to thwart the end-of-civilisation as we know it. My main criticism is the film is probably too long with an unnecessary gratuitous sex-driven sequence set in the Glastonbury Festival. It also lacks that sense of characterisation from the first film which had the working class underdog Eggsy battling the upper-class sneers of the over-privileged. Nonetheless, Matthew Vaughan is a great gag-heavy-action-director and the plot has some decent twists and turns throughout making it well worth a watch.
(Mark: 8 out of 11)
MOTHER (2017)
While Darren Aronofsky is a cinematic artist of the highest level, I connected badly with this two-hours-of-hell-excuse-for-entertainment. My full review can be found here but, in a nutshell, this is what I thought of it:
“It was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.”
Mark: 5 out of 11 (for the film) Mark: 9.5 out of 11 (for Darren Aronofsky)
WIND RIVER (2017)
Taylor Sheridan has carved himself a fine reputation for writing very solid character driven genre films such as Sicario (2015) and Hell or High Water (2016). Wind River (2017) is his first writer-director effort and it is a fascinating study of: grief, murder, racial tension and dark humanity. Sheridan is adept at choosing specific areas of America with which to place his stories. Sicario reflected on the war on drugs, located betwixt the violent border of Mexico and the U.S.A. Hell and High Water illustrated the financial ruin of the sub-prime mortgage crash and its effect on West Texas. In his latest screenplay Sheridan focusses on the Indian Reservation territories of Wyoming and the people who inhabit the stark wintry landscapes.
The quietly impressive Jeremy Renner, as Cory Lambert, takes most of the acting plaudits as the respected, expert tracker and estranged family man. He is an individual who, while in perpetual control on the external Reservations and snowy terrain, finds himself crumbling internally due a horrific event from his past. Renner is ably supported by his Avengers co-star, Elizabeth Olsen, who imbues the rookie FBI agent with a steely determination, despite her lack of experience and confidence. The portrayal of the Native Americans I feel was sensitively presented as their lives are further marginalized by corporate America as its venal greed destroys the environment and humanity within the area. While this is a beautifully looking film there is a dark murderous heart within the stunning vistas and natural beauty.
Sheridan again confirms he is adept at combining social commentary with an impressive crime plot. Moreover, throughout the film he also bleeds in a compelling study of grief as well as a subtle critique of patriarchal capitalism and its’ destruction of the Native American’s land and people. Yet, the message could arguably have gone further in its criticism; however, as he proved with his prior screenplays Sheridan prefers subtext and a rising tension rather than polemics. Quietly, Sheridan is building an impressive filmic body of work and Wind River manages to be a thrilling police procedural drama, empathetic character study and socio-political examination of American corruption; all amidst the cold, harsh and white-washed landscapes of Wyoming.
Stanley Kubrick is the greatest filmmaker who ever lived. That is a fact. He made films in all genres but indelibly stamped his own genius on the war, comedy, thriller, horror, satire, crime, science-fiction, historical and drama films he adapted and created for the big screen. His work contains a litany of iconic images, searing soundtracks, stupendous performances, great intelligence and provocative thought which ensures his films linger in the memory of those who have witnessed them. All hail a true cinematic master.
But, while Kubrick is famous – or infamous depending on your point-of-view – for his meticulous perfection and incredible cinematic vision he did not work alone. He had an array of film technicians, cinematographers, designers, researchers, editors and assistants who slaved for him on his various projects. One such individual was self-confessed ‘filmworker’ Leon Vitali. He was a rising star in the acting profession and subsequently cast in Kubrick’s classic period drama Barry Lyndon (1975). Yet, having seemingly fallen under the spell of Kubrick’s omnipotent charisma and incredible vision he offered his assistance on Kubrick’s next production. So taken was he with the great man he was prepared to take any role available. Turning his back on acting – save for the occasional supporting role in the director’s work – Leon would become a faithful servant to the all-powerful Master.
Director, Tony Zierra, has crafted a very insightful, informative and touching documentary about both Leon Vitali and the filmmaking process. It reaches beyond the lights, camera and action of movie-making to dig deep into the dark recesses of Kubrick’s creative work which involved, for many: long sleepless nights, obsessive attention to detail, Sisyphean research and the occasional nervous breakdown. Vitali, himself, lived on the edge of insomnia while contributing to such film classics as: The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999).
Vitali proves a fascinating character who, during his interviews, reveals a dedication, poignancy, love and sense of grief in regard to his working relationship with Kubrick. Indeed, Vitali seems to not have recovered from Kubrick’s passing following the completion of Eyes Wide Shut (1999); due to a seeming lack of recognition for Vitali’s contribution from Warner Brothers and the Kubrick Estate. Overall, I was completely drawn into this sensitive soul’s story of a man who seemed lost without his Master.
But this is not a negative or tragic documentary. It is instead a celebration of creative arts and the Vitali’s contribution to Kubrick’s life-work. His tasks were legion and included assisting with: casting, print transference, overseeing artwork, Film Festival releases, pre-production, stills photography; and acting as Kubrick’s studio conduit when he wanted to lambast someone. The film features many interviews, notably from Vitali but also: Ryan O’Neal, Matthew Modine, R. Lee Ermey, Phil Rosenthal, Pernilla August, Stellan Skarsgard, Danny Lloyd (all grown-up) and many, many more interesting people. They provide rounded commentary to Vitali’s contribution and their experience within the film industry; and more importantly the working process of Stanley Kubrick. Indeed, many of these anecdotes were very humorous and provided a real insight into the director’s way of working.
Filmworker’sdirector Tony Zierra spoke eruditely after the screening too revealing his desire to represent the unheralded under-dogs within the film industry. He is very successful in doing so as he presents a touching tribute to one such under-dog in Leon Vitali. Ultimately, Filmworker is a documentary about filmmaking, obsession and the lesser known people working behind the camera. It is highly recommended for fans of Stanley Kubrick and people who are intrigued by the filmmaking process. Most of all it stands as a fine tribute to the dedication of Leon Vitali; bringing him out of the shadows and into the light, giving him the credit he deserves for his excellent film work.
CAST: JENNIFER LAWRENCE, JAVIER BARDEM, ED HARRIS, MICHELLE PFEIFFER
**GENERALLY SPOILER FREE**
Darren Aronofsky’s psychological horror stars Jennifer Lawrence and Javier Bardem as a couple in not so much a narrative but a descent into what-the-fuck? They portray conduits of hellish pursuit dictated by a filmmaker on the edge of a nervous breakdown, vengefully striking out at his ego, superego and the world around him. I mean, you know when someone tells you their dreams in nightmarish details and it’s more interesting to them than you: well, this is two hours of that.
While this is technically a bravura tour-de-force in design, composition, cinematic experimentation and delivery I was utterly bored by, what is essentially, an indulgent, pretentious and nihilistic void of a film. Darren Aronofsky’s prior work such as Requiem for a Dream (2000), Pi (1998), The Wrestler (2008) and Black Swan (2010) combined cinematic style and protagonist emotion superbly. Mother, in its critiques of Hollywood, fame and some kind of biblical allegory stuff wildly missed the mark for me. I wasn’t even shocked by the horrific denouement as it all happened in a surreal vacuum where I could not care less about any person or anything.
Christopher Nolan used cinematic form to powerful effect in Dunkirk (2017) and moved me immensely but Mother just bludgeoned me into dull submission. I wonder if Aronofsky’s experience on Noah (2014) had somehow warped his mind and the film is a creative and therapeutic cry for help, while at the same time damning the executives who possibly killed his film baby. He certainly throws a lot of toys from his pram in this violent, bloody, fiery, misogynistic and misanthropic misfire!
Lawrence was incredible as the battered lead while Bardem just felt confused and off-the-pace-at-times to me. While it is the work of a filmmaker I would certainly call an artist and generally I love the surrealist films of Luis Bunuel and David Lynch, the nightmarish logic narrative did not work for me as the cyclical parlour trick in closing the story is mere sleight-of-hand to fool the audience into thinking the film is deeper than it is.
Ultimately, Darren Aronofsky, based on his prior films, is a risk-taking, boundary-pushing genius and some will adore this brave and courageous misadventure. However, for me it was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. I mean I’m just a lowly office drone but I paid my money and earned my opinion. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.
MY BLOODY VALENTINE: ALTERNATIVE VISIONS OF LOVE IN THE HORROR GENRE
“Love is giving something you don’t have to someone who doesn’t want it.”
― Jacques Lacan
I continue to write articles for the excellent So The Theory Goes website and here once again is a slightly more academic approach to film analysis. You can read it here or below.
An eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust? Or is it the emotion you feel for a family member or person you have bonded with over time? Is it nature’s way of tricking us into the act of pro-creation? Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors? Maybe it’s simply all of the above!?
Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.
Love and sexual desire are a big part of everybody’s lives whether it’s the positive or negative and indeed the continuance of the species is very much reliant on it. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts! Conversely the horror film genre, while not synonymous with romantic love, often explores the darker side of relationships and sexuality. Indeed, as a cultural phenomenon the horror genre is wholly malleable in its narrative omni-presentation; criss-crossing literary, theatrical, dance and televisual culture offerings.
Horror intends to elicit a physiological reaction through stress and shock while presenting: monsters, ghosts, aliens, the fantastic, the supernatural, murderers, bloody gore, kidnappings, mutilation, witches, zombies, psychopaths, natural and unnatural phenomenon, demons and many more aspects which draw on our inner, societal and global fears. But what of love and how is it represented in the horror genre? For this article I would like explore notions of love and sexuality within horror cinema. I will draw on genre, gender, feminist and psychoanalytic theories and how they can be applied within the chosen films. So, if you want an alternative to the usual Valentines-clichéd-cosy-rose-petal-drenched-chocolate-card-Love-Actually-type-movies, then these films are ones you should consider.
**CONTAINS SPOILERS**
AUDITION (1999) – DIRECTOR: TAKASHI MIIKE
It would be unfair to label Miike’s gory shocker a simplistic example of ‘torture porn’. It is in fact an incredibly scary and inventive revenge satire. In her highly influential essay, Visual Pleasure and Narrative Cinema, Laura Mulvey commits the powerful theory that cinema is coded via the “Male Gaze”. According to Mulvey, “. . . pleasure in looking has been split between active/male and passive/female.”
Yet, while beginning with this dynamic, Audition turns it around with the female anti-heroine Asami reversing the gaze on her male contemporaries. What starts as one man’s attempt to find a wife, via his own creepy version of the casting couch, is turned into a violent proto-feminist-carve-up-par-excellence as Asami cuts and slices her male victims with vicious aplomb.
DEAD RINGERS (1988) – DIRECTOR: DAVID CRONENBERG
Freud’s work on the unconscious, dreams, repression and psychosexual stages is, of course, incredibly influential on both psychology, psychoanalysis and film theory. His concept of the unconscious feeding our everyday and the idea that repressed emotions drive our motivations is none more prevalent than in Cronenberg’s exquisite Dead Ringers.
In this psycho-incestuous-ménage-a-trois-love story, twin gynaecologists portrayed by Jeremy Irons, literally split and repress their identities in order to “romance” the same women. The film is a masterwork and encapsulates many of Freud’s theories relating to the Id, ego and superego; while the doppelganger theme also looms heavily over a dark, psychosexual and twisted narrative.
HAROLD & MAUDE (1971) – DIRCTOR: HAL ASHBY
While not technically a horror film as such Harold and Maude is a wonderful off-centre, gothic love story. The eponymous anti-hero cannot connect with his family and the world at large and through constant fake suicides he tortures his mother to the point of breakdown. It is only when Harold (Bud Cort) meets an eccentric older lady Maude (Ruth Gordon) does he begin to find some maturation. The film could be argued to embody many of the Freudian aspects of the Oedipal Complex.
Trevor Pedersen opines, “The Oedipus complex, in narcissistic terms, represents that an individual can lose the ability to take a parental-substitute into his ego ideal without ambivalence.” Indeed, through his unconventional relationship with Maude, who represents both love and death, Harold locates a maternal replacement, friend and platonic lover who brings him out of his depressed state.
IT FOLLOWS (2014) – DIRECTOR: DAVID ROBERT MITCHELL
Mitchell’s low budget psychological horror gem contains many of the hallmarks of the ‘slasher’ subgenre which can be enshrined with the general trope, according to scholar Robin Wood, that teenagers, invariably female, are hunted down for their promiscuity. What makes It Follows such an intriguing anti-date movie is that we never see the actual evil force propelling the murders.
Maika Monroe’s heroine, Jay, finds herself in a chain of deathly sexuality which she can only break through further intercourse. Jay therefore becomes an epitome of what Carol Clover calls ‘The Final Girl’ in her marvellously titled book, Men, Women and Chainsaws. Ultimately, It Follows subverts the ‘slasher’ tropes with a symbolic metaphysical force rather than a physical monster, as the “killer” ultimately represents sexual hysteria, guilt and the malevolent force of youthful sexual abandon.
LET THE RIGHT ONE IN (2008) – TOMAS ALFREDSON
Ever since Bram Stoker’s classic novel Dracula was published we have welcomed, with fear and excitement, the vampire into our culture. Stoker’s Count Dracula was viewed as an inhuman force of destruction; as well as a metaphoric representation of sexual fervour. The vampire character is never more mesmeric and complex than in Let the Right One In. This is a sophisticated rites-of-passage-romance where a teenage boy, marginalised by his peers and family life, falls in love with a young female vampire.
However, the girl is clearly older than her looks, as the narrative bears the hallmarks of a Freudian sexual awakening for our protagonist Oskar (Kåre Hedebrant). In Eli (Lina Leandersson) Oskar finds a combination of: maternal protector, platonic companion and potential sexual partner within a complex psycho-sexual drama with hints of latent paedophilia. Of course, despite these sensitive themes under the surface, the film ultimately triumphs as a beautifully rendered story of innocence, love and friendship.
PSYCHO (1961) – DIRECTOR: ALFRED HITCHCOCK
Arguably one of the greatest horror films of all time is Psycho. From a Freudian and psychoanalytical perspective, it is an absolute goldmine. The story begins with an robbery by Marion Crane (Janet Leigh) but twists into something altogether nightmarish when she hides out at the Bates Motel. The manager Norman Bates (Anthony Perkins) takes a shine to Marion, only for his “mother” to murder her. Norman’s character is the archetypal representation of the Oedipal Complex. Having killed both his mother and her boyfriend some years before the guilt he feels causes him to “become” Norma Crane in order to disassociate him from his crimes and absorb her identity.
Marion causes Norman’s sexual feelings to arise thus Norma/Norman suddenly appears to repress these desires by murder. Charles E. Bakeland opines that if an individual is unable to reconcile a love-hostility-identification relationship with parents there will be strong desires which will weigh negatively on their relationships. This thematic dynamic makes Psycho’s narrative a psychoanalytical minefield as Norma/Norman battle over her/his mind, causing havoc for those characters they come into contact with.
TEETH (2007) – DIRECTOR: MITCHELL LICHTENSTEIN
In his excellent book Genre, Stephen Neale argues horror monsters are predominantly defined as male with women as their primary victims. He continues with the idea that, “… it could be maintained that is it women’s sexuality which constitutes the real problem that horror cinema exists to explore.” One such film which reverses these notions in the excellent body horror film Teeth. Mixing body, horror, comedy with coming-of-age movies the main protagonist is a Christian virgin called Dawn (Jess Weixler). During a sexual assault by a college boy she fends him off via “Vagina dentata”; barbed teeth in her reproductive organ.
Played for shock and humour the story presents valid confirmation and subversion of Laura Mulvey’s proposal that women’s absence of a penis threatens male castration and therefore must be disavowed. Offering impressive gender satire within the sexual revenge narrative, Jess’ character refuses to be assimilated by the patriarchal order and comes of age within both her body, personality and sexuality.
CONCLUSION
In my view many of the films mentioned above demonstrate the horror genre is rich with possibilities in regard to representations of love, romance, relationships and sexuality. Through theories relating to psychoanalysis, feminism and genre theory we can begin to dip beneath the surface of the darkness of love and humanity. Both masculine and feminine sexuality and identity are constantly in crisis and under threat of death and disease, demonstrating that the path to true love is never straight but more often than not, wholly twisted.
GAME OF THRONES – SEASON 7 REVIEW & RANDOM THOUGHTS
**ABSOLUTELY NO SPOILERS**
I’ll be honest: in my younger days of arrogance or confidence or know-it-all-prideful-youth – whatever you want to call it – I used to be an ultra-critical, negative and a bit of a spoilt moaner. But, as my time ticks away ever so slowly and I crawl closer to death, I believe I have grown more mature and reasonable. I remain analytical and active in my viewing and while I am someone who mildly obsesses about certain movies, TV shows, sports and other cultural stuff, I still recoil with embarrassment at the negative hysteria you get online and in social media in regard to life, politics, celebrities, pop videos and more specifically TV programmes or films.
Of late the fury of the Internet “haters” or “trolls” was aimed with fundamental ire at the all-female-led-cast Ghostbusters movie. Who really cared?!? It was an okay film; not great. My main problem was that it was not particularly well written or directed despite the excellent efforts of the cast. In another sexist tirade the online public hacks also attacked the casting of excellent actress Jodie Whittaker as the new Doctor Who. I mean the Doctor is a shape-shifting alien who changes bodies and heaven forbid that, after thirteen men (including John Hurt’s War Doctor) in the role, a woman suddenly be cast!
Why are people so over-the-top with their reactions I ask myself? Maybe they are channelling their life disappointments or existential anger by way of dissociative behaviour. Criticizing these casting decisions could be a way of distancing themselves from the pain of life. Or perhaps the more socially-charged analysts could argue that filmmakers and TV showrunners are cowering to the liberal left and changing such roles to be more PC! Or maybe they are simply just nuts!?
I guess everyone is entitled to an opinion and the Internet, for better or worse, has given power to those opinions. I just don’t understand why people get so angry though! I mean some of the criticisms aimed at the latest season of Game of Thrones were admittedly erudite and thoughtful; however, much of the wrath toward the writers ranged from the silly to the furious to nit-picking pedantry of the highest order. It’s as if the online villagers of YouTube, Facebook and Twitter had been sharpening their pitchforks and lighting their torches before the show had even aired.
My view of Game of Thrones is simple. The first six seasons gave me some of the greatest televisual enjoyment I have ever experienced. In terms of character, plotting, dialogue, action, reversals, twists, shocks, romance, performance, political intrigue, editing, direction and jaw-dropping-heart-pounding-tension it is ONE OF THE GREATEST TV SHOWS EVER!
Thus, Season 7 had a lot to live up to and in some ways it has been a victim of its own success. When you raise the bar that high it is of no surprise if such heights dip on occasions. Having said that I thought Season 7 was fantastic TV; and I’m not the only one. It was seven episodes of brilliant entertainment with too many wonderful moments to mention. But the online village hordes were quick to complain with vehement cries of “Burn the Writers!” Moans included:
The writing’s not as good as the earlier Seasons!
George R. R. Martin’s careful characterisation and plots have gone!
The pace is TOO quick compared to the prior Seasons!
Too many character reunions!
The map has been compressed and characters seem to teleport!
Too many plot-holes and character inconsistencies.
The White Walkers / Night King enemy are too one-dimensional.
It’s just not as good as the books!
It’s become too predictable!
Show-runners D.B. Weiss and David Benioff are the Anti-Christ!
While I agree in regard to the geographical shifts of characters and speeding up of the plot points is different to the previous Seasons, I don’t believe the entertainment value has been lost; in fact it has been heightened. I also don’t agree that the writing is bad. The show, having built up much good faith in the earlier more politically charged Seasons has now shifted to a faster more cinematic pace rather than the steady literary tread of George R. R. Martin’s work. Of course, the book is ALWAYS better than the film or show as a rule but it’s a different medium altogether. We’re reaching the end of the show and the characters’ arcs are peaking toward denouement so the increased pace is understandable. In regard to predictability, well, there’s only one way the whole show was going and the battle between Ice and Fire has been on the cards since the first episode! WINTER IS HERE!! I realise many are disappointed in this shift having committed many hours to watching the show; but I honestly think the show remains as powerful as ever.
EVERYONE is now a screenwriter and while it is much fun to decide how you want the characters you love to behave, just because they do something slightly different to what you, or George R.R. Martin would do, it doesn’t mean it is bad writing or illogical. On the contrary Season 7 contained some exciting writing and an incredible amount of memorable moments. These included: Daenerys’ dragons wreaking havoc; the magnificent masculine mission beyond the Wall; Oleanna and Jamie’s words; Cersei’s continued despotic mania; a summit meeting between many of our major characters; the Hound; Jorah’s redemption; Arya’s special set of skills;the Night King and his horde; Jamie’s doubts; Brienne’s loyalty; the weirdo Bran; and all manner of incredible battle scenes on sea, air, ice and land.
These sequences plus many more and the great direction, acting, design and character twists throughout meant that I was transfixed from start to finish. I do agree that at times it felt rushed in places and ten episodes would have fleshed out some of the more temporal issues. But hey, it was still amazing from my perspective.
Game of Thrones, ultimately is a TV programmes with dragons and zombies and in between human beings attempting to out-plot and out-kill each other. I agree there was a more Shakespearean feel to the earlier episodes and we have experienced a shift from a literary style to the cinematic. However, I couldn’t care less and would advise the armchair screenwriters, clickbait critics and online trolls to cease bitching and stop watching the show if you don’t enjoy it any more. Because unlike this highly entertaining show YOU ARE GETTING VERY BORING!
SCREENWASH CINEMA ROUND-UP – AUGUST 2017 – REVIEWS
A Ghost Story (2017) – review here – was the most impactful and original film I saw in August from a cinematic perspective, however, the other films I saw were very well rendered too. All three were “based on a true story” and had many elements that made them highly watchable. So, here’s my cinema round-up of reviews for August.
**CONTAINS MILD SPOILERS**
AMERICAN MADE (2017) – DIRECTOR: DOUG LIMAN
Tom Cruise leaves the formulaic action blockbusters aside for a while to portray a well-defined anti-hero called Barry Seal. Seal, according to this insane narrative, was a former TWA pilot who, bored with his steady job, grabs the opportunity to fly reconnaissance operations over South America for the C.I.A. That’s when the irreverent fun really gets into gear and before you can say “triple-agent-drug-running-for-the-Colombian-Cartel” you have a very watchable fast-paced, political and at times, farcical thriller.
Doug Liman is an excellent genre director and here pitches the film somewhere between a Martin Scorsese gangster biopic and screwball comedy. I would have preferred a bit more dramatic meat to be honest as seen in the Bryan Cranston Cartel-cop-thriller The Infiltrator (2016), or the subtle terror of Sicario (2015). However, Tom Cruise once again proves he can act and this entertaining movie does make some relevant political barbs against the allegedly corrupt Reagan and Bush administrations during their futile wars against drugs and communism.
(Mark: 8 out of 11)
THE BIG SICK (2017) – DIRECTOR: MICHAEL SHOWALTER
Uber-driving-stand-up-comedian Kumail Nanjiani portrays himself in movie form for the duration of this likable character and culture driven romantic comedy. Eager to forge his own path where love is concern Kumail battles the constant “threat” of his overbearing mother’s attempts to pair him up with an acceptable Pakistani bride. Having met Zoe Kazan’s sparkling Emily he falls for her despite their initial reticence in committing fully to each other.
Of course the path of love is never straight, in fact it’s downright wonky as Emily succumbs to a rare illness and is hospitalized. Kumail, estranged from his own and rejected by Emily’s family, finds his world falling apart as his work and comedy suffers. Overall, this is a very enjoyable and gentle comedy and Kumail and Emily are characters you really root for. The supporting cast including the brilliant Ray Romano, Adeel Akhtar, Bo Burnham and Holly Hunter are very funny indeed. I enjoyed the sub-plots involving the Chicago comedy scene and my only criticism would be that like other Judd Apatow-produced films it was probably ten minutes too long. Having said that it’s a finely observed, well-acted and richly funny character film.
(Mark: 8 out of 11)
DETROIT (2017) – DIRECTOR: KATHRYN BIGELOW
This is a very complex film and probably requires a second view to really get to the heart of the whole situation. Set in 1967, amidst the desperate and violent racial tensions of the age (has there actually been anything else in the United States?) Detroit focuses on a single night and horrific incident involving monstrous cops and their behaviour toward the guests in the Algiers Hotel. Kathryn Bigelow again proves herself an expert director of spine-tingling tension and heart-racing drama as a violent assault is carried out on mostly innocent characters.
Detroit is microcosmic of the issues of race throughout American history and is an impossible pill to swallow as represented by these events. It’s not meant to be easy but a layered, narrative which reflects the different perspectives of those involved without actually getting to the actual truth. John Boyega, Will Poulter and Algee Smith’s performances are the stand-out as a nightmarish event in American history unfolds in almost real time. The only light comes by way of the Motown and Gospel music featured which shines brief hope and light on otherwise grim proceedings. The final act and court case compound the injustice of the crimes committed and only in song and prayer can Smith’s character escape the horrific tragedy of these grim events.
2017 EDINBURGH FRINGE FESTIVAL – CULTURAL ROUND-UP
You may or may not know this but the comedy you see on television via the sitcoms, panel shows, live performances etc. plus the Netflix or Amazon specials which are streamed online are just the tip of the iceberg in regard to stand-up, sketch and narrative comedy shows. Because, underneath is a huge population of individuals writing, rehearsing, directing, editing and performing their works live across the clubs, theatres, pubs, basements and attics of the world.
These unsung creative heroes and the occasional lunatic are, on the whole, slogging their guts out following a dream to hit the big time in their chosen stage craft. Either that or they simply revel in performing and delivering their stories, jokes or narratives to the public live. It’s a cathartic experience to release their heart and soul to the world in comedic, theatrical or musical form and most of these people should be saluted for their creativity.
One of the best places to find these purveyors of dance, comedy, performance, mime, acting, music and sometimes science is at the annual Edinburgh Fringe Festival. This year I went, with my wife, on holiday there for a week to check out some shows and sites and lovely restaurants and pubs! Here’s a uncritical round-up of some of the things we caught up with. Amazing fun it was too!
LODGINGS
Like many cities Edinburgh has many great places to spend the night including hotels and other bed and breakfast digs. Many of the acts performing at the Fringe have budgets so will use rented accommodation, hostels, vehicles and ditches too to sleep in. My wife likes some comfort when we stay places whereas I have been happy in the past with the gutter; well, a cheap B & B. So she chose Millers 64 on Pilrig Street and what a lovely place it was too. Run by Louise and Shona Clelland, we experienced some of the best hospitality we have ever had so they are highly recommended. Check out their website here.
FOOD
Scotland and the North in general has been the focus of stereotypical gags at the expense of unhealthy living including: bad diet, alcoholism and drug abuse. I guess characters such as Rab C. Nesbitt and novels/films like Trainspotting only serve to strengthen such ideas. Of course, if you search it out you will find junk food and drink in any place the world over but I actually ate pretty healthily during my week in Scotland.
Of the places we visited I can definitely recommend La Favoritapizza place on Leith Walk. Moreover, the tasting menu at the Gardiners Cottagewas beautifully presented and I very much enjoyed the Indian cuisine at Mother India. There are also hundreds of pubs, cafes and burger restaurants all over Edinburgh.
I enjoyed watching Tottenham Hotspur FC defeat Newcastle FC in the Kilted Pigon the Sunday but my favourite pub was probably The Pear Tree Houseon West Nicolson Street. It had great beer, food, a massive garden and a constant stream of lively entertainment and music.
Having said that the greatest epicurean treat I had was on my birthday at The Kitchin. The food was absolutely exquisite and what made it all the more amazing was my wife treated me to the meal just for getting a year older. I imagine it was very expensive but the whole experience was fantastic as we also visited the kitchen and met the aptly named owner/chef Tom Kitchin.
MUSIC
As I only had a week and there is SO much going on at the Edinburgh Fringe Festival I did not see any theatrical presentations, which, if I’d been there for another week would certainly have been on my cultural agenda. Similarly with musical performances I chose the more comedic acts over others but enjoyed an excellent set by jazz guitarist Graeme Mearns despite this. However, the real humdinger of a show I could not miss was the one by gothic chanteuse Camille O’Sullivan. She is a dark storm of a performer who hails from Ireland and sings haunting and very dramatic versions of tunes written by Leonard Cohen, David Bowie, Arcade Fire and Nick Cave. In the elegant tent where I saw her show I was bewitched by the spine-tingling performance borne of fire, shadow, light and ice.
COMEDY
I love comedy. It is a noble craft which on occasions can be propelled to the heights of art and was to the fore of my cultural menu in Edinburgh. In fact, on Monday 14th August I watched SEVEN shows beginning at 11am with the last one finished at 10.30pm. It was a brilliant day and encapsulated all that is great about the Fringe Festival. This is NOT a review of the comedians I saw during the week as all the shows I witnessed were BRILLIANT! I don’t believe in comedy competitions or star ratings as comedy is too subjective for that. But rather, it’s a round-up of and a shout out to a very talented bunch of individuals I saw; and there were thousands I missed too but there was just not enough time alas.
Musical comedy is something I have been really getting into and the alternative genius Robert White presented an exhilarating off-kiltered-joke-a-second-Gershwin-inspired operetta of his life in a show called Instru-mental. Equally energetic was the wonderful Pippa Evans in Joy Division; while the very talented Harriet Braine delivered some excellent cover songs which also educated us about the history of Art!
I also saw some excellent club and storytelling comedians such as: free-wheeling Russell Hicks; Irish mirth-maker Rory O’Hanlon; Cheetah Adam Greene; intelligent Scot Stephen Carlin; conspiracy theorist Don Biswas; witty and frantic Nathan Cassidy; the brilliant comedy-swap laughs of Sketch Thieves; the crafty humour of Ben Clover; plus the ferocious, clever and frantic comedy of Fringe stalwart Richard Herring.
Of the shows that arguably had longevity in terms of their narratives then Darius Davies’ Road to Wrestlemania was really funny. It’s a fast-paced narrative of how, when a naïve teenager, he tried to become a World Wrestling star. Successfully employing multi-media, costumes and music to tell the story it made me laugh (and almost cry) throughout. I also really enjoyed Dominic Holland’s very funny and touching Eclipsed. Holland, who has been a very successful author and comedian found his career eclipsed by his son Tom Holland who last year became the new Spiderman! It’s a brilliant story about success and family togetherness amidst some excellent comedic observations of everyday life.
Of all the comedians I saw I was transfixed by the mercurial delivery and off-centre ideas of Tommy Tiernan. A comedy veteran and Grandmaster of the comedic dark arts, he flits around the stage nimbly while his rich Irish brogue delivers a stream of jokes, observations, non-sequiturs and the occasional barmy rant. He covers many subjects such as: life, death, religion, sex, family, immigrants, football, age and so on. An hour in his company is not enough as I could have listened to him for hours.
OVERALL
So, that was my first Edinburgh Fringe Festival. The whole experience was fantastic to me as I was around the things I love such as comedy, music, food and booze for an intensely concentrated week of pure culture. If you’re like me and hanging around watching shows and feeding off the energy of a cultural oasis then I highly recommend it. I would say a week is definitely not enough for what’s on offer in bonnie Scotland during the month of August!
(Contains mild spoilers – nothing you may not already know.)
I write reviews for a number of reasons. Firstly, I love cinema and TV and music and culture in general and enjoy writing and thinking about the things I have seen and why I liked or disliked them. Secondly, as a writer myself I enjoy considering aspects from a screenwriting perspective and analyses what did or didn’t work for me. Thirdly, I guess from a narcissistic or egotistical perspective there’s a part of you that wants the attention or simply just confirmation that one’s opinions are being read or listened too. Ultimately, it’s a pastime and a bit of fun.
Every now and then a film comes along which is hard to place and it makes you think and you actually have to apply yourself. You can fall into certain traps of structure or at worst formula when writing reviews. But with David Lowery’s majestic A Ghost Story (2017) he has delivered such an original work of cinema art it is difficult to follow one’s established reviewing rules.
For starters it is difficult to even give you a brief synopsis of the film because it is so simple in its concept that the title itself sums up what the narrative is. It literally is a Ghost’s story! However, after establishing the accessible drama of the loss of a loved one, the characters move into a whole new level of complexity in regard to the supernatural, temporal, philosophical and metaphysical.
The main cast are Casey Affleck and Rooney Mara and they brilliantly under-play a loving couple who share a property in a nameless place. Their characters are also seemingly nameless (referred to as ‘C’ and ‘M’ in the credits) and their normal lives are then torn apart when he dies in a car accident. In a beautifully haunting scene at the morgue ‘C’ “awakes” as a GHOST IN A SHEET! Yes, his Ghost is shrouded in a sheet with two eye-holes cut out. My feeling about this initially was how would the director make it work without possible derision? But, due to his sheer confidence in the idea and choice of shots, music and pace we are quickly enveloped by ‘C’s pale figure and his drama.
From then on we see everything from the Ghost’s perspective and it truly is heart-breaking. I mean it takes guts for the filmmaker to cover his leading actor for the rest of the film but it genuinely pays off. My feeling about the sheet idea was that in death we lose our identity via our body, yet our soul lives on in the space where we existed. Our Ghost here is a genuine lost soul unable to move on and he literally haunts his home in a desire to stay with the one he loves. I also enjoyed the spirituality of the piece without once there being a reference to religion. It’s not about dogmatic belief systems but the purity of life and love.
David Lowery has created one of the most original stories of the year and his handling of composition; editing and temporal structure is a masterclass in pure cinema. This film is hypnotic, tragic and one of the best of the year. It echoes the work of Bergman, Kubrik and Tarkovsky. I for one do like my conventional genre films with well-formed characters and clear plot-lines, but this film transcends cinema conventions and delivers one of the most poignant and melancholic experiences of the year. Plus, the score by Daniel Hart really augments the minimalist approach and often dialogue-free sequences. Overall, this is a meditative joy which is both unconventional yet in its unpolluted filmic poetry had me transfixed throughout.
The Cinema Fix presents 