Sunday, April 26, 2015

Monstrous Feminine

Mia Wasikowska in Maps to the Stars

David Cronenberg has always included a strain of horror toward women and female sexuality in his films. The monstrous feminine often manifests itself in birth in Cronenberg's films, but the very idea of the vagina itself is a figure of horror, to say nothing of the idea that women might actually want to use them for pleasure. Unease with feminine bodies and sexuality is behind images like the birth scenes in The Brood and The Fly, the vaginal slit in James Woods's belly in Videodrome, the psychosexual dysfunctions in A Dangerous Method, the sexual possibilities of open wounds in Crash, the many faces becoming one face in Spider, the Mantle brothers' profession and inventions in Dead Ringers, and so on. Throughout his career and with only rare exceptions, Cronenberg has framed the monstrous feminine from the point of view of men. Confronting the feminine is often what knocks Cronenberg's protagonists out of their comfortable, sensible realities into the chaos beneath them. The critic, Robin Wood, once described Cronenberg's view of sex as both reactionary and infantile for this very reason. Though I think Cronenberg's approach more nuanced and more...um...perverse than that, I can see Wood's point.


Maps to the Stars (2014), the first of Cronenberg's films in forty years to center itself specifically on women, is a departure. It's a view of the monstrous feminine from the point of view of women. As such, it's a writhing chaos of sexual horrors. Or something. Its about movies and fame, too, and about Cronenberg's movies, in particular. It's a perverse film. Of course it's a perverse film! You expect that of Cronenberg even after all this time.

Saturday, April 18, 2015

Backward Glances

Maika Monroe in It Follows

Horror movies are going through one of their periodic revivals right now. The last eighteen months or so have been particularly fertile for the genre. Part and parcel of this revival is a backward look at the horror films of the 1980s. Throwbacks like The Guest and Starry Eyes might have been dumped into video stores in 1988 or discovered late at night on HBO in 1983, ornamented as they are by minor-key synth scores and prowling, Dean Cundey-ish widescreen cinematography and a chaos of horrors hiding just behind the curtain of a particularly mundane suburban reality. These films often use their borrowed elements better than the films from which they are taken. Add It Follows (2014, directed by David Robert Mitchell) to this list. It Follows, more than any of these films, internalizes the eighties horror film and transforms it into something modern and nasty and relentless.

Friday, April 10, 2015

Blogorama: 2015 edition


I'll be joining two blogathons in the next month or so. Both of them are old friends. The first one is the periodic For the Love of Film blogothon, which is a fundraiser for film preservation. This year's theme is science fiction, which will put me back in touch with my roots. The other is the annual White Elephant blogathon. I probably went easy on the recipient of my film again, this year. I just don't have the instinct for the jugular some of the other participants have.


I'll get back to documentaries and other stuff shortly.













Patreon Logo
I'm using Patreon as a means of funding my blogs. They don't have a widget yet, so this link will just have to do. If you like my writing and art and if you'd like to support Krell Laboratories and Christianne's Art and Comics, please come on over and pledge. Thanks.

Sunday, April 05, 2015

True/False 2015: Across the Rio Grande

Western (2015)

Cartel Land (2015, directed by Matthew Heineman) and Western (2015, directed by Bill Ross IV and Turner Ross) are so thematically similar that you could be forgiven for believing that they were programmed by True/False to play as apposite experiences. Both confront the "problem" of the United States/Mexico border. Both are steeped in the politics and violence of drug trafficking. Both of them are foregrounded by violence and the response to violence. Both of them cultivate an air of resignation and futility. For all that, they are very different films.

Monday, March 30, 2015

True/False 2015: Almost Famous

Finders Keepers (2015)

"Fuckery and shenanigans." That's how the sister of one of the antagonists in Finders Keepers (2015, directed by Bryan Carberry and J. Clay Tweel) describes the film's conflict over a severed leg found in a barbecue smoker. It's as good a description as any, I guess. Finders Keepers is the kind of film that Flannery O'Connor might have written had she lived in the current media age. She once wrote a story in which a traveling salesman makes off with the prosthetic leg of a lady professor, so there's a precedent there. This is a film that certainly veers uncomfortably close to hicksploitation, to say nothing of the Southern Gothic.

Sunday, March 29, 2015

True/False 2015: A Better Tomorrow

Spartacus and Cassandra

Another persistent subject of the contemporary documentary zeitgeist are the lives of people--particularly children--who squat in the ruins of post-Capitalism. It would be easy to think of these kinds of films as social problem films, or at the very least as a kind of "poverty porn," but that would do the best of them a disservice. The good ones mark the lives of specific human beings, however desperate their lives, and let those lives illuminate more universal concerns. Spartacus and Cassandra (2014, directed by Ioanis Nuguet) is one such film. It chronicles the lives of two young Roma children struggling to live in Paris with parents whose basic competence to be parents in the first place is deeply suspect. This is a closely observant film that knows the power of an image and how to play with images without losing the integrity of the narrative. The end result is a highly aestheticized form of social realism.

Saturday, March 28, 2015

Myths, Stories, and Songs

Song of the Sea

Song of the Sea (2014, directed by Tomm Moore) expands on the design aesthetic of Moore's The Secret of Kells, while diving even deeper into waters of Irish mythology. Like that previous film, Song of the Sea is visually ravishing, though to an even further extent. Unlike that film, Song of the Sea occasionally invites comparisons to other films, particularly films by Hayao Miyazaki. The film can withstand the comparison, but it's not the same kind of singular experience as Kells, nor does it have the overarching design-as-theme element. Don't get me wrong: it's beautiful; it's one of the most beautiful films of recent vintage. But its beauty is beauty for its own sake rather than as an integrated element of the story. Whether or not this is a flaw in the film, I can't really say. Beauty is its own justification a lot of the time.

Friday, March 27, 2015

True/False 2015: A Bitter Almond

King Abdulaziz and Franklin D. Roosevelt in Bitter Lake

Director Adam Curtis claims that he's a journalist, not an artist. There's a presumption in this idea that the two are mutually exclusive, though I'm not sure I believe that. I certainly don't believe it of Curtis, whose films are powerful beyond the scope of mere document. Curtis's new film, Bitter Lake (2015) pushes at the boundaries of non-fiction. It's a film of great formal daring, one that internalizes post modernism in its image collage and its multitude of allusions. It's an object designed to be consumed on the internet, though it works fine as a cinematic experience. Whether or not it manages to connect the dots of its argument--something that can be debated--is almost beside the point.


Tuesday, March 24, 2015

True/False 2015: Remote Control

Drone (2014)

Documentaries about the "War on Terror" seem like a permanent fixture in the contemporary film landscape. So long as horrible things are being done either against the democracies of the West, or, more probably, by the democracies of the West themselves, these kinds of films will be with us. They tend to paint a dismal picture of the world, one that more and more resembles George Orwell's prediction of the future as "a boot stamping on the human face forever." This year's crop includes Drone (2014, directed by Tonje Hessen Shei), a film that attempts to provide a multiplicity of viewpoints on the Obama administration's campaign of remote control warfare. That very multiplicity tends to blunt its impact.

True/False 2015: Poison Pens

William F. Buckley and Gore Vidal in Best of Enemies

I'm late to the party this year when it comes to writing about the 2015 edition of the True/False Film Festival. The delay was unavoidable. Life gets in the way sometimes. I need to get all of this down before I forget it all. Fortunately, I took lots of notes this year.




Best of Enemies (2015, directed by Morgan Neville and Robert Gordon) resurrects the 1968 debates between arch conservative William F. Buckley and arch liberal Gore Vidal on the occasion of that year's national political conventions. "Debate," is probably the wrong word for what these were. Duels, is more like it. Some kind of bloodsport. A harbinger for what media discourse on politics would later become. Buckley and Vidal were mortal ideological enemies and they jabbed at each other with spears tipped with venom, with invective scrawled with acid.

Monday, March 02, 2015

The Devil, You Say?

Daniel Radcliffe in Horns

Alexandre Aja is a director who is never likely to live up to his promise. I'm not a fan of his signature film, Haute Tension, but I could see the talent involved with its making. Before it immolates itself with an unearned twist ending, it's a razor sharp horror movie, one that knows the value of suspense while keeping an instinct for the jugular. Nothing he's made since then has been as assured, though I do have a soft spot for the cheap pulp thrills of his remake of Piranha. I don't know why I expected more from his latest film, Horns (2013), but I did. It has a good cast and a droll source novel. In principle, the elements are all there. Somehow, Aja fumbles it all.

Sunday, March 01, 2015

Ministers of Grace

Bosch -- Christ Carrying the Cross

My first impression of Calvary (2014, directed by John Michael McDonagh) was that it was deadpan religious noir. It's a film that attempts to reconcile the mission of the Catholic church with the wickedness done by that church's ministers. It falls into the category of noir because it's a crime film of sorts, one particularly concerned with a fall from grace. Its concern with states of grace is more (little "c") catholic than is normally the purview of noir, but its fall from grace is an equally dark descent. The punch, when it comes, lands with a brutalizing force even to a mocking unbeliever like me.


My second impression was that it was the cinematic equivalent of Hieronymus Bosch's "Christ Carrying the Cross," which has a central figure carrying the weight of the world through a crowd of leering grotesques. Bosch's painting has always had multiple interpretations, depending on the worldview of the critic. Is it deeply spiritual? Is it an irreligious mockery? I tend to think it's the former. Calvary provides a similar dichotomy, but it's more clearly an expression of spirituality. It's an argument for the necessity of the church in an increasingly secular and sinful world, and an indictment of the Catholic Church's utter failure in the face of its own mission.

Monday, February 16, 2015

Jumpin' Jupiter

Mila Kunis and Channing Tatum in Jupiter Ascending

While I was watching the Wachowskis' new film, Jupiter Ascending (2015), I realized that Andy and Lana Wachowski are acutely aware of their own career arc. Given that they've helmed a series of big budget fiascoes (commercially, anyway), this might be the last time they get to play with a megabudget production. As a result, they've crammed all of the ideas they have for big budget spectacles into this one delirious package. As you can imagine, this results in a dense film with overlapping moods and elements that are at odds with each other. It's a mess, sure. That much was suggested by its delayed release, moving from prime summer real estate into the wasteland of February, where orphaned productions go to die. I would be lying if I said that didn't like it though, because as fun times at the movies go, this was more fun than I was expecting. A lot more fun.

Tuesday, February 03, 2015

Imitation of Life

Benedict Cumberbatch in The Imitation Game

The Imitation Game (2014, directed by Morten Tyldum) aims to right an historical wrong. It postulates that the mathematician, Alan Turing, was responsible for winning World War II, or at the very least, was responsible for shortening the war by several years and saving 14 million lives and preserving the remaining cities of a shattered Europe in the process. Further, it is outraged at the thanks Turing got for his trouble. This is all couched in a biopic that is formally adventurous only when it serves its thesis, though that may well be often enough. In any event, it has good actors, which is always a plus when faced with those terrible words, "Based on a true story..."

Wednesday, January 21, 2015

Gray Men, Gray World

Philip Seymour Hoffman in A Most Wanted Man

When I was sixteen, my parents gave me an omnibus edition of John le Carré's Karla novels (Tinker Tailor Soldier Spy, The Honourable Schoolboy, and Smiley's People). I still have it and I have a handful of le Carré's other novels, but I never fell in love with le Carré. His stories are cold and distant, filled with gray men doing gray things in gray offices under gray, overcast skies. Or, at least, I imagine the skies as overcast. Le Carré's books are anti-thrillers. They are often Kafka-esque traps for their characters. Most of the films based on le Carré are similarly dreary, though stocked with magnificent actors playing drab. When the Cold War ended, it was replaced by the equally dangerous War on Terror. The actors on the world stage have changed. The game generally has not, which is how le Carré has remained so relevant. So it is in A Most Wanted Man (2014, directed by Anton Corbijn), in which Philip Seymour Hoffman plays the head of a small anti-terror unit in German intelligence. He's a defeated man, which makes the fact that this is the last role Hoffman played before his untimely death bittersweet.