A girl goes missing. Or has she been abducted? Her father digs deeper to try and find his daughter.
A film that takes place either through words, pictures and footage on instant messenger, FaceTime or social media. The telling of the story through these mediums feels innovative to begin with but grates by the end of the movie.
Great performances all round, an ending that feels a bit forced and rushed though.
But I’m not going to criticise a horror movie that strives for innovation and originality. Even though this movie doesn’t hit all of it’s targets it deserves applause.
I was looking forward to this movie. Someone who had seen it in the States said that it was ‘grim’. Another said that it ‘stayed with you long after you’ve finished watching it’.
Having watched the movie I can now say that it is grim. But not in a good way. It’s the most pretensious, overly dramatic and ultimately vapid film I think I’ve ever seen.
In fact it reminds me of when I was at university studying film analysis. There was a drama department within the arts faculty. You just knew that the small minority of quiet and introspective drama students would go far whilst you got the feeling that those who were loud, strutting and attention seeking weren’t interested in acting at all but only in being centre stage. At the end of the year the drama students had to write and stage their own production which they would also act in.
Hereditary felt like the kind of end of year production that one of the extroverted dramatists would have produced if it had then been picked up by a film production company and allowed to pollute cinema screens worldwide. Hysterics are ramped up to the max whilst tension and depth, y’know the things that good horror should hinge on are nowhere to be seen. In fact, the only tension I experienced were by a couple near me who insisted on talking during the film. And they left halfway through. I was gutted and felt like running after them to try to persuade them to come back in.
With Hereditary the film also seems to throw so many ideas into the pot that it really is a case of ‘Let’s throw all these ideas at the wall. Some are bound to stick!’ It didn’t work. In this age of remakes, sequels and reboots, especially within the horror genre, original and new ideas are paramount. It can still be done. Some critics and reviewers think this film might be the start of such a renaissance. It isn’t and I pity them.
I’m now going to watch Muriel’s Wedding- a genuine masterpiece that doesn’t squander Toni Collette’s considerable acting chops.
Hereditary is loud, hysterical, hyperactive and desperate for your attention. It’s clearly the James Corden of horror films.
Like many people the only thing I knew about ice skater Tonya Harding before this film was the incident of violence that she inflicted upon Nancy Kerrigan. This film deals with Tonya’s upbringing and her life in general leading up to this point.
One striking feature of the film is that it well and truly breaks down the fourth wall with characters speaking to the audience and even disputing their version of events as the alleged events are being played out. Theres even one sequence in which Tonya’s mother admonishes the film’s screenwriters as she seems to have dried up in the film’s narrative.
The film depicts the sheer insanity of the events that led up to the fateful encounter with Kerrigan but it never feels like this has been exaggerated or that it descends into farce. Theres an air of authenticity as we see the craziness and dysfunction unfurl before our bewildered eyes.
The setting of working class America also feels real, warts and all. The film depicts the obstacles to true success and the snobbery that Tonya has to endure and overcome. Theres an irony to the nouveau riche mothers, skaters and judges of ice skating looking down on Tonya for being cheap and trashy when all of the contestants are encouraged to look that way but without the actual poverty. The mainstream world of the sport doesn’t like the real thing but rather a contrived and affluent ‘faux’ version of it. It reminds me of a Dolly Parton quote- ‘It takes a lot of money to look this trashy’.
But whilst many events in the film are hilarious and surreal, the incidents of domestic violence depicted are as harrowing and serious as they deserve to be. These sequences still disturb, as well they should.
There are amazing performances from the central three actors of Stan, Robbie and Jenney as Tonya’s mother- a force of nature who is great entertainment on the screen but would be a nightmare in real life.
A special mention is needed for the soundtrack- any film that features both Siouxsie and the Banshees and Fleetwood Mac is something very special indeed.
Why is it that when I see that Film 4 funded a film that its going to look like its been made for TV and lacking in scope or depth?
This film could have been a massive example of social justice warrior filmmaking (damn those white men in power!) But instead there are so many twists and turns that characters who were earlier stereotyped as either ‘goodies’ (the strong woman, anyone of colour, the white man labelled a ‘faggot’, the midget…) or baddies (white men with power to abuse, of course) are in fact shown to be three dimensional and fully nuanced. Everyone is capable of good and evil. Yes, even white men can be good! Its a miracle. I hope Oprah has seen this movie.
Sometimes the film’s comedical stance works wonders, sometimes it feels awkward seeing as the film is about makes the rape and murder of a young woman.
The lead character of Mildred is one of the most interesting I’ve seen in a long time and is played to perfection. In fact there are great performances all round. Woody Harrelson is fast building a filmography that would be the envy of any actor.
But the film doesn’t knit together quite right. And sometimes its ‘politiks’ feel so holier than thou that I wanted to vomit. Mildred only looks happy when embracing her black co-worker. Virtue, anyone?
On the plus side, its photographed beautifully with Ebbing looking absolutely gorgeous.
So, not a masterpiece. But with enough redeeming qualities to ensure you’re not looking at your watch.
WARNING- The ending of this film is so sugar coated that you will become diabetic.
This film is basically saying ‘Life sucks whether you have a facial deformity or not’.
Julia Roberts is great (as per). Owen Wilson is in a film that isn’t an utter embarrassment for once (way to go).
But the film feels like an overlong episode from some bright and breezy TV show. Theres no real depth even though the subject of someone being different could be examined perceptively in relation to human nature and people’s vicious pack mentality.
Theres also some vile stereotyping going on here. All the bullies within the film are white and stinking rich. The goodies either have a facial deformity, are related to him, aren’t white or are a member of another religion (the Jewish headmaster). Social justice filmmaking. Urgh.
If John Waters had made this film, the lead character would have accentuated his unique looks, dressed in drag and owned this film. Maybe Mr Waters could remake this. In fact I think hes already made that film- it had songs, dance routines, Divine and was called Hairspray.
Watch Mask instead. You get Cher and bikers thrown in as well.
I had the honour and privilege to be able to see Predator (1987) in 4K and on the big screen the other day. It felt like visiting an old friend.
Predator belongs in Arnie’s Imperial Phase which for my money runs from the Conan films up until Red Heat. At this time he was making action movies that defined the genre, pushed its boundaries but fully exploited their future status on the medium of video- in other words they were violent and gory as hell.
Predator works on so many different levels.
The film is the perfect example of a comic book come to life on celluloid. The film possesses the kind of exaggeration and imagination that normally couldn’t satisfactorily be translated to film. Predator shows that these forays into the surreal and its larger than life action sequences can be successfully conveyed. All of the characters could equally be seen in comic book panels as much as they could be on film. The film is so gung-ho that it feels like a war comic crossed with a shoot em up video game at times.
The Predator’s thermal vision that the audience is privy to is also a comic book device.
Another sequence that is reminiscent of a comic book is when Dillon’s arm is cut off but continues to fire a gun.
Also, just as action and horror movies were massively successful on video in its infancy and its growth as a medium, Predator combines elements of both genres and turns them up to 11. The sequence involving Dillon’s arm is a great example of a sequence that appeals to both action and horror fans.
In fact the film is extremely subversive as it starts as a jungle commando action vehicle but then suddenly changes direction. This could have failed to work and come across as forced and completely contrived if handled in the wrong way. But instead it works brilliantly.
The horror and more specifically the slasher conventions within Predator show that the film wasn’t just appealing to the fans of action movies. The Predator’s handiwork is shown as the jungle crew discover the skinned bodies of others hanging upside down. The crew soon find themselves to be the quarry rather than the hunters in the same way that a group of teenagers would be in a stalk n slash movie. They are easy meat.
The film also contains the same kind of kills found in a slasher movie with skulls, intestines and exploding heads all featuring.
Another slasher staple that features in Predator is the unmasking of the killer which of course prompts Dutch to exclaim ‘You are one ugly motherfucker!’ The unmasking sequence is especially a staple of the Friday 13th films in which Jason Voorhees is regularly unmasked to reveal his true face.
Predator also goes the extra mile when it comes to its action genre ingredients. There are guns and muscles aplenty. But where Predator tries to excel when it deals with these components, in doing so it instantly becomes very very homoerotic.
There must have been something distinctly gay in the air in some Hollywood quarters in 1986/7 as two other unintentionally/intentionally homoerotic films were also made around the same time- Top Gun and A Nightmare on Elm Street 2: Freddy’s Revenge.
In fact, Predator is so proudly masculine, homoerotic and therefore camp that to take any of these variants further would topple the film headlong into the genre of gay pornography.
It doesn’t take a lot for the ultra masculine to turn ultra homoerotic and camp. Let me illustrate- think of a clockface as representing all of the different variants of masculinity- 1 represents the camp, effete and effeminate (two examples are Quentin Crisp and Julian Clary) and 12 represents the ultra masculine, musclebound and testosterone soaked (Arnie, your average MMA fighter, the larger WWE wrestlers). There isn’t that much of a distance from 1 to 12 on the clockface is there? Also, just because a man might be camp or effeminate doesn’t mean that he isn’t without balls of steel. Do you think it was easy for Julian Clary and Quentin Crisp to be openly gay and effeminate when they first came to light in the public gaze? No- it took guts and moral fortitude. They are far from being submissive sissies. There are paradoxes at the more extreme positions on the clock.
Whilst number 12 on the clockface is seen as the most masculine its also, paradoxically very camp and homoerotic also. The male who wishes to assert his masculinity more potently will build up his physique and muscles. To display this ‘uber masculinity’ he will expose his body more thus paradoxically instantly appeal to the some members of the same sex. He wants to accentuate his masculinity and has at the same time become more camp, desirable and homoerotic because of this.
This heady brew of the masculine and homoerotic is first seen in the film when Dutch comes across his old friend Dillon again. A handshake turns into an epic display of biceps and a very manly (and very camp) arm-wrestle. You could be forgiven that this is in fact some kind of 1980’s gay porno movie.
The camera seems to relish and luxuriate upon the male cast in the film. There are many shots of gleaming muscles, sometimes clutching huge guns. Predator is a glistening, sweaty jerk-off fest for the gay gaze.
The bead of sweat rolling down the ample chest of the character of Billy is one such example of this. The same character later on in the film decides to ‘take it like a man’ by slitting open his well built chest to prompt the predator out of hiding so that they can go one on one. Its a startling display of machismo that is instantly appealing to the action fan and those who are sexually aroused by such testosterone fuelled exhibitionism. ‘Taking it like a man’ means something very different in gay circles. The pitcher becomes receiver. He decides to ‘receive’ the alien.
Within the film there is also the spectacle of the slow striptease of Dutch. Throughout the course of the film Arnold appears in varying degrees of undress and displays more flesh and more muscle. There is also an unbelievable shot when the crew arrive in the jungle. Dutch crawls through undergrowth with the camera just above his body as he does this, resplendent with an amazing shot of his arse. Ever wanted to know what it would be like to be on top of the film’s lead character? The camera realises this for the spectator.
Arnold’s striptease cumulates with his character covered in mud (!) with a lit torch in one hand and giving a manly bellow to the heavens to alert the alien that he is ready for battle. Man vs alien- and no ugly extra-terrestrial is going to kick Arnie’s alpha-male butt. Whilst this scene is intended not only to signify the potency of the masculinity on display its also the ultimate in homoeroticism and camp iconography- a distillation of the whole film in one sequence.
Theres also the bromance/relationship between Mac and Blain. After Blain is killed there is a palpable longing on the part of Mac which suggests that he misses him for being more than just a fellow soldier. This pining between two male characters is reminiscent of Peter being distraught by the passing of Roger in George A Romero’s Dawn of the Dead. Or the ending of Brokeback Mountain. Yes, nothing gay here.
In fact Blain recalls the ‘macho man’ archetype in the same way that The Village People’s leather-clad biker does- moustache, sexually potent (Blaine describes himself as a ‘sexual tyrannosaurus’), whilst looking down on others who aren’t as masculine. Blaine refers to those people as ‘slack jawed faggots’ the way a leather fan might look down on the camper constituents of his community. Also, notice the use of the word ‘faggots’- Blaine doth protest too much. Or hes just trying to deflect from the obvious conclusions.
With the character of Blaine there also the issue of guns, the size of those guns and the ‘gun as phallus/symbol of manhood’ baggage that is imbued with such imagery. Just as Blaine has stated that he is a ‘sexual tyrannosaurus’ he qualifies this with the gun he carries- a huge gun that can fire countless bullets at once and has a barrel that rotates as its doing this. Blaine calls the gun ‘Old Painless’ and at one point says that its time to bring it out of its bag. This recalls the way a man might say its time to ‘unleash the beast’. Never has a gun represented a penis so obviously.
Also within the film there seems to be a celebration of gun size as an extension of manhood for each character. There are many shots of gleaming muscles and equally huge guns held proudly by each character. Theres also the incredible scene in which the muscled components of the crew fire their guns into the jungle when they happen to see the alien. The scene goes on for way too long, prompting the audience to question why this is. A joyous piece of action genre abandon? A display of unabashed masculinity? Or the film’s equivalent of a circle jerk? This scene is as close as the film can come to each character having his cock out to show who really is King Dong.
In fact the film early on introduces a female character into the proceedings to seemingly try to stop the film being a solely male musclefest. Shes also introduced to make the film homosocial- a female distraction from the otherwise all male action and to show that, ”y’know, we’re not actually faggots or nuthin’ ”.
Anna Gonsalves however isn’t the kind of weak and spineless female character who requires a man to save her from any encroaching danger. She is resourceful and an equal. She spends her formative scenes trying to escape from the crew but then is seen as someone more than willing to pitch in to save herself and the lives of the others in the crew from the predator. She is self-sufficent and with this all male crew, thats pretty much for the best. Saving women would take away from their self-love and exhibitionism.
Ultimately what was Predator’s demographic and who it was made for- the laydeez? Of course not. It was made for male action and horror fans. This vehicle of muscles and macho posturing with the odd splatter scene was made for men. It makes the film even gayer/homoerotic.
Even the behind the scenes stills from Predator were homoerotic. Hers a picture of Arnie holding a huge snake.
But whilst most of society was a homophobic cesspit when Predator was released the world seems to have changed since. Homophobia is thankfully being seen as unjust, outdated and as never being valid in the first place. Arnie is now a successful Republican politician. Whilst everyone was celebrating the amendment that allowed Gay Marriage in America people on Facebook were changing their profile pictures so that they had a rainbow flag filter. Arnie did the same. Most welcomed this. However some old school action fans did not. Arnie’s comeback was epic.
Things really were changing. Just as Arnie was finally embracing gay marriage and equality, was it possible that he knew that Predator was in fact a homoerotic musclefest all along? It would be great if someone from the Predator crew came forward to say that that this was actually the intention. Just imagine the uproar!
As its International Men’s Day I thought I’d review a documentary that I saw a few days ago.
How did I learn of The Red Pill? Thats a journey in itself…Someone tried to bully me in my place of work for being openly gay (note the word ‘tried’. I fought back and have never seen myself as a victim. I’m a fighter). However, in the midst of what was happening to me I began to suffer from clinical depression. The panic attacks that I had kept at bay since the age of 13 were now out of control and I began to experience suicidal thoughts on a daily basis.
It was whilst suffering from all of this that I began to research the issue of suicide and learnt that 75-78% of suicides are male. This fact shocked me massively.
And so from looking into male suicide I learnt about The Red Pill. The title is actually a reference to the movie The Matrix ”in which the protagonist is offered the choice of a red pill, representing truth and self-knowledge, or a blue pill representing a return to blissful ignorance”.
I knew that the film was seen as controversial to some people with some feminists wanting it to be banned.
So is this film about the Men’s Rights Movement a rancid cesspool of anti-feminism rhetoric, a film that only conveys views from rape enablers that are fundamentally anti-women? Of course not. The film is amazingly balanced with Men’s Rights activists finally given a platform as well as feminists on the same topics. I had never heard these Men’s Rights advocates speak before which is also very telling. The audience is granted a modicum of intelligence with which they can make up their own mind.
Topics raised and discussed include male suicide, the lack of funding for male health conditions such as testicular and prostate cancer, the custody battles that fathers go through, the male victims of domestic abuse…the list goes on. These are all issues in which there is no equality between the sexes with men coming out disadvantaged.
The documentary itself is amazingly made by filmmaker Cassie Jaye. She presents a well rounded and perceptive documentary that is balanced, fact-based and free from hysterical amateur dramatics. The documentary flows effortlessly and you feel like you want to see more when it finishes. Thankfully there are uncut and unedited interviews from the film on YouTube. And whilst you’re on YouTube look up Cassie Jaye’s videos. Especially of note are the interviews given to the Australian media who had never even seen the film (they claim that Ms Jaye hadn’t supplied the film for them to see when in fact she had and several times. Ignorance is bliss, Andrew O’Keefe) but called it misogynistic and hateful. This is clear proof that they had never seen the film as The Red Pill is neither.
But it seems that others are also taking The Red Pill. Taste of Cinema had a list of their favourite documentaries on their website recently. The Red Pill featured in that list. And it fully deserved to be there.
I’ll finish this review by reiterating the fact I quoted earlier. 75-78% of suicides are male. 75-78%! These conversations regarding men’s issues need to be had before there are many more casualties. And I speak from very bitter experience. The Red Pill starts this process of discussion and discourse in a brilliantly balanced and intelligent way. Thank you, Cassie Jaye.