I don't know if she can act--on the evidence of Haywire (2012, directed by Steven Soderbergh), the jury is still out--but that may not make a difference for Gina Carano, who comes to the movies from the world of mixed martial arts. She reminds me a bit of Arnold Schwarzenegger, to tell the truth. Nobody ever accused Arnold of being an actor, but he WAS a star and with good reason. I think Carano might have that same star quality. When, at the end of Haywire, she drops in on the film's hidden bad guy with her hair tightly braided against her head and her posture ready to kick some unholy ass, all I could think was, "Sign that woman to play Wonder Woman, pronto." When she's on screen, my eye is drawn to her. That's a start.
Saturday, September 15, 2012
Thursday, September 13, 2012
A Long Day of Things and People
David Cronenberg is a filmmaker who never throws anything away. Sprawled across his mannered and uncomfortable adaptation of Don DeLillo's Cosmopolis (2012) is the history of his film career, even the weird body horror with which the director made his name. It's a return to form, of sorts, but then, Cronenberg is almost never very far off model. Even in outliers like The Dead Zone and A Dangerous Method, Cronenberg's private universe is recognizable. Cosmopolis is Cronenberg's first screenplay in over a decade, which tends to distill his obsessions into a more concentrated brew. Cosmopolis is certainly perverse.
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Vulnavia Morbius
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9:10 AM
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Labels: 2012, Cosmopolis, David Cronenberg
Monday, September 10, 2012
Thinking Inside the Box
Do you want to know the worst part about writing about movies as a vocation? It's finding something to say about mediocrities. Good movies and bad both provide an essential element to the writing process: passion. A mediocre movie? Man, what's the point, eh? This is the dilemma I'm having with The Possession (2012, directed by Ole Bornedal). It's not a bad movie, and you might think I'm grateful for that given how badly awry some legitimately awful horror movies can turn. It's professionally made and it's not egregiously stupid or morally obnoxious. It's not a standout, either.
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1:21 PM
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Labels: 2012, The Possession
Saturday, September 08, 2012
A Hong Kong Elegy
On its surface, Ann Hui's A Simple Life (2011) plays like an Ozu-ish family drama, carefully observed and in touch with a basic shared humanity with the audience that isn't overcooked by the trappings of plot or melodrama. This, it accomplishes very, very well, and it's no wonder that the film has become the director's biggest hit and an award winner wherever it plays. It's one of the year's most pleasurable dramas. If I see a gentler, more humane film this year, I'll be shocked. If it only worked on that level, it would be amazing enough, but it plays a deeper game, too.
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Vulnavia Morbius
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4:38 PM
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Labels: 2011, 2012, A Simple Life, Chinese cinema, films by women, Hong Kong Cinema
Thursday, September 06, 2012
Life Among the Nerds, and Short and Sweet
I spent five days in Chicago at the World Science Fiction Convention this past weekend. I'm not much of a con-goer, even though I've had an interest in science fiction, fantasy, and horror all my life. I get bored at cons. I don't drink, so the room parties don't appeal to me, really, and while I like talking shop with writers and artists, I find that I can do that with less awkwardness on the internet these days. From all this, you might assume that I had a bad time, but I didn't. I had the opportunity to meet some people in meatspace with whom I've had long internet correspondences, and meeting people in meatspace is a rare pleasure. You get more of a person's overall presence when you share air and space and elevators with them.
There was also the vendor's area, a cavernous hall at this convention located somewhere beneath the convention center (a significant portion of Chicago appears to be underground, by the way, and I half expected to run into the mutants from Beneath the Planet of the Apes at any time). Various booksellers tormented me with collectible books. I've never seen so many $300 and up books in one place in my life. I'm poor right now, but if I had money to spend, I would have spent it. Probably for the best.
I had a good time, too, at the ceremony where the Hugo Awards were presented. I was a Hugo voter this year, and I was pleased to see that my own tastes aren't totally out of step with the rest of the world. Of the four main literary awards, I picked three of the winners, with my second place pick in the novella category taking the fourth. I was especially happy with the diversity of the winners. Genre fiction has well and truly broken the rule of straight cis white dudes. At the risk of indulging in identity politics, the fact that there's a trans woman with a literary Hugo award right now makes me squee a little inside. The fact that this level of diversity was acknowledged in the opening remarks by the event's emcee, writer John Scalzi, was flabbergasting in itself. I'm much more predisposed to loving science fiction fans this week than I was last.
Anyway...
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Vulnavia Morbius
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7:25 AM
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Labels: 2011, 2012, annoying personal anecdotes, books, Gender Politics, Science Fiction, short films
Friday, August 24, 2012
My Skuriels Ballot, or, Murder Your Darlings
As I mentioned a couple of days ago, I participated in the Skuriels earlier this summer. The Skuriels are an alternative to the recent Sight and Sound poll. Here's my ballot of twenty movies that I think are the best ever made (or at least favorites on the day I made the ballot). The usual list-making caveats apply. Soooo....
This is in no particular order.
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Vulnavia Morbius
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10:59 AM
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Wednesday, August 22, 2012
Dancing Between the Raindrops
This was written for the Skuriels, an alternative exercise in canon-making run by the folks behind the Muriel and Skandie awards. This was conceived as an alternative to the recently released Sight and Sound poll, about which I have nothing to say. My ballot of twenty movies contained only one film that made the cut for the top 15. This is the film in question.
Singin' In the Rain (1952, directed by Stanley Donen and Gene Kelly) is likely my favorite movie. I say "likely" because I don't know that I have a favorite movie, but if I did, this would be it. I've had a hard year, beset by self-doubt and depression, and I've watched the film twice during that period, both times as a panacea to what ails me. Like no other movie ever made, it makes me happy. The thing is, I can't quantify that, really. I can't point to this element or that and say "this makes me happy," when the exact same element in another movie does not make me happy. I mean, I can say that Gene Kelly's smile in this movie makes me giddy (because it totally does, hubba hubba), but why doesn't his smile in, say, Cover Girl or Inherit the Wind have the same effect? I don't know. There's some kind of weird alchemy at work in this film, and I don't know how to write about it, really. But I'll try. I'll try.
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Vulnavia Morbius
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12:21 PM
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Labels: classic film, musicals, Singin' in the Rain, Stanley Donen
Tuesday, August 21, 2012
The October Challenge and The Return of the Fantastic Fest Fundraiser
It's been kind of a lean month here at stately Krell Laboratories. The summer movie season has slowed to a crawl. My main source of new movies, my local art house, has devoted their screens to a very small number of movies this last month and a half and I've written about all of them. I've soured so much on the multiplex experience that I'm being pickier about it than I've been maybe ever. So my blogging has dwindled a bit this month. Things are going to pick up next month.
First off, The October Challenge is just around the corner. I'll be wrangling the various participants from around the web again this year in addition to attempting the challenge myself. If you'd like to participate, leave me a comment with your blog's address so I can add you to my list of participants. Here's this year's banner:
Please feel free to use these however you like, or use one of the previous year's banners, which you can find here.
Second, I'm attempting once again to go to Fantastic Fest in Austin this year, and to this end, I'm holding another fundraiser. The terms of the fundraiser are pretty much the same as last year. For anyone who supports this fundraiser with a $15 donation, I will send that person a sketch card of anything they want. It can be a movie star, a comic book character, a D&D character, whatever their heart's desire. Sketch cards will be on 3x5 pieces of bristol board, in ink, along the lines of this drawing of Johnny Cash (which is still available from my Etsy store by the way, waiting for some lucky buyer):
Or this redneck cannibal patriarch:
You can, of course, still donate below the $15 threshold, and I will still love you all eternally.
Speaking of Etsy. I still have Ms. 45 prints available there, as well as a handful of other art pieces. Buying from my store will also get me to Fantastic Fest.
What will I do at Fantastic Fest? Why, blog, of course. I'll write about everything I see there. So if that's something you'd like to read, please consider supporting me.
Here's the donation button. Make sure you tell me what you want in your sketch when you donate.
Thanks to everyone who supported my failed fundraiser last year, and thanks in advance to everyone who will support me this year. Special thanks go to my friend, Melissa, who is making the trip possible in the first place. You're the best.
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11:54 AM
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Labels: Fantastic Fest, fundraisers, October Challenge, October Challenge 2012
Wednesday, August 15, 2012
Childhood's End
I was probably not the best audience for Beasts of The Southern Wild (2012, directed by Benh Zeitlin). I've been dealing with my first really prolonged period of depression in almost a decade and the last thing I needed to see is a movie that reminds me that the world is winding down. That its vision of a post-capitalist apocalypse is filtered through the eyes of a six year old child only makes me want to sit that child down so I can tell her, "Sorry about the dungheap we've left for you. Hope you can make a life out of it. The odds aren't in your favor. Good luck." I also wasn't in the mood for yet another indie film that mistakes a tripod for selling out. Just because your camera wanders all over the frame looking for a composition doesn't mean that your film has any degree of gritty realism. It just means that it looks un-directed. This movie has mythological monsters in it, for fuck's sake! Hold the camera still for a minute! Anyway, handheld cameras give me a headache these days. I almost yearn for the days when art films used long static takes with not much motion in them.
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Vulnavia Morbius
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11:50 AM
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Labels: 2012, Beasts of the Southern Wild, crabby dissent
Monday, August 13, 2012
Touchy Feely
It's nice to see that the French can do Hollywood schmaltz. I mean, most of the French films that make it to our shores are decidedly anti-Hollywood (or have traditionally been so), but that doesn't mean they don't make "the feel-good movie of the year!" occasionally. Such a film is The Intouchables (2011, directed by Olivier Nakache and Eric Toledano), a big hit in Europe last year and brought to America by the Weinsteins. It's popular enough to come in at number eighty on the ever confounding IMDb top 250 films. It's a film that seriously wants to uplift the audience, make them laugh, and wonder at the joy of humanity. More than that, it's a buddy comedy! It's a "wonza movie." Wonza tough, street-smart immigrant. Wonza rich quadriplegic who is choking on his silver spoon. Hijinks!
It's actually a pretty terrible movie, though I'd be lying if I said that I didn't have a good time when I was watching it, because I did.
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Vulnavia Morbius
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10:55 AM
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Labels: 2011, 2012, French Film, The Intouchables
Monday, August 06, 2012
Déjà Vu All Over Again
It's an irony not lost on me that the remake of Total Recall (2012, directed by Len Wiseman) hit theaters on the weekend the Curiosity spacecraft landed on Mars. Ironic, I say, because the new Total Recall abandons the Martian setting of the original film and represents the withdrawing horizons of both the Hollywood and American imaginations. The Curiosity probe is the kind of bold undertaking that Americans used to pride themselves in taking, the kind of undertaking that is becoming an infrequent event as corporate bean counters and no-tax zealots take over the country. What is the value of Curiosity (Or curiosity) if it doesn't add to the bottom line at the end of the quarter? Total Recall is a film that withdraws to a limited and jaundiced vision of humanity's future. It may not be wrong (though it engages in some spectacular scientific illiteracies), but it's like an era is closed. No more do sci fi films exist on the frontiers. There are no frontiers any more. There are only ever constricting limits to human endeavor.
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Vulnavia Morbius
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11:16 AM
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Labels: 2012, Science Fiction, Total Recall
Friday, August 03, 2012
Time Waits for No One
Safety Not Guaranteed (2012, directed by Colin Trevorrow) is a film I wish I liked better than I do. I mean, it has a charming premise and all, but it's so drenched in the lazy conventions of quirky indie comedies that I just want to grab it by the lapels, lift it up, and shout in its face in order to jolt it awake. I think my filmgoing companion had the right of it. When this movie wound to its end and its time machine finally showed up on screen, and after the credits rolled, he said to me: "I think I preferred a Delorean." Alas...
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Vulnavia Morbius
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1:02 PM
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Labels: 2012, Safety Not Guaranteed, Science Fiction
Friday, July 27, 2012
Netflix Roulette: Snow White: A Tale of Terror
I'm kind of in a dull spot for my moviegoing year. There's not much playing in easy reach right now that I want to see, let alone write about (I'll pass on the Seth McFarland teddy bear atrocity, thank you very much) and my attention at home has been diverted by the fact that Anthony Bourdain's No Reservations showed up on Netflix. So please pardon my occasional silence right now. In the mean time, I dusted off the ol' roulette wheel and hauled it down from the attic. Wheel of fortune, spin, spin, spin, tell me the movie I shall win...
Well, nothing so baroque as all that. The movie my algorithm gave me was Snow White: A Tale of Terror (directed by Michael Cohn), which went direct to video back in 1997 in spite of having Sigourney Weaver as the evil queen. (The roulette wheel apparently has a sense of humor, given that its first spin of this year gives me yet another version of Snow White, a story lately duking it out in dueling versions at the multiplexes.) This version of the story re-frames the Grimm's story as a Gothic horror story. It's an interpretation not entirely out of keeping with the original, though this film really only has a passing acquaintance with the Brothers Grimm.
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Vulnavia Morbius
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6:00 AM
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Labels: Netflix, Snow White: A Tale of Terror
Tuesday, July 24, 2012
Dark Before Dawn
There's a principle in criticism called "The Incoherent Text" (first coined by critic Robin Wood). That principle holds that one of the dominant storytelling modes in film is one in which several conflicting ideologies are in place such that the resulting contradictions render the movie in question incoherent (and narratively null). The classic example that Wood cites is Taxi Driver, in which Travis Bickell is simultaneously reviled and exalted. I couldn't help but think of Wood and the incoherent text as I watched The Dark Knight Rises (2012, directed by Christopher Nolan), which builds on the previous film's dalliances with fascism by attempting to subvert that fascism while simultaneously embracing it. Like its predecessor, it seems to have bottled something of the zeitgeist without really understanding what any of it means. Or maybe its makers just don't care.
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Vulnavia Morbius
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10:45 AM
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Labels: 2012, Batman, comics, Superheroes, The Dark Knight Rises
Friday, July 13, 2012
Casualty Fridays
Bear with me on this: I have an insane desire to make a Friday the 13th sequel. This may come as a surprise to some of the people who know me and know of my longstanding dislike of the Friday the 13th movies, but I have an idea and it's one that refuses to be flushed from the drain at the bottom of my hindbrain. It goes something like this: a reporter for a big city newspaper notices a pattern to the periodic massacres at Camp Crystal Lake, and comes to town to investigate. She's stonewalled by the locals, of course, except for the hotshot new sheriff, who has only lived there for a handful of years. He's not "one of them" yet, if you catch my drift. Small towns are insular, after all. In the course of digging through old newspapers at the library and through old case files at the sheriff's office, a pattern emerges that dates back much, much farther than Jason Voorhees's unfortunate swimming accident. Jason, it seems, was chosen for his role by something that lives in the lake. He's its herald. Meanwhile, the killings have begun again, and our intrepid heroes suspect that they're building to something, something awful. The stars are right. The thing in the lake is waking up, and Crystal lake disgorges its dead, to rampage as an army of unstoppable undead murderers. The lurker in the lake then rises to devour the sun. The end.
I realize, of course, that Jason's legion of fans would never forgive me, but let's be real, here: once Jason started appearing in monster team-ups and was projected into space, there's not really a lot of essential essence to the character that can really be violated.
I'm sure that this probably makes me a bad horror fan, but I really don't like slasher movies. I say that, knowing full well that there's nuance to this statement. It's odd, too, given that I was exactly the right age at exactly the right time to become a fan of slasher movies. Halloween came out when I was 12. The main wave of the slasher movie peaked when I was 15 or sixteen. I was the prime audience for them. But somehow, they never took hold of my affections. It's not like I wasn't a fan of violent movies at the time. Not at all. I LOVED the other horror movies that came out circa 1980. It was ground zero for the new horror masters like Carpenter, Cronenberg, and Romero, and I loved most of their movies. Hell, I probably loved all of their movies at the time, and I still love most them. But not the slashers.
I remember watching the first Friday the 13th (1980, directed by Sean S. Cunningham) on cable (the first of the Fridays I saw in the theater was part 3). I stayed up until two in the morning to see it. This was back when HBO was squeamish about showing hard R rated movies before 10 pm, and exploitation movies like this one showed even later as a rule. I don't remember watching it with my brothers (and I certainly wouldn't have watched it with my parents). I vaguely remember staying up even later than the movie to catch the feature afterwards, which I recall being Without Warning with Jack Palance and Cameron Mitchell. I liked that movie better than Friday the 13th. It had an alien big game hunter and nasty little parasites that it threw like shuriken. Friday the 13th had a bunch of dumb kids being bumped off one after another in a replay of Halloween, only without John Carpenter's sense of style and restraint. I remember the trailers for the film, too: they played all over independent television back then, and occasionally on the network stations after the networks were shut down for the night. The trailers made the film look fantastic (even if they had a Crown International feel to them rather than a big studio look). Part of my reaction to the movie may have some element of feeling cheated by the trailer. Exploitation trailers were masters of bait and switch.
I think I may have seen the film a second time in a party atmosphere sometime in 1983. My friends at the time were big into all night horror marathons, the video revolution still being somewhat novel. My family had a VCR by then, a top loader. I remember checking out of the film and dozing. It happened sometimes during these sessions. Over the years, my memory of the film has become a fractured thing. I remembered individual images, but not the movie as a whole. I remembered Kevin Bacon getting skewered from under the bed. I remembered the shock moment at the end. I remembered the creepy old man. Not much else.
So I sat down this morning--I'm writing this on Friday, July 13, 2012--to re-watch the movie with the the preconception that it's a rotten movie. I've been badmouthing the thing for years and I needed to see for myself if I'm talking out of my ass when I do this. My younger self is an unreliable witness sometimes, and I wanted to give the movie a fair shake. I really did...
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Vulnavia Morbius
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12:29 PM
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Labels: crabby dissent, Friday the 13th (1980)
Monday, July 09, 2012
Keys to the Kingdom
I'm waiting for Wes Anderson's signature style to wear out its welcome with critics and audiences in the same way that Tim Burton's style seems to have. It's equally arch, equally precocious, and equally removed from anything approaching naturalism. Maybe it's a matter of scale. Anderson makes small, indie movies (albeit with big stars). Burton makes blockbusters. In truth, I was kind of tired of Anderson after Rushmore. And yet, there I was queuing up four times for Moonrise Kingdom (2012), not because I wanted to see it multiple times, but because my local art house kept selling out of the damned thing. It suddenly became a mission to see the film at all. Withholding it only made me more determined. I told the ticket taker that it better damned well be worth it or else I would write nasty things in my blog about them. (Not that I would do that. I love my local art house).
I'm not really sure what I think of Moonrise Kingdom. It's as arch and precocious as Anderson's other films. Perhaps moreso. But for some reason, I liked it more than I've liked his other films. Maybe it's the inclusion of Francoise Hardy on the soundtrack of a key scene. Maybe it's the way it begins and ends with a deconstruction of the music (and if you don't stay for the entire credits, you miss one of the film's signature delights along these lines). As far as writing about the film, though? Man, that's hard. I'm not entirely sure where to begin or even what angle to take.
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Vulnavia Morbius
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11:56 AM
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Labels: 2012, Moonrise Kingdom, Ragtag Cinema
Saturday, July 07, 2012
Itsy Bitsy Spider
I was having a conversation last week about superheroes and their arch-nemeses with a friend of mine on Twitter. My friend was wondering if Black Manta was Aquaman's arch-nemesis (I believe that he is). In truth, I can't name any of Aquaman's other enemies. I only know Black Manta because he was in the Legion of Doom on Superfriends (and is prominent in the currently-running Young Justice cartoon). Coincidentally, there was a story on IO9 this week suggesting that there are really only a handful of A-list superheroes. Charlie is probably right about that, though I think she significantly undersells Wonder Woman. In any event, I began thinking that there's a correlation. Is a deep and interesting rogues gallery the hallmark of an A-list superhero? It might be. Look at Batman: by the fifth big screen episode, without repeating ANY of the previous villains, they were still populating the movie with interesting villains (Ra's Al-Gul and The Scarecrow), and they still haven't exhausted them. The same thing can be said of Spider-Man. Even throwing them at the screen three at a time, as Spider-Man 3 did, did not exhaust them. And here we are in 2012 with a rebooted franchise and they've provided one of Spidey's major villains, one that hasn't been on screen before. Spidey, it seems, is on the A-List.
Like Batman Begins before it, The Amazing Spider-Man (2012) grasps an essential fact about Spider-Man: so long as you stick to the basic origin (and don't do anything egregiously stupid like hire Joel Schumacher to direct your movie), you can perform all kinds of variations on the theme. The sheer volume of material you can work with from fifty years of Spider-man stories means that you can pick and choose all sorts of elements that don't match up with other interpretations while still hewing to the canon of the character, and while still making a movie that's recognizably about the same character. This movie doesn't much resemble the Raimi movies (much), but it's still Spider-man. This is a neat trick.
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Vulnavia Morbius
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12:22 PM
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Labels: 2012, comics, Superheroes, The Amazing Spider-Man
Wednesday, July 04, 2012
The Dark Knight Revisited
The third film in Christopher Nolan's Batman trilogy is due out in a couple of weeks. I thought I'd revisit my old review of the previous installment as a warm-up. This is slightly different than the version of this that ran on my old web site. I've had four years to think about this movie. I'm a bit less sanguine about it than I was at the time and at the time I already found it troubling. I'm less inclined to give The Dark Knight's political implications as much of a pass these days as I was four years ago, but I won't get into that, I guess.
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Vulnavia Morbius
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9:12 AM
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Labels: "Meatloaf again?", Batman, comics, crabby dissent, Superheroes, The Dark Knight
Tuesday, July 03, 2012
Mothers and Daughters
Pixar's new film, Brave (2012, directed by Mark Andrews, Brenda Chapman, and Steve Purcell) is their first with a female protagonist. It's a little disappointing that it's a "princess" movie, but these things cost in the hundreds of millions of dollars, so I can't blame them for doing something "safe." It's a little bit more disappointing that the movie's original writer/director, Brenda Chapman was removed from the project, but I'll not speculate as to the reasons. In one respect, though, Brave is significantly different from the traditional Disney princess movie: it's about mothers and daughters. Let's face it, Disney has an awful track record when it comes to mothers. Either they get shot by the hunters, chained up, or killed off before the movie even begins. The only significant mother figures in Disney's animated films are the wicked stepmothers, and you know how that ends. Pixar, to their credit, has signficant female characters in movies like The Incredibles (which deals tangentially with mother/daughter relationships) and Finding Nemo (though it fridges its mom character in the first five minutes). But never in the lead. They tend to be smurfettes. Brave, for all its faults, actually deals with "normal" relationships between mothers and daughters in the foreground as the driving engine of its plot, though, obviously, "normal" is a matter of degrees when you're talking about fantasy filmmaking.
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9:18 AM
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Labels: 2012, animation, Brave, crabby dissent, feminism, films by women, Pixar
Monday, July 02, 2012
Ghost of a Chance
If its IMDB rating--currently at 4.8 out of 10--is any indication, John Carpenter's fanboys don't much like Ghosts of Mars (2001). Certainly, the film has been trampled by people who actually appeared in it (Ice Cube calls it "unwatchable") and it sent its director into a decade long retirement. So, yeah, it's a debacle. But is it any good? Well, I don't know that I'd go quite that far, but it's not as bad as all that. It's certainly a return to form of a type, given that its basic plot returns Carpenter to Assault on Precinct 13 and, ultimately, Rio Bravo.
The plot of the film finds badass cop Melanie Ballard dispatched with her team to escort accused murderer "Desolation" Williams to stand trial for his crimes. Melanie is actually second in command. Her superior on the team is Commander Helena Braddock. She's also paired with Sgt. Jericho Butler, a fellow badass. The other team members are rookies. Williams himself is being held at a remote mining outpost where scientists have made some kind of "significant" find. That find turns out to the "ghosts" of Mars, who are completely hostile to alien invaders. They "possess" unfortunate humans and drive them into a homicidal frenzy. Our heroes must make common cause with the prisoners in order to defend their position, then fight their way to safety...
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Vulnavia Morbius
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4:19 PM
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Labels: Ghosts of Mars, John Carpenter, Science Fiction
Sunday, July 01, 2012
Dam the Torpedoes
You know the big set piece at the end of Star Wars where the rebel X-wings are trying to drop their charges in the hole on the Death Star? Exciting, right? That's a scene only one of the movie brats could have invented. Lucas, being one of the movie brats, is basically saying to a savvy audience: I've seen more movies than you have and I've absorbed all of them, because that sequence is totally a reinvention of the bouncing bomb sequences from The Dam Busters (1955, directed by Michael Anderson). I know that I'm not saying anything new here. Star Wars, after all, is cobbled together from bits and pieces from the entire history of movies. I just think it's interesting that for a short window of time, there was a generation of movie directors to whom the entire history of cinema was a vast playground. The Dam Busters is one of those very British "how we won the war" movies that has more than a little in common with Angels One Five or The Cruel Sea or (more particularly) David Lean's Breaking the Sound Barrier. It's part procedural, part men on a mission movie. It's also the 1955 British version of a special effects spectacular. There's a reason Lucas was cribbing from it. Who needs animatics and storyboards when you have whole filmed sequences from which to draw inspiration.
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Vulnavia Morbius
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10:48 AM
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Labels: classic film, The Dam Busters
Thursday, June 28, 2012
A Family Affair
My local art house's Homebrewed series finished up last night with In the Family (2011, directed by Patrick Wang), a heart-wrenching drama that puts its finger the raw nerve of how our society defines the concept of "family." Like last week's film, this film examines what it is to be gay in the American South, though it never even uses words like "gay" or "homosexual." It doesn't need to. This is not a film about identity, per se, nor is it a polemic. It's a careful observation of the way people live. As such, it lets the viewer draw their own conclusions. This approach is subtle. I didn't even recognize the moral rage I was feeling toward what was happening on screen until halfway through the movie, and by then, it was too intense to dismiss. Behind director Patrick Wang's blank-faced naturalism, there's a sense of the brutality of the world that's bracing.
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Vulnavia Morbius
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12:32 PM
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Labels: 2011, 2012, GLBT Cinema, In the Family, Ragtag Cinema, undistributed movies
Wednesday, June 27, 2012
It's Hard to Get Good Help These Days
Headhunters (2011, directed by Morten Tyldum) is a precision clockwork of a thriller based around the notion that its central character is overcompensating for his shortcomings, if you know what I mean (and I think you do). He can't believe his good luck: his wife, Diana, is supermodel gorgeous, he's affluent, and he's terrified that he's going to lose it all. This is Roger Brown, would be nebbish. By day, he's a corporate headhunter. By night, he's an art thief. It's his moonlight job that pays the extravagant bills he and his wife are running up. He's up front about his motivations. In a voice-over narration at the beginning of the movie, he lays bare his insecurities. Oddly enough, it's not his night job that provides the main spring of the narrative in this film. That's just one of its surprises.
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7:43 AM
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Labels: 2011, 2012, Headhunters, Norwegian Cinema
Tuesday, June 26, 2012
Ouroboros

I'm not sure what I was expecting when I ponied up for my ticket for Prometheus (2012, directed by Ridley Scott). I'd seen some of the criticism and disappointment online. Too many of my friends had embroiled themselves in that for me to avoid it. I tried to keep it all out of my preconceptions, but you know how that goes sometimes, I'm sure. I'd seen the trailer, too, which was full of tantalizing images. I was expecting something ambitious and heady, I think. What I got was schlock. I mean that with a fair amount of affection. It's more than that, though. There's a weird sense in Prometheus of watching the history of sci fi filmmaking being distilled into this one big, glorious/stupid production, as if it's a summation of science fiction filmmaking pre-cyberpunk. Or maybe more to the point, there's a sense of sci fi cinema devouring itself.
Prometheus takes place in the same universe as the Alien movies. Some time before the Nostromo's fatal encounter with the alien, the Weyland Corporation mounted another expedition into the void, this time looking for the origins of life itself. They follow the findings of one Dr. Elizabeth Shaw and her partner, Dr. Charlie Holloway, who have found clues pointing to a particular spot in the sky among the relics of dead civilizations. These signposts, she surmises, point to the origin of life on earth, to the creators of life. To god, maybe. The Weyland Corporation, and it's CEO, Peter Weyland, have a different motivation, and equip the android, David, with a secret agenda. Also along for the ride is Meredith Vickers, an executive charged with keeping the expedition on-mission. The ship, Prometheus, finds a planet and a moon where the signs say they will, and they set down, where they discover the remnants of an ancient race of aliens, the "Engineers," they call them, and as they investigate them, they discover horrifying truths behind their tinkering with life. Meanwhile, David implements his secret agenda, and horrors ensue...
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Labels: 2012, Prometheus, Science Fiction
Monday, June 25, 2012
The Object of Chaos

The Raid: Redemption (2011, directed by Gareth Evans) features a title that is both on point and utterly meaningless. It's original title, Serbuan maut, means "Deadly Invasion," which is both more descriptive and less prone to promising some kind of justification for the mayhem the movie includes on screen. "The Raid" is true enough. The movie is about a police raid on a high rise full of gangsters. There's not any redemption in this movie, though. Just a 24-count fridge pack of cans of whoop-ass.
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Labels: 2011, 2012, The Raid: Redemption
Friday, June 22, 2012
The Banality of Evil
This is part of the Queer Film Blogathon hosted by Caroline over at Garbo Laughs and Andreas and Ashley over at Pussy Goes Grrr (who I've been neglecting to mention; please accept my apologies, guys. My bad.).
I'm going to a Gay Pride celebration in St. Louis this weekend. I have mixed feelings about this because even here in the Midwest, in an ostensibly "red" state, Gay Pride celebrations have largely ceased being about politics or a struggle for rights. They've been tamed. They're "family" events now. They've mostly been co-opted to sell a hip young demographic alcohol or cell phones or whatever. Oh, there will be booths dedicated to politics, sure, but I'll cringe at the drag show (as I always do), I'll chafe at the bemused toleration of my own letter(s) in the GLBT alphabet soup, I'll gripe about the fact that the Stonewall riots happened in June rather than some more temperate month, and I'll come home, once again, wondering why I went in the first place. Things are not so rosy elsewhere in the world, however, and if I ever need a reminder of why these events are important, I need only think of the lot of GLBT people in sub-Sahara Africa, who are struggling to assert their own pride in who they are, and who are under constant threat. I should think of Uganda in particular, where the legislature has been toying with the passage of a bill that would make homosexuality punishable by death. The lot of gays and lesbians in Uganda is the subject of Call Me Kuchu (2012, directed by Katherine Fairfax Wright and Malika Zouhali-Worrall), a documentary that mostly focuses on the work of David Kato, who founded Uganda's first gay rights organization.
If you've followed the story of Uganda's anti-gay pogrom, you may have heard of David Kato. He was murdered in early 2011 after he sued the country's most prominent paper, The Rolling Stone (no relation to the American magazine), for publishing photos of him and outing him to the world as a gay man. His case put a kibosh on the paper's practice of outing "homos" (as their headlines screamed). The filmmakers met Kato before this, though, and followed the entire process of his lawsuit and of the operation of his fledgling movement. It listens to his friends and gets to know them a little. The movie offers a portrait of life in Uganda, too, to put everything it shows into some kind of context. Kato was killed mid-shoot, and the footage from his funeral is among the most heartbreaking things I've ever seen in a movie.
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7:15 AM
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Labels: 2012, Call Me Kuchu, documentaries, films by women, GLBT Cinema, Queer Film Blogathon, undistributed movies
Thursday, June 21, 2012
Losing My Religion
This is part of the Queer Film Blogathon hosted by Caroline over at Garbo Laughs and Andreas and Ashley over at Pussy Goes Grrr (who I've been neglecting to mention; please accept my apologies, guys. My bad.).
My local art house's series of microbudget indies continued on this Wednesday with The Wise Kids (2011, directed by Stephen Cone). As fate would have it, it's a queer-themed film. I love it when my local theater caters to my blogging needs. More to the point, I love it when they schedule movies that completely ambush me, as this film did. Going in, I thought it was mostly a coming of age film centered on one particular teenage boy in deeply religious South Carolina. What I wasn't expecting was a much broader ensemble that teased out many of the deeper problems of living an authentic life within the confines of American Christianity (and not just if you're gay). The whole coming to terms with being a gay Christian teen? Well, it's there, but it's not front and center and it manifestly refuses to unfold in the way an audience might expect it to. More interesting to me is the way the problem of sexuality challenges faith in the literal reading of The Bible as true. This also hit a deeply personal chord with me, but I'll come to that in due course.
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8:17 AM
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Labels: 2011, 2012, atheisim, GLBT Cinema, Queer Film Blogathon, Ragtag Cinema, The Wise Kids, undistributed movies
Wednesday, June 20, 2012
Document

This is part of the Queer Film Blogathon hosted by Caroline over at Garbo Laughs.
Transgender people have featured in exploitation films since at least the 1930s. There's a hermaphrodite in the circus in Tod Browning's Freaks, though ze doesn't play a prominent role in the film. There's also a genderqueer element to James Whale's horror comedy, The Old Dark House, in which the patriarch of the film's looney family is played by a woman in old man drag. Whale liked to tweak gender norms in his movies sometimes. The golden era of transgender exploitation began in the 1950s, though, when Christine Jorgensen's gender surgery became a seven day wonder. One of the first films to take on the subject of transgenderism was Ed Wood's legendarily bad Glen or Glenda (1953, aka: I Changed My Sex). It's easy to mock Wood and Glen or Glenda, what with its weird assemblage of stock footage and with Bela Lugosi playing a god who composes boys and girls out of snips and snails and sugar and spice, to say nothing of its litany of angora sweaters and grossly misinformed pronouncements on the causes of transgenderism. Hell, you can even play the transgender documentary drinking game while watching it (Glen or Glenda is a documentary of sorts, after all).
What's that? Transgender documentary drinking game? Oh, yes. The tropes of the trans documentary are so calcified that you can get good and sloshed if you follow along with alcohol. The original version was authored by Gwendolyn Ann Smith, and you can read it here. Others have added to it over the years.
Anyway...
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Labels: Glen or Glenda, Let Me Die A Woman, Prodigal Sons, Queer Film Blogathon, She's A Boy I Knew, Transgender Cinema
Tuesday, June 19, 2012
Dearly Departed
This is part of the Queer Film Blogathon hosted by Caroline over at Garbo Laughs.
Richard Linklater's Bernie (2012) is a kind of film I've become very familiar with over the last few years thanks to the True/False Film Festival. It's a kind of hybrid non-fiction film. Not really a documentary, not really a mocumentary, but similar in most respects to either. It's also a quirky, regionalist comedy, and a vehicle for star Jack Black. That it is able to balance all of these idioms and incorporate them into a mostly unified whole is a one of the film's more impressive accomplishments.
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Vulnavia Morbius
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12:53 PM
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Labels: 2012, Bernie, GLBT Cinema, Queer Film Blogathon
Monday, June 18, 2012
Boy Meets Boy
This is part of the Queer Film Blogathon hosted by Caroline over at Garbo Laughs.
I don't think I'm offering any blazing insight into Weekend (2011, directed by Andrew Haigh) when I say that its obvious touchstone is Richard Linklater's Before Sunrise/Sunset diptych. It has the same fleeting affair, the same sense of something larger than a one night stand just flitting out of reach for its lovers, it has the same intimate focus that seems to isolate its lovers in a kind of microcosm away from the rest of the world. The fact that its lovers are queer is almost beside the point. Almost.
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Labels: 2011, GLBT Cinema, Queer Film Blogathon, Weekend



































