Tag Archives: film

Brief Notes on Movies Vol. 1 No. 1

Leave a reply

Sometimes Kalene and I spend so long trying to decide on which movie to watch that we run out of time for actual viewing. To combat this, I sought out several online lists of best/worst movies in different genres.

Here are some results from a Rotten Tomatoes list of the best slasher films.

#100: The Incubus (1981)

  • Director: John Hough
  • Starring: John Cassavetes, John Ireland, Kerrie Keane
  • Had I seen it before? Not that I recall.
  • Should it be on such a list? I’ll just say it wasn’t for me. It was nice to see John Cassavetes, but the acting, editing, and writing seem to match the movie’s RT “rotten” score. It would have been nice to see more of the subplots be resolved. Some of the minor characters don’t seem to justify their existence. Surely there are 100 better slasher movies.

#99: The Texas Chainsaw Massacre (2022)

  • Director: David Blue Garcia
  • Starring: Sarah Yarkin, Elsie Fisher, Mark Burnham
  • Had I seen it before? No.
  • Should it be on such a list? I’m torn. The premise is a bit hard to believe; Leatherface has just been hanging around a deserted town all this time? In all that silence, nobody hears the screams of victims and the roaring chainsaw? On the other hand, the acting is often good, and the kills and scares often work well. I guess I can see why someone would put this on the list, but don’t come to the movie hoping to experience the same kind of visceral horror the first, less slick TCM gave us.

#98: A Nightmare on Elm Street 5: The Dream Child (1989)

  • Director: Stephen Hopkins
  • Starring: Robert Englund, Lisa Wilcox, Kelly Jo Minter
  • Had I seen it before: Yes, several times. We rewatched it a few months ago, so we didn’t revisit it in sequence with the list.
  • Should it be on such a list? Let’s put it this way: If this one makes the top 100, then Elm Street #1-4 and New Nightmare better be on here, because all of them are better. Maddeningly, this one immediately erases most of the characters from #4, and apparently they couldn’t convince Patricia Arquette to return, which contributes to the less-than-stellar acting. By this time, Freddy is more comedian than monster, and we know better than to trust any ending that seems to leave him dead (again). I hate to say negative things about anyone else’s art, and Elm Street completists will want to take a look, but otherwise this is one of the weaker entries in the franchise.

#97: Madman (1981)

  • Direction: Joe Giannone
  • Starring: Gaylen Ross, Tony Nunziata, Harriett Bass
  • Had I seen it before? No, unless my 1980s exploits erased it from my memory.
  • Should it be on such a list? Look, I doubt anyone will argue that this film aspires to high art. Much of its execution will probably remind you of Friday the 13th and its various sequels: Boneheaded camp counselors wander into a supernatural killer’s woodsy territory, make the worst possible decisions, and get picked off one by one. That said, the film does give the titular madman a different backstory, including an evocation that echoes Bloody Mary and Candyman. The kills are mostly typical stuff, and you’ll probably wonder why there are seven or eight counselors for only five kids or so, but take my word for it; you’ve seen much worse acting. I do wish someone had told Giannone not to shoot so many takes that stretch out and out. Do we really need to pause for a full minute while a character looks around at nothing? Or follow someone across a large room as they shuffle inch by inch toward the next kill? No, we do not. Still, it’s fun in that cheap, amateurish way that provides much of the genre’s charm. I’m okay with its placement.

#96: Friday the 13th Part VII: The New Blood (1988)

  • Director: John Carl Buechler
  • Starring: Terry Kiser, Jennifer Banko, John Ortin
  • Had I seen it before? Several times. We watched it again a couple of months ago, so we didn’t revisit it for this list.
  • Should it be on such a list? I’m never sure why characters keep going back to Camp Crystal Lake. “Sure, the last six sets of counselors were brutally murdered, but I’m sure we’ll be fine.” This movie reflects the continuing shift away from counselors and toward residents of the lake area and/or those who show up specifically to find Jason Vorhees. That helps with the realism of a movie that otherwise nudges the human characters toward the supernatural, where Jason has already been living. Having said that, the storyline with Tina’s father makes little sense. I’m never sure why Tina’s mom trust Dr. Crews so much when he’s clearly shady. Not that any of this is supposed to matter. Jason is the real protagonist at this point. We’re mostly here for the kills. In any case, surely slasher writers and directors have produced enough quality work that the seventh installment of this franchise wouldn’t make the list. The movie isn’t offensively bad like the very worst films in history. It’s an acceptable movie if you realize ahead of time that you’ll need to grade on a sliding scale. Still, I was surprised it made this list.

 #95: Halloween II (1981)

  • Director: Rick Rosenthal
  • Starring: Jamie Lee Curtis, Donald Pleasence, Charles Cyphers
  • Had I seen it before? Lots of times. We watched it again a couple of months ago, so we didn’t revisit it for this list.
  • Should it be on such a list? Yes. The film was written by franchise creator and original director John Carpenter and Debra Hill. It’s the last Halloween film to star Jamie Lee Curtis until her return several years later. The whole movie consists of Michael Myers stalking an injured Laurie Strode through a hospital and dispatching various medical personnel along the way. Of course, Donald Pleasence’s Dr. Loomis tries to stop him, leading to an explosive finale some of the subsequent movies basically ignore. The vicious-cat-and-mouse game doesn’t make for much of a story, but the cast elevates the material enough that I’m surprised the movie is this low on the list. Clearly a second-tier franchise entry that doesn’t have much in the way of character development, it’s still got enough going for it to justify your time.

There will be more installments in the future. Join me, won’t you?

In the meantime, buy my books. All the cool kids are doing it.

Got comments, questions, or complaints? Email me.

It’s a Moneyed Man’s World: Roma and Gender and Class Privilege

Leave a reply

Alfonso Cuarón should make movies more often. Though his directing career began in 1983; even though his global profile grew exponentially with the release of Y Tu Mamá También, a Spanish-language film that also helped introduce world audiences to Gael Garcia Bernal and Diego Luna; despite his steady work as a writer, producer, and cinematographer, he has made only four feature-length films since 1998. Each is excellent: Harry Potter and the Prisoner of Azkaban, the first truly superb and perhaps strongest entry in that series; the dystopian thriller Children of Men; the Academy-Award-winning space-survival movie Gravity; and now Roma, his return to Spanish features and, perhaps, his most personal film to date.

Loosely based, allegedly, on Cuarón’s experiences as a child in early-1970s Mexico, Roma chronicles—to borrow Cheryl Strayed’s term—the ordinary miraculous in the life of Cleo, a maid in the household of a somewhat-prosperous family in Mexico City. The film begins with images of water splashing over and over across a stone-tiled floor. An open window, or perhaps a skylight, is reflected in the water, a square of brightness against the darker, dirtier stone, and through this not-quite-window, we see an airplane flying through an otherwise-empty sky. The motif of a single plane flying over Mexico repeats several times throughout the film, reminding us of a world beyond Cleo’s, of the possibility of escape, of both literal and figurative rising for those with means. As a domestic worker, though, Cleo (Yalitza Aparicio, who manages to appear utterly unburnished and luminous at the same time) has no means. She lives with a second maid in a single-room apartment on the family’s property, always an exasperated shout away.

Viewers who value plot over character study may find Roma too slow, perhaps even plotless. One could view the film as a two-hour-plus slice-of-life story, wherein we learn that Cleo serves as a crutch for her sometimes-compassionate, sometimes-impatient employer, Senora Sofia. Except for one shocking scene in which a student protest is violently suppressed by government forces and an oceanfront sequence wherein a strong current endangers Cleo and two of Sofia’s children, not much “movie drama” happens. Cleo cleans up dog feces and makes tea. Cleo and fellow maid Adela go to the movies with their boyfriends. The kids wonder where their absent father is, and Sofia makes excuses for him. Groceries are bought. Beds are made.

Yet in representing the everyday reality of domestic workers and, more specifically, women, Cuarón turns the everyday drabness of Cleo’s existence into something more—a study in privilege and the complexities of professional domestic work.

In America, according to sources like The Huffington Post and Al-Jazeera, women comprise up to 95% of domestic workers, and the majority of those women are either immigrants or African-American. In 2019, those reports should surprise no one but the most clueless, white-privileged people among us. As in the old questions about who buries the undertaker or who cuts the barber’s hair, though, we might wonder who does domestic work for women of both color and means. In Roma, the answer seems to be other people of color, mostly women without means. It is difficult to watch the film without noting the class differences between Sofia’s family and Cleo. Sofia takes her children on several trips, where they and other families of their class drink and shoot guns and eat while poor women cook, clean, and watch the rambunctious children. When Cleo becomes pregnant by her boyfriend Fermin (Jorge Antonio Guerrero), she breaks the news during a make-out session in a movie theater. He excuses himself to buy refreshments and disappears. As Cleo sits alone and realizes he isn’t coming back, Cuarón holds the shot, forcing us to watch her nearly expressionless face and guess what she is feeling—sadness? Shock? Despair? Fear?

Luckily, in one of Sofia’s displays of compassion, she not only continues to employ the pregnant Cleo, but she also takes the young maid to a doctor and pays for the medical care. Yet, in other scenes involving Sofia’s unhappy marriage, she takes her anger and frustration out on Cleo, who has little choice but to take it. Where else would she go?

Not with Fermin. When Cleo eventually tracks him down, he denies paternity and calls her a “fucking servant,” though he lives in a hovel located in a neighborhood that makes Rio’s infamous City of God favela look upscale. He threatens to “beat the shit out of” Cleo and her “little one” if she ever accuses him of paternity again, exercising his male privilege of walking away from a pregnancy, leaving full responsibility to the woman. His disdain for her domestic work seems absurd, given that Fermin’s job, at that moment, seems to be undergoing bogus martial arts training, though his reasons for doing so later become heart-breakingly clear.

For all her class privilege, Sofia cannot escape the consequences of male privilege, either. After an early appearance in the film, her husband, a doctor, disappears, ostensibly on a research trip to Canada. In one remarkable moment outside the movie theater, though, we discover that, like Fermin, the doctor has used his male privilege to change his life, wife and children be damned. Sofia, like Cleo, is left to fend for herself.

Luckily, both Sofia and Cleo are more than capable. Though they can never truly bridge their class difference, they do form a sisterhood of sorts—two discarded women who work, nurture children, and strengthen familial bonds, not just surviving but, in their small and everyday manner, thriving.

In Roma, men wield most of the power, and women must negotiate the consequences of their whims. Educated women with money enjoy more choices than uneducated domestic workers. These power dynamics are never glossed over. Yet there is a kind of hope in the film—hope that, despite the sins of men and the upper classes, single working women of color can live lives of meaning and strength, even if their monetary situations make different meanings and different lives. The movie also reminds us that Cuarón is an artist we should treasure. Hopefully, we will not be forced to wait another five to seven years for his next feature.

New Essay on Role Reboot: #HalloweenMovie, #TimesUp

Leave a reply

Check out my latest on RoleReboot.org.

http://rolereboot.org/culture-and-politics/details/2018-10-halloween-2018-a-horror-film-for-the-timesup-era/

New Film Essay

Leave a reply

Check out my latest at Role Reboot–“Why You Need to See the Mister Rogers Documentary”

http://www.rolereboot.org/culture-and-politics/details/2018-08-why-you-need-to-see-the-mister-rogers-documentary/

I’d Ask You to Think about Fish and Water: THE SHAPE OF WATER Review

Leave a reply

Recently, I finally got around to watching Revolutionary Road, in which Michael Shannon plays a small but key role as a recently released mental patient who disrupts the marital façade of a suburban couple. Over the last several years, Shannon has proven himself an invaluable and versatile actor, in both film and on the television series Boardwalk Empire. His General Zod notwithstanding—a loud, overbearing performance that I blame more on the writers’ and director Zack Snyder’s fundamental misunderstanding of their source material—Shannon has done excellent work. He seems most at home playing edgy, borderline-insane authority figures. In Guillermo del Toro’s masterful, moving magical realist film, The Shape of Water, Shannon’s Richard Strickland is, in some respects, the straw that stirs the drink, so much so that I recently told my wife it might well be my worst nightmare to awake and find Shannon standing over me, watching me sleep with those bug eyes of his.

Except for the visually muddled destruction-porn mediocrity that was Pacific Rim—a movie that could have been Snyder’s work, except that it had some semblance of character development and a more-or-less coherent plot—I love del Toro’s work. Were I to rank his films, always a dicey and subjective and ultimately useless proposition, I would put The Shape of Water ahead of everything but Pan’s Labyrinth and The Devil’s Backbone. It’s a strongly directed, well-edited movie with super makeup, beautiful retro set design, and a script that is equal parts Creature of the Black Lagoon monster-adventure and suspense-romance.

The plot: Elisa Esposito (Sally Hawkins), a mute cleaning woman at a research facility that looks like a dank VA hospital, lives a life of strict routine, right down to the perpetual tardiness that bemuses her best friend, Zelda Fuller (Octavia Spencer, who—in a situation that will likely please Academy voters even as it annoys cultural critics—plays a similar black-domestic role as her Oscar-winning turn in The Help). Each night, Elisa goes home to a small apartment located next to the near-identical residence of her other best friend, gay painter Giles (Richard Jenkins, who will also likely be recognized this award season).

Elisa’s dull life is disrupted with the arrival of Strickland and a mysterious research subject encased in a water tank. None of this affects Elisa much until, one day, an injured Strickland stumbles out of the lab, having gotten too close to whatever he brought into the facility. As the cleaning crew are left alone in the lab, Elisa discovers exactly what it is—a creature the film’s credits call Amphibian Man. He will look very familiar to fans of the old Warner Brothers Creature series. Played here by Doug Jones, who has made a career of embodying strange and/or homicidal humanoid creatures in del Toro films (see the Pale Man in Pan’s Labyrinth), the Amphibian immediately bonds with Elisa and demonstrates a human capacity to learn and communicate.

Many viewers’ experience with this film may hinge on how deeply they buy into the romance between Elisa and Amphibian Man, which includes not only an underwater sex scene but a later explanation of exactly how this kind of interspecies coupling is even possible, given the Ken-doll appearance of the Man’s bathing-suit area. Perhaps Elisa’s enchantment comes too easily. Perhaps we might wonder why and how the Man reciprocates her fascination, given the physical and communicative barriers between them. One answer is that Elisa finds ways to communicate sensually without a voice, through food and music. Another is that we are probably supposed to understand that these characters, voiceless and lonely as they are, thrive on empathy. A third reason is, perhaps, revealed in the (imagined?) final underwater scene, and while you may see the revelation coming, it still feels impactful.

The eccentricities of this love story should come as no surprise to del Toro devotees, nor should the excellent performances he coaxes from his cast. Hawkins’s expressive face and the timing and tenderness of her gestures could serve as an acting class in portraying emotion without words. Shannon, all self-righteous glower and rage, conveys the personal and the universal threat of a xenophobic government; it feels all too timely.

Spencer’s quiet strength radiates in her every scene; she makes Zelda’s roles as Elisa’s fierce protector, as wife of a no-account man, and as background player in a government facility oozing masculinity and classism, more than the sidekick-of-color comedy relief she might otherwise have been. The script helps, giving Zelda key roles in facilitating Elisa’s opportunities for romance and in the ultimate rebellion against Richard Strickland’s angry-white-male tyranny. Though this is primarily still a story about white characters, the occasional nod to the period’s racial injustices at least assure that those problems are not erased.

As Giles, Richard Jenkins, always a strong addition to any cast, delivers an award-worthy performance dripping with the loneliness of the outsider. A painter, a gay man who lives alone and wants desperately to find love, best friends with his mute neighbor and—using symbolism that is becoming more common—owner of a couple of cats (one of which is quite unfortunate), Giles steps out of his melancholy but entrenched life to help Elisa on her great adventure, and Jenkins makes Giles’s every moment, every decision, every out-of-character act both funny and uplifting.

Whether the film earns our understanding of Elisa and Amphibian Man’s romantic connection is a key question for viewers and critics, and my main quibble with the film is that it spends key screen time on a couple of scenes that seem to add little to the narrative or characterizations—Strickland at home, for instance. This time could have been used to deepen and broaden the connective tissue between Elisa and Amphibian Man. I was also a bit surprised at how Strickland’s story ends. Given what we learn about the nature and powers of Amphibian Man and how the movie generally rejects aggression as problem-solving, I expected something else. Still, as a writer, I know you have to tell the story inside you, and not every reader/viewer will applaud every narrative decision. Even so, my disagreements are relatively minor.

Overall, The Shape of Water deserves the critical love it has gotten since its release and makes a powerful addition to del Toro’s canon. I look forward to buying my copy.

B+

Blood Not-So-Simple: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Review

Leave a reply

In the first act of Three Billboards outside Ebbing, Missouri, a woman marches into the local advertising office and pays five thousand dollars to rent three derelict billboards located on a seldom-traveled rural road. That woman is Mildred Hayes (Frances McDormand), and from the first words she speaks, from her hard facial expression, from her indomitable body language, the viewer—and the poor ad agent—understand that you mess with Mildred at your peril.

These billboards, set at perhaps fifty-yard intervals, catalyze a communal crisis that involves Mildred, her son, her friends, the local police, the advertisers, and one dentist who picks exactly the wrong time to take a political side. Mildred has the billboards painted red and sequentially messaged:

Raped While Dying

And Still No Arrests

How Come, Chief Willoughby?

These messages represent Mildred’s shot across the bow of the local constabulary, led by William Willoughby (Woody Harrelson). We soon learn that Mildred’s daughter was raped and murdered, her body set afire, months before. The police have no leads. And Mildred has waited long enough.

Though you might think a small conservative town would rally behind the victim’s family, much of their loyalty to their fellow citizen ends where their adoration for Chief Willoughby begins. Mildred learns this almost immediately when Officer Dixon (Sam Rockwell, who, like most actors in this film, disappears into his role so well you forget whom you’re watching) spots the billboards and reports them to Willoughby (yet another excellent Harrelson character). This leads to a talk between Willoughby and Mildred, in which the complicated nature of the film is epitomized:

Willoughby: I’d do anything to catch the guy who did it, Mrs. Hayes, but when the DNA don’t match no one who’s ever been arrested, and when the DNA don’t match any other crime nationwide, and there wasn’t a single eyewitness from the time she left your house to the time we found her, well… right now there ain’t too much more we could do.

Mildred: You could pull blood from every man and boy in this town over the age of 8.

Willoughby: There’s civil rights laws prevents that, Mrs. Hayes, and what if he was just passing through town?

Mildred: Pull blood from every man in the country.

Willoughby: And what if he was just passing through the country?

Mildred: If it was me, I’d start up a database, every male baby was born, stick ’em on it, and as soon as he done something wrong, cross reference it, make 100% certain it was a correct match, then kill him.

Willoughby: Yeah well, there’s definitely civil rights laws that prevents that. (This quote courtesy of IMDB.com)

From this exchange, we can see that Willoughby is less a bad man than a flawed human being. We can never forget those flaws, but we can acknowledge his empathy and the real problems law enforcement faces in cases without leads. From the same scene:

Willoughby: I don’t think them billboards is very fair.

Mildred: The time it took you to get out here whining like a bitch, Willoughby, some other poor girl’s probably out there being butchered.

The brutal rape, murder, and desecration of Mildred’s daughter has hardened her past the point of empathy with Willoughby’s problems, including his slow and agonizing death from pancreatic cancer—though there is a later scene in the police station that suggests that isn’t quite true, either. In short, from the opening moments of the film, we realize that we have entered a complicated world, where those who deserve our sympathy don’t always get it and no one is clearly and purely good or bad.

Chief Willoughby, whom, we might assume, is the antagonist—and who is capable of saying things like, “If you fired every cop who was just a little bit racist, you’d have, like, three cops. And they’d hate the fags”; who is capable of strong-arming the mother of a rape/murder victim; who continues to employ Dixon in spite of rumors about his torturing black suspects—is also a self-sacrificing man who can see the smallest, dimmest spark of humanity in a goon like Dixon and the likely outcomes of his disease for his loved ones. A series of letters he writes to the other characters reveals further depths in this man, who, against your better judgment, you may come to love a little.

Mildred, so strong and so broken, backtracks and shows honest concern over Willoughby’s health just before she commits an act of protest that may well shock you. In many ways—hence this review’s title—she is like her own character from Joel and Ethan Coen’s first film, Blood Simple, moved to a new town and sick of men’s bullshit. If McDormand is not nominated for Best Actress, I shall cry foul.

Dixon, at first a cartoonish buffoon who embodies the worst characteristics of southern white men and police officers, reveals layers of compassion and dedication underneath those borderline-inhuman traits.

In short, the film never lets us settle comfortably into rooting for any one character, and it forces us to see all sides of a complex, maddening, tragic situation. There is nothing wrong with a good guys vs. bad guys tale, but Three Billboards’ story is one we could imagine occurring in a thousand small towns anywhere in America. That universality and the depth of the movie’s character development make this story impossible to forget.

Plus, for a narrative that hinges on racism, sexism, rape, murder, Missouri citizens versus the police, terminal illness, suicides, severe injuries, and familial strife, Three Billboards is often surprisingly and refreshingly funny. At times, you may laugh and cry after one scene.

Supporting characters, played by always-welcome film and television veterans like Zeljko Ivanek and Clarke Peters, play key roles. Caleb Landry Jones’s advertising man is the hinge on which key plot points turn. Peters, playing a black officer who sweeps in and takes over a station with a history of racial problems, brings his typical no-nonsense gravitas to a minor character, as well as a few key lines that remind us of the stakes: looking about at the all-white force in the station, he says, “Ain’t y’all cracker motherfuckers got work to do?”

Some viewers might not appreciate the film’s non-resolution resolution, but for this writer, it perfectly encapsulates the world of Ebbing, Missouri, which, in its turn, perfectly encapsulates so much of American life in the 21st Century—questions without clear answers, strife on intersectional levels without clear solutions, individual pain rippling through a community and vice versa.

Underrated director Martin McDonagh and his stellar cast and crew have crafted one of 2017’s best films. If you missed it in theaters, rent it as soon as you can.

A-