Canada Archives - Page 3 of 20 - FILM FREAK CENTRAL

Moonfall (2022)

February 15, 20222022, Action, Adventure, Authors: Walter Chaw, Canada, China, Sci-Fi, Theatrical, UK

***/****
starring Halle Berry, Patrick Wilson, John Bradley, Donald Sutherland
screenplay by Roland Emmerich & Harald Kloser & Spenser Cohen
directed by Roland Emmerich

by Walter Chaw Between The Day After Tomorrow and the new Moonfall, Roland Emmerich has become our unlikely climate disaster Tierisius: Oedipus’s blind seer, dispensing fair warning to a population not paying any attention. In the earlier film, global warming causes a new Ice Age and an exodus of American refugees looking for sanctuary in Mexico, while Moonfall sees the entire west coast flooded and essentially everyone at sea level in the United States trying to get to Colorado. Both ideas are ripe with satiric irony, animated with a sense of gallows humour about how extraordinarily shortsighted American leadership is in the face of obvious signs and portents. Oh, and science, of course, which should have been enough once the evidence of our own eyes somehow proved inadequate. Even Moonfall‘s ultimate revelation–something about AI and space arks and a running gag about Elon Musk–speaks brilliantly, however intentionally, to our primate desire to conflate the hoarding of generational wealth with genius, when all the wealthy really want to do is escape the rapidly-changing planet they’ve strip-mined for its resources. All that, plus a broad redux of H.G. Wells’s The First Men In the Moon, and, kids, we got ourselves the smart and unpretentious version of Don’t Look Up.

Dune (2021) – 4K Ultra HD + Blu-ray + Digital Code

January 11, 2022****/****, 2021, 2022, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Directors: Denis Villeneuve, Drama, FFC Must-Own, Sci-Fi

Please note that all framegrabs are from the 1080p version

Dune Part One
****/**** Image A Sound A+ Extras B
starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem
screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth, based on the novel by Frank Herbert
directed by Denis Villeneuve

by Walter Chaw I couldn’t get through the Lord of the Rings trilogy when I was a kid, but I devoured Frank Herbert’s Dune in a fever and read it again immediately. I have a tactile memory of it. Mostly, I was haunted by the frequent use of passages from the diaries, histories, and philosophies of one Princess Irulan, inserted throughout the text to give the book’s story a sense of lost time, immense. I wouldn’t experience this feeling reading something again until years later when I finally got into Proust, this thing where you read it in the present, but the text is irretrievably past. You’ve arrived at the dock, but the ferry, impossibly beautiful and decked out with incomprehensible pleasures and mysteries, has left, and it’s not coming back. Princess Irulan opens the book by warning us not to be deceived by its hero, Paul, having spent the first fourteen years of his life on a planet called “Caladan”–that his story is inextricable from the fate of a place called “Arrakis.” It reminds me of the many epitaphs for T.E. Lawrence. Herbert told his son that he left multiple threads unresolved in Dune so its readers would want to revisit it–return obsessively to it to follow different paths, suggestions, prophecies. I think it’s why I’ve read four or five of the subsequent Dune novels only once and retained so little of the stories they tell and the answers they provide. It’s like Arthur C. Clarke’s sequels to his 2001: A Space Odyssey novelization: I don’t actually want to know what’s inside the Monolith.

House of Gucci (2021) + Benedetta (2021)

November 26, 20212021, Al Pacino, Authors: Walter Chaw, Belgium, Biopic, Canada, Crime, Directors: Ridley Scott, Drama, France, Netherlands, Romance, Theatrical

HOUSE OF GUCCI
***/****
starring Lady Gaga, Adam Driver, Jared Leto, Al Pacino
screenplay by Becky Johnston and Roberto Bentivegna
directed by Ridley Scott

BENEDETTA
***½/****
starring Virginie Efira, Charlotte Rampling, Daphné Patakia, Lambert Wilson
screenplay by David Birke and Paul Verhoeven, based on the book by Judith C. Brown
directed by Paul Verhoeven

by Walter Chaw Ridley Scott’s second based-on-a-true-story prestige period piece of 2021 after The Last Duel takes place in the I Love You to Death cinematic universe, wherein formerly dignified actors affect ridiculous Italian accents while taking bullets from hitmen hired by their wives, ex or otherwise. Just the spectacle of watching Adam Driver do a scene with Al Pacino at an Italian picnic, the two of them talking like Mario brothers while a brunette Lady Gaga croaks in an accidental Russian accent is… And the soundtrack! George Michael, Donna Summer, New Order, the Eurythmics–it’s all of it like a Nagel painting come to life: gaudy affectations of glamour and art for the bawdiest appreciators of unintentional camp. Indeed, House of Gucci is prime grist for the headliner in a midnight call-along, or the feature presentation in a future episode of “MST3K”–although, at two-and-a-half hours, I worry the same jokes would keep getting recycled, most of them about the accents, a few of them about sex-pest Jared Leto’s turn as Paolo Gucci, buried beneath a ton of prosthetics that make him look on the outside what he is on the inside. (Here’s the punchline: Leto steals the movie.) A deadly drinking game could be devised from the times Pacino’s accent slips from hilarious Italian to Al Pacino to, during a weird funeral scene, Bela Lugosi Transylvanian. There’s a scene in the last half of the film where Paolo groans into an airport payphone, “I got to wash! If you could smell-a between my groins, you’d-a unnerstan!” while Aldo makes the “c’mon” expression trying to get his attention, and then later Aldo gives Paolo, his little Fredo, the “you disappointed the hell out of me” kiss of death and, again, it’s… Well, it’s notably, spectacularly terrible is what it is. And I liked it.

Licorice Pizza (2021) + Ghostbusters: Afterlife (2021)

November 22, 20212021, Adventure, Authors: Walter Chaw, Canada, Comedy, Coming of Age, Directors: Paul Thomas Anderson, Drama, Romance, Sci-Fi, Theatrical

LICORICE PIZZA
*½/****
starring Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits
written and directed by Paul Thomas Anderson

GHOSTBUSTERS: AFTERLIFE
**½/****
starring Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace
written by Gil Kenan & Jason Reitman
directed by Jason Reitman

by Walter Chaw In Paul Thomas Anderson’s Licorice Pizza, John Michael Higgins plays real-life restaurateur Jerry Frick, proprietor of “The Mikado.” Frick is married to a severe and disapproving Japanese woman (Yumi Mizui) who apparently doesn’t speak any English, although she seems to understand it fluently. She certainly understands her husband, who doesn’t speak Japanese but does speak English, when he’s speaking it to her, in a cartoonish Asian accent. This is perhaps a commentary on how backwards everyone was in 1973, but Licorice Pizza is not otherwise a satire, so what the fuck is going on here? Is PTA reserving the barbed edge of his keen sociological blade exclusively to excavate anti-Asian depictions in film and nowhere else? Based on Hong Chau’s brief but memorable turn in Inherent Vice as a tough hooker (oops) who tries to warn the idiot hero of danger, there’s reason to hope. Yet if Frick is meant to be a satire of how white men are racist towards Asians in general and Asian women in particular… How? Just by the fact of him? In his second scene, he shows up with a different wife (Megumi Anjo), explaining how his first wife has left him and this is the new Mrs. Frick. The joke is either that Frick is a fetishist, or that all Asians look alike.

TIFF ’21: Earwig + Night Raiders

September 23, 20212021, Authors: Angelo Muredda, Belgium, Canada, Drama, Esoterica, Film Festivals, France, New Zealand, Sci-Fi, TIFF, UK

EARWIG
***½/****
starring Paul Hilton, Romola Garai, Alex Lawther, Romane Hemelaers
written by Lucile Hadžihalilović & Geoff Cox
directed by Lucile Hadžhalilović

NIGHT RAIDERS
***/****
starring Elle-Máijá Tailfeathers, Brooklyn Letexier-Hart, Gail Maurice, Amanda Plummer
written and directed by Danis Goulet

by Angelo Muredda Parenting and being looked after are the stuff of nightmares in Lucile Hadžhalilović’s genuinely creepy curio Earwig, which is as visually and aurally arresting as it is inscrutable. A cryptic dance between a man named Albert (Paul Hilton) and his ten-year-old charge, Mia (Romane Hemelaers), the film charts their ritualistic and mostly unspoken interactions in a dingy apartment, making us tense witnesses to an unexplained paternal science experiment conducted under the all-seeing eye of a supervisor who phones in his instructions from offscreen, apparently to prepare the girl for whatever is lying in wait for her. That’s about all we know, though Hadžhalilović skillfully hangs this threadbare plot on indelible images while evoking our primitive stirrings of anxiety for the future. No small feat, given how little dialogue there is.

TIFF ’21: Dune

September 21, 2021****/****, 2021, Action, Adventure, Authors: Walter Chaw, Canada, Drama, Film Festivals, Sci-Fi, TIFF

Dune Part One
****/****
starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem
screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth, based on the novel by Frank Herbert
directed by Denis Villeneuve

TIFF ’21: Scarborough

September 15, 20212021, Authors: Angelo Muredda, Canada, Drama, Film Festivals, TIFF

**½/****
starring Liam Diaz, Essence Fox, Anna Claire Beitel, Felix Jedi Ingram Isaac
screenplay by Catherine Hernandez, based on her novel
directed by Shasha Nakhai and Rich Williamson

by Angelo Muredda “You’re a good boy,” a mother whispers to her bullied preteen son Bing (Liam Diaz) while he sleeps early on in Shasha Nakhai and Rich Williamson’s Scarborough, a reverent and rambling adaptation of Catherine Hernandez’s buzzy Canadian novel of the same name. While Bing may well need the affirmation in the grips of his abuse at the hands of classmates, it largely underlines one of the festival darling’s more nagging qualities: a tendency to annotate all its emotional beats. An ostentatiously literary cousin to cloying ensemble family dramas like “This Is Us”, given texture mostly by its notes of regional specificity and trio of unaffected child performances, Scarborough goes out of its way to chart the relative goodness of its characters whenever possible, as though its filmmakers think we might not arrive at the right conclusions without moralizing notes.

Telluride ’21: The Power of the Dog

September 14, 2021****/****, 2021, Australia, Authors: Walter Chaw, Canada, Drama, Film Festivals, New Zealand, Romance, Streaming, Telluride, UK, Western

****/****
starring Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee
written by Jane Campion, based on the novel by Thomas Savage
directed by Jane Campion

by Walter Chaw There is about Jane Campion’s work the air of the poet, and indeed there may be no better interpreter, translator, or adaptor of poetry than another poet. Her body of work is, to a one, in the thrall of the rapture of language: what words are capable of when arranged properly, powerfully. Campion demonstrates mastery of both what is spoken and what is seen, how words delivered with exquisite, just-so composition and deadly-true execution become, at the moment of their sublimation, images in the mind like witchcraft with no physical intervention in between. Music in the eye. Of all the easy and obvious examples in her work–the imagistic, rapturous biography of John Keats (Bright Star), the voice of the voiceless in The Piano, the shockingly immediate illumination of Kiwi author Janet Frame in An Angel at My Table–the one that springs to mind most easily and often when I’m describing Campion’s work is the reaction of New York City English teacher Frankie, played by Meg Ryan, as she contemplates the words of Lorca printed on a literacy campaign poster in a subway car in Campion’s In the Cut. She looks upon them as a sinner looks upon the gallery of saints illuminated in the coloured windows of old cathedrals. Words are a rapture, a vehicle, and Campion, with her training as a painter, proves through the medium of film to be the premier painter of words. Loathe to make such pronouncements, I nonetheless spend most days thinking of Campion as my favourite living director and other days thinking of her as my favourite of all time. She is an artist.

Telluride ’21: Cyrano

September 9, 20212021, Authors: Walter Chaw, Canada, Drama, Film Festivals, Italy, Musical, Telluride, UK

***½/****
starring Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn
screenplay by Erica Schmidt, based on the play by Edmond Rostand
directed by Joe Wright

by Walter Chaw There’s a scene in Joe Wright’s derided Pan where Nirvana‘s anthemic “Smells Like Teen Spirit” is stirringly transposed into an indentured/enslaved orphans’ lament. I thought to myself that Wright had a musical in him if he wanted, and here it is, this umpteenth adaptation of Cyrano (de Bergerac), which I fought against for a little while and then went along with. I had a similar experience with Baz Luhrmann’s Moulin Rouge, where an old idea presented in an earnest and earnestly gonzo way lives or dies by our investment in the chemistry of its central pair and the melancholy embedded in the thought that every love story is a tragedy eventually. It doesn’t hurt, of course, that Aaron and Bryce Dessner of The National wrote the songs and score for this musical reimagining of Rostand’s fable. They are the band I have seen the most times in concert. They were my kids’ first experience at Red Rocks–we planned it that way, planting the seed maybe for somewhere down the line when they will look back and understand why the band’s stories of loss, regret, and the briefness of all things spoke to me so loudly.

The Green Knight (2021) + Pig (2021)

August 30, 2021****/****, 2021, Adventure, Authors: Walter Chaw, Canada, Drama, Fantasy, Ireland, Nicolas Cage, Theatrical, Thriller, UK, VOD

THE GREEN KNIGHT
****/****
starring Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Nelson
written for the screen and directed by David Lowery

PIG
****/****
starring Nicolas Cage, Alex Wolff, Adam Arkin
written and directed by Michael Sarnoski

by Walter Chaw A thing has no value if there is no risk of losing it. A treasure is only that if there are hobbits. If you’re a parent and you’ve done everything right, and everything goes exactly as it should, your children will know the exquisite pain of your death. The story for us all ideally has the tang of misadventure to it and a sad ending full of irony. It is a great fable without a moral, wrought with temptations–though hopefully, when the curtain falls, free of too much regret. The key to navigating the labyrinth of the Rose Poet’s medieval romance “Sir Gawain and the Green Knight” is perhaps in its prologue, where it presents the history of the founding of England from the Fall of Troy through to Aeneas’s further stories: his conquests and foundings, sure, but also the inevitable decline of his line. A popular version of this history around the time that “Sir Gawain and the Green Knight” would have been written holds that Brutus of Troy is the grandson of Aeneas, exiled from Italy because, in fulfillment of a prophecy similar to the one that doomed Oedipus, he accidentally killed his father with an errant arrow. In the course of his wanderings, this Brute, the product of a cursed line beset with hubris and tragic folly, becomes the first king of what would be called England.

Candyman (2021)

August 25, 20212021, Authors: Walter Chaw, Canada, Horror, Theatrical, Thriller

½*/****
starring Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo
screenplay by Jordan Peele & Win Rosenfeld and Nia DaCosta
directed by Nia DaCosta

by Walter Chaw An old urban legend, it goes like this: an amorous pair of youths spirit themselves away to a remote Lovers Lane when, lo, the girl hears something lurking about. With thoughts of the recently-escaped murderer on her mind, she convinces her boyfriend to leave and, frustrated, he takes her home. Recovering himself on the ride back, he thinks to come around to open the door for his beloved, and there he blanches, for dangling from the door’s handle is a razor-sharp hook, the bloodied stump to which it’s fused still attached. I have to think Clive Barker had heard some version of this tale before conceiving of his short story “The Forbidden.” It’s collected in the fifth volume of his “Books of Blood” series–the one that, with Stephen King’s shining endorsement (“I have seen the future of horror, and its name is Clive Barker”), propelled Barker into the upper strata of horror authors in the mid-Eighties. When I was 13, I devoured every word of Barker’s six-volume anthology with a white, hot fury. Thirty-five years on, I still remember them all vividly.

Demonic (2021)

August 24, 20212021, Authors: Walter Chaw, Canada, Horror, Theatrical, VOD, ZERO STARS

ZERO STARS/****
starring Carly Pope, Chris William Martin, Michael J. Rogers, Terry Chen
written and directed by Neill Blomkamp

by Walter Chaw Carly’s mom, Angela (Nathalie Boltt), killed a lot of people once and then fell into a coma, not that Carly (Carly Pope) would know, because Carly stopped talking to Angela years ago–long about the time Angela killed a lot of people. I mean, even if she had tried to talk to Angela, she wouldn’t have been able to. Because coma. Technically, she could talk to her, I suppose, and the jury’s out as to whether Angela could hear her, but being in a coma, Angela wouldn’t be able to respond. Comas are a bitch that way. Anyway, a sketchy beard-o in a suit (not Sharlto Copley, which is this film’s first and last surprise) from some tech company called Therapole reaches out to Carly and says, “Hey, what if you could talk to your mother?” And Carly says, “I don’t want to talk to my mother.” And he says, “She’s in a coma.” And she says, “Why is she in a coma?” Then she goes to the Therapole headquarters (erected on some kind of haunted burial ground, as her friend Martin (Chris William Martin) discovers while Googling stuff for her), since the news that Angela’s in a coma has made Carly want to reach out to her. This is what we call in the business “a really good plot” and “solid writing.” Seems Dr. Creepy (Michael J. Rogers, playing Sharlto Copley) has invented a virtual-reality technology that allows people to Dreamscape/Brainstorm themselves onto a holodeck of someone’s memories using advanced Bakshi-era rotoscoping technology. It bears mentioning that Martin believes Therapole–not to be confused with Theranos–wants to find a demon to exorcise, the drawing of which resembles one of Giger’s aliens. That’s because the writer and director of this mess, Neill Blomkamp, didn’t get to make an Alien movie like he wanted. It’s the world’s saddest Easter Egg–which says something, given that there’s a Marvel Cinematic Universe.

Fantasia Festival ’21: Don’t Say Its Name

August 20, 20212021, Authors: Walter Chaw, Canada, Fantasia Festival, Film Festivals, Horror

***/****
starring Julian Black-Antelope, Samuel Marty, Sera-Lys McArthur, Madison Walsh
written by Rueben Martell & Gerald Wexler
directed by Rueben Martell

by Walter Chaw Colonialism is the monster in Saskatchewan (and Cree) filmmaker Rueben Martell’s Don’t Say Its Name, the “that which must not be mentioned” in a story set among Indigenous Peoples, battling the loss of its people to an inexorable malignancy. The Great Evil manifests as two things: white energy employee Donny (Tom Carey), representing European skullduggery through the fetishizing of Aboriginal women and the committing of all manner of atrocity upon the land and its people in the name of manifest right; and an invisible golem that announces itself with the cry of a crow and a vile stench before disembowelling the isolated residents of a remote Canadian backwood. The victims both bad guys claim are the people in this place–the one because he’s a representative murderous asshole, the other because its sense of outrage over Indigenous Peoples who have if not fully participated in the annexation of their land, are at least sympathetic to a policy of appeasement rather than resistance. Powerful, timely stuff in this age of the Keystone Pipeline and the discovery of scores of dead Indigenous children buried in Catholic schoolyards, made even more powerful by its centring of police officer Betty (Madison Walsh) and her new deputy, a former game warden and army vet named Stacey (Sera-Lys McArthur). Don’t Say Its Name isn’t fucking around.

Those Who Wish Me Dead (2021)

May 12, 20212021, Action, Authors: Walter Chaw, Canada, Drama, Theatrical, Thriller

*½/****
starring Angelina Jolie, Nicholas Hoult, Finn Little, Jon Bernthal
screenplay by Michael Koryta and Charles Leavitt and Taylor Sheridan, based on the book by Michael Koryta
directed by Taylor Sheridan

by Walter Chaw A certain déjà vu occurs with movies that feature what Gregory Peck once referred to as an endlessly replicable script. The hero who has endured trauma and, through the auspices of the film’s familiar master plot, is given an opportunity to heal. In the parlance of this formula, perhaps there will be surrogate parents and children, replays–whether in the service of a literal time-loop or a figurative one–of inciting events with the opportunity to redress them, or… Look, I’m trying to find a clever way to say that Taylor Sheridan’s Those Who Wish Me Dead is a new movie you’ve seen at least a hundred times before. It is one in every ten films or so. At its best, it’s a cozy throwback to deadening programmers like The Client that saw great casts and decent budgets at the mercy of airport-rack bestsellers adapted by rote and delivered on time. At its worst, it’s a meta-game of Scream where the instantly-exhausted viewer can nail major plot points based solely on the casting and the style of swooping once-helicopter/now-drone establishing shot. Maybe that’s why there are so many superfluous cuts in this film–like how the introduction of one character to her summer home is split into six separate shots, none of them telling anything more than how she has arrived and managed to unlock the door.

Body Politics: FFC Interviews Dusty Mancinelli & Madeleine Sims-Fewer

March 24, 20212021, Authors: Walter Chaw, Canada, Interviews

Even among the generally positive responses to Madeleine Sims-Fewer and Dusty Mancinelli’s superlative Violation, one finds evidence of the predictable fallout that occurs whenever a woman in horror, particularly in the rape-revenge category of horror, fails to adhere to expectations of victimhood. Surely a woman who reacts to rape with violence is psycho, yes? Violation has as its closest analogues the Greek tragedies involving a woman cruelly wronged who righteously wrongs in return; the final image of the film is as clear a metaphor as I can imagine for how we all, men and women alike, take on the sins of the father in our various acts of consumption, both gustatorial and sexual. I was excited to speak with co-writers/co-directors Ms. Sims-Fewer (who also stars) and Mr. Mancinelli about their film and its positive–if sometimes confused–reception. So often, exhaustingly often, when one seeks to change perception, one instead manages to reveal how unchangeable perceptions can be. We should be beyond this conversation in 2021. In a lot of ways, Violation reveals that we’ve yet to properly broach the topic. The pair, sitting on a pale blue couch with a Frida Kahlo throw pillow between them–an appropriate totem of gender ambiguity and, indeed, rage, I thought–were engaged and smart about what their film was about. Violation is intentional in a way that very few movies can get away with–and it gets away with it because it’s, y’know, brilliant. I started by asking them the perhaps obvious question of why men hate women who reveal themselves as fully human.

Crisis (2021)

March 16, 20212021, Authors: Walter Chaw, Belgium, Canada, Drama, Theatrical, Thriller, VOD

*/****
starring Gary Oldman, Armie Hammer, Evangeline Lilly, Greg Kinnear
written and directed by Nicholas Jarecki

by Walter Chaw Nicholas Jarecki’s Crisis is a Stanley Kramer piece, a “means well,” ripped-from-the-headlines message flick that hews closer to 3 Needles than to Traffic in terms of effectiveness and humility. In place of dialogue, there is exposition; and in place of performances, there are swollen forehead veins and trembling lower lips, aghast at the injustices of a cold universe. Crisis sheds “importance” from itself like dander from a stressed but beloved pet, and it’s unseemly to come down too hard on it when its greatest crimes are that it is middlebrow in its politeness and really doesn’t have much to say beyond what’s already inherently obvious. It’s possible to do stuff like this and make something like The Insider–that is, something powerful, artful, and transformative. More commonly, it turns out like Crisis has turned out: instantly forgettable and mildly embarrassing in the way of your hip dad trying to jam with you about the evils of the sticky icky. Oh, and use a condom, son.

Sundance ’21: Violation

February 8, 2021****/****, 2021, Authors: Walter Chaw, Canada, Drama, Film Festivals, Horror, Sundance

****/****
starring Madeleine Sims-Fewer, Anna Maguire, Jesse LaVercombe, Obi Abili
written and directed by Madeleine Sims-Fewer & Dusty Mancinelli

by Walter Chaw Just the image of a man, naked, fighting for his life against a clothed assailant after a sexually-compromised engagement feels by itself something like rebellion. Dusty Mancinelli and Madeleine Sims-Fewer’s Violation isn’t the first in the struggle, but it’s a powerful addition to a fulsome rape-revenge subgenre that, with classics like Abel Ferrara’s Ms. 45, Lars Von Trier’s Dogville, and Meir Zarchi’s I Spit on Your Grave leading a to-this-point male-dominated field, has always had something on its mind about the way women are brutalized in a society that sees them mainly as appendages for male desire. What I like best about Violation, though, isn’t its similarities to modern examples, but rather its relationship (not unlike Ingmar Bergman’s The Virgin Spring) to ancient examples such as Medea and Atreus. Indeed, the film lands somewhere between the two: the House of Atreus cursed because of a rape and playing out through the rendering and surreptitious cannibalism that Violation makes distaff through Medea’s vengeful filicide (at least in the Euripedes telling). Violation is ancient Greek, too, in the pulling of atrocity into the immediate comparison to not the indifference of the natural world, but the transformative viciousness that animates it. Things are always in a state of violent flux; it’s nature’s lone promise. And this cosmological tendency towards equilibrium is only achieved through the passing through of distant polarities. The road to “fine” leads through bliss and blood.

Love and Monsters (2020) – VOD

December 7, 20202020, Action, Adventure, Authors: Walter Chaw, Canada, Comedy, VOD

***/****
starring Dylan O’Brien, Jessica Henwick, Dan Ewing, Michael Rooker
screenplay by Brian Duffield & Matthew Robinson
directed by Michael Matthews

by Walter Chaw The kind of movie someone like Joe Dante might have made for Roger Corman once upon a time, Love and Monsters, Michael Matthews’s follow-up to his Five Fingers for Marseilles, is a joyfully, unashamedly silly American kaiju modest in its ambitions and occasionally poignant for that modesty. In Love and Monsters, a broad (very broad) updating of L Q. Jones’s deep-cut cult movie of Harlan’s Ellison “A Boy and His Dog,” a lovable schlub named Joel (Dylan O’Brien) is ensconced in a bunker with a handful of other survivors thanks to a plague of monsters that has obliterated 95% of the human population. It’s possible to go deep on how these monsters are the result of “chemicals” raining down on the planet because emergency rockets were fired into a looming asteroid, and how if this is a quarantine allegory, its ultimate message that you should leave quarantine is unfortunately-timed, but the picture is too good-natured to deserve much opprobrium for misreading the room.

Possessor (2020) + Freaky (2020)

November 13, 2020****/****, 2020, Authors: Walter Chaw, Canada, Comedy, Esoterica, Horror, Sci-Fi, Teen, Theatrical, Thriller, UK

Possessor Uncut
****/****
starring Christopher Abbott, Andrea Riseborough, Rossif Sutherland, Jennifer Jason Leigh
written and directed by Brandon Cronenberg

FREAKY
**½/****
starring Vince Vaughn, Kathryn Newton, Katie Finnernan, Alan Ruck
written by Michael Kennedy & Christopher Landon
directed by Christopher Landon

Please take every precaution if you insist on risking your health and that of others to see Freaky in a theatre. Wear a mask (over the nose, too, sport), practise social distancing, and don’t be a dick.

by Walter Chaw “You’ve gone strange on me,” Ava (Tuppence Middleton) says to her boyfriend Colin (Christopher Abbott) one morning when he, frisky in the kitchen, reacts to her rejection of his advances with an expression that’s impossible to read. Colin has gone strange. He really isn’t himself. Ava is the daughter of a wealthy and powerful man, John Parse (Sean Bean), who has earned wealthy and powerful enemies, and though he’s surrounded himself with all of the things wealth can buy, including a reasonable level of separation from the rabble, he’s vulnerable to the mistakes he’s made as the bad father he knows himself to be. I appreciate that his name derives from a word meaning “parts” or, colloquially, a deconstruction of a whole into the small, individual components of which it is composed. Brandon Cronenberg’s Possessor has both nothing and everything to do with Ava and John and Colin; it is a multitude I haven’t been able to shake for days, and so I watched Possessor a second time to try to exorcise it from me. I don’t think it worked. Time will tell. Possessor is a science-fiction film the way Eternal Sunshine of the Spotless Mind is a science-fiction film, and a horror movie the way Philip Kaufman’s Invasion of the Body Snatchers is a horror movie, but what it most resembles is Kathryn Bigelow’s nightmare chimera of the two, Strange Days. All of these movies make you sick (heartsick, soulsick, sick-sick), but Possessor has about it the massive, impersonal nihilism of Philip K. Dick. We are cogs in a machine, and the machine is broken. But also it never worked in the first place. The picture is a true fable of our deconstruction.

Shivers (1975) [Vestron Video Collector’s Series] – Blu-ray + Digital

September 29, 2020****/****, 1970s, 2020, Authors: Bryant Frazer, Blu-ray Disc, Canada, Directors: David Cronenberg, FFC Must-Own, Horror, Sci-Fi

They Came from Within
****/**** Image A- Sound A Extras B
starring Paul Hampton, Joe Silver, Lynn Lowry, Barbara Steele
written and directed by David Cronenberg

by Bryant Frazer SPOILER WARNING IN EFFECT. In some sense, Shivers, a venereal horror movie that invites you to track the vectors of sexual intercourse among a group of apartment-dwellers, is a parody of a soap opera where the point is who is sleeping with whom. It’s also a spit-take on those sex-ed hygiene films that try to frighten teenagers into abstinence. Set almost entirely in a Montréal apartment complex and photographed in a jaundiced palette that leans towards yellow-green, it’s about the proliferation of parasites that make their way from body to body by a variety of sickening means, transforming their hosts into insatiable sex maniacs. Shivers was Cronenberg’s first commercial feature, and by the director’s own admission he was hardly equipped at the time to head up a production with any significant budget. And yet it’s some kind of masterpiece. If it’s a naive film in some respects, it benefits from naivete. The hurried, sometimes awkward mise en scène may as well be deliberate, given that it jibes so well with the film’s chilly, alienating tone. Any cut corners in lighting, design, and special-effects work only enhance the generally grody feel. And there’s a lot that’s grody about Shivers. That’s why it works so well as a chilling overture to a filmmaking career that critics have described as The Cronenberg Project, one in which the director uses film after film to explore love, sex, physical transformation, and mortality.