Furious 7 (2015)

April 3, 2015Posted in2015, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

Furious7

Furious Seven
**/****
starring Vin Diesel, Paul Walker, Jason Statham, Kurt Russell
screenplay by Chris Morgan
directed by James Wan

by Walter Chaw There’s a death culture surrounding car enthusiasts. Whereas in football if a player dies, their memorabilia tends to go dormant, in NASCAR, the sport’s victims are elevated to sainted martyr: Their bits and pieces become as holy relics, sacrifices to thundering machine gods. Predictably, then, Furious 7 (hereafter F7) will enjoy a lavish critical and popular processional, as freshly-dead Paul Walker (the worst semi-successful American actor, living or deceased) haunts every frame with either his digital ghost or his patented expressionless reaction shots. Finished with a combination of camera trickery, CGI grafts, and Walker’s brothers as ghoulish body-doubles, F7 if nothing else proves that Walker is distractingly lifeless in every scenario, but nobly so in this one.

Get Hard (2015)

March 28, 2015Posted in2015, Authors: Walter Chaw, Comedy, Theatrical

Gethard

½*/****
starring Will Ferrell, Kevin Hart, Alison Brie, Craig T. Nelson
screenplay by Jay Martel & Ian Roberts and Etan Cohen
directed by Etan Cohen

by Walter Chaw The title pretty much says it all, as screenwriter Etan Cohen’s gay-panic directorial debut Get Hard works as the exact antidote to his own work on the smart, occasionally vital Tropic Thunder. It’s puerile and indelicate–that much to be expected, I suppose, but it’s laboured, too, and flat as a pancake. If Get Hard were a middle-aged man, you’d be calling an ambulance for all the wheezing. Two scenes: in the first, Wall Street wolf James King (Will Ferrell) does a patented Will Ferrell freak-out, mistaking attendant Darnell (Kevin Hart) for a carjacker, ending with Darnell saying, “I didn’t mean to freak you out, man;” in the second, two scary-looking Boyz N the Hood-era gangbangers say, “Wall Street is where the real criminals at!” The former demonstrates how poorly matched are the improvisational styles of the leads, with Ferrell needing a deadpan straight world to his shenanigans; one wonders at the wisdom of casting two alpha-comedians in a film–with no one setting up the jokes, there’s never anything to pay off. (It’s why Jeff Daniels is Jim Carrey’s counterpart in the Dumb and Dumber movies and not Robin Williams.) The latter demonstrates how desperate the film is in trying to be smart and relevant. What could be more sophisticated and racially sensitive, after all, than a screenplay written by a bunch of identical-looking white guys imagining a Los Angeles street gang called the Crenshaw Kings transitioning their drive-by and street-smart jive business into day-trading?

Run All Night (2015)

March 14, 2015Posted in2015, Action, Authors: Walter Chaw, Crime, Drama, Mystery, Theatrical, Thriller

Runallnight

*/****
starring Liam Neeson, Joel Kinnaman, Vincent D’Onofrio, Ed Harris
screenplay by Brad Ingelsby
directed by Jaume Collet-Serra

by Walter Chaw Jaume Collet-Serra’s Run All Night fulfills every requirement of the Liam Neeson subgenre of elder-vengeance while simultaneously completing the Grumpy Old Men trilogy in an unexpected way. It’s a hollow stylistic exercise that mainly exposes how good We Own the Night was, and while some slight comparisons have been to Phil Joanou’s underestimated State of Grace, really the only thing Run All Night resembles is everything else Neeson has decided will be his legacy since the first Taken movie about seven years ago. What’s most painful, I think, is how consistently great Neeson is at doing this one thing over and over again. He makes it hard, in other words, to stop wishing he’d go back to doing something worthy of him.

Cinderella (2015)

March 14, 2015Posted in2015, Adventure, Authors: Walter Chaw, Disney, Drama, Family, Fantasy, Romance, Theatrical

Cinderella15

**½/****
starring Cate Blanchett, Lily James, Richard Madden, Helena Bonham Carter
screenplay by Chris Weitz
directed by Kenneth Branagh

by Walter Chaw Notable in however these things are notable for not being an Ever After revisionist Cinderella but rather a fairly straightforward adaptation of the Disney animated version, Kenneth Branagh’s Cinderella would be interesting to look at next to Kenneth Branagh’s Mary Shelley’s Frankenstein, if only to see how Helena Bonham Carter morphs from immortal beloved to Fairy Godmother. (Answer? Awkwardly.) It’s not a bad conversation to have, actually, in a film that finds a great deal of depth in Cate Blanchett’s Barbara Stanwyck take on Lady Tremaine, the evil stepmother. In a nicely-played scene, she stops just short of confessing that the reason she resents Cinderella (Lily James) is because, for women, society abhors the aged and venerates the youthful. It’s not deep (and maybe it’s not meant to be), but it does add a little bitter undertaste to its “happily ever after.”

Chappie (2015) + Unfinished Business (2015)

March 8, 2015Posted in2015, Action, Authors: Walter Chaw, Comedy, Sci-Fi, Theatrical, Thriller

Chappie

CHAPPIE
*/****
starring Sharlto Copley, Dev Patel, Sigourney Weaver, Hugh Jackman
screenplay by Neill Blomkamp & Terri Tatchell
directed by Neill Blomkamp

UNFINISHED BUSINESS
**/****
starring Vince Vaughn, Tom Wilkinson, Dave Franco, James Marsden
screenplay by Steven Conrad
directed by Ken Scott

by Walter Chaw The schadenfreude winner of the week is Neill Blomkamp’s benighted trainwreck of a fanfic reel Chappie, which presents a horrific tale of how a child raised by art-rap band Die Antwoord would grow to be this unholy Frankenstein of Sharlto Copley and Jar Jar Binks and Gorillaz and a mechanical rabbit. It’s a mess. The completion of the Short Circuit trilogy no one was asking for, it’s also an update of not only the Verhoeven RoboCop, complete with ED-209, but Blomkamp’s own District 9 as well in its themes of class inequality, sentience, and transformation. In its favour is how legendarily irritating the Chappie character is, to the point that when the slo-mo “hero strut” happens in the second half, the compulsion to punch the movie in its neck is nigh irresistible. To its detriment, Chappie purports to have solved the puzzle of digitized sentience, Transcendence-style, and in the process gifted immortality to Björk-lite squeaker Yolandi Visser. That’s at least Fourth Circle of Hell stuff right there.

Focus (2015)

February 26, 2015Posted in2015, Authors: Walter Chaw, Comedy, Crime, Drama, Romance, Theatrical, Will Smith

Focus2015

**/****
starring Will Smith, Margot Robbie, Rodrigo Santoro, Gerald McRaney
written and directed by Glenn Ficarra & John Requa

by Walter Chaw The world’s most polite heist/caper/con-man Charade thing, which feels it’s finally time to continue that death trudge towards completion of a Matchstick Men trilogy, John Requa and Glenn Ficarra’s Focus is a studiedly-inoffensive star vehicle for Will Smith that’s interesting only because of Will Smith’s casual attitude towards miscegenation. Easy to say that in 2015 a black guy with a white girl isn’t that big a deal, but I still can’t think of too many examples where a superstar like Smith is willing to repeatedly cast himself opposite a cross-racial leading lady. Smith is even a producer of Will Gluck’s intriguing Annie, which, in addition to being a very strange bookend to the surveillance-state nightmare of The Dark Knight, features at its centre an interracial love story between characters played by Jamie Foxx and Rose Byrne. I’m spending a lot of time on this, because Focus, aside from the sexy shenanigans of Smith’s expert con-man Nicky and his ingénue protégé Jess (Margot Robbie) and the fact of their race-mixing in a mainstream, medium-big studio flick, isn’t about anything and isn’t otherwise that interesting about it.

Kingsman: The Secret Service (2015)

February 15, 2015Posted in2015, Action, Adventure, Authors: Walter Chaw, Comedy, Crime, Theatrical

Kingsman

*/****
starring Colin Firth, Samuel L. Jackson, Mark Strong, Michael Caine
screenplay by Jane Goldman & Matthew Vaughn, based on the comic book "The Secret Service" by Mark Millar and Dave Gibbons
directed by Matthew Vaughn

by Walter Chaw Whatever surface similarities they might share, the difference between something great like John Wick and something like Kingsman: The Secret Service (hereafter Kingsman) is that Kingsman is smug and misanthropic. It's a self-knowing ape of the James Bond franchise, literally name-dropping both it and Jason Bourne with a kind of Cabin in the Woods smirk as it goes through the comic-book, Mark Millar-ugly motions of gadgets, high espionage, and a plot by lisping supervillain Valentine (Samuel L. Jackson) that involves the cell-phone triggered, rage-fuelled annihilation of billions. (Yes, it's also a weird rip on third-rate Stephen King novel Cell.) Gone mostly unexamined by critics for fear of "spoiling" the film, I guess, it features a scene in which Barack Obama commits treason and is then rewarded with an explosive decapitation–which is, itself, a form of treason, I think, although I admit the modern political landscape has made the limits of treasonous disrespect of the office somewhat murky to me. It's a jaw-dropping moment in a film that has not only a foreign head of state offer anal sex as a reward to our sprightly young protagonist, but also our Bond-ish hero, Harry (Colin Firth), slaughter a few dozen unlikeable yet innocent civilians in a church. Edgy, non?

Fifty Shades of Grey (2015)

February 13, 2015Posted in2015, Authors: Walter Chaw, Drama, Romance, Theatrical

50shades

**/****
starring Dakota Johnson, Jamie Dornan, Aaron Taylor-Johnson, Jennifer Ehle
screenplay by Kelly Marcel, based on the novel by E.L. James
directed by Sam Taylor-Johnson

by Walter Chaw In an age of post-satire, where Sarah Palin has a cognitive episode on every channel and prints the take, where it's actually become impossible to mock something that's constantly in the process of taking itself down, enter E. L. James's radioactively-popular "Fifty Shades of Grey" trilogy, which creeps under the low bar set by key inspiration Stephenie Meyer. It all sets the stage of course for Idiocracy's most popular movie in the land being a continuous loop of an ass, sometimes farting. That's what makes the first hour of Sam Taylor-Johnson's film adaptation of Fifty Shades of Grey actually something like a revelation. She, along with screenwriter Kelly Marcel, has somehow managed to turn the excrescent source material–excrescent not for its eroticism (I like me a good Henry Miller any day of the week), but for its illiteracy–into a satire of that section in the used bookstore where you can buy a grocery-bagful for a $1.00, trade-ins welcome. The picture does the impossible: It makes fun of something so stupid and anti-lovely it was already making fun of itself, and for at least that first hour, I understood completely the camp/communal value of Fifty Shades of Grey. And then there's another hour.

American Sniper (2014)

January 16, 2015Posted in2014, 2015, Action, Authors: Angelo Muredda, Biopic, Drama, Theatrical, War

Americansniper

***/****
starring Bradley Cooper, Sienna Miller, Kyle Gallner, Luke Grimes
screenplay by Jason Hall, based on the book by Chris Kyle
directed by Clint Eastwood

by Angelo Muredda After delivering the first funereal jukebox musical in Jersey Boys just last summer, Clint Eastwood returns to better-fitting material with American Sniper, his most muscular and dramatically charged work in years, for whatever that’s worth. The common thinking about Eastwood these days–at least, outside the critical circle that deems his every tasteful composition and mild camera movement a classical masterstroke–is that his internal compass for choosing projects has been off for a while, making him susceptible to the bad taste of undistinguished screenwriters. What’s interesting about American Sniper, which works from a dicey script by Jason Hall that’s always in danger of becoming either a rote action thriller meted out in shootouts or a rote antiwar melodrama about how veterans never quite make it back home, is how obstinately it resists this narrative. Contrary to the vision of Eastwood as an efficient director prone to gliding on autopilot, American Sniper shows him forging something tough and difficult to grasp out of what might have been on-the-nose material.

Unbroken (2014)

December 24, 2014Posted in2014, Authors: Walter Chaw, Biopic, Coen Brothers, Drama, Sports, Theatrical, War

Unbroken

*/****
starring Jack O'Connell, Domhnall Gleeson, Miyavi, Garrett Hedlund
screenplay by Joel Coen & Ethan Coen and Richard LaGravenese and William Nicholson
directed by Angelina Jolie

by Walter Chaw I genuinely believe that Angelina Jolie means well. She's like the distaff Sean Penn. Unlike Sean Penn, she probably shouldn't direct more movies. Jolie does her research by going to the places she makes movies about. She cares. She adopts children from those places. She takes embarrassing publicity photos with her subjects, sometimes, that indicate not malicious self-promotion, but rather an unaffected, Costner-esque surprise and wonder. She's growing in her morality before our very eyes, and it's great, but her second time up to the plate, Unbroken, is naive and simpering. The only thing remotely interesting about it is that its subject, Olympic athlete and WWII POW Louis Zamperini (Jack O'Connell), after getting tortured by the Japanese for a while, decided post-war to embrace Billy Graham and forgive his torturers. That bit, the interesting bit, is left to a few lengthy end-title cards. It's sort of like reading the Old Testament and calling it good and, um, wanting to post the Ten Commandments in schools instead of the Sermon on the Mount. Never mind.

The Gambler (2014)

December 24, 2014Posted in2014, Authors: Angelo Muredda, Crime, Drama, Theatrical, Thriller

Gambler2014

**/****
starring Mark Wahlberg, John Goodman, Brie Larson, Jessica Lange
screenplay by William Monahan, based on the screenplay by James Toback
directed by Rupert Wyatt

by Angelo Muredda "The only way out is all in," teases the dishonest poster for The Gambler, a safe adaptation of Karel Reisz and James Toback's 1974 original that would surely bore its own hero. It's hard to say who's most at fault for turning Toback's semi-autobiographical moral tale of a failed author turned debt-ridden professor into such easygoing pap–the antithesis of all-in. The contenders run from Toback's own smug paean to male irascibility in the original to Rupert Wyatt's slick commercial style, as forgettable as it is watchable. But it's tempting to put all your money on William Monahan. Oscar-certified out of the gate for The Departed's heavy philosophical nothings and largely unheralded since (except by Ridley Scott apologists), Monahan has apparently had some time to think about what it means for a serious man with serious thoughts to not quite live up to his potential. The Gambler becomes the unwitting dumping ground for all he's learned, a redemptive character study of a shitty guy who accepts congratulations for every last baby step he takes into adulthood.

Into the Woods (2014)

December 24, 2014Posted in2014, Authors: Walter Chaw, Comedy, Disney, Family, Fantasy, Musical, Theatrical, ZERO STARS

Intothewoods

ZERO STARS/****
starring Meryl Streep, Emily Blunt, James Corden, Johnny Depp
screenplay by James Lapine, based on the musical by Stephen Sondheim and James Lapine
directed by Rob Marshall

by Walter Chaw Into the Woods looks exactly like what a legendary Sondheim production would look like were it adapted by that idiot who made Memoirs of a Geisha into a Vegas drag space-opera dragged through a scrim of horrific Occidental Orientalism. (Well, at least to the extent that Memoirs wasn’t that already.) It’s gaudy in every pejorative connotation of the word, packed to the rafters with distracting, stupid, show-offy clutter of the sort that people accumulate when they fear they don’t have substance without it. I rather liked Marshall’s adaptation of Chicago, strangely enough, which speaks more to the un-fuck-up-ability of Kander, Ebb, and Fosse than it does to any latent modesty in director Marshall. Call it beginner’s luck, perhaps, of the kind that has long since dissolved. Marshall has already exceeded all expectations for bloated suck by somehow making the Pirates of the Caribbean franchise more difficult to endure than it had been by the third film. I’d challenge that you could swap Into the Woods out for a print of The Imaginarium of Dr. Parnassus and no one would even frickin’ notice. It’s this year’s Les Misérables.

The Hobbit: The Battle of the Five Armies (2014)

December 16, 2014Posted in2014, Action, Adventure, Authors: Walter Chaw, Fantasy, New Zealand, Theatrical

Hobbitarmies

*/****
starring Ian McKellen, Martin Freeman, Richard Armitage, Orlando Bloom
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo Del Toro, based on the book by J.R.R. Tolkien
directed by Peter Jackson

by Walter Chaw During the first ten minutes of the first day of Peter Jackson’s The Hobbit: The Battle of the Five Armies (hereafter Hobbit 3), Smaug dies. I don’t intend this to be a spoiler, because, you know, the book’s been around for almost as long as this movie runs, and Rankin & Bass already adapted it (somehow squeezing Tolkien’s slim volume into one 77-minute animated flick)–but if you don’t read and live under a rock: the dragon dies. This acts as prologue. A better prologue would recap what the hell happened in the first two Hobbits; I appear to have scrubbed them completely from the ol’ memory bank in a heroic act of self-defense. This prologue, by the way, is the key moment in the book, meaning that although the CGI fireworks never let up, the rest of Hobbit 3 is the decline in action to the conclusion.

Inherent Vice (2014)

December 14, 2014Posted in****/****, 2014, Authors: Walter Chaw, Comedy, Crime, Directors: Paul Thomas Anderson, Drama, Esoterica, Mystery, Romance, Theatrical

Inherentvice

****/****
starring Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston
screenplay by Paul Thomas Anderson, based on the novel by Thomas Pynchon
directed by Paul Thomas Anderson

by Walter Chaw Paul Thomas Anderson’s maybe-second, arguably third Thomas Pynchon adaptation after There Will Be Blood and The Master, Inherent Vice is the first official one, as well as the truest. It provides a Rosetta stone for Anderson’s career to this point, Pynchon’s work serving as a template for an artist crossing genres while holding true to a certain standard of intellectual rigour, a certain florid prosody, a specific interest in telling true the story of whatever the times may be. Inherent Vice also offers a framework for Anderson’s intimidating film craft, his particular way of marrying image with sound, and the extraordinary shots–unbroken literally or rhythmically–that have made his movies as much pop poetry and music as narrative. Consider the reunion sequence in Punch-Drunk Love that finds Shelley Duvall singing Harry Nilsson on the soundtrack while Anderson rocks the camera like a baby in a cradle, or the wordless opening sequence of There Will Be Blood, with Jonny Greenwood’s terrifying, Kubrick-ian Dawn of Man overture rattling the soundscape. Or the Gravity’s Rainbow opening of The Master as our hero, on a boat, sways in another swaddle far above his madding crowd. Remarkable stuff. Cinema as high art, doing things that only cinema can do.

The Hunger Games: Mockingjay – Part 1 (2014)

November 20, 2014Posted in2014, Adventure, Authors: Walter Chaw, Romance, Sci-Fi, Teen, Theatrical

Mockingjay1

*½/****
starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland
screenplay by Danny Strong and Peter Craig, based on the novel by Suzanne Collins
directed by Francis Lawrence

by Walter Chaw In this episode of “Katniss Loves Peeta–No, Gale. No, Peeta! No, Gale”, Katniss (Jennifer Lawrence) spends a lot of time underground, delivering speeches and crying. It’s an extended entry in hormonal-teen mood-swing theatre, The Hunger Games: Mockingjay – Part 1 (hereafter Mockingjay 1), an allegory not for political corruption and the Orwellian influence of media, but for what it’s like to be a teenage girl no one understands or ever could. It’s “Are You There God? It’s Me, Moreta, Dragonlady of Pern”–a Judy Blume coming-of-age opera exuded out by Anne McCaffrey. It has all the feelings. Mostly feelings of martyrdom, but the noble kind that you choose to defend the honour of one of your boyfriends–the less handsome one, so there’s a problem, amiright ladies? It’s not about looks, though, as Mockingjay 1 takes a moment to remind when some old guy says they shouldn’t put Katniss in makeup because it makes her “look 35,” handily identifying exactly the demographic assembled for this film: tweens and everyone else pretending they didn’t glance at J-Law’s naughty selfies. Feelings of tremendous, overwhelming, Titanic-like levels of love, too, where the only way to really represent how much you love this boy (or that one–no, this one) is by standing on the corpses of your loved ones and a few thousand bystanders. It’s that much love. You couldn’t understand. Only my diary could understand.

Interstellar (2014)

November 4, 2014Posted in2014, Adventure, Authors: Walter Chaw, Directors: Christopher Nolan, Mystery, Sci-Fi, Theatrical

Interstellar

***/****
starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine
screenplay by Jonathan Nolan and Christopher Nolan
directed by Christopher Nolan

by Walter Chaw When my wife was pregnant with my daughter, we thought she would miscarry. We’d been through several miscarriages already; the doctors weren’t optimistic. I don’t know why we agreed to risk it again, the crippling grief and unrecoverable loss. We told ourselves that if we couldn’t carry this last child to term, we’d console ourselves with a long vacation, the two of us. The appointment with the doctor the day we were to learn the timing of our misfortune, he found a heartbeat, and we held our breath for the next seven months, through a difficult pregnancy and birth, until she was here. My daughter turned 11 last week, and she’s perfect. Her brother is eight, and he’s perfect, too. I spent the first several months with my daughter as her primary caregiver; I was teaching and writing and my wife was making our living, and I have a relationship with my daughter unusual for it, I think. I look back and it’s not her birth that was miraculous–as miracles go, that one happens a few hundred thousand times a day. No, the miracle is what I suddenly understood about the world now that I was the happy accessory to someone else’s happiness and security.

Force Majeure (2014)

October 30, 2014Posted in****/****, 2014, Authors: Walter Chaw, Comedy, Drama, Sweden, Theatrical

Forcemajeure

Turist
****/****
starring Johannes Bah Kuhnke, Lisa Loven Kongsli, Clara Wttergren, Vincent Wettergren
written and directed by Ruben Östlund

by Walter Chaw As so few people saw the magnificent The Loneliest Planet (including a few who actually reviewed it), it's hardly a spoiler to say that Ruben Östlund's Force Majeure is essentially the droller, married version of Julia Loktev's masterpiece of relational/gender dynamics. Set at an exclusive ski resort in the French Alps, the picture follows handsome workaholic Tomas (Johannes Kuhnke) and his beautiful wife, Ebba (Lisa Loven Kongsli), as they spend a week with their two adorable children in what should be a winter paradise. On the first day, something terrible happens and, more to the point, Tomas doesn't act or react in the way one would expect of a husband and father, leading to a series of increasingly awkward conversations between not only the couple, but also their friends Matts (Kristofer Hivju) and Matts's much-younger girlfriend, Fanny (Fanni Metelius). The brilliance of Force Majeure is how carefully it builds itself to the "big event" and then, after, how perfectly Östlund captures the way people talk to one another, whether married with children or just starting off. It's a withering essay on masculine roles and ego–one, too, on the parts women play in easing or exacerbating those expectations. It's amazing.

Stonehearst Asylum (2014)

October 23, 2014Posted in2014, Authors: Walter Chaw, Horror, Theatrical, Thriller

Stonehearstasylum

Eliza Graves
*½/****
starring Kate Beckinsale, Jim Sturgess, Brendan Gleeson, Michael Caine
screenplay by Joe Gangemi, based on a story by Edgar Allan Poe
directed by Brad Anderson

by Walter Chaw Brad Anderson has made a few interesting movies that seem to be more interesting to other people. I like Session 9 well enough, The Machinist is fine, Transsiberian's fine; they're all fine. His latest, Stonehearst Asylum, based on a short story by Edgar Allan Poe that's been adapted a couple of times already, is fine, too, I guess. It's the literalization of inmates running the asylum, following young Dr. Newgate (Jim Sturgess) as he travels to the titular nuthatch to begin his tutelage under good Dr. Lamb (Sir Ben Kingsley), who has some pretty unconventional ideas about how the best way to treat psychotics and the like is to not treat them at all. Also, there's a beautiful noblewoman with people-touching-her issues named Eliza (Kate Beckinsale), after whom the European version of this film is still named, which says something about what distributors think audiences will tolerate in our respective markets, methinks.

The Guest (2014)

October 16, 2014Posted in2014, Authors: Walter Chaw, Theatrical, Thriller

Theguest

***/****
starring Dan Stevens, Maika Monroe, Leland Orser, Lance Reddick
screenplay by Simon Barrett
directed by Adam Wingard

by Walter Chaw With The Guest, Adam Wingard continues his examination of '80s exploitation genre flicks–'90s, too: the film is among other things a canny update of James Foley's Fear, which was home to not only Mark Wahlberg's best performance but arguably Carter Burwell's finest hour as well. Like Wingard's You're Next, The Guest acts like what it mimics and, like any good predator, breaks from camouflage at the most unexpected moments. It's funny throughout for the fan familiar with this sort of thing, but it's really funny in its final shot, when it reveals an understanding that people love movies like this because of their absurdity and not in spite of it. Best is how in its focused nastiness, it highlights exactly how grim-verging-on-nihilistic '80s teensploitation often was, how low it was willing to go, how ugly it was willing to get. Yeah, I loved it.