Telluride ’21: The Power of the Dog

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

Tell21powerofthedog

****/****
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.

TIFF ’21: Dash Cam

September 14, 2021Posted in2021, Authors: Bill Chambers, Film Festivals, Horror, TIFF, UK

Tiff21dashcam

Dashcam
*½/****
starring Annie Hardy, Amar Chadha-Patel, Angela Enahoro
written by Gemma Hurley, Rob Savage, Jed Shepherd
directed by Rob Savage

by Bill Chambers Rob Savage's Host dared to suggest our new digital fortresses were inadequate shield against the old insecurities and became a cultural phenomenon as a result. There had been movies like it (Unfriended and its sequel, for instance), but the pandemic subtext gave its core premise–a haunted Zoom call–mass appeal, and having the actors play "themselves" à la Blair Witch added a veneer of documentary credibility. With Dash Cam, his much-anticipated follow-up (and his first film for horror factory Blumhouse), Savage again sets things against the backdrop of COVID and continues the neo-realist conceit of giving the lead the name of the actress playing her, but he's in murkier conceptual territory here, tipped off by the early and frequent abandonment of the titular gimmick. Real-life musician Annie Hardy, from the band Giant Drag, stars as a version of herself, seemingly the worst version of herself (though I gather her online persona is somewhat controversial), an MC who hosts BandCar, "the Internet's #1 Live Improvised Music Show Broadcast from a Moving Vehicle." At the beginning of the film, Annie abandons her L.A. apartment and feline roommate for an extended stay in England with former bandmate Stretch (Amar Chadha-Patel). Boarding the plane, she turns out to be the type to let their mask droop below their nose. It's the first real hint of an impulse to troll that is reflexive bordering on pathological and seems to particularly flare up around the socially conscious or anyone who tells her "no." In the case of Stretch, these are one and the same, and after she manages to alienate him completely, she steals his car and looks for trouble in London (which is really as simple as not wearing a mask), broadcasting it all for the amusement of her followers and sometimes their tips.

Malignant (2021)

September 13, 2021Posted in2021, Action, Authors: Walter Chaw, China, Crime, Horror, Mystery, Streaming, Theatrical, Thriller

Malignant

***½/****
starring Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
screenplay by Akela Cooper
directed by James Wan

by Walter Chaw James Wan’s Malignant is spectacularly, unabashedly fucking nuts. Not nuts in a random way, nuts in the way Oliver Stone’s The Hand is–or, more to the point, Brian De Palma’s Sisters. It’s what the Dario Argento The Phantom of the Opera should have been: not entirely giallo, not without elements of high opera; a classic “madwoman” picture as well as a possession movie. Also, that voice on the phone from Black Christmas, and also a loving homage to Stuart Gordon, and also… Malignant is a joyful mishmash that plays like a NOW That’s What I Call Music compilation for horror fans. It’s the North by Northwest of delirious genre fare: Bava if you want it, the most gothic Hammer if it pleases you, complete with a Universal Monsters monster I kind of can’t believe someone hasn’t done before. I’m not giving anything away by saying the cosplay is going to be lit.

TIFF ’21: Violet

September 12, 2021Posted in2021, Authors: Bill Chambers, Drama, Film Festivals, TIFF

Tiff21violet

**/****
starring Olivia Munn, Luke Bracey, Erica Ash, Dennis Boutsikaris
written and directed by Justine Bateman

by Bill Chambers In her taped introduction to Violet, actress-turned-filmmaker Justine Bateman describes it as an immersive experience, tantamount to putting on a coat. I would say it’s slightly more akin to having a pillow on your face. Though not explicitly autobiographical, the picture indeed betrays an insider’s grasp of Hollywood politics in its portrait of a production executive plagued by self-doubt and industry sexism, including, fairly, the internalized misogyny of a female underling. Violet (Olivia Munn) has reached a ceiling in her current job that probably can’t be broken. Her passion project is in limbo, the perfect man (Luke Bracey) is Just a Friend, and she’s still shook from a relationship that ended badly when she accidentally burned down their apartment. A scene where her boss (the great Dennis Boutsikaris) gets her pumped up about the book of poetry she dreams of turning into a film only so he can sucker punch her in a meeting with talent, Scorpion-and-the-Frog-style, captures something essential of toxic power dynamics in the entertainment industry that a more straightforward lampoon of a Rudin/Weinstein type probably would not. Another truthful moment, opposite in effect, finds Violet making a move on Bracey’s Red that surprises even her. It’s genuinely swoony. Then she spends the drive back to his place worrying she’ll be judged for dating beneath her station. (Red’s a screenwriter.) The irony of Violet being an eminently relatable mess of insecurities in an Olivia Munn-shaped package fades over the course of the film, perhaps in a way it wouldn’t have before “the great equalizer” of our current pandemic.

Telluride ’21: C’mon C’mon

September 11, 2021Posted in2021, Authors: Walter Chaw, Drama, Film Festivals, Telluride

Tell21cmoncmon

***/****
starring Joaquin Phoenix, Scoot McNairy, Gaby Hoffmann, Jaboukie Young-White
written and directed by Mike Mills

by Walter Chaw It takes a certain level of courage to make a movie like Mike Mills’s C’mon C’mon, in which at least one, possibly two of the three main characters are so profoundly irritating it would be cathartic to see them shocked into compliant conformity. But that’s exactly what you shouldn’t do. It’s a film about mining difficult conversations, asking the right questions and listening to the answers, practicing empathy when it’s absolutely the riskiest thing to do, i.e., when the person you’re trying to empathize with is smart, slippery, and able to push all of your buttons. Relationships, in other words–intimate ones with family where between platitudes and comfortable silences, there can erupt withering indictments and unresolved grievances. I love Mills’s Beginners and 20th Century Women because of their essential kindness, how Mills writes dialogue that’s searching without being grating, honest without being cruel. His characters are looking for the right way to do things, the elegant thing to say at the moment of crisis, but they’re thwarted by unexpected developments and circumstances beyond their control. His films are about navigating choppy waters with only the love of your family to guide you, and they’re beautiful.

Telluride ’21: Cyrano

September 9, 2021Posted in2021, Authors: Walter Chaw, Canada, Drama, Film Festivals, Italy, Musical, Telluride, UK

Telluride21cyrano

***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.

Telluride ’21: Spencer

September 8, 2021Posted in2021, Authors: Walter Chaw, Biopic, Chile, Drama, Esoterica, Film Festivals, Germany, Romance, Telluride, UK

Tell21spencer

***½/****
starring Kristen Stewart, Sean Harris, Amy Manson, Sally Hawkins
written by Steven Knight
directed by Pablo Larrain

by Walter Chaw The last 12 minutes or so of Derek Jarman’s excoriating, experimental The Last of England is just Tilda Swinton armed with garden shears, framed against a stark background, ripping through her wedding dress in a rapture of rage–a resounding rejection (or a prophecy of the inevitable fall) of the tradition and ritual, the future and hope, that marriages represent. The whole film is scenes of atrocity and decay intercut with home movies of the child this bride was, the couple this bride is a part of, and the calamity of the union into which society has forced her, culminating in this exorcism of these ties that bind. It’s one of the great exits in Jarman, and The Last of England‘s afterimage is all over Pablo Larrain’s impressionistic Spencer, a biography of three miserable days, from Christmas Eve to Boxing Day, at the end of Princess Diana’s tenure. It seeps through especially in a sequence where Diana (Kristen Stewart) dances by herself down the empty halls of Sandringham, an act of rebelling against the norms and controls imposed on her by the misfortune of her station. The scene would play perfectly against the mute wanderings of a grief-stricken Jackie Onassis in Larrain’s previous examination of a woman encased–and left adrift–in a patriarchal system of power and exchange, Jackie. They are complementary portraits of the suffocation of empire. Both can be unpacked by Jarman’s takedown of Thatcher’s England, and all three left me a mess.

Telluride ’21: King Richard

September 6, 2021Posted in2021, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Sports, Telluride, Will Smith, ZERO STARS

Telluride21kingrichard

ZERO STARS/****
starring Will Smith, Jon Bernthal, Tony Goldwyn, Dylan McDermott
written by Zach Baylin
directed by Reinaldo Marcus Green

by Walter Chaw You know what this movie is. You know the major beats, you know the resolution, and in those rare instances when something happens you maybe don’t expect, you know immediately how it will resolve. There is no surprise to movies like Reinaldo Marcus Green’s King Richard by design, not misstep–they are by their nature for the least discriminating audience, the ones desperate to avoid challenge, thinking, reconsideration, discomfort. It is Taco Bell on vacation. You go there for a reason and none of it has to do with the quality of the food. It’s the disgusting robe you’ve had since college that your wife begs you to throw away, but you don’t. King Richard is garbage that people like, machine-extruded pap, hardwired and cynically engineered to garner a certain level of prestige. It’s the uplift picture multiplied by a minority voice. It’s ugly manipulation, more horse-betting than art–though the gamblers would argue that what they do is science rather than just venal calculation.

Telluride ’21: The French Dispatch

September 5, 2021Posted in2021, Authors: Walter Chaw, Comedy, Directors: Wes Anderson, Drama, Film Festivals, Germany, Romance, Telluride

Tell21frenchdispatch

The French Dispatch of the Liberty, Kansas Evening Sun
**/****
starring Bill Murray, Tilda Swinton, Frances McDormand, Jeffrey Wright
screenplay by Wes Anderson
directed by Wes Anderson

by Walter Chaw Out of three sections, not including a framing story, there is one that gets what it’s after with the soul of wit and a tug of the heart along the way. It’s the middle section, the one concerning a brilliant modern artist incarcerated in a French prison for dismembering two bartenders who falls in love with one of his jailers. He is Moses Rosenthaler (Benicio Del Toro) and his eternal Beatrice, his jack-booted muse, is Simone (Léa Seydoux), and the pas de deux they perform together encapsulates a range of lovely nuance that crystallizes what it is that Wes Anderson does very well, if only occasionally these days, in brief flashes glimpsed between the metric ton of artifice and affectation. For many, the chantilly is the point of Anderson–those gaudy elements that make him one of the most satirized filmmakers of his generation. For me, and up through The Darjeeling Limited, what I liked best about Wes Anderson was his sometimes shockingly effective grappling with absent fathers and broken families. His twee quirk used to be a delivery system for emotional squalls. Now, if those crescendos are there, they’re gasping for air.

Telluride ’21: An Introduction or, the Train Doesn’t Stop at Any Stations

September 4, 2021Posted in2021, Authors: Walter Chaw, Blog, Film Festivals, Telluride

Tell2021

by Walter Chaw I use these trips to the Telluride Film Festival as year-markers: summaries and confessions sometimes filled with hope for the new year, although I find I live almost entirely in the past, in fear of the future, neglecting the present. I don’t think this is an unusual malady (indeed, it might be the common malady), and shaking loose of it may be the pestilence that finally ends us and not any other. This year, I took a different route to Telluride, not through the canyon, but straight across the I-70 to Grand Junction, then south to the sheltered valley where Telluride sits. Partly I did this for the novelty of it (I haven’t driven over Vail Pass since an accident I had there…can it be a decade ago already?), and partly out of wanting to pick up my friend Katrina from the Grand Junction airport to drive her down to meet her husband at the festival. Every time I go through the Eisenhower Tunnel, I remember that particular passage from The Stand and how, several years ago, I listened to its audiobook on the way up to a different Telluride. It was the first time I’d made it to the end of the novel. A die-hard fan of King’s, I nevertheless find his fantasies difficult water to tread. Colorado is a beautiful state, though I worry that the lakes and rivers are looking as low as they’re looking right now. I doubt I’ve ever seen them quite so dry.

Super 8 (2011) – Blu-ray + DVD + Digital Copy|Super 8 – 4K Ultra HD + Digital

September 2, 2021Posted in2011, 2021, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Coming of Age, DVD, Mystery, Sci-Fi, Spielberg, Thriller

Vlcsnap-2021-09-02-21h25m22s133Please note that all framegrabs are from the 1080p version

***/****
BD – Image A+ Sound A+ Extras A-
4K UHD – Image B Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw J.J. Abrams’s Spielberg shrine Super 8 mines the birth-of-the-blockbuster nostalgia vein so doggedly that you actually wish it was better than it is. Still, what works about it works really well, the best result of it being that it offers a vehicle for young Elle Fanning that should catapult her to the real superstardom Somewhere would have had anyone seen it. She’s stunning; every second she’s on screen, no matter whether she’s sharing the frame with a two-storey monster, it’s impossible to look away from her. She’s the natural lens-flare Abrams offsets with his trademark visual tick. Fanning’s Alice, the daughter of town drunk Louis (Ron Eldard), is enlisted by a pack of Goonies-stratified youngsters to be the female lead in their kitchen-sink zombie flick. The erstwhile director is the Stand By Me chubby one Charles (Riley Griffiths), and along for the ride are the one who pukes (Gabriel Basso) and the one who likes to blow shit up (Ryan Lee). And, yes, there’s that scene where the kids throw their stuff over a fence, gather up their bikes, and recreate an entire sequence from the Amblin Entertainment logo that opens the picture.

The Green Knight (2021) + Pig (2021)

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

Greenknight

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.

Fantasia Festival ’21: Prisoners of the Ghostland

August 28, 2021Posted in2021, Action, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Nicolas Cage, Thriller

Fantasia21prisonersofaghostland

*/****
starring Nicolas Cage, Sofia Boutella, Nick Cassavetes, Tak Sakaguchi
screenplay by Aaron Hendry, Reza Sixo Safai
directed by Sion Sono

by Walter Chaw A theory I’ve been kicking around about certain pre-made, fast-fashion auteur demimondes like, say, Sion Sono: there are those who are anointed cult filmmakers because they have idiosyncratic tastes; and there are those without any real taste who aspire to be cult filmmakers because they’ve figured out that idioscyncracy can be marketable and have thus taken it on as an affectation. The former make films the only way they can make them, driven by a purity and persistence of vision; the latter make stuff like Prisoners of the Ghostland, because they’ve seen films by the former and wonder what could be so hard about that? It’s why Sono’s work is only spoken of in reference to other films and filmmakers, or even to earlier entries in his own filmography, back when he was doing what he felt was right rather than what he thought he should. Prisoners of the Ghostland is a facile affectation, in other words, a slapdash collection of somebody else’s cool without a genuine, native bone in its body. Douglas Adams includes instructions for how to fly in his Hitchhiker’s Guide to the Galaxy books: you fall and miss. You can’t fly on purpose, you see. You can’t make a camp movie on purpose, either. It took me three tries to get through Prisoners of the Ghostland. 102 minutes of someone not meaning it is incredibly boring.

Candyman (2021)

August 25, 2021Posted in2021, Authors: Walter Chaw, Canada, Horror, Theatrical, Thriller

Candyman2021

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, 2021Posted in2021, Authors: Walter Chaw, Canada, Horror, Theatrical, VOD, ZERO STARS

Fantasia21demonic

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: Dreams on Fire

August 23, 2021Posted in2021, Authors: Walter Chaw, Drama, Fantasia Festival, Film Festivals, Japan

Fantasia21dreamsonfire

***/****
starring Bambi Naka, Akaji Maro, Ikuyo Kuroda, Masahiro Takashima
written and directed by Philippe McKie

by Walter Chaw I don’t know if I’ve ever seen a film quite like Philippe McKie’s Dreams on Fire. Not for its story of a young dancer looking for her big break while jumping from humiliating job to humiliating job; Flashdance and Fame are two of the picture’s obvious touchpoints, although the Step Up franchise is the obvious headwater. Rather, Dreams on Fire is distinctive because of its focus on how each failure is a gift if you can manage somehow not to quit. The movie opens in a familiar place as young Yume (Bambi Naka) declares her dream of being a dancer to the violent disapproval of her tradition-bound grandfather (Akaji Maro), her mother (Ikuyo Kuroda) hiding to avoid the conversation. I’ve learned something, hopefully not too late, after thirty-some years in corporate America: that everything my parents taught me was a measure of success was a lie. Education, climbing the ladder, home-ownership, money as the end-all/be-all of happiness–lies, obvious lies. I have achieved everything I was supposed to achieve and it didn’t make me happier for even a moment. No one comes to the end of their life wishing they’d worked more. I made the decision to be happy, and my worst days now are better than my best days then.

Fantasia Festival ’21: When I Consume You

August 22, 2021Posted in2021, Authors: Walter Chaw, Drama, Fantasia Festival, Film Festivals, Horror, Mystery

Fantasia21wheniconsumeyou

**½/****
starring MacLeod Andrews, Evan Dumouchel, Libby Ewing
written and directed by Perry Blackshear

by Walter Chaw Living with addiction, Daphne (Libby Ewing) and Wilson (Evan Dumouchel) are siblings on the perpetual edge of destitution. They are each other’s only means of emotional and occasionally material support. As writer-director Perry Blackshear’s When I Consume You opens, Daphne spits blood and other viscera into a sink and yells through the bathroom door that she just needs a minute. She has a secret to hide, and her brother seems to be having a rough time of it, so maybe that’s why she’s not telling him whatever it is that’s going on with her. A lovely early scene that won me over, as it happens, sees Wilson having a panic attack and Daphne talking him through it. This depiction of the sibling relationship is intimate, empathetic, and authentic-feeling. There’ve been a few compelling sibling relationships anchoring horror films–I’m thinking of the brothers in The Lost Boys, or the brother/sister in Jeepers Creepers, and how those films similarly use threats to that relationship as empathy engine and maybe even as a metaphor for growing apart. A flashback in When I Consume You to, if not “happier,” at least earlier times, shows the pair working on a project together in a tight physical space talking about shared burdens and possible futures that we know are insurmountable on the one hand and doomed on the other. Affecting stuff, and it proves to be the central concern of When I Consume You after all the sound and fury burns off: It’s your siblings who know what you’ve been through; and maybe it’s your siblings who, for as much as they’re responsible for you holding on to your demons, will help you get past them, too.

Fantasia Festival ’21: The Sadness

August 20, 2021Posted in2021, Authors: Walter Chaw, Fantasia Festival, Film Festivals, Horror, Taiwan

Fantasia21sadness

***/****
starring Regina Lei, Tzu-Chiang Wang, Berant Zhu
written and directed by Rob Jabbaz

by Walter Chaw Canadian expat Rob Jabbaz has had it. His hyphenate debut The Sadness is one of the bleakest, angriest films I’ve seen in a long time, made rarer still by being carried off with obvious chops. Its focus is to unequivocally cut through the bullshit of this, our shitty timeline. The first real conversation of the film is between our hero, Jun (Berant Zhu), and his neighbour across adjoining balconies, concerning how a virus causing some doctors concern is a hoax perpetrated by big business and the media. A talk-show host in the background speaks over a virologist who warns of the potentially world-ending evil of politicizing a pandemic, and…well, you get the picture. The scariest thing about The Sadness–a very scary picture–is that it’s the product of a Canadian filmmaker working in Taiwan, which confirms that Trump is a symptom not the cause of whatever the good fuck is wrong with us. In my darker moments, I like to say that we’re just monkeys in clothes, and every minute we’re not killing each other over protein and access to women is a miracle. The premise of The Sadness is a thought exercise in ironic magnification, one where you make the point by exaggerating the scenario slightly. The premise of The Sadness is that we’re all monkeys in clothes, and imagine if we stopped pretending that we aren’t.

Fantasia Festival ’21: Don’t Say Its Name

August 20, 2021Posted in2021, Authors: Walter Chaw, Canada, Fantasia Festival, Film Festivals, Horror

Fantasia21dontsayitsname

***/****
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.

Almost Famous (2000) – 4K Ultra HD + Digital

August 18, 2021Posted in2000s, 2021, 4K Ultra HD, Authors: Bryant Frazer, Blu-ray Disc, Comedy, Coming of Age, Drama, Music

00351.m2ts_snapshot_00.13.11_[2021.08.16_23.39.33]Note: all framegrabs were sourced from the 4K UHD disc. Click any image to enlarge.

Almost Famous **½/****
Untitled ***/****
Image A- Sound A- Extras A-
starring Patrick Fugit, Billy Crudup, Frances McDormand, Kate Hudson
written and directed by Cameron Crowe

by Bryant Frazer Almost Famous, Cameron Crowe’s fondly remembered period piece about a bygone era of rock stars and the various satellites in their orbit, is a bit of a relic these days. Even on its release in 2000, when it was almost 30 years removed from its subject matter, Almost Famous was a notably uncritical celebration of a moment in 20th-century music history. Another 20 years on, having centred the phallic sexual and creative powers of a white guy with a guitar, Almost Famous is increasingly disconnected from the prevailing pop and hip-hop zeitgeist, and the film feels even more like cultural hagiography. On the other hand, it is a hell of a story. The fundamentals are autobiographical: Cameron Crowe really was a 15-year-old whiz kid who earned early graduation from high school; he really did seek career advice from legendary rock-and-roll critic Lester Bangs; and he really landed a ROLLING STONE assignment to hit the road with a group of next-big-thing cock-rockers. The story, as Crowe retells it here, has intrepid young journo William Miller (a fresh-faced Patrick Fugit) on assignment with the fictional rock group Stillwater–dealing with celebrity egos, yearning for the teenaged groupies who sprinkle their figurative fairy dust around a series of interchangeable ballrooms, basketball arenas, and hotel suites, and checking in with a protective mother (Frances McDormand) who can only peer helplessly into her son’s wonderland from her world outside the circus tent. Finally, William meets with his editors back at HQ to bang out a chunk of blistering reportage that will lay bare the raw emotional state of a band on tour and cement his status as a rock journalist. What could go wrong?