1980, 1980s, C+, Grade, Horror, mystery, Past, Review, review-movie, slasher, Thriller, Year

Film Review: Friday the 13th – 1980

October 25, 2019 The Critic Leave a comment

Director(s)	Sean S. Cunningham
Principal Cast	Adrienne King as Alice Peter Brouwer as Steve Laurie Bartram as Brenda Kevin Bacon as Jack Mark Nelson as Ned Jeannine Taylor as Marcie Robbi Morgan as Annie
Release Date	1980
Language(s)	English
Running Time	95 minutes
Report Card	Click to go Review TLDR/Summary

Clouds go over the full moon as the camera tracks down from the celestial object to a campground, Camp Crystal Lake. The year is 1958. People inside one of the cabins sing a cheery camp song. The film cuts away to an POV shot. It’s subject wades through the campground and looks at the children. Meanwhile, the cheery diegetic track gives way to a more foreboding non-diegetic set of orchestral noises accompanying a whisper-like chant: “ki-ki-ki-ma-ma ma”. The film cuts back to the cabin where the cheery song is being sang and the ominous track dissipates for a moment.

After the singing is done, two of the camp counselors sneak off to enjoy the indiscretions of youth. A close-up of the foreboding moon comes up for a brief moment before the film cuts back to the couple as they vacate to a empty cabin and go upstairs to enjoy more sensual pleasures. However, just as they start getting intimate, the film cuts back to the POV shot and its subject. The non-diegetic chant comes back in and continues to increase in intensity. Suddenly, the subject is face to face with the couple who realizes they’re being watched. The two of them get up and make some excuses to the figure – clearly someone they both know. However, the subject slashes and kills both of them. The camera pushes in on the final victim’s face, cementing the expression of fear before the screen dissolves into an intense flash of white light; the title card shoots forward and breaks the glass screen.

Now, the year is 1980 and the story picks up on a group of camp counselors who have been hired by the owner of the Camp Crystal Lake campground, Steve (Peter Brouwer) to help him with his attempt at re-opening the location. As each of the youthful characters makes their way towards the camp, they run into locals who inform them of site and its terrifying reputation. The townspeople try and warn the new counselors of previous incidents at the camp like a drowning in 1957 and the murders of 1958 to get the youthful bunch to quit, but the youngsters refuse and set-up shop at camp with Steve, getting the campsite ready for a grand re-opening. Unfortunately for them, the movie’s opening moments has informed the viewer of the threat of murderer, so the seeds for the carnage are now allowed to bloom.

If the structure of the opening feels familiar, it’s because the movie intentionally emulates the footsteps of John Carpenter’s seminal classic, Halloween. There’s a scene of conjugal innocence interrupted by a killer whose point-of-view becomes the camera’s view. There’s an iconic theme and music profile associated with the terror; composer Harry Manfredini’s “ki-ki-ki-ma-ma-ma” whisper replaces John Carpenter’s terrorizing synths. This is all intentional; director Sean Cunningham and screen-writer Victor Miller wrote the film explicitly to ride on Halloween’s success and capitalize on what they thought were its strong points for as cheap as possible. ^[1]Kennedy, M. (2019, December 7). How Halloween directly inspired Friday the 13th. ScreenRant. Retrieved October 2, 2021, from https://screenrant.com/halloween-movie-inspired-friday-the-13th-franchise/.

However, it’s precisely where the movie openings diverge from one another where the issues effecting Friday the 13th can be made clear. Halloween ends its opening sequence by revealing that its killer is a young boy, Michael, shocking the audience and setting it’s story’s dark tone. The film’s use of the P.O.V shot disguises the identity of the killer but reveals their modus operandi and points of focus. However, once the initial act of murder is done, the P.O.V shot is flipped to a traditional view of the subject and the viewer is aghast and made aware that the killer is not normal and is out of synch with the “morally righteous” world. Because the killer is treated as a heinous monster the film is able to focus less on developing their character; through just their screen presence, the killings are made terrifying enough and the tension stems from following the victims that have to deal with the killer who is beyond any reason or comprehension. This creates multiple points of interest and tension.

But Friday the 13th treats the identity of its killer as the driving force of the narrative, generating tension from the possibility of the killer being any of the characters. Yet, because the story gives no clues about the nature of the identity of the killer till late into the third act when the reveal is all but inevitable and also doesn’t make any of the victims interesting in their own right outside of being possible red herrings, there’s absolutely no narrative momentum. Given the movie’s release context and the nature of its killer, it makes sense that Miller wanted to ensure there was no chance the killer’s identity would be revealed. However, because the focus is so stringent on maintaining “perfect” mystery until the moment of the reveal, there’s no reason to care about the movie, sans bits of gory fun, until that moment happens. Naturally, this puts the brunt of the thematic and emotional weight of the narrative on the killer’s reveal and reasoning for acting as they did, but Friday the 13th’s set-up is convoluted to say the least and does not spend nearly enough time laying the seeds for these revelations to feel earned.

Even within the context of the violence, there’s no effort made at establishing any kind of clues regarding the killer’s psychological profile. While Halloween spends little time characterizing its killer, it does relish in showing off its killers macabre decisions to give the viewer room to think about the nature of the killer’s thoughts; there’s an unease generated by trying to and and eventually making sense of the grim choices being made. Friday the 13th doesn’t even try to show personality behind the butchering; while the nature of the kills sequences are all creative by the standards of the time, there’s no connective tissue between them that would lead even a diligent viewer to gleam any meaningful information about the killer’s identity or reasoning for acting in the way they do.

This means the movie, up till the killers reveal, is functionally irrelevant character interaction and nicely put together gore sequences. No character, sans the killer, has a motivation that the viewer can latch onto as a reason to root for anyone through their trials and tribulations. While the group of “protagonists”, though calling them that feels like a stretch in itself, is generally likable, nothing inventive or fruitful ever happens because of or between the characters to distinguish them in meaningful fashion. Unfortunately, this makes the murderous moments ones with low stakes and subsequently renders the characters’ deaths as nothing more than beautiful bits of carnage candy.

But even without stakes, delightful gore with no narrative fat is certainly appealing, depending on the viewer, in its own right and that’s what Friday the 13th excels at delivering. The characters become blood-soaked paintbrushes in makeup designerTom Savini’s hands, conjuring up visions of the macabre and grotesque. Cunningham relishes in the sensuality of the violence and setting up the bodies in cruel and tragic fashion. This effect is accentuated because the movie only shows a few of the murders; selective moments of mutilation engender a matrix of fear which makes the reveal of other bodies all the worse. Because the moments of brutality are incorporated selectively, they actually manage to be shocking. This is why in spite of being light on plot, the film still manages to unnerve. While the characters may not be all that relatable, the way their bodies are violated certainly makes one a bit squeamish concerning their own flesh. It’s no wonder then that in spite of its own inception as a Halloween clone, Friday the 13th has managed to leave its own indelible mark on the slasher genre, demonstrating that good enough gore can make up for a lot.

REPORT CARD

TLDR	Friday the 13th functions more as a vehicle for slaughter than a deeper foray into the human condition, providing the audience little more than momentarily evocative carnage candy until the explosive reveal of the killer’s true identity and motivations. Though there’s little subtext and the mystery driving the heart of the story is unfairly withheld from the audience until its reveal, the ride the movie takes viewers is fun even decades after its initial release in theatres. For those fans looking for quick, brisk, and to the point slasher-fare, Friday the 13th more than holds up.
Rating	7.4/10
Grade	C+

Go to Page 2 for the spoiler discussion and more in-depth analysis.
Go to Page 3 to view this review’s progress report .

Pages: 1 2 3

Grade, Review, review-movie, science fiction horror, Year

Review: Event Horizon

October 24, 2019 The Critic Leave a comment

Paul W. S. Anderson’s science fiction horror film, Event Horizon, is an ambitious attempt at telling a haunting and Lovecraftian space adventure. The story follows a space response team, sent on a top secret mission related to a star ship, Event Horizon. What follows is an interesting premise that nails some moments quite well, but overshoots and makes other portions of the story feel more like a joke.

The first act was quite interesting and managed to hook me in with it’s mysterious and offsetting nature. We’re presented a series of confusing and gruesome visuals with no explanation which keeps the sense of tension and horror up. When answers finally do come from Dr. Weir (Sam Neil), even more questions are raised. A lot of these early moments are scary because they’re unknown. They seem like delusions and mirages. In fact, one thing the movie consistently does is deliver frightening moments. There’s a lot of gore and unsettling imagery that makes the environment seem like a form of space hell.

Acting from the main leads is great and keeps the tension up the scenes they’re in. Laurence Fishburne makes Captain Miller feel like a confident, in-charge kind of leader. He’s commands a sense of authority and never feels out of place. Neil is also asked to do… interesting things by the script in the third act, and he delivers as serious a performance he could give, given the way the pacing and development of these scenes went. It helped me retain some level of interest, despite the strange and hilarious lows the plot goes through.

If I had to describe the movie, I’d say it’s the cinema equivalent of a roller coaster- very high highs and laughably low lows. The biggest issue with the movie is a lot of the moments randomly go into overdrive- almost like the script said “exaggerate this moment.” There are dreadful and terrifying scenes in the movie, and I wanted to be more disturbed by them, but it’s hard when characters are yelling obscenities like it’s some kind of slapstick comedy. The third act honestly felt like a different movie at some points because of how strange the inclusion of certain pieces of dialogue felt in relation to the tone the movie wanted to establish. I would be scared, then laugh, then incredulously gawk at the screen, and loop this behavior.

The movie also feels a bit gimmicky at times.There’s an inconsistent “power-scaling” of the antagonist in the movies. It feels like they’re invincible in certain scenes but then immediately after, they don’t protect themselves from taking damage despite seemingly having the ability to. There’s also this weird use of Latin in the movie that’s used to explain certain things, but it feels shoe-horned, unnatural, and like a cheap way to get twist scares. I felt like the environment could’ve used a different method to do the same kind of thing.

After reading about the production issues that plagued the movie, I felt like some of my concerns would have been alleviated if a more true version of the movie had been released in line with the director’s vision, but regrettably those unseen portions of the movie have been destroyed. Given what the movie could have been, it would’ve been great to see it’s more gruesome interpretation. That’s the real tragedy here.

Rating

TLDR: Despite being a bumpy ride, Event Horizon, was surprisingly entertaining. Thought the story is best early on, there are more than enough gory and unsettling moments to hold your interest in the more tumultuous second half.

Final Rating: 7.4/10. I personally enjoyed the movie more than the score indicates and will probably watch it again. If you can handle some goofy and cheesy moments and some inconsistent rules, this film might be in your ballpark. Go to Page 2 for my spoiler-full thoughts!

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

A, Grade, Review, review-movie, slasher, supernatural, Year

Review: Candyman (1992)

October 23, 2019 The Critic Leave a comment

As a child nothing scared me more than “Bloody Mary.” I was only in elementary school when I heard the tale, and the “true stories” of the awful bloody things that happened to their second-cousins-brother’s friend (you know what I’m talking about) , and I promised myself I would never play the game. Even now as an adult, I respect that oath out of the fear of what could happen. After watching Bernard Rose’s supernatural-slasher, Candyman, I have one more name to add to the list of names never to utter in front of any mirror.

The story follows a pair of graduate students, Helen (Virginia Madsen) and Bernie (Kasi Lemmons) as they write their thesis on urban myths. As luck would have it, the Cabrini-Green housing project near them , has experienced a death, supposedly at the hands of the urban myth, Candyman. A murder and a community believing in that the murder was caused by a spirit? That sounds like the perfect location for students writing about urban myths and Helen quickly springs into action learning all about Candyman. Like Mary, he can be summoned by anyone who chants his name 5 times in front of a mirror. Upon being summoned he will brutally eviscerate the one who dared to summon him. Helen, being a firm non-believer, treats the rumor as a myth and proceeds through with the ritual. What follows is a tightly knit tale about gender, race, gentrification, and the mystical nature of belief.

What helps the story work is how real it feels. The community at Cabrini-Green aren’t caricatures of our worst fears of what the “hood” is. They’re heterogeneous and breathe life into a community that gets demonized, not only in the movie, but in real life as well. The shocking reality of social imbalances set in, and the way that characters react and approach different situations highlights those fears. When the cleaning ladies talk about how Ruthie Jean called the police twice about someone coming for her she gets ignored. It’s palpable and reveals just how warped the system has become. Violence becomes a self-fulfilling prophecy in a community when they’re arbitrarily relegated to the periphery for no other reason than their skin color.

Furthermore, the juxtaposition of Helen, a young white women, and Bernie, a young black women going into a black community was magnificent. They respond to different scenarios in ways to highlight not only character differences, but also social differences. When they enter the downtrodden community, Helen’s primary concern is finding information about the myth, while Bernie scared for her life. The whole way their first interaction plays out during this act only amplifies the way their positions change the way they think about themselves and what can/cannot happen to them. This becomes even more interesting when Helen goes through multiple revelations that complicate her relation to both the community and the legend of Candyman.

Speaking of Helen, Virginia’s performance is nuanced and emotionally resounding. The long reaction shots on her eyes help convey the depth of her emotional state. She goes from confident, to resourceful, to mystified, to paranoid, and so on. At no point do any of these shifts feel out of place or odd. They all feel authentic and make emotional beats in the story feel that much more poignant. After doing some background reading, I appreciated the extra effort she put in. For certain scenes, she actually let herself get hypnotized so that she would look dazed and mystified. Although, after witnessing Tony Todd’s performance as Candyman, and hearing his authoritative but hypnotic voice, I could see how someone could be entranced by him. But make no mistake, he is sinister.

The film is also shot well. The use of long pan transition shots makes the dread feel like it’s moving along. But the most interesting thing the movie does is insert stills constantly. Iconic images from the movie appear at key moments. They don’t feel intrusive, but are provocative and help foreshadow the meaning and metaphysical positions of key characters.

Rating

TLDR: Candyman, is a well-woven tale that analyzes multiple pressing social issues without ever feeling preachy or patronizing. It’s provocative and aesthetically haunting.

Final Rating: 10/10. Anyone who wants to experience a beautiful commentary on social positions/issues while also being scary, in a more visceral way should watch this movie. It’s a masterpiece.

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

Article, Literary Analysis

Becoming Swan: A Film Analysis of Black Swan

October 22, 2019 The Critic Leave a comment

Introduction

In this analysis I’ll be taking a look at Nina’s (Natalie Portman) journey through Black Swan. I’ll be analyzing why the swan is so important and the philosophical underpinnings that make Portman’s transformation so haunting. NOTE- this is a spoiler zone. I will be talking about plot deals intricately so if you haven’t watched the movie yet, but plan on it, don’t read past this.

The Swan

The film starts off with a shot of a girl doing ballet. We focus on just her feet, noticing her precise and technical execution. The background is dark- there’s almost a supernatural aspect to the dance happening. The camera encircles Nina and her partner- then as quickly as the dance begins,it ends. It was only a dream.

This first scene establishes the story of Swan Lake as the backdrop by which the film operates. Nina is the white swan, pure and innocent and what follows will be her tumultuous journey towards becoming the black swan. But the scene has a dual function- on top of establishing the perceptual metaphor of the movie- it highlights the significance of the play in Nina’s life. The role of Swan Queen is quite literally something she idolizes. Why? Because ballet is quite literally the only thing Nina has going for her.

The Repressed Subject

Art is a form of escape for Nina. As a subject she has been restricted in almost every avenue- forced into a scenario that necessitates action and urgency. She’s 28. At this age it’s make or break and can determine how far her career can really go.

The narrative set up establishes just how repressed every other aspect of her life is. Despite being an grown adult, she still lives with her mom. That by itself isn’t the problem – it’s that she and her mom have a relationship akin to one a mom has with an child about to go through puberty. It feels unnatural and highlights the way she’s been conditioned and brought up.

Erica is abusive. You can debate on whether or not her overprotective tendencies are partially justified, but she does more than enough to suggest that she’s been emotionally and psychologically damaging her daughter. She constantly insinuates that Nina’s sexuality must be protected. Sexual pleasure and questioning has been prohibited- cast aside by the parental Other that determines the boundaries the child is and is not allowed to cross. Every-time Nina has a sexual experience it turns into something horrifying. Symbolically, the loss of this sexual innocence marks a passage into an adult- so by restricting it- Erica can ensure her daughter stays attached to her at all times.

This is evidenced at multiple times:

1. Nina’s room doesn’t have a lock – which is why she’s had to come up with a make shift solution to keep her mom’s prying eyes out. This is also why she’s so sexually withdrawn. She never had a sense of privacy long enough to engage in that sexual discovery that happens in adolescence.

2. Whenever Nina goes out with Thomas, her mom insinuates that he’s touching her or abusing her. While the accusations become more and more accurate over time, her tone doesn’t feel like it comes from a place of love as much as possession. It feels like Nina’s sexuality is a possession that only she is allowed to control.

3. She literally slaps her daughter for saying that she had sex. Instead of trying to comfort her daughter or ensure that she was okay post experience, her first response is one of anger and indignation.

On top of this, we see through the mother-daughter interactions that Nina’s not allowed to disagree. When she makes Swan Queen, Erica buys her a cake to celebrate. Nina doesn’t want to eat it because she feels nervous- that’s understandable. But instead of responding like a normal parent should, Erica lashes out – threatening to throw the entire cake. It’s passive aggressive behavior meant to guilt and shame Nina.

Regardless of Erica’s motivation, the result is an alienated child- Nina never got a chance to grow up and has been reduced to ballet. But ballet also becomes an escape. She stays later and later at the practice hall, because it’s better than coming home to the rules and dictates that make it impossible for her to find herself. Ballet here is a line of flight- a break through the madness and shackles imposed upon her by her mother. By becoming a star she can leave- maybe her career can flourish and she can financially escape. Or maybe in the act of becoming a true star, she can feel a sense of self- one strong enough to resolve the anxiety and loathing she’s internalized and experienced. Whatever it is – it’s freedom. It’s the only thing she can control anymore.

Duality

But to get to this freedom- Nina has to master the duality inherent to the role of Swan Queen- a journey that requires a mastery of herself. As evidenced by her early characterization and mannerisms- we know why she’s so effective as the white swan. Her childlike innocence combined with her pressures causes her to remain innocent but fragile. However, the black swan is the diametric opposite to these attributes.

The black swan is seductive, alluring, and chaotic. As Thomas repeats, portraying it requires an dancer to lose themselves in their routine. He notes that the issue with Nina’s performance is not in its technical execution. Her technique is flawless. Rather, what’s missing is an emotional intensity. A pure burst of affect moving across the scene. Technicality demonstrates a mechanic kind of mastery, but in order for art to cause a kind of catharsis in the audience, it has to have an emotional resonance to it that can’t be described or explained- only felt. This is why Nina struggles- because she’s been stunted of experiences and interaction- she can’t tap into those feelings. How does one understand seduction without understanding love and loss of love?

Shadow Nina is her mind’s response to this lack of information. The doppelganger serves as the inner projection of what Nina thinks the black swan is. It’s her minds attempt at creating a persona of what she needs to master and embrace. But because it’s so different from her, she runs from it and is scared of its presence. However, she eventually “overcomes” this fear.

Instead of trying to control and be timid towards the situations stunting her she lets the intensity of her emotions to serve as the catalysts to her action. These manifest in her actions and her delusions. From an early scene in act one, we see a shadow Nina come about. This serves as the inner projection of what Nina thinks the black swan is.

When Erica starts to yell at her when Lily comes over, Nina stops trying to argue with her mom. Instead of cowering away from her and giving in she acts like a teenager and acts rebellious. In this moment of symbolic growth she gives in to her frustration and angst and decides to experiment and try new things. Since Lily’s introduction into the ballet troupe, Nina has come to view her as a stand-in for the black swan. Unlike her, Nina is free-flowing and flexible. Her personality matches the aesthetic of her dance. She’s flirty, seductive, and playful.

When Nina comes home and gets slapped- instead of cowering from her sexuality, she uses her rage to have “sex” with Lily. The scene might be steamy, but where it really shines is in its symbolic meaning. We know Lily isn’t real in this scene- she seems to be the same shadow delusion Nina has seen the whole film. She transforms from Lily to Nina back to Lily and then Nina again at the end. The point isn’t just to highlight how tenuous Nina’s relationship with reality is. Rather it shows how she’s forming her “black swan” self. Lily is a template for everything the black swan represents. Having sex with her is opening her up to the influence, The constant transformations reflect her absorbing the perceived characteristics .

This is also why Nina sees Lily having sex with Thomas during the night of the performance. It’s most likely a delusion- but needs to happen. If Lily was the white swan, and Thomas was her beau, then the story dictates that he’s “stolen” by the black swan, Lily. Nina’s projection is necessary to cement her place and to drive her transformation fully forward. Now that the white swan has seen her partners infidelity, she must die. Nina must allow herself to die, so that “black” Nina can be born.

Becoming-Swan

At the end of the second act, Nina walks into her dressing room and sees a delusion of Lily getting ready to take her place. In a jealous fit of rage, Nina kills Lily and then drags her body elsewhere. What really dies in this scene is the barrier between the white and black halves of Nina.

In killing Lily, Nina has rid herself of the black swan proxy. She no longer needs Lily there to learn from because she’s finally assimilated the perspective and feelings of the black swan. Even the weapon of choice here is a shard of the destroyed mirror- the mirror between the dual sides of Nina. She literally uses the shattered symbol of her multiple selves, to destroy and absorb the sensual and chaotic side of herself.

Her makeup becomes more realistic- her feathers feel like they literally are growing off of her. In this moment, Lily isn’t the held back and repressed child, incapable of taking her own actions. She has become the literal embodiment of the swans. Careful and meticulous but filled with a frenetic energy. Both white and black – by removing the barriers between the sides of her identity- she has become pure artistic experience. It’s why the violence and pain she goes through at the end don’t affect her. It’s why her eyes are in a daze as Thomas stares at her in awe.

For a few moments, she had transcended all limits, and gave way to a beautiful, but fleeting performance.

A, Grade, Review, review-movie, science fiction horror, Year, zombie

Review: 28 Days Later

October 22, 2019 The Critic Leave a comment

Director(s)	Danny Boyle
Principal Cast	Cillian Murphy as Jim Naomie Harris as Selena
Release Date	2002
Running Time	113 minutes

Zombies- check.
Misanthropy- check.
Examination of alienation – check.
Awesome music – double check.

Danny Boyle’s science-fiction zombie film, 28 Days Later, checks off all the necessities of a great movie, adds on a great deal of nuance and criticism, and wraps all of that in a beautifully shot and scored piece. The story follows Jim as he wakes up 28 days after a terrifying “rage” virus has spread and destroyed most of England. He eventually meets up with and forms a rag-tag team with other survivors as they struggle to find a way out of the living hell they find themselves in.

I knew I was in for a cinematic treat just based off of the parallels in the opening scene of the movie, and the opening scene on Jim. We start off looking at a monkey, tied up to a series of wires, being forced to take in violent awful media. When Jim wakes up, he’s also covered in wires on a hospital bed causing an immediate association between him and the primate. It beautifully foreshadows his journey as he’s forced to view and deal with gruesome and morbid scenes of violence. It also raises one of the films main thematic questions- what is humanity and how is it different than animality? Based on this opening scene it might be that humans and animals aren’t so different after all. The feeling never really goes away and the film constantly plays with it.

Every camera shot has a purpose in this movie and I was constantly kept off balance by their variation in use. The use of a gritty realistic recording makes the setting feel grounded and haunting. A darker color scheme is used for most of the film so when lighter ones are front and center, it feels intentional. It serves as a visual and thematic pallet cleanser, which for the most part, keeps the movie fresh and invites deeper answers to the questions being posited.

The frequent use of angled shots highlight the upturned nature of the world around them. Any semblance of the social order that they know of is gone. There are a lot of wide open shots that make the characters feel puny in comparison. They feel like ants- showcasing not only our groups’ alienation, but also questioning the general place of humanity in relation to the planet at large. The quick panicked shots when the zombies come in is also jarring and was frightening each time it was used. The zombies being as fast as they were only made the effects more pronounced.

Speaking of that, I love how fast the zombies were. They’re aggressive killing machines and present a real sense of urgency. The film ensures we know of that by having an incredibly tense and shocking zombie/reaction scene out of nowhere, highlighting the absurdity of it- a mistake at any point, even a small one could be deadly. Even a small speck of blood end our protagonists, so every zombie encounter becomes even worse- we’re constantly on the lookout for blood and cadavers because those present as much of a threat as the zombies themselves.

Because the zombies were so threatening I expected them to be the highlight of the film, driving the main source of tension. But the film spends a large chunk of time developing our group. They really do feel like a family, and some of the character moments in the second act are well realized. They help flesh out the characters without feeling out of place with what we’ve learned about everyone earlier.

John Murphy’s sound makes all of the above elements even better than they would be otherwise. He uses music to precisely accentuate the emotional undercurrent of the scene. The music is never just there for the sake of being there. For example, during one scene in the first act, a soft song plays in the background as the characters explore a certain area, but upon the discovery of a deceased couple, the music cuts out. Instead, the audience is left with silence- highlighting the somber and tragic nature of the scene, before the song comes back in- snapping us, and the character who discovered the scene back to real life. Furthermore, “In the House, In a Heartbeat”, is one of the the best horror/theme tracks I’ve ever heard and its use in the third act was chilling.

The ending of the movie feels rushed and thematically inconsistent, even if I personally thought it was a pleasant change of pace from what I expected. Certain character arcs feel like they come out of left field, but are still beautiful symbolically and thematically. The issue is that after setting up a series of expectations that would allow for the rushed characterization to feel symbolically meaningful, the film directly sidesteps what it just did in favor of something else. The end result, is a surprising ending that a lot of people might find unsatisfying. Personally, I liked it and I’ll get into that in the spoiler section, but I’m definitely going to look at the alternative endings to see if they change my view of the movie at all.

Report Card

TLDR	28 Days Later, is a rich and tense zombie film that’ll have you asking questions about the depraved extents we go to survive. Thought it falters in the ending, it is tense and filled with a sense of isolation that lasts until the very last scene. Watch if you enjoy tense and well-paced action scenes, examinations/criticisms of anthropocentrism, or want to watch a beautifully shot and scored work of art.
Rating	9.5/10
Grade	A+

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

A, Grade, Review, review-movie, Year

Review: Black Swan

October 21, 2019 The Critic Leave a comment

Let go. Maintain control. The two impulses seem diametrically opposed to one another. Letting go implies a sense of giving in to drive and impulse, but maintaining control is always portrayed as a denial of the same. Perfection is the balance between two and Darren Aronofsky’s psychological-thriller, Black Swan, follows Nina (Natalie Portman) as she attempts to find that balance in her upcoming ballet performance in Swan Lake.

The first shot of the movie is phenomenal and sets up both the surreal and phantasmic nature of movie , but also places Nina’s life squarely in the context of Swan Lake. She is the white swan- placed in the position of the pure and innocent. Incredibly fragile. It’s the first thing we see her thinking about- her ability to perform in the piece is something that is constitutive of her and her sense of being.

Portman’s performance is haunting and shows the strain and anguish that comes from the pressure to achieve perfection. She feels like a child- diverting her eyes away during conversation, whispering to herself, and crying in fear. Watching her brutal and tense transformation feels that much harder because of how well the anguish is shot and portrayed. Every injury and bruise feels visceral and hard to keep looking at. I could not stop clenching my wrists during certain tense scenes.

Mirrors are utilized with precision. They’ve always been symbolically associated with ourselves. A way of ascertaining our identity- looking into our true selves. Every scene with a mirror in this movie feels like it has a purpose- not just in a superficial “identity is multifaceted” kind of way – but as thought they represent a deep inner conflict between multiple inner selves. They also represent duality which reinforces the divide and conflict between the black and white “swans” Portman must embody.

The movie never spends too much establishing detail- there’s always a suspicion that certain things are afoot- characters are more perverse than they let on. Not focusing on the details does help create the fleeting artistic feeling which accentuates the transformative nature of the movie . Personally I liked how certain things were more open ended, but if you like everything clear cut and laid out for you- this may not be your cup of tea.

However, this does cause a weird sense of lack to develop. Certain subplots are brought up to help accentuate themes, but they don’t get resolved which makes them feel like plot devices as opposed to natural interactions. These inconsistencies also stick out more given the lengths the early portions of the movie take to make the environment “dark”.

Rating

TLDR: Black Swan is a beautiful tale of the price of perfection that will have you questioning what you’re really seeing. There are some slight narrative “forces”, but they don’t detract at all from Portman’s haunting and disturbing performance.

Final Rating: 9.4/10. If you enjoy deep character takes or movies that play with reality vs fantasy this movie should be right up your alley. I felt tense the entire film and was left speechless at the ending.

In lieu of the usual spoiler page, click here, to read my spoiler intensive analysis of the movie.

Grade, Review, review-movie, science fiction horror, Year

Review: Cube

October 20, 2019 The Critic Leave a comment

When I was a young child I remember walking into a room at a family friend’s part and watching the first gruesome scene in the movie. The moment was so unexpected and shocking that I ran out of the room and desperately tried to forget this movie. Nearly 15 years later, I have to say I’m happy I ran out of the room that day, because a younger me could never appreciate the philosophical complexity inherent at the heart of Vincenzo Natali’s science-fiction thriller, Cube.

The plot follows a group of randomly plucked strangers who have all mysteriously found themselves in a cube-shaped room. Each wall of the cube has a doorway to a similar shaped room. But from the first scene, the movie assures us that nothing is safe or truly secure. Certain cubes will kill anyone that enters them- so moving always risks possible death. This simple, yet elaborate set-up, constantly keeps every scene tinged with suspense.

From the very first moments, the movie feels tense and disturbing. The screen always feels claustrophobic because of the closed off nature of the set. The special effects on display are amazing and made the early deaths believable. In fact one of them feels like a real “omae wa mo shinderu” moment, and I visibly gasped when I saw it. The dread of knowing that you’re already dead and having to experience – that’s blood-chilling. The best part? This is just the first death of the movie.

What makes the movie work so well is how believable and well fleshed out all the characters are. Most members of the group take actions that seem justified- making them feel competent and REAL. The second act is where a lot of the dialogue happens and the characters become fleshed out and nuanced. Some of them even feel like call outs of tropes of the “roles” each of them fit in the genre. This made me care for them, good or bad, so the more gruesome moments were more resounding.

Philosophically, the movie shines. It felt like an examination into humanity’s attempts at creating patterns and meaning. For example, if I see a pattern like “12312312_” I’d assume that the next number in the chain is a “3” but that’s because I assume the base of the pattern to be “123.” If the base was actually ” 1231231245″ then next number from the above chain would be “4”. As such any attempt at understanding a pattern assumes some kind of context that can help discern them from merely random fluctuations. The movie plays on the characters and the audiences use of this behavior and deliberately creates a sense of doubt over the truthfulness of certain assumptions the group has made.

Throughout the film, the characters try to find patterns in the cubes or reasons for the presence of random objects , but because they’ve been placed in a situation where they don’t have any real context, they’re forced to guess on the “bases.” This creates this terrifying philosophical undercurrent the entire movie that helps highlight not only the thoughts and feelings the characters are having, but also remove any and all sense of expectation from the audience. Every time the characters traversed, I felt nervous something was going to happen. This feeling continues till the ending, which is what I loved most about it- based on how you fall on the issue, you can come to a different conclusion over the final fates of the characters.

The problems with the film become more prominent in the third act. Certain character choices don’t make a lot of sense given previous events, and other character changes seem sudden and rushed. There’s also a weird suspension of disbelief that happens regarding some traversal issues that make the movie feel inconsistent in it’s rule-set, but also feels like it could thematically align with some earlier points. It’s not something I hold against the film now, but it is something that others may not like as much.

Rating

TLDR: Cube is an ambitious philosophical thriller through cube shaped hell. It’s fun, though provoking and invites the audience to think along with it until the ending credits play. Some of the character decisions and transformations feel out of place near the end of the movie, but they’re not even close enough to derail the fun here.

Final Rating: 9.2/10. If you enjoy philosophy this is the movie for you. You’ll be sitting there talking about the plot long after the movie ends. Fans of suspense should also give this a go.

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

Grade, Review, review-movie, Year

Review: Joker

October 18, 2019 The Critic Leave a comment

Director(s)	Todd Phillips
Principal Cast	Joaquin Phoenix as Arthur Fleck/Joker Frances Conroy as Penny Fleck Robert De Niro as Murray Zazie Beetz as Sophie
Release Date	2019
Language(s)	English
Running Time	122 minutes

Todd Phillips’s “comic book” film, Joker , feels less like a comic and more like a serious study of a man’s slow descent into a nihilistic force of violence. The film follows Arthur Fleck, played by Joaquin Phoenix, a man neglected and relegated by society until he finally snaps and embraces his persona as “Joker”.

Phoenix is the star of the show and is magnificent in his portrayal of a relegated pariah who slowly loses all hope. What makes the performance so haunting is the genuine sense of how real it feels. Arthur is constantly hopeful, someone trying to pull themselves up by their bootstraps- trying to live the “American Dream.” Joaquin evokes a man, desperately trying to live out some dreams- to get back up in spite of everything. This was necessary, because without it the transformation from Arthur to the Joker would be more villainous and less sympathetic.

Furthermore, the laugh he emits due to his “illness” is genuinely haunting. It has a choking sound to it and completely reveals Fleck’s emotional state. Phoenix constantly manipulates and utilizes the laugh with different “intonations” to highlight the undercurrent of the characters state of mind. This helped chronicle Fleck’s progression from down-trodden dreamer to nihilist psychopath.

The humor in the movie is perverse. It never feels right because it comes about through a sense of awkwardness. I kept laughing during my viewing, along with the audience, at scenes that were unsettling, but I couldn’t stop. It’s like the absurdity of Joaquin’s laugh or the unsettling nature of whatever scenario was on the screen necessitated a laugh as a response. There are genuine moments of black humor that don’t rely on perverting the disturbing, but they’re more spread out through out the movie.

The movie is shot beautifully- everything feels gritty and realistic. The usage of different color palettes really helps make certain transformations more mesmerizing, but also help cast doubt on the reality of the situations. In fact, the movie plays a lot with reality and interpretation. Very early on, the film sets up a fantasy sequence of Arthur in a comedy show. It helps inform the audience that Arthur is prone to engage in delusion, but because of the way it’s placed in the narrative with no kind of “announcement” that this was no longer reality, the audience no longer has any expectation that what they’ll see on the screen is real. This tinges the movie with the idea that things might just be hallucinations. The feeling is maintained well until a certain juncture in the movie which feels a bit too heavy handed. It ruined the immersive and unnerving feel the movie had had up till that point.

Thematically the movie falls a bit flatter than I thought it would. The progression of the riot and the protest movement feels rushed and is something I wish was more fleshed out. The themes of class consciousness feel a bit more muddled and become even more confusing given the film’s attempt at cutely including actual Batman characters. Like having Thomas Wayne (Brett Cullen) in the movie is cool, but he feels like a big bad as opposed to some artistic depiction of the character from the comics- so the feeling doesn’t play out as well.

Report Card

TLDR	Joker is a beautiful deep dive into the psyche of a broken and battered man. Phoenix’s performance is mesmerizing and the theme is provocative , even if slightly inconsistent, in the questions its asking. Joaquin ‘s performance justifies the price of admission by itself. One of the best movies of 2019. If you can handle some painful scenes, buckle up for one of the wildest rides.
Rating	9.4/10
Grade	A

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

Black-Comedy, Grade, Review, review-movie, Year

Review: An American Werewolf in London

October 17, 2019 The Critic Leave a comment

John Landis’s horror-comedy, An American Werewolf in London, follows the tale of two backpackers, David (David Naughton) and Jack (Griffin Duance) as they travel through England and are subsequently attacked by a werewolf. The rest of the film that follows tracks the characters and their respective responses to the attack. Though comedic, Landis’s story works better is more often scary and tragic.

A lot of the humor works because it feels so “normal” and nonchalant in the absurd circumstances. Characters reveal serious information in very calm ways, which makes them feel like jokes, but the juxtaposition with the seriousness of the situation creates an unsettling feeling in the scenes that only underpins the horror. The sound choice in the movie also helped amplify this feeling and disjuncture. A lot of the songs were werewolf related and up-beat and positive in contrast to the macabre scenes proceeding the same. Often times I’d be laughing, but then feel dread upon thinking of the actual implication of what’s being said.

Furthermore, the special effects in the movie are phenomenal. Rick Baker’s make up work and practical design work makes the werewolf transformation in this movie the scariest and most spectacular I’ve seen- and the movie has now been out for close to 4 decades. It was refreshing to see real makeup instead of an overabundance of CGI.

The atmosphere of the movie, especially in the third act, feels out of step because the comedic and terrifying elements are hard to balance out. It works for the most part, but some of the more serious aspects of the movie felt less so because of the inconsistent tonal transition. This in turn made the end of the movie feel more abrupt to me, but the more I think about it, the more it makes the ending feel somber.

Rating

TLDR: An American Werewolf in London is funny and tragic. For the most part, the comedic bits serve to highlight and drive home the absurdity and make the tragic nature of the situation more amenable. It comes off unevenly at some points, but the film remains enjoyable and gripping till the end.

Final Rating: 8.7/10. If you enjoy irony, comedic juxtaposition, or enjoy great visual effects design I’d check this flick out. It was surprisingly to the point and emotionally resonant.

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

Grade, Review, review-movie, Year

Review: Saw

October 16, 2019 The Critic Leave a comment

I put off watching this movie for so long because of its branding as an awful torture porn series. Thankfully, at least in this first iteration of the Saw Franchise, Saw, the gore is never a huge issue. Instead, James Wan attempts to tell a psychological mystery story- an exploration into the morally ambiguous. The plot follows Lawrence (Cary Elwes) and Adam (Leigh Whannell) as they find themselves trapped in a sick twisted death game – forced to figure out clues in a race against time.

The plot here is messy, but fun and thought provoking. There are red herrings. There are flashbacks within flashbacks. New twists and turns constantly appear. This in turn had me constantly asking why. Why were the characters in this situation? Who is Jigsaw and why was he doing what he was doing? As more information is revealed, my view and ideas on what was going on to and around the characters become more nuanced- almost like a jigsaw puzzle (wink wink). However, the constant information dump does feel messy at times.

I like how experimental the film is. The main villain, Jigsaw, teeters on the edge- not fully evil, but certainly not good. The juxtaposition between his selection process and stated purpose will have you asking if he’s morally ambiguous or just straight up a psychopath.

The scenes inside of the run down bathroom were shot great. Whenever the camera focused on Lawrence, it stayed steady- like his character. However, when it shifted to Adam, it rocked, highlighting his erratic nature. However, a lot of the action scenes were choppy and felt out of place. There were too many jumps and it felt like the whole piece would’ve been stronger without them.

Rating

TLDR: Saw, is an interesting journey that plays out a lot like a puzzle. The journey is disorienting at times, but watching Lawrence and Adam try and piece everything together is incredibly suspenseful and gripping.

Final Rating: 8.1/10. The movie is ambitious, in spite of its flaws. Anyone who likes a good mystery or wants a movie with a nuanced villain should check this out.

Go to Page 2 for my spoiler-full thoughts!

Pages: 1 2

The Critic's Sanctum

Film Review: Friday the 13th – 1980

REPORT CARD

Review: Event Horizon

Rating

Review: Candyman (1992)

Rating

Becoming Swan: A Film Analysis of Black Swan

Introduction

The Swan

The Repressed Subject

Duality

Becoming-Swan

Review: 28 Days Later

Report Card

Review: Black Swan

Rating

Review: Cube

Rating

Review: Joker

Report Card

Review: An American Werewolf in London

Rating

Review: Saw

Rating

A place for fun and rumination