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2020, 2020s, A, found footage, Grade, Horror, mystery, Past, Review, review-movie, supernatural, Thriller, Year

Film Review: Host – 2020

April 16, 2021 The Critic 1 Comment

Director(s)	Rob Savage
Principal Cast	Haley Bishop as Haley Jemma Moore as Jemma Emma Louise Webb as Emma Radina Drandova as Radina Caroline Ward as Caroline Edward Linard as Teddy Seylan Baxter as Seylan
Release Date	2020
Language(s)	English
Running Time	56 minutes
Report Card	Click to go to Review TLDR/Summary

Haley starts the Zoom meeting at the start of the movie.

We start in the virtual plane. A Zoom call opens up. The mouse moves to start up a meeting. The computer screen is the stage this play takes stage on. The physical pierces through the virtual as the filter tape that covers the meeting host’s camera is slowly removed. Privacy gives way for a chance at intimacy. We finally see our host, Haley (Haley Bishop), as she gets ready for meeting. Unbeknownst to her, someone else has joined her meeting room.

Haley moves the laptop down the hallway to look for the noise.

Suddenly we hear a loud thud. Has something happened already? Does it have something to do with the unseen participant in the room? Haley leaves to find out, moving the laptop with her to bring us along on the journey. The screen is no longer bound to one place and is allowed to be active. As she makes her way to her living area, she realizes the sound is coming from outside. She peers out the window.

Crisis averted. She realizes that this noise, this false source of fear, is her friend Jemma (Jemma Moore), who’s outside making a ruckus in an attempt to get Haley to give her, Jemma, permission to join the zoom meeting; thus, the boundary between the physical gives way to the virtual as the encounter between the two transitions to the online call.

In just a little under 4 minutes, Rob Savage’s Host manages to showcase its themes, set up a scare, and foreshadow the structure of the story (along with finer plot details). As the rest of the members of the Zoom meeting show up, it’s revealed that the jolly group of friends, made up of 5 women – Haley, Jemma, Emma ( Emma Louise Webb), Radina (Radina Drandova), and Caroline (Caroline Ward) along with their male cohort Teddy (Edward Linard ), have come together under Haley’s instructions to perform an online séance. However, it becomes clear that things are going to take a turn for the worse as the group is inevitably forced to defend themselves against supernatural forces.

Now while creepy séance movies are nothing new, Host manages to raise the stakes by taking the process online. A séance is a ritualized procedure whereby individuals participate with one another to communicate with the spirits. The procedure involves the dissolution of the physical into the spiritual. It is not a coincidence that the nature of a séance matches up so well with the nature of an online meeting. Like the best J-Horrors (Pulse, Ringu), Host is focused on exploring the way the web has become the realm of a new spiritual – a site of connectivity where the the bonds between the living and the dead commingle. As communication transforms so does the nature of the haunting.

This is where the COVID-19 quarantine based setting of the movie comes in. Participants in a séance have to follow protocol to safely engage with the astral world. Breaking these rules can have consequences in the same way that breaking quarantine protocol can. Quarantine limits communication, relegating people to online messages as opposed to in person discussion. Without the physical presence of people around us, the way we engage in that conversation changes. We may be less inclined to follow rules of decorum or less likely to be as committed to engaging. In a more intimate sense, the forced closeness generated by quarantine protocol means that in-person relationships are forced to weather increased presences. People who you might have been able to ignore now are an everyday presence, and if they choose to ignore protocol they can end up infecting you with the virus potentially harming you and those you love. Privacy becomes harder to feign because the private is forced to seep into the public – another dissolution.

It is these qualities that makes an online séance during COVID-19 quarantine the perfect melting pot of ideas and themes. Barriers between the physical, spiritual, virtual, public, and private bleed into one another forcing us to ask tough questions about what we think about those closest to us and ourselves. Corona is compared to the nature of haunting. The breakdown of spirits is compared to the way the virtual space is made up. Each layer of the movie works on it’s own, but the strength of the movie comes from the way the ideas so easily build upon and proceed into one another.

This can most be seen in the way the movie marries its metaphysical vision to an equally exciting visual style. The way the script tackles its particular spirit(s) gives Savage and co. carte blanche to go hog wild with their ways of supernatural scares along with building up a mythos for what’s going on. Early on, the movie intentionally calls note to some small flickers on a user’s screen to goad you into focusing onto small details. That way when the screen changes from the group view to the individual view and back, you’re hyper focused on making sure nothing’s moving. The smallest flicker can elicit a scare. By layering moments like these early on, the movie manages to ratchet up the tension to incredibly high levels.

However unlike its most of its found-footage contemporaries, Host isn’t satisfied with just going for micro-scares and ending with one big scare akin to Paranormal Activity. It’s more ambitious and plays closer to something like James Wan’s The Conjuring; there are beautiful big set pieces, scares that are set up earlier in the movie, and practical effects are deployed wherever possible to help enhance the sense of immersion

Despite being constrained by filming (mostly) by themselves in their own apartments., Savage and his crew don’t shy away from going for big and impactful scenes with real heft demonstrating that embracing limitations is a powerful way to ground scares. Because it starts small and builds up progressively, the story is able to explore the development of the spiritual and offer space for questions to form on what’s actually going on.

By grounding the more horrifying elements of the supernatural encounter the movie’s individual elements can congeal. This is primarily achieved in two ways:

Careful attention to characterization details
Maintaing the feeling of a Zoom call.

Subtle interactions between the characters and in relation to the way they describe/deal with their respective living situations helps to fill in a lot of context as to what they’re doing and their respective histories with one another. Every piece of dialogue feels natural and conversations between the character’s feel consistent and proceed in a way that’s too natural to feel scripted but to well put together to fell fully done off the cuff. For example, early on the girls rag on Teddy before he shows up. Anyone who’s had friends can tell that under the playfulness is a real frustration at his presumed recent callousness at their group interactions. Moments like these are a testament to both the editor, Brenna Rangott, for picking clips that seamlessly flow off of one another and the cast and crew for playing off one another in a way that feels like actual friends would.

From left to right and top to bottom: Emma (Emma Louise Webb), Caroline (Caroline Ward), Haley (Haley Bishop), Jemma (Jemma Moore), Radina (Radina Drandova). The group uses the Zoom audio interface to boost up their ability to capture potential noises happening around them demonstrating both a commitment to the application and a neat way of using it to the movie’s advantage.

However, what grounds the film and makes it work is its impeccable formal consistency; never once does the film break away from the formatting of a Zoom call. It starts and ends on the application proper. The audio and video feeds range from high definition and nice microphone quality to scratchy and lagging video streams. The characters make use of functions in the application to problem solve a variety of issues. As they switch between mediums, from phones to computers, audio feedback delays and connection issues come about. Variation comes from the quality of the videos as the film cuts between the group participant views of the screen to solo participant views of the screen, and having the characters move the camera when the situation calls for it. The result is a movie that’s brimming with visual life despite being so limited in location and space.

Furthermore, there’s no score, because the movie is supposed to be a chronicle of a séance. But instead of silence, the soundscape is littered with bits of feedback and small creaks which manages to unsettle just as well as any compelling horror score. No noise or visual cue betrays the feeling of the movie which in turn makes the more grandiose moments feel satisfying, authentic, and unexpected.

Best of all, there’s no cheating with the use of awful glitch effects. Even the better found-footage horror movies like Hell House LLC tend to use cheap-feeling glitch effects where the camera presents a stream of static in an attempt to show the supernatural distorting things. It typically comes off as awful visual clutter that betrays the aesthetic of found-footage movies. Host completely avoids these issues because the practical stunts and effects are done so well that there’s no need to be afraid of showing the audience the horror.

However, the bursts of cinematic genius and narrative levity come to a close far too quickly. Many of the fleshier metaphysical ideas feel like they get truncated too quickly and consequently the depth present in each haunting is diminished. For example, the movie introduces the idea of personal totems that each character can use during the séance but makes very little use of it as the film goes on. Tying in some of the intense scary scenes with these more intimate character items would have helped give more definition to certain character arcs and relationship dynamics and made the supernatural subjectivity the film is trying to establish more apparent.

But in spite of these misses, Host is part of a select few found footage to evoke same sense of dread and unease that the The Blair Witch Project did at the turn of the century. By placing the narrative within the pandemic that many remains so fresh in many of our minds, it’s more easily able to get us to invest in the story and care about what happens to the characters because they’re like us: they’re trapped, forced to take responsibility for others, and susceptible to the smallest misstep from someone in their social group. It’s this empathetic identification that makes the sense of unease in Host so poignant and terrifying – a reminder of the shared horrors we’re still vulnerable to today.

REPORT CARD

TLDR	Host is proof that budget matters less than the guts to commit to a vision and figure out the most effective way to demonstrate that vision with the tools available. Despite being made during quarantine and with a low budget, each member of the cast and crew came together to turn in a cohesive and well-oiled horror machine that looks and plays like a major horror blockbuster. There’s characters to cheer for, scares that get under the skin, and a story that’s easy to follow while remaining compelling to think about.
Rating	8.7/10
Grade	A

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

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2000s, 2002, A+, Art House, Comedy, Crime, Drama, Grade, Review, review-movie, Thriller, Year

Review: Punch Drunk Love

January 28, 2021 The Critic Leave a comment

Director(s)	Paul Thomas Anderson
Principal Cast	Adam Sandler as Barry Egan Emily Watson as Lena Leonard Philip Seymour Hoffman as Dean Trumbell Mary Lynn Rajskub as Elizabeth Egan
Release Date	2002
Language(s)	English
Running Time	95 minutes

The movie opens on Barry Egan, an plunger entrepreneur who’s engaged in conversation with a help desk of sorts. His conversation style is awkward due to the importance and seriousness of the subject he’s speaking about – an airwards mile rewards program. This conversation is shot on a handheld camera. This is on purpose- many moments the movie explores, Barry’s awkwardness is a natural predisposition towards the world that manifests in his shaky lack of control over the way it should work.

Barry Eagan (Adam Sandler) isolated through mise en scène
as he talks about an airplane rewards program. He’s in a corner oppressed by the shadows that encroach him.

He is surrounded by the colors blue and white – the blue matches his suit and feels like an extension of himself. The white feels oppressive especially with the way the shadows loom all around. He feels enclosed – stuck in a rut, threatening to get engulfed by the darkness around him. This is a pattern he needs to break.

He gets up to open his garage and literally disappears from the screen. Saying he’s in in a dark place is putting it lightly. As he looks out at the entrance to his garage lot the camera cuts to the entrance of the lot quite and starts tracking to the left side of it. Unlike the sky that surrounds Barry – a melancholic blue -the site on the street is a gradient of purple – a mix of blues and reds. Up to this moment, the soundscape has been minimal and precise outside of Barry’s footsteps, his dialogue (obviously), the scribbling of his notes, and similar small details.

Barry (Adam Sandler) walks away from his desk.

This calculated calm gives way as a red car flips over the street violently. The sound of its crash is jarring – a wake up call – a signal to Barry that change is coming. Immediately after this crashed car skids down, a red moving van drops off a small harmonium before quickly driving off. Two red vehicles arriving at the same time disrupting the silence – in intervention in Barry’s life. The camera zooms onto the discarded harmonium before quickly cutting to Barry at his desk – his body replacing the space the piano was previously in. The piano will come to play an intimate part in his life.

Barry (Adam Sandler) looks out at the street in from of the lot he’s located at.

He goes through another awkward but telling phone conversation – socializing is not his strong point. The conversation ends and he goes outside once more. This time the sky is bright, filled with the sun- a warm radiance. A woman dressed in red, Lena, runs out of her white car. The warmth of the sun seems drawn to her. She’s fully illuminated as she runs towards Barry. Due to some unforeseen scheduling issues she needs his help getting her car to the mechanic next door. Barry plays it cool and lets her know he’ll be of assistance .

Their conversation is accompanied by a multicolored lens flare which shows up in between them. A bridge of light made up of red and blue colors – a connection willingly made by two parties. As she walks away the camera pauses on her standing next to the harmonium. Another connection made between a person and the harmonium. Now the two red interruptions (the red cars and Lena) are linked to an instrument (the harmonium) that’s linked to Barry.

He waits coyly for her to leave before rushing back into his garage/office. He hides in the shadows. The blackness consumes him. This is a momentary paralysis – a fear of the decision he has to make. A brief pause later and he choses to go into the light. His silhouette stands strongly and resolutely – a sign of his determination. The blackness goes from imposing to representing a moment of agency – from the shadows to the light. Speaking of the light, the harmonium which has been tied to Lena – a literal beacon of light, beckons Barry forward. To demonstrate to us the severity of Barry’s upcoming decision – PTA opts to show us our protagonist along with the harmonium from 3 separate angles , even going so far as to break the 180 degree rule( Barry’s orientation changes in images 7 to 8 as he goes from facing left to facing right) . The decision to take the harmonium is one of vital importance and as Barry decides to take it another truck violently zooms. As the truck goes by there’s another loud and abrasive car noise – a counterpoint to the first crash – a confirmation of a choice that has been made.

Barry (Adam Sandler) goes out into the blinding sunlight as a white car approaches him.

He brings the harmonium back to his private office – a room which he keeps free from the chaos of his work environment. As he sets to examine the instrument, a blue lens flare appears- this is an important moment of determination from Barry . His face which was previously covered in shadows becomes enveloped in a light as the camera slowly zooms in on him staring at the instrument- he’s lit up by an outside brightness just like with Lena earlier.

As he plays the instrument, Jon Brion’s “Punch Drunk Melody” starts up in the background alongside the wonky harmonium notes Barry plays -the first meeting of the non-diegetic experimental score with the deliberate diegetic soundscape feels like an orchestra of sorts. The silence from earlier feels like a deliberate refrain akin to a song which helps tie the newfound audio to Berry’s newfound decision making process. The idea to bring in the harmonium is the key to everything – it brings “music” into Barry’s life. Even if the character’s can’t hear it, the non-diegetic score blends in with the sounds of their life, giving their actions and behaviors an accentuated rhythm.

One of Barry’s employee’s shows up and asks why there’s a harmonium in the main office . Barry initially ignores the question. He slowly dances out of the office with his eyes fixated on the harmonium almost as if in a trance. As he’s asked again he responds, “I don’t know.” Watch the movie to find out why.

Barry (Adam Sandler) sits down to tinker with the harmonium after picking it up off the street. There’s a blue lens flare showcasing how this manifestation of his will is important for what’s to come.

To commemorate the start of Barry’s journey, the movie cuts to a Jeremy Blake art piece that showcases colors and shapes slowly dissolving, transforming, molding, and becoming one another. A gradient of pinks become blue become stars in the night sky become rainbows that cascade across the screen. The soundscape changes as music and dialogue interplay with one another – the diegetic/non-diegetic boundary continues to come undone as this plane of attributes coalesces into something before cutting to the next scene in the movie.

This living art piece is the framing device holding the elements of the movie together and is cut to at 4 critical junctures in the movie – moments of decision or change (this decision and resulting question being one of them) . The infinite array of sounds and changing visual schema represent the potential inherent to any decision – anything is possible. Highlighting the malleability of a situation by tying key junctures to the literal visual depiction of change helps drive home the importance of Barry’s decisions. However, Blake’s work also lets PTA say something about the act of cinema itself. It’s an assemblage of moving parts – lights, colors, sound, sound design, shapes, compositions, and so on- that can blend into an infinite array of phenomena. The particular presentation of a moment then, is incredibly important. It’s a distinct manifestation of the attributes done in an explicit way to elicit a feeling. As such it’s not just Barry’s decisions that are highlighted as important to the narrative, but also the auteur’s (and their respective cohorts) decisions to film scenes in certain ways.

Jeremy Blake’s constantly changing art piece serves as the framing mechanism that orders and matches the form, content, and themes of the movie into one cohesive breathing entity. This changing assemblage is a meditation on art, a deliberation on deliberation, love given a visual form, and the movie in its basest.

In Barry’s case – his decision involves love, hence the title of the movie. His awkward mannerisms and tendencies to hide in the shadows and become paralyzed are only the beginning of his character traits. As the movie continues, it’s clear that Barry is a man who struggles with his self image and doesn’t have full control over his impulses. He constantly commits Freudian slips, breaks into immense moments of emotional volatility, breaks things, awkwardly tries to get out of situations, and similar such behaviors. However, in spite of this he’s not a “bad guy”. It helps that Adam Sandler is naturally goofy and charming and those natural qualities bleed into his performance here. It’s this veneer of likability that gets us on his side cheering for him as opposed to against him and his manic patterns.

The movie uses every detail possible to showcase his developing agency, the way it manifests, and the way he feels about himself before and after such manifestations (identity). The movie uses colors, shadows, camera moves to highlight the way Barry sees and perceives every situation. White/yellow represent change and feel almost paralyzing. Change is horrifying and Barry spends much of time petrified in the white. Blue is the color of Barry. Obviously blue is connoted with a melancholy/depression which makes sense given where Barry is, but the color is more representative of his will. His fate and sense of being. Red is the color of Lena. It is the color of both love and violence. As evidenced by the red car and truck at the start of the movie, there’s both forces are explosive in their own right. Black is the color of determinacy – it represents a stabilization of attributes – a manifestation of the will. Characters constantly change their outfits in slight ways – changing colors to show their thought process and where they’re going to go. By adopting other characters’ colors, it’s evident that people can become a part of one another – that which was alone becomes part of a whole. Lens flares show moments of decision – the potential of a person activating a change and making a meaningful choice. These colors are draped in either a blinding light or a overwhelming shadow – the light and dark side of each of these colors – the duality between love and hate.

The innermost feeling of the characters are felt in the soundscape. As I have mentioned before, Brion’s work melds in seamlessly with the world of Punch Drunk Love. It is evocative and experimental – the sounds get under the skin like they’re being tapped or blown in the ear. It’s a direct and unforgettable kind of noise. It is also an explosion, turning beautiful and romantic at one moment to brutal and anxiety inducing at the next. There are other moments where the score fades to the background if not disappears altogether when something important is happening. For example, chaotic scenes might have a thumping score that ceases for a few moments as characters find a sense of peace.

Every single element of the movie works and is elevated because every point has a counterpoint (if not multiple) to tie together symbols and ideas into recognizable motifs- tying plot and theme together in an organic way that’s subconsciously understandable even if not particularly noticeable. The use of color, light, and certain musical cues only scratch the tip of the iceberg. In the same vein as Blue Velvet, the story is split and explores a seedy underbelly (violence) and a beautiful, charming, picket-fence world (love). Our protagonist has to navigate and deliberate between this split world and come up with a way of living in the world because his worldview is shattered/incomplete as of now. The counterpoints in each of these social spheres help reinforce the idea of love and hate being two sides of the same coin (as evidenced by the crash early on) – two instantiations of passion.

With Sandler and Watson’s performances as the leads along with more than satisfying performances from Hoffman and other members of the supporting cast, the movie feels fully realized. Sandler and Watson have a chemistry that’s undeniable – it helps keep the more absurd moments of the movie endearing, so they pass off as something heartfelt as opposed to disconcerting. Both of them bring something from the other and their relationship is one you cheer for. Sandler in particular taps into a darkness that gives his character the capacity to deal with both the light and dark worlds the movies present (a precursor of the depths he would end up going to in the more recent Uncut Gems).

As evidenced by the swarm of screenshots and stills, this is a movie where every frame has a purpose – a definite meaning. Every lens flare, every use of color, ever crash, every beat shift, every movement of the characters is purposeful and comes together to create what can only be called a true cinematic experience. I could spend hours just poring over the mise en scène, cinematography, shot composition, etc but the main point I want to emphasize is that the meticulous attention to detail more than pays off. Every symbol is introduced in a dynamic and distinctive way. Symbols are tied together to narrative cues and elements of the movie. The repetition of these motifs along with the symbols gives the movie a host of meanings that film nerds can get completely lost in. On top of this the score and pacing of scenes gives the movie a beat that every characters actions and decision seem to abide by – there’s even a moment where Barry dances in a grocery aisle that feels like it could be from a musical. This underlying rhythm helps keep the pace steady and consistent – even in quality from beginning to end. This is all then tied together by a framing mechanism that’s quite literally a meditation on art form – giving the formal decisions of the movie a resonance that can’t help but be appreciate.

It’s a movie that shows cinema as love. Every decision really is important and by giving such dedication to every element – big and small- PTA manages to take that love as plot point and transform it love as audience response. In the same way the non-diegetic music has the characters moving along to it, as if they can hear its reverberations making some kind of impact on the rhythm of the world, the movie has us completely entrapped by it. Without even knowing why, we’re wrapped up in a love story, a meditation on film, and a look at the way trauma manifests and can be resolved all without ever being hit over the head with it. We fall in love.

REPORT CARD

TLDR	Punch Drunk Love is a masterpiece that needs to be seen to be believed. It is a true demonstration of the potential of cinema as an art form , of cinema as a conduit to emotion. The way that formal elements are set up, utilized, referenced, and grouped into more discernible patterns shows that PTA has made every decision deliberately. Symbols and their respective ideas are shown explicitly, subtly, and repeatedly with multiple scenes constantly hammering the connections between different ideas. From the everything is color coded to the way the score transforms the movie into a spiritual musical , this is a movie that really has something for everybody. It’s funny, charming, disturbing, heartwarming, beautiful, meditative, and everything in between – a potential that’s constantly giving .
Rating	10/10
Grade	A+

Go to Page 2 for the spoiler discussion.
Go to Page 3 to view this review’s progress report .

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2020, 2020s, A+, Black-Comedy, Crime, Drama, Grade, Review, review-movie, Thriller, Year

Review: Promising Young Woman

January 26, 2021 The Critic 2 Comments

Director(s)	Emerald Fennell
Principal Cast	Carey Mulligan as Cassandra/ “Cassie” Bo Burnham as Dr. Ryan Cooper Clancy Brown as Stanley Jennifer Coolidge as Susan
Release Date	2020
Language(s)	English
Running Time	113 minutes

Charlie XCX’s “Boys” plays accompanied by a montage of men’s hips thrusting and gyrating in a bar setting. A pop song that means something more.

Montage of men’s groins as they dance in the bar. The early montage accompanied by Charlie XCX’s “Boys” sets the stage for the analysis of phallocentrism and agency to come.

The song’s accompanying music video is a view on alternative masculinity – men commit to performing “sexiness” in alternate fashions ^[1]Kim, M. (2018, March 17). We need to talk about charli xcx’s very important “boys” video. Retrieved February 09, 2021, from … Continue reading. The video showcases men acting like prototypical women in sexy photoshoots, but treats the whole endeavor as more wholesome. The result is a exploration of the ranges of masculinity. As a result, the song’s hook, “I’ve been busy thinking about boys,” comes to mean something far more. It’s thinking about alternative instantiations of masculine agency. Promising Young Woman operates in a similar fashion- it has a lot to say about the way power and gender operates under its stylized poppy exterior.

The montage ends and the movie moves to a conversation among 3 men in the bar who engage in “locker room” talk. It starts off with them trashing on some coworkers until they notice Cassandra, a seemingly inebriated and thoroughly “wasted” woman, laying passed out on some couches.

Cassie (Carey Mulligan) slumped against the red couches in the back of the bar. Unbeknownst to her prey, she waits for them to make a move patiently.

The group’s insults turn towards her as they cast judgement on her poor decisions. If anything happens to her it’s her fault for not taking care of herself – rape culture. One member of the group, Jerry (Adam Brody), feigns worry about Cassandra’s state and goes to help her get home. He lets his friends know and they immediately and holler – the implication is clear. Rape becomes an in-joke – consent is murky and she was asking for it, but it’s all a joke so there’s plausible deniability. The moment he gets her out of the bar and into a rideshare vehicle, he announces that his apartment is “close by” and actively changes the GPS end location. He tells Cassie they can have some drinks at his place. The man who was concerned about the drunk girl getting taken advantage of takes her home to give her more alcohol. Did we expect something different?

Meanwhile, the cab driver feigns ignorance. It doesn’t matter that a drunk woman is being escorted by a stranger blatantly taking advantage of her. We’ve met 4 men so far -3 were willing to look past the obviously drunk woman being escorted by someone she doesn’t know while 1 is fine taking her home despite knowing she can’t consent to anything . Complicity is not direct participation says the former group but that complicity is what serves as direct affirmation for the latter person. As such everything becomes forgiven.

Unfortunately for Jerry, he’s finally run into someone who can’t forget and definitely can’t forgive. As he removes her underwear despite her protests and questions about what he’s doing, she looks up directly at the camera- at the audience – to clue us in on on a little secret; she’s the one who’s in charge. No longer relegated to the periphery of society, she flips the script and reveals her drunk performance was nothing more than bait set out to lure prey to her.

This moment is one of the most striking and demonstrates early on that this is Cassie’s (Carey Mulligan) story. As she’s being stripped she stares at the camera, breaking the fourth wall, to let us know that this is all going according to her plan and that she’s more in charge of everything happening than we think. This is an important idea the movie expands on, using Cassie’s status as “writer” of the story to explore the way agency can manifest under oppressive circumstances. Notice how the Christmas lights surround her in the first and third images like a boundary of sorts, but as soon as she reveals she’s in charge the next shot shows her with the lights below her. She’s outside of the box.

Furthermore, the way she carries over her “gotcha” look from the audience to Jerry reflects the way that the problems the latter represents are endemic in society proper, not just the world of the movie.

She had “been busy thinking about boys” all along – their agency, their ability to inflict violence, their nice guy personas, the way society actively helps protect/enable them, and had decided that enough was enough.

The movie cuts from Cassie revealing to Jerry that she’s very much conscious to her walking down the street, a red smear on her leg. In a typical revenge movie, this smear would be blood- the presence of the torture that Cassie enacted on Jerry in her “revenge”. However, this is a movie that’s painfully aware of narrative conventions and subverts them in an attempt to interrogate the underlying logic of a phallocentric society – one where rape culture, as the movie demonstrates heads on , is pervasive and built into the “rules”. The camera continues to tilt up and reveals a similar huge red smear on Cassie’s arm. However, it’s made immediately apparent that the red smears aren’t blood but are jelly from the doughnuts instead. What we thought to be blood turns to be something far more innocuous instead – violence transformed into something sweet and sugary.

Cassie (Carey Mulligan) wipes off jelly doughnut filling after her rendezvous with Jerry. The way the camera tilts up along with revenge-story tropes makes us think this is blood, but the deflection is done purposefully. It’s an early sign to to the audience to be aware of revenge narrative tropes and to break down why they are/are not being implemented in certain ways and what that says about a character’s position in relation to power structures.

As she continues to walk, Cassie is accosted by cat-calling construction workers across the street who deride/shame her for having had a crazy night out. They laugh at her. She stares back at them. She is unmoving. She is unfazed. Her gaze unsettles them to the point of distress. They immediately call her a spoil sport and go off. Her refusal to play along to the scripted relation by frustrates them. She continues on her path until she gets home. Once she’s inside her room she retrieves a journal, flips through dozens upon dozens of pages, deliberately and aggressive adds a count to a tally which appears to be color coded, flips to another section of the journal, and then proceeds to write out the name Jerry in a list that contains a staggering number of names. What’s been done to Jerry or any of these other names is still unknown at this point.

This is simple, clean, and effective visual storytelling. It’s immediately clear that Cassie has been playing rape culture vigilante for a while. The throng of names and tally marks give an indication of the count, but the way that indentations bleed from page to page show brutal and destructive the whole endeavor has been for Cassie. Hundreds of people have tried to do God knows what to her to the point where she has a healthy running tally. No wonder she’s so fatalistic. How does one live in a world where one is constantly reduced to a passive object that can be casually used and discarded?

Her name Cassandra is fitting. In Greek myth, Cassandra is a princess who catches the eye of Apollo, rejects him, and then is cursed with the power to tell of prophecies that will come true but that no one will listen to. ^[2]“Cassandra.” Merriam-Webster, Merriam-Webster, www.merriam-webster.com/dictionary/Cassandra. A woman cursed by a man for rejecting his advances who is then condemned to tell the truth but be ignored. That description seems to hit a lot of marks especially as we proceed through the story. Given that Cassie’s prophecies are doomed to be ignored the question becomes how does she exercise agency? How can rape culture be fought when it’s part and parcel of society at large – when people hear the truth but choose to ignore it? This is where the movie’s play and subversion on narrative ideology comes in.

The revenge story is the cultural mythos of this society – a man who is wronged in some way musters up the wherewithal necessary to beat down whomever stands in his way whether it involve underground criminal organizations or covert government forces. Even when women are written in as the leads, the way they deal with the problems and scenarios doesn’t differ in a meaningful structural level. The “good” guys win and the “bad” guys lose. The overall result is a kind of propaganda that doesn’t meaningfully wrangle with subjectivity. Promising Young Woman does the opposite of this by having Cassie act with a distinct womanhood. It recognizes that the world forces certain vantage points upon people based on their social position and actively positions the narrative and its development around Cassie and her subjective orientation towards the dominant social order.

Everything from the way she deals with her night-time vigilante situations to the way she handles her fundamental revenge mission plays on familiar tropes (look back to the aforementioned doughnut example). By placing her in typical revenge confrontations and delaying the reveal of what she actually done, the movie forces us to examine just how brutal the rules of the social order are for some while they’re unfairly stacked in the favor of others. We have images of what we think Cassie has done which help reveal our complicity in/normalization of the system and the movie cleverly shows us how out of depth we are when it reveals what’s actually happened. Furthermore, Cassie’s relation to her trauma is kept as anonymized as possible – there’s no “face” to attach to it per say. It makes placing yourself in Cassie’s shoes incredibly easy because her relationship becomes something more universal – the anonymization helps showcase just how deep seated rape culture is and how devastating it can be to all involved.

The end result is a striking dialogue that engages the audience on multiple levels. It becomes clear just how integrated certain ideas are within our psyches and how they colors our view on envisioning the realm of possible action, both for ourselves and other people. It shows us just how easy it is to distract away from violence by framing it in more abstract terms – a sweeping under the rug that does nothing but tidy the mess. This is reflected in the structure of the movie, which uses Cassie’s orientation towards her trauma as a way to constantly change the genre. As her character arc progresses the movie goes from thriller/black comedy, to rom-com, to drama, to fantasy with some some great transitory bits in between. Each of these moments uses Cassie’s character disposition, the music, the use of montage (like the one that starts the movie), and so on to reveal a vantage point that women can occupy in respect to a male dominated order. Some of these genre moves feel abrupt (ex: a rom- com styled dance sequence that pops up out of nowhere is a common criticism I’ve seen in some reviews) because they are meant to critique the way these issues are normally pushed aside in favor of more lighthearted and palatable discussions – the range fantasies go in concealing the true nature of what’s going on.

The framing mechanism takes elements from Cassie’s (Carey Mulligan) personal journal and makes them chapters in the story. This further emphasizes her agency in constructing what we’re seeing and helps to drive the point the story is making.

Structurally the movie makes use of a list of targets from Cassie’s journal as a framing device. This directly ties form to content – the story (movie proper) is Cassie’s tale. This is the story she’s writing and the framing mechanism does an important job in both establishing the way she thinks about how to deal with her trauma and what “winning” against the same looks like. Each genre shift forces you to think about what her agency means. There are multiple moments where you’re left wondering if her range of choices were really as limited as presented or if that limitation was meant to reveal something else entirely.

Holding all these strands together is Cary Mulligan’s standout performance as Cassie. She’s the emotional center of the movie and single handedly helps every story thread come together in a cohesive and moving fashion. Her deadpan delivery along with her witty dialogue makes her easy to root for. The anger by which she emotes make it easy to understand how serious what she’s dealing with is. There are moments where she moves around on the camera like a hunter- slowly pushing her target to the corner of the frame trapping them – cornering someone in the most literal sense of the term. The ease by which she controls situations makes it apparent that she’s skilled. It all coms down to one thing – Mulligan knows how to show the depth of what she’s going through which makes Cassie’s subsequent arc coherent and believable while still using it to explore social positions. This is also why so many members of the supporting cast were cast from likable comedians/actors who immediately make us trust as opposed to doubt them. The movie uses this previously built trust to reveal how deep seated and ubiquitous rape culture is and the danger inherent at the heart of it – anyone can hurt you and appearances are deceiving.

The end result plays like a Gothic fairy tale, albeit one with a bubblegum pop aesthetic as opposed to the traditional black and white palette. The traditional pop songs and the vibrant use of colors, namely pink and blue, come off feeling as something reclaimed as opposed to something campy -they are the artifice of womanhood that must be taken seriously. Likewise, the story actively forces you to engage with the point it’s trying to make, not in a way that’s preachy but in a way that demonstrates the ideological maneuverings we use to obstruct and get around difficult issues and conversations. Most importantly, it tells a story that needs to be heard because of how lasting and important it is. The way the movie tackles issues of culpability, consent, systemic injustice, and the manifestation make it essential viewing, but it’s presentation and examination of the way ideology plays into these demarcating these thoughts makes it an absolute masterwork.

REPORT CARD

TLDR	Promising Young Women is the type of debut that gets you excited for the director’s future movies. Fennell takes an idea – what does “real” agency look like in a world where rape culture is built into the way that world operates – and explores it in a way that actively gets the audience involved in examining their own prejudice while being wholly committed to a strong singular vision. The movie utilizes a bubblegum pop aesthetic comes in both the c olor palette and music choice giving this Grimm fairytale an updated makeover that’s infectious, fun, and serious. The script’s genre jumping tendencies gives Mulligan a huge canvas to play on which gives the story the emotional core it needs to sustain its more intense beats. The elements come together in a truly ambitious fashion that help it more than deliver on its promise.
Rating	10/10
Grade	A+

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2010s, 2012, A+, Art House, Crime, Drama, Grade, Review, review-movie, Year

Review: Spring Breakers

January 1, 2021 The Critic Leave a comment

Director(s)	Harmony Korine
Principal Cast	James Franco as Alien Selena Gomez as Faith Vanessa Hudgens as Candy Ashley Benson as Brit Rachel Korine as Cotty Gucci Mane as Archie
Release Date	2012
Language(s)	English
Running Time	93 minutes

The movie opens with excess as the title credits splash onto the screen. Neon colors and stylized letters give an indication of the story to come.

The title card is a sign of things to come – normal letters that feel like so much more due to the neon infused colors and stylization. Spring Break is elevated into something that seems exceptionally beautiful.

Synth dance music starts to play as a montage depicting the festivities of spring break start to play. The camera leers at the debauchery – moving over the bodies of young 20 somethings fully embracing the pleasures associated with the season. Crotch grabbing, ass shaking, flashing the camera, a litany of phallic behavior (talk about Freudian) from fellating popsicles to jerking off beer bottles – it’s all a proclamation that this drive to enjoyment is the law of the land.

Phallic behavior is the name of the game at the sunny beaches of Florida as young women suck on popsicles suggestively while young men feed the former booze from beer cans positioned over their crotches. In a Freudian sense, this represents the symbolic law of the land has transformed. The only ethical injection is to enjoy and give in to hedonism.

This excitement is interrupted as the movie cuts to a suburban area – a college campus that’s boring and drab compared to what came before. We move to a classroom filled with bright, neon screens coloring the space. The professor at the head of room starts to talk about the Double V campaign – a slogan used during World War II to tie the fight against fascism abroad to the fight against racism at home. Despite serving in the troops, African Americans were still treated as sub-humans in their homeland of America. This discussion on the nature of race’s relation to the American dream and its ideological stronghold is ignored as the camera moves to two girls, Candy and Brit, who are more focused their upcoming spring break-cation. The plight and suffering of African Americans is drowned out by Candy performing mock fellatio on a drawn out penis that says “Spring Break Bitch”.

Candy (Vanessa Hudgens) ignores the discussion of the pervading antiblackness that haunts the history of America in favor of pretending to blow a penis representing Spring Break. This is a tie in to the earlier phallic endorsement of Spring Break and represents the way the drive for “new” pleasure is used to displace the call for justice.

This displacement is no coincidence. It’s a reminder to us that the anti-blackness that was started in the United States with slavery and plantations still persists – lingering in the background – an undercurrent to Americana that is constantly ignored and shoved aside.

The professor’s lecture drowns out and turns into the voice of a youth pastor trying to amp up a group of young Christians. In this circle of religious adherents is the aptly named Faith, a young women who’s dissatisfied with the seemingly boring goings of her everyday life. As the group says “Amen” together in hypnotic and repetitive fashion, the camera cuts to Brit drinking booze out of a squirt gun with a poster of Lil Wayne behind her. A black rapper and pop idol watching the young white women drinking alcohol from a gun – the gun as a tool of violence turns into one of pleasure as pop stars are respectively turned into idols which are to be consumed. The blackness of the star in question is not a coincidence – like the labor of African Americans during WWII, the cultural work done by this community is consumed without abandon without regard for the creators.

Brit (Ashley Benson) squirts alcohol into her mouth from a gun. On top of reinforcing the phallic imagery, the transformation of the gun as a tool to kill to a tool to deliver alcohol showcases the ties between violence and pleasure. The figure of a black rapper in the background is no coincidence. In a world where pop idols are “Gods” and blackness is consumes as a product, Lil Wayne becomes emblematic of the way pop culture is created by black people and coopted by others.

The movie cuts back to Faith, who informs her Church friends that she’s excited to go Florida with Candy, Brit, and their other friend Cotty to celebrate Spring Break. The three party girls make their way to Faith to make sure they have enough money for their upcoming vacation. Unfortunately, the girls realize they don’t have enough. This depression manifests itself in the color of their surroundings – blue hallways, blue rooms, and a blue ambiance. The blue normalcy that surrounds them is unbearable and they have to get away. They need to find themselves and awaken in a spiritual fashion that’s” impossible” to do in their current location. It’s at this point that Candy, Brit, and Cotty make plans to steal the money they need. They drive down a yellow road. Like the road Dorothy travels in Oz this is a path to transformation and change. The whole time a voiceover from Candy and Brit repeats over and over like the “Amen”‘s from before- “Just pretend like it’s a video game” , “Act like you’re in a movie or something” – an updated mantra for the new age. If pop culture and pleasure are the new Gods in this incarnation of the American Dream, then this repetition is the prayer adherents must believe to survive. They go into a local restaurant and steal from the unsuspecting patrons- emerging at the bright red exit. Finally, their journey can start.

The girls make their way down a yellow road to go from their boring dreary lives marked my a neon blue to escape to new and better pastures marked by a neon red. The colors not only make their burglary pop but represent their “spiritual” journey.

They make their way to Florida and the party begins. The girls lose themselves in the spring break assemblage as the images become hyper saturated, letting bodies blend into one another. To be one with spring break is to give oneself fully to pleasure. In this “new” world, all that matters is how far one’s willing to go to get what they want. There’s a newfound agency as the girl’s engage in the same debauchery as their male counterparts. They’re sexualized by the camera, but they embrace it and grab the pleasure bull by its horns. It’s during their escapades that they run into Alien – a white rapper with dreads who traps as his main form of currency. He takes pride in both “being out of this world” and being the only white boy in a black neighborhood. He loves the American Dream which as he explains is all about making change and acquiring more and more.

This is Spring Breakers – an introspective look into the transformed American dream, one that prioritizes material growth at the cost of everything else. The only ethical injunction is to enjoy pleasures to the max. However, this pleasure is nothing more than a pretty picture that covers up the emptiness at the heart of endless hedonism. When the girls are living their lives back home they watch tv, they drink to excess, they smoke weed, they go to house parties, they mess around with each other. When they go on Spring Break, they quite literally participate in the same behavior – it’s just ratcheted up higher and with more dazzling colors. All their spiritual awakening really amounts to is putting a nice filter over their everyday behavior – something that Korine quite literally demonstrates through the replication of certain shots under different lighting. The blue drab lighting that they do despised gives way to a bright red neon hue that demonstrates that it’s only their ideological investment in the idea of spring break as spiritual praxis that makes it so as opposed to the activities they engage in.

The girls do the same things whether it be at home or in Florida during spring break. This is made obvious with the repetition in shot selection. In both areas they have fun and relax by doing hand stands; however, they enjoy the experience more in Florida because they think spring break makes it magically superior. It’s an ideological investment that transforms the mundane into something special despite there being no material change in what’s going on. The change of colors from the boring and dreary blue to the exciting and vibrant red signifies that this is all about ideology.

In the background is the specter of African Americans- like the plantations and buildings they built centuries ago they have created the the pop culture that the young masses can’t get enough of. However, just like the fruits of their labors on the plantations and the respect /rights they deserved for fighting in World War II, their efforts are once again coopted by the system. They put in the work, but they receive very little if any of the fruits of their labor- relegated to the periphery constantly. From the professor’s early lectures to the constant imagery of black entertainment being consumed and emulated by young white 20 somethings , their presence is always felt.

While the subject matter is disgusting and excessive in the vein of John Waters, the presentation definitely reminds me of Terrence Malick. There’s immense attention given to compositions (there are multiple shots in the movie that feel like they could be wall art/post cards) and using lighting as mise en scène. Blue is dreary normalcy, yellow is change and transformation, while red is the promise of spring break – the heart of the American Dream. The colors permeate through every shot, giving the movie a visual splendor while tying the elements together thematically. The editing is elliptical and features a healthy dose of voiceovers. Lines of dialogue are presented in an almost innocent way to start – a promise of good things, but then are repeated again to reveal the true depravity of the situation at hand. On top of revealing the duplicity of spring break , the repetition of lines creates an hypnotic feeling that fully immerses you in the world. The movie is vapid and deceptive, but that doesn’t stop it from being beautiful and poetic in its own way. It’s beautiful to look and hypnotizing to listen to with very little underneath in terms of plot perfectly tying form to theme.

Complimenting this structure and the movies themes are the performances by the cast. Given the movie’s celebration of pop culture as idolatry, the casting of both Selena Gomez and Vanessa Hudgens, two former Disney super stars, is more than apt and sets the movie up for success. Each member of our main cast of heroines demonstrates a different level of comfort with the transformed American Dream. Gomez constantly gives off an disconcerted feeling that she quickly disguises with faux happiness representing Faith’s conflict in embracing hedonism over her spiritual roots. Rachel Korine is constantly having fun and gives herself to the party scene fully showcasing Cotty’s desire to just have a good time. Both Hudgens and Benson express sheer ecstasy at the situation highlighting how how Candy and Brit respectively don’t care about anything than enjoying their experience, no matter how debauched it threatens to get. In particular, Benson showcases a cold danger in her eyes , demonstrating the cutthroat disposition one must have to succeed in the “new” America. Franco brings a surprising amount of depth to a white rapper who drops the n-word from the way he gleefully engages with the girls to the way he constantly has a disconcerted look that occasionally comes through in his eyes. His cover of Britney Spear’s “Everytime” in the latter half of the movie is heartfelt and touching in the most off-putting way possible, perfectly encapsulating everything Alien and the movie is about – celebrating the drive to pleasure and material goods as the end all be all.

It’s not surprising to see the low ratings for the movie : a 5.3 on IMDB, 67% on Rotten Tomatoes, 63 on Metacritic. Those looking for an believable crime story with traditional storytelling are going to feel betrayed by what they get. On top of this, the editing of scenes feels disjointed and fragmented while the repetitive voiceovers can feel lazy and just like an excuse to pad the run time. However, these criticisms miss the point. It’s not that the movie isn’t empty at it’s core. It definitely is. That’s the point. The emptiness is used to point out that way the ideologies we currently subscribe to are empty and vapid. The ideals we cling to are not only built on a bed of anti-blackness, but amount to nothing more than a nihilistic drive towards pleasure. If this famous clip of Spring Breaker in 2020 proves anything, it’s that Korine’s vision and analysis should be treated more seriously. What says hedonistic destruction more than Spring Breakers willing to get corona just to experience their long awaited festivities?

REPORT CARD

TLDR	In what can only be described as Terrence Malick directing a John Waters movie, Korine’s Spring Breakers is one part a celebration of excessive hedonism and superficiality, another part an elevation of pleasure seeking to a form of spirituality, and at it’s core an simultaneous indictment and valorization of the duplicity of the American Dream. The elliptical editing, use of repetition in lines, constant voiceovers, and bright and saturated compositions are intoxicating and transport the viewer into a world of excess that feels empty at its core. Though the movie might seem vapid at first go, it tackles a host of issues from antiblackness to pop culture idolization in thought provoking ways asking us to assess the state of our current orientation towards success and having a good time. Immersive and important, those people who are willing to look beyond the surface might find something worthwhile in Korine’s breakdown of modern ideology.
Rating	10/10
Grade	A+

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2010s, 2012, A+, Drama, Fantasy, Grade, Horror, mystery, Review, review-movie, Science Fiction, science fiction horror, Thriller, Year

Review: The Endless

December 16, 2020 The Critic Leave a comment

Director(s)	Justin Benson Aaron Scott Moorhead
Principal Cast	Justin Benson as Justin Aaron Scott Moorhead as Aaron Callie Hernandez as Anna Tate Ellington as Hal Lew Temple as Tim Shane Brady as Shane Kira Powell as Lizzy James Jordan as Shitty Carl
Release Date	2017
Language(s)	English
Running Time	111 minutes

The opening quote to the movie encapsulates the thematic journey we’ll be taking- a mixture of Lovecraft, confronting the unknown, fear, alienation, and the way those ideas intertwine in relationships.

The movie opens with two quotes : one from Lovecraft and one from an Unknown source. Lovecraft’s quote encapsulates the drive behind his writing – the idea that the unknown is the root of fear. The latter quote notes that siblings only tell each other their feelings when they’re on their deathbeds. The presentation of the quote highlights that the Unknown Lovecraft is talking about is an agent of sorts that’s the source of the second quote, informing the audience that the movie we’re about to experience is going to explore a sibling relationship against a Lovecraft background – an navigation of the unknown, fear, and relationships.

After this the movie cuts to two brothers, Justin and Aaron, who are attempting to navigate their day to day lives in spite of a grayness that seems to permeate their existence. On top of their sullen demeanors, the color grading is undersaturated and reinforces a dreary and lifeless mood.

Justin (Justin Benson) tries to reach out to his brother Aaron (Aaron Scott Moorhead) who is too sullen to respond or reciprocate. *The brothers lives are gray and worn out after having left the cult . Even the bright sun can’t lighten up their days, reflecting the way their lives have fallen into a depressive rut.*

It’s quickly revealed that the two are survivors of a cult and are struggling with adapting to their new lifestyle. The older brother, Justin, domineers over his younger brother and constantly dictates the duo’s course of action. He’s the one who dragged them out from the clutches of the cult due to fears about them committing some kind of mass suicide. On the other hand, Aaron is very much sick and tired of their current life and is desperate to go back to the cult and experience the sense of warmth he had back there – a familial unity that seems to be missing with his own flesh and blood. After the two receive an ominous videotape from their former cult members talking about an “ascension” of sort. The tape is obviously old and its quality is poor, but it ends on an image of a circle. Desperate, to get his brother back to normal, Justin acquiesces and tells Aaron they’ll go to the cult for one day to get the latter’s mojo back.

As they journey to their previous habitat, the color that had been missing from their lives permeates the screen. The gray gives way to bright and warm colors that compliment Aaron’s newfound joy.

Once they decide the go back to the cult for a day, the light seeps in and saturates the brothers’ lives. There’s a newfound vitality here that was missing before.

During this drive back the brother’s stop at a funeral site – the place where their mother had died so many years ago. Surprisingly, the offerings they had left so many years ago as children still stand, no blemishes or markings to indicate how long they’ve been there. Having given their respects, the two make their way to the cult site – a campground that immediately feels unnerving and inviting at the same time. Their journey is accompanied by a score that evokes hints of John Carpenter – a spectral synth that has a The first person they run into ignores them and keeps walking past them, obviously perturbed. The next person they run into is smiling creepily, their face unmoving. Eventually the duo runs back into their previous acquaintances who happily welcome them back to the site. A nice meal followed by a good night’s sleep assuages Aaron and confirms to him he made the right choice. Meanwhile, Justin is still very much on the fence about the decision.

As the two of them explore the camp and re-integrate with their previous acquaintances/friends they’re forced to confront the host of inexplicable phenomena that pervade the camp. There’s constant mentions of an alien entity that watches the camp ground, a locked wooden shed that’s described as a storehouse for brewery equipment, magic tricks that go from discernible to out of this world, camp bonding activities that seem physically impossible, the presence of two moons, strange totem like objects scattered throughout the area, and camp members who fluctuate from cozy and inviting to seemingly hostile and suspicious. It’s a creepy cult gamut featuring enough additional oddities to keep both the brothers and the audience in a constant search to determine who’s on whose side and what’s really causing these off-putting occurrences. The best part is that the visual effects for many of these moments are simple, effective, and don’t cheapen out on stunning the audience. It’s testament to Benson and Moorhead’s skill that they can shoot a low budget picture but add enough visual magic in the right ways to absolutely nail the impact of each of these visceral phenomena. Very rarely did I feel myself fall into disbelief as the fantastical nature of what was happening blended seamlessly into the reality of the world, calling into question where the bounds of “real” stopped and started.

Everything pays off because each incident by itself is unnerving but put together it generates a fragmented experience. It’s impossible to know exactly where anything is going which generates both tension and a constant desire to figure it out. At the same time, the obvious call backs to horror tropes (ex: a cult brewing beer is the spiritual cousin of a cult drinking the Kool-Aid, Native Indian markings throughout the camp invite the idea that it’s a haunting taking place, etc.) helps us piece the pieces together according to our own preconceptions firmly placing us on the side of one or both of the brothers. Justin is suspicious of them and thinks they have to do with the cult trying to gain control over the brothers. Meanwhile, Aaron is more trusting of the camp members and accepts the oddities as they are. Their relationship develops as a result of every occurrence which not only adds an emotional resonance to the disconcerting events but also pushes the two of them to confront their deep seated feelings. It’s an encapsulation of the beginning quotes – a relationship that develops in the face of fear through the lens of the unknown.

Exemplifying this is the constant use of circles both as visual motif and in the way the camera moves. A circle is a closed shape – marked by boundaries but having no discernible start or end. It’s a loop that contains an infinite possibility of meanings depending on how you break its components down. The movie emphasizes this by constantly cutting to multiple circles, each distinct from one another in size and composition.

Circles are used a constant motif throughout the film, highlighting and tying together the fragmented horror tropes into a cohesive narrative that invites the audience to carve out their own interpretation of what everything means. Every circle represents something different but they’re all united by their shape and the use of match cuts reinforces the idea that there’s something tying these disparate elements together.

Early on, when the brothers get the initial tape from the cult, the tape cuts on an image of a circle – an eerie circle that calls back to something like Stonehenge. The move match cuts this with the bucket of cleaning supplies that the brothers use in their jobs – an circle that constraints their lives in a mundane job. The maps the camp uses are marked with circles – circles of containment that lock in zones. The camp members city in circles around the campfire – a circle of community. On top of this, Benson and Moorhead make multiple uses of arc shots that circle around and give the full view of a situation – a circle of meaning. Multiple scenes are shot in slow motion as the camera arcs – a circle of time. Is there a difference between insulating ourselves in a domestic circle where we take on mundane jobs versus isolating ourselves in a cult like circle that feeds our social and emotional needs? By utilizing the circles in such a way the movie gets us to ask questions like these throughout the movie, tying the fragmented and disparate elements into more cohesive strands – a symbolism that ties narrative to them and back again in a mutually reinforcing loop that’s open to infinite meaning.

This duality in meaning is aided by the stellar cast and crew. Surprisingly, the main players Justin and Aaron who play the the two brothers going by the same names are not the stars of the show. Don’t get me wrong – their performances are more than adequate – better than I expected when I saw the directors were taking center stage. Outside of a few moments of overexertion near the first half of the movie, they do their job at selling their characters relationship through effective and comedic banter along with requisite emotional moments necessary to propel the story. However, it’s their supporting cast that drives home the ambiguity of the camp happenings and the real emotional weight of what’s at stake behind the mysteries. Ellington gives Hal, the de facto leader/not leader, of the group a kind aura that belies the expectations of him that the brothers and us might have of him being a culty control freak. Temple makes Tim, the camp’s brewer, feel both tired and sincere. The way he emotes through his eyes indicates his character’s frustrated, serious, but not malicious. Powell’s dove eyed portrayal of Lizzy is both unnerving and endearing. She makes her character feel crazy, open, or a little bit of both. James Jordan as the aptly named Shitty Carl goes from absolutely batshit, to serious, to emotionally devastated, to goofing around in a seamless manner that underscores the weight of the camp’s mystery/(ies). I could go on and on, but the point is each performance both gives gravity to the consequences of the phenomena that we witness and emphasizes the theme of infinite interpretation.

The Endless proves that all you need is a tight script, interesting ideas, innovative execution, and a real focus on theme to tell a great and compelling story. Despite the budgetary limitations, Benson and Moorhead demonstrate that they’re more than comfortable in their Lovecraftian wheelhouse and can tell complex and diverse stories from within without ever boring their audience. After Resolution and Spring, this is the movie that cements that they’re an up and coming talent that deserves more recognition. If you’re someone who’s been itching for a sci-fi horror that’ll get you to think without giving you easy answers, look no further. The Endless is the kind of movie that begs to be watched and re-watched in an attempt to carve out meaning from it’s seemingly infinite world.

REPORT CARD

TLDR	The Endless expands and builds on Moorhead and Benson’s previous endeavors – combining horror tropes, relationship struggles, the search for meaning, and a healthy dose of Lovecraftian ideas to create a truly mesmerizing movie that’ll get you invested in the characters and invite you to think about the deeper meaning of your life and the way it ebbs and flows. Though the budget is on the smaller side, the movie never suffers and demonstrates that interesting ideas and tight execution are all that’s necessary to tell a thrilling and moving story. Every element – from the tropes, to the characters, to the visual effects, to the worldbuilding- fits with one another and will leave you genuinely impressed by the end. If you’re a fan of sci-fi and/or fantasy, you owe it to yourself to check this out.
Rating	9.8/10
Grade	A+

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2010s, 2012, A+, Drama, Grade, Horror, mystery, Review, review-movie, Thriller, Year

Review: Resolution

December 11, 2020 The Critic 2 Comments

Director(s)	Justin Benson Aaron Scott Moorhead
Principal Cast	Peter Cilella as Michael Vinny Curran as Chris Kurt David Anderson as Billy Skyler Meacham as Micah Zahn McClarnon as Charles
Release Date	2012
Language(s)	English
Running Time	93 minutes

The movie opens on a montage of a man, Chris, acting sporadically in the wilderness. He lights up his crack pipe and takes a large hit. He shoots bottles around him. He plays with a dog near him. There’s no clear cohesion behind the sequencing of these moments. They’re random, sporadic, and paint a disturbing picture. The camera reveals the montage is actually a video file being watched by Michael, Chris’s best friend. Obviously worried by his buddy’s actions on the video, Michael decides to track Chris down using GPS coordinates sent along with the file. After a lengthy drive, he locates an erratic Chris shooting at the birds in the sky with a hail of bullets.

Michael (Peter Cilella) approaches Chris (Vinny Curran) for the first time in years as the latter puts his gun down to greet his friend.

He carefully makes his way up to Chris’s house of sorts after declaring himself and slowly catches up with his friend. Unbeknownst to Chris however, is Michael’s real purpose – saving and rehabilitating his forlorn friend. Michael tricks and handcuffs Chris to a fixture in the house before informing the latter that he intends on getting him to kick his drug habit over the next 7 days.

However, this main story thread of Michael trying to rehabilitate Chris as the latter fights back tooth and nail is a decoy set up by directors Benson and Moorhead to give them a jumping off point to unabashedly explore horror genre conventions. From the moment Michael arrives at Chris’s abode, a series of strange occurrences start to occur almost like clockwork. As Michael tries to find Chris’s drug stash he comes upon a series of eerily shot photographs in the cellar-like area. Later on as he’s walking, he runs into a group of alien cultists who give an off-putting feeling. When the two are sleeping, a girl randomly pops up and watches them through the window. Later it’s revealed that Chris is located on Native grounds. Eventually, the two find a series of increasingly disturbing home-videos.

Some of the most disturbing situations the main duo run into involve strange photographs and movie reels that depict unexplainable moments of violence to strangers.

It’s like an unrelenting barrage horror occurrences/situations that keep you on your toes guessing as to what’s really happening. By playing the conventions straight as opposed to being overtly comedic with them in the vein of something like The Cabin in the Woods, Resolution manages to generate a genuine sense of unease and tension. You know something is up because horror conventions are sprinkled everywhere, but because the movie treats them as serious it avoids turning them into predictable and boring clichés. That’s effective horror film making.

There’s no hand holding from Benson and Moorhead. They’re not here to be tongue-in-cheek or overtly comedic. They’re here to tell a faithful horror story that explores and critiques the genre in a subversive way. This is reflected in their choices to not use a soundtrack or any jump scares. The tension and unease is meant to come from the movie proper, not some auditory tricks. In the place of these played out tools of commercial horror are some compelling visual and auditory clues that hint at, but don’t reveal the true nature of what’s going on. From the moment Michael chooses to pursue his friend, certain scenes are marked with a film burn effect that envelops the screen.

These are examples of the film burns that occur throughout the movie at seemingly random moments. Their purpose is unexplained till the very end, inviting the viewer to question what they mean and what’s causing them.

At other moments, the camera switches from being with the characters to POV shots that look at the characters like objects – implying the presence of something else.

A POV shot of *Chris (Vinny Curran)* and *Michael (Peter Cilella)* talking to one another. The camera shifts from being in the room with the characters to this outside perspective, inviting the audience to ask what’s watching them and why.

Accompanying these visual cues are audio distortions where lines repeat or become glitchy sounding. Because the movie takes such care to not introduce non-diegetic elements , each of these clues feels like part of the world’s fabric and invite the audience to investigate what they really mean. It’s a great way of not only ratcheting up the tension, but it also plays an important part in getting us on Chris and Michael’s side – we’re trying to figure out what’s going just like them.

This is the heart of what makes Resolution so much fun. It invites the audience to play along with the characters in a race to come up with a narrative that explains every story thread. What are the characters really after? Why are certain photos and tapes revealed? Why does the camera shift as the audio becomes distorted? As the layers start to unravel, it becomes more and more apparent that this is a movie about the cinematic form – an exploration of the way we create narratives and imbue them with a certain power, thereby generating foregone conclusions and apparent contradictions that make us question why we even want certain things to happen to begin with. Do I think the movie nails all the punches it goes for? No. There are some ideas that feel thrown in just for the sake of adding more confusion to the narrative, while other ideas are introduced without enough of a build-up. However, these concerns feel small in the face of what the movie is trying to accomplish and what it does to get the audience to question their own complicity in the way horror narratives are put together. The ending of the movie is an absolute knock-out that delivers the goods in a satisfying way.

Now while Chris and Michael’s storyline is not the main draw of Resolution, it is the focal point that ties all these otherwise discordant conventions into a cohesive narrative. Without their central struggle and the audience’s subsequent investment in it, the movie wouldn’t be able to explore any of the ideas above to their fullest. While Michael is controlled and domineering, Chris is a manic ball of energy. The former is down-to-Earth graphic designer desperate to bring his friend back into the “normal” world. The latter is a drug-addicted, misanthropic conspiracy-theorist who doesn’t care if he dies as much as he cares about enjoying the little life he has. There’s a good bit of depth to the both of them that turns them from horror inserts into real people which is obviously helped by the two lead actors’ performances. The movie spends a fair bit of time letting the two just talk to each other, whether that be in the form of Michael hurling insults at Chris or the two of them reminiscing about better times. The way Cilella and Curran riff off one another and banter reminds me of conversations I’ve had with my own friends. It’s hard to believe they’re actors and not two buds catching up after a long time away from one another. Curran in particular gives some emotional heft to his character that I wasn’t expecting, injecting a genuine somberness to his otherwise bombastic personality. They get you to care about their characters because they feel like people you might actually know.

It’s rare for a horror movie to both pay homage and still be surprising, but Resolution is one of those rare few that pulls off the balancing act to great effect. The characters are compelling, well-rounded, and written in a way that gets you to invest in their wellbeing. The diversity in plot threads keeps you guessing where the movie is going and what’s causing everything to happen, even if every sub-plot/idea isn’t utilized or explained to its fullest. The movie effectively manages to keep the sense of dread palpable while asking the audience to think and explore the world with the lead characters, making the experience active and informative on top of being entertaining. If you’re a genre fan looking for a movie that plays the conventions straight while remaining interesting, this is the movie for you.

REPORT CARD

TLDR	Resolution is a love-letter to the horror genre that plays off conventions while treating them seriously. The story of a guy trying to help his junkie friend get off the drugs turns out to be so much more, as multiple horror plot threads are layered onto the initial narrative creating interwove mystery that’ll have you asking what is actually going on. If you ever saw The Cabin in the Woods and wished it was less tongue-in-cheek and less expository, this is the movie for you. Through some subtle, yet clever cues the movie forces its audience to question their own biases about the genre in an entertaining and emotionally resonant fashion. Genre fans own it to themselves to check this out.
Rating	9.5/10
Grade	A+

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2010s, 2018, A, Black-Comedy, Grade, Horror, mystery, Review, review-movie, Thriller, Year

Review: Piercing

December 3, 2020 The Critic 2 Comments

Director(s)	Nicolas Pesce
Principal Cast	Christopher Abbott as Reed Mia Wasikowska as Jackie Laia Costa as Mona
Release Date	2018
Language(s)	English
Running Time	81 minutes

The camera pans through a beautiful cityscape that feels artificial and out of touch with reality as the song “L’eredità & agguato nel buio” from the giallo movie The Red Queen Kills Seven Times plays in the background . As the camera gets closer to an open window on a building, the movie cuts to a baby cooing against a red backdrop as an ice pick slowly makes its way closer to to its face. The hand holding it retracts away to reveal an anxious looking man , Reed, who’s then immediately called by his wife, Mona, to come back to bed. Unable to now finish his task, he goes off and chokes himself, a pained expression enveloping his face. After enough time has passed, he goes back to his wife who caresses his head tenderly in an attempt to help him destress. She may not know that he was trying to kill their child, but she does know something is disturbing him. However, just as he gets comfortable their child starts to cry in the background. The noise immediately disturbs him, and his face turns from calm to agitated once again. As he goes to comfort his child, the newborn child says to him in a demonic voice , “You know what you have to do.” It’s at this point that Reed realizes that he has to kill to satiate the urge within and makes plans to hire and murder a prostitute. Unfortunately for him, his dreams to get away with the perfect murder go off the rails when the escort service he’s contacted sends him an unhinged and sporadic woman, Jackie, who threatens to unravel his plan at every step of the way.

This is Nicolas Pesce’s sophomore effort, Piercing ,a cocktail of psychosexual plotlines, imperceptible characters, and a distinct sense of black humor. It’s a love letter to giallo movies that seeks to deconstruct the sub-genre from the inside out, while mixing it with the confusing battle of the sexes from Takashi Miike’s Audition (which makes sense given that both Audition and Piercing are based on books written by Ryū Murakami). Traditional giallo movies follow a fairly standard plotline – there’s a brutal series of murders by an masked black-gloved killer, a journalist-type character tries to figure out what’s going on with or without the presence of some sidekicks, and the killer is eventually revealed with a brief explanation of the trauma that caused them to act out the series of murders. Along the way are psychosexual plotlines, trauma, mystery, tension, and a healthy amount of visual violence. Oh and of course, I’d be remiss if I didn’t mention the traditional soundtrack – a combination of progressive rock, jazz, disco, electric, and epic orchestral elements put together to keep the audience energized and invested. Piercing lovingly takes all these components and flips the script by placing the audience on the side of the giallo killer, Reed, as he desperately tries to solve the source of his trauma by killing a prostitute under a peculiar set of conditions. By removing the killer’s mask and placing them front and center, Pesce is able to showcase the absurdity and complexity that drives the genre. The presence of an unknowable entity in Jackie serves to take the mysterious nature of desire that’s normally only present in the backdrop of previous gialli and bring it to the center of discussion, forcing Reed, and subsequently the audience, to examine the way modes of psychosexuality are constructed.

As evidenced by his baby talking earlier, Reed’s delusions play a significant part of the word of the movie, threatening to infect every aspect of it. Images of strange and artificial cityscapes are juxtaposed against real backdrops to suggest that artificiality is always present – a fantasy that covers the trauma within.

An artificial cityscape that looks to be painting of sorts.

The soundscape is filled with diegetic (in the world of the movie , things the characters interact with) and non-diegetic (the external elements of the movie, things that are for the audience) that constantly bleed into one another, reflecting the way that psychotic delusion infects the world but is built from a trauma stemming from that world at the same time. For example, Reed practices what he’s going to do to the prostitute sent to him by physically going through the motions, an imaginary roleplay if you will. As he cuts, and saws, and violates we see nothing on the screen but we can hear every single crack and flow of blood – a clear indication of what Reed is hearing in his mind. In the backdrop is some nice calming music that feels at complete odds with what’s going on (think high class elevator music). At first glance this soundtrack feels non-diegetic, a score meant to elicit a laugh from the audience because of it’s sharp contrast with Reed’s intended actions. However, as he finishes his walkthrough the score is revealed to be part of his mental soundscape as well, becoming dimmer and more muffled as he gets more nervous about what he’s going to do. Along with moments like these which are spread throughout the movie, Reed’s more overt delusional episodes, and Jackie’s general imperceptibility, the movie constantly forces the audience to ask what’s real and piece together the character’s respective desires like a detective getting to the bottom of the mystery, effectively placing them in the role of the traditional giallo detective. It’s not about who’s doing what, but why are they doing what they’re doing.

The sadomasochistic sexual playground the characters interact with each other in opens the perfect space for desire and its exploration. Initially, Reed brings up the idea of S&M to have an excuse to tie Jackie up so he can finish her off, but as the movie unravels the power dynamic inherent in such a relationship is given room to evolve. Sex and violence are staples of gialli and the movie transforms them from merely visually striking elements into genuine mode of communication. Sadism and masochism are orientations towards pleasure and the Other that elicits it. Why does a character like to be beaten in one way? Why does another like to submit? Why are relationships filled with a sense of ambiguity and mystery? It’s all due to some kind of past experience that’s become coded in the flow of desire that subconsciously drives the subject towards their intended action. S&M allows this hidden desire to sublimate and helps to explain the subject and their trauma in a meaningful way. It’s this move that makes every moment of sexual tension or expressive violence more than what it appears. It’s not just shock and excess for the sake of it – it’s an attempt at revealing something more intimate and personal about the subjects at the center of such actions. Without a partner to tango with, be it to inflict violence on or to have sex with, nothing can come to pass because there’s nothing to incite and push desire to the forefront. This is reflected in the movie’s constant use of split-screens which reinforce that both partners in the act are equally important and have a role to play in constructing themselves and one another. Meaning can only be constructed once the two of them interact with one another in an dance for and of power.

The movie uses split screens to highlight the way the characters intrude onto one another lives and shifts the course of their actions. *Jackie( Mia Wasikowska)* on the left brings to light *Reed’s (Christopher Abbott)* desires on the right and vice versa.

Speaking of the partners, the movie entirely hinges on the backs of Abbott and Wasikowska who have to sell their characters’ game of constantly (re)volving interpretative cat-and-mouse. The former exudes general anxiety with his nervous mannerisms and voice that threatens to go to an indescribably whisper at points as he tries gain control of the situation. His nervous energy is present in the way he breathes deeply and in how his eyes dart and move in confusion and worry as he tries to piece together what to do next. He’s a clump of paranoid trepidation that occasionally laughs and smiles as his submerged self slowly comes to the forefront. Meanwhile, the latter is imperceptible, switching from flirty to batshit crazy to seductive without missing a beat. It’s almost impossible to get a read on her as she coyly asks questions one moment and threatens to shock both Reed and the audience with some excessively gratuitously actions the next. The two of them play off each other in an off-putting romantic fashion that constantly feels like it will break apart into something far more terrifying or evolve into something more cutesy, as they circle one another.

Jackie( Mia Wasikowska) informs Reed( Christopher Abbott) that she’s “onto him”.

However, in spite of my praises, the movie does partially fall into the trap it critiques by making the references to the character’s respective traumas and reasons for action too obtuse. The joke about many gialli is that the killers’ motivations are threadbare and only present to help piece together the grandiose kill sequences. While I don’t think the movie fits that description, I can’t help but feel that it plays the characters’ traumas and desires too safe. In both of their cases, there’s a litany of clues that help piece together profiles that give a subtle glimpse behind the veil. For example, there are a plethora of moments where Reed’s anxiety, meticulous attention to detail and procedure, and the murder he’s committed to do are derailed and forced to adapt to the whim’s of his unpredictable victim leading to a variety of horrifying yet comedic scenes that’ll get us to ask why he’s acting in such a peculiar fashion but never go far enough as to give us information to answer them in a satisfying way. I think Pesce could’ve extracted more from these situations without giving up the comedy or ambiguity he was going for. Obviously the movie can’t reveal everything – that would ruin the fun and make the themes less precise. It’s just that the few reveals that do happen feel too surface level in spite of their sometimes surreal presentation. Slightly more information or exploration would help the audience fill in the elliptical scenes and provoke deeper and more nuanced questioning and analysis. As it is the movie is a lot of fun and is tightly put together, but I can’t help feeling it would be a more accessible homerun if it spent more time exploring the characters’ fractured pasts with a bit more depth in the vein of something like Audition.

As a result, this is a movie that I can’t recommend to every horror fan. If you like your movies more visceral than cerebral and are unfamiliar with gialli, a lot of what the movie does might come off as too strange or pretentious. There’s no clear answers to what really drives the movie’s duo and if you want those answers front and center you’ll end up feeling disappointed. Likewise, the subtle way the movie plays with the sub-genre can only be appreciated if you’re a fan of those movies. I first saw Piercing after watching Pesce’s debut, The Eyes of My Mother, a much darker and more universally palatable horror that really gets under your skin. Coming into this from that was a strange shift, because of how much more stylized and funny this movie turns out to be. After going on a huge gialli binge earlier this year (2020) comprised of watching all of Argento’s classics (Tenebrae, Deep Red, Opera) along with a healthy heaping of other fan favorites (Blood and Black Lace, The Red Queen Kills Seven Times, Don’t Torture a Duckling, and so on) I’ve come to love the sub-genre and all it’s trashy and classy components. Watching Piercing again with a knowledge and appreciation of what gialli are about and their respective elements makes me truly appreciate what Pesce is going for. For example, the score heavily samples/uses music from some of the aforementioned classics, and if you recognize the tracks, you appreciate what’s been curated and how it’s been used. For instance, Goblin’s (one of Argento’s most famous musical collaborators) heavy hitters are only used during important moments between Reed and Jackie. “Profondo Rosso” starts blaring as the movie uses a split-screen to chronicle the first time the two of them meet, using the more iconic and bombastic song to signify the importance of what’s happening. This music can enjoyed by someone who’s never seen gialli , but it takes on a new level of depth if you know where it’s coming from. So if you’re a gialli fan and enjoy movies that play with cerebral and surreal moments over more visceral and direct ones, this is the movie for you. If not, you might end up frustrated with the way the story unravels and proceeds.

REPORT CARD

TLDR	Piercing is a darkly-comedic and intensely quizzical love letter to gialli that deconstructs the sub-genre from the inside out. By placing the audience on the side of an aspiring murderer who’s forced to contend with an equally strange and powerful potential victim, the movie creates an effective backdrop to explore trauma, sexuality, and communication in innovative and interesting ways. The visual design is filled with paintings and the soundscape goes from diegetic to non-diegetic constantly to induce a state of confusion in the viewer, forcing them to piece together what’s real and what’s fantasy. The score features classics from gialli like Deep Red and should get your head bopping even if you’re not familiar with the context or importance of the music. If you’re a gialli lover who enjoys cerebral movies that don’t give you all the answers, you’ll love what Pesce is doing with this wholly unique horror entry.
Rating	9.2/10
Grade	A

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2010s, 2015, A, Black-Comedy, Comedy, Drama, Fantasy, Grade, Horror, Review, review-movie, slasher, Thriller, Year

Review: The Final Girls

December 1, 2020 The Critic 1 Comment

Director(s)	Todd Strauss-Schulson
Principal Cast	Taissa Farmiga as Max Malin Åkerman as Nancy / Amanda Alia Shawkat as Gertie Alexander Ludwig as Chris Nina Dobrev as Vicki Thomas Middleditch as Duncan Adam DeVine as Kurt Angela Trimbur as Tina Daniel Norris as Billy Murphy
Release Date	2015
Language(s)	English
Running Time	91 minutes

After losing her mother, Amanda, in a tragic accident, Max and a group of her friends go to a fan screening of the popular Camp Bloodbath, a Friday the 13th ripoff Amanda starred in decades before. However, during the screening things go awry and Max and her friends find themselves trapped in the world of the slasher movie with no explanation as to how they got there or how to get out. Faced with no other option, the group is forced to play along with the narrative to find a way back to the real world.

Now if the synopsis didn’t make it clear enough, this is a movie that’s a love letter to 80’s slasher movies, especially those from the Friday the 13th franchise. From Camp Bloodbath’s “KiKiKi MaMaMa”- based parody theme to the increasingly caricatured acting from the fictional movie’s cast, every trope you know and love is here and is ready to be celebrated. However, what sets the movie apart from other slasher comedies is the emotional center that serves as the movies main through line. The story opens on Max and Amanda and demonstrates just how much the mother-daughter duo depends on one another. The latter, having been typecast as sexy bimbo who gets killed due to her involvement with the slasher cult hit, is desperate to find a role that will let her be a real star, while the latter fawns over her mom while dealing with tasks like managing the bills. Watching Amanda dies it’s clear that Max’s world is shattered and Farmiga conveys her characters grief by going from bubbly and filled with life to desolate and lethargic. That’s why her journey into a movie where her mom was a star hits so hard – it’s her chance to reunite and deal with the trauma in a moving, albeit unconventional way.

On the right, Max (Taissa Farmiga) bonds with her mom, Amanda (Malin Åkerman), before the latter’s untimely death. Once she gets trapped in the world of Camp Bloodbath, she gets to bond with her mom’s breakout character, Nancy, who gives her a spiritual chance at bonding with her mom one more time. The relationship between these 2(3?) is the heart of the movie and gives it an unexpected emotional weight.

It’s this emotional center that elevates the usual slasher formula into something that gets you to cheer for the characters success because even the stock caricatures get an extra level of depth due to their humanizing connection to the actual actors. Max relating to her Amanda’s character Nancy reminds us that there’s an actor hiding behind every character that seeps and pervades through the representations we see on screen. This makes the clash between the “real” life characters – Max, Gertie, Chris, Vicky, and Duncan- and the movie’s characters – Nancy, Tina, Amanda, and co. – enthralling because they twist the perceptions we have of stock characters and gives them a chance to show us something more. It also injects the movie with a healthy dose of existential humor as the Bloodbath characters are forced to reckon with their fictional makeup in contrast to something more “real”, begging the question of what reality even is.

It’s this playing with reality that gives the movie its unique comedic angle, setting it apart from the sea of slasher comedies that have come to inundate the market post Scream. Duncan, the Camp Bloodbath super fan, acts like the Randy of the movie and explains the worlds tropes and plot mechanisms – there’s a final girl who happens to be a virgin, people die when they have sex, and so on – while giving the audience the perfect nerd to cheer alongside. He helps the group determine the rules of the movie-turned-reality so that they can break and manipulate them to figure out a way to get out. Max and co. realize near the start of the movie that they can’t leave the story without playing along in a comedic scene that shows the Camp Bloodbath staff driving by the characters every 92 minutes (the run-time of the in-universe movie). Waiting just introduces another playthrough, so they’re forced to take action.

The group is stuck in a loop where the movie plays back-to-back on loop, until they decide to make themselves part of the in-universe movie’s story.

As they become more familiar with the way slasher conventions work, they engage in some pretty ingenious mechanisms to bypass typical scenes to increase their chances of survival. On the flipside, some of their experiments don’t work out as well which introduce some bleak, yet hilarious moments that keep the audience constantly guessing as to what the next step is going to be. The result is a movie that plays along with our expectations while subverting them at every turn. The more you know about slashers, the more fun you end up having because the game becomes guessing how the trope will be subverted instead of witnessing the trope happening.

In an attempt to highlight this constantly changing perspective, the movie makes wonderful use of a constantly moving camera. There are quite a few arc shots (where the camera moves steadily in a circle) that highlight the absurdist nature of the movie’s narrative, reinforce the idea of the characters being stuck in loops of sorts, and constantly highlighting the juxtaposition of the story of Camp Bloodbath against the injunction of real life characters. One of my favorite moments in the movie involves a characters getting brutally killed after thinking they’re safe as the camera starts turning in a circle and zooming in highlighting just how wrong they actually were. The movement keeps us as disoriented as the characters and adds another layer of empathy as we realize that neither us or Max and co. know exactly what’s going on.

Complimenting this visual vertigo is the narrative whiplash that occurs as modern “real” people interact with outdated 80’s slasher stereotypes and dive beneath their personas. Homophobia and sexual objectification meet their modern match which allows the movie to lampshade its baser fun with bits of commentary. In one scene, Kurt, the prototypical jock/sex fiend, makes some bigoted jokes to Chris which are quickly shot down by the latter’s more open worldview, but the presence of a challenge to the retort forces Kurt to delve deeper (not that much) into what he actually thinks. Moments like these between the different intersections of characters allows the movie to relish in its homage while making comments on the side without ever coming off as too obnoxious or on the nose.

It helps that every single member of the star studded cast nails their performances, with special kudos given to the Camp Bloodbath members who are forced to play both a caricature and a deconstruction of those same stereotypes as they figure out their true metaphysical makeup. DeVine nails the contemptible player persona from the laid back and confident posturing to the arrogant smirk he keeps on his face. Meanwhile, Trimbur makes the slutty, sexy girl who typically dies first far more energetic and expressive than she has any right to be by injecting a manic ton of energy into contorting her body and facial muscles. Being the emotional center of the movie, both Farmiga and Ackerman bring a surprising amount of tenderness to the story, displaying a real sense of vulnerability with one another. There are moments in the third act that tug at the heartstrings because of how believable their real and fictional bond is built up and played out. In particular, Ackerman nails the fictional character realizing that they’re both real and not real with some expressions that exude fear and love simultaneously.

The only things holding the movie back are some less than stellar CGI elements along with some story moves that feel like they should’ve paid off in bigger and grander ways. The movie plays so well with sub-genre conventions that the presence of such overt and modern digital effects feels completely out of place.

One of the bad CGI renderings that threatens to distract the audience from the beauty of the movie. This scene of a car crash feels like a cut-scene from a PS2 game and feels out of place compared to the realism of what came before.

If these were a one-off occurrence it’d be fine, but these issues crop up enough during the run-time to feel like an issue. Given how clever the movie is with playing with sub-genre conventions, I was surprised that these moments weren’t rendered with cheesy and over-the-top practical effects to keep with the 80’s slasher energy. Adding to this is the soft rules approach the movie utilizes to keep the pace going. As I mentioned earlier, the tropes that are recognized are subverted in ways that aren’t expected which keeps an underlying sense of mystery and tension at bay, but because there are no clear and fast rules there are definitely some moments that just come off as odd. The movie can just explain them away as anomalies like everything else, but that comes off feeling lazy with how intricate other scenarios play out. If these moments were capitalized on and explained in the context of the story or breaking certain tropes, the movie would’ve felt more cohesive and tightly knit.

That being said, what we get is a heartfelt, clever, and truly funny movie that any slasher fan should give a watch. Every character feels distinct and interesting, despite the fact that some of them are walking caricatures, and watching their inevitable clashes among one another is constantly entertaining. Even though it’s comedic, the movie wants to be more than just funny and constantly combines its humor with epic visual compositions and narrative shifts that demonstrate just how much love went into the worldbuilding. The riffing and appreciation of sub-genre tropes plays well with the way they’re subverted and gives the movie a constant energy that should keep you invested from start to finish.

REPORT CARD

TLDR	The Final Girls shows that horror comedy very much has more room to explore in its ingenious design. The story of characters getting trapped in a slasher movie explores and relishes in genre conventions, while at the same time upending them to great effect. The effect is a dark absurdist comedy with an emotionally resonant center that keeps the otherwise fantastical elements feeling grounded, yet entertaining. Horror fans – slasher fans especially – should check this love letter to the sub-genre if they haven’t already. It’s sure to entertain and leave you wanting more.
Rating	9.1/10
Grade	A

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2010s, 2014, A, Drama, Fantasy, Grade, Horror, mystery, Review, review-movie, supernatural, Thriller, Year

Review: A Dark Song

November 29, 2020 The Critic 2 Comments

Director(s)	Liam Gavin
Principal Cast	Steve Oram as Joseph Solomon Catherine Walker as Sophia
Release Date	2016
Language(s)	English
Running Time	99 minutes

Discordant and dark strings start to play, setting the ominous and foreboding journey to come. A woman, Sophia, drives down a long and desolate road. Her drive is crosscut with her buying an enormous mansion. She asks odd questions to the realtor like what directions the rooms are facing. Her focus is clearly not on the typical qualities of the house, but instead these more precise spatial ones. She hands the realtor a huge stack of cash to rent the location for a year – no bartering, no negotiating, no questions. All she asks is for the agent to keep the purchase discreet.

She continues her drive and meets with an aloof man, Joseph Solomon (talk about Biblical naming) in a restaurant. As he scarfs down food, it becomes apparent that she’s meeting with him for the sake of performing some dark ritual. Their conversation ends and the two inspect the previously bought house together. He asks her if she’s followed an arcane set of steps – eating only between dawn and dusk, refraining from sex, and similar behaviors. She answers in the affirmative, emphasizing her desperation for the ceremony to start with each response. Finally he asks her what she wants to perform the ceremony for. She answers love. He refuses to go along with the procedure and asks for the large sum of money she promised for anyone willing to even listen to her magical demands.

The two sit at a bus stop, waiting for Joseph’s bus to come. They’re positioned far apart from one another, reflecting the lack of trust and alienation between them. He’s upset that he travelled all this way for a waste of a request. She’s horrified that she’s going to lose her chance at performing the magic ritual. Desperate to not lose her sorcerer, she moves closer to him, overcoming the gap in understanding between the two, and reveals that her real desire is to talk to her deceased child. This changes things. Joseph recognizes the demand as legitimate and worthy of the laborious Abramelin ritual she wishes to perform, accepts the request, and sets off to set up the household for what is to come.

Sophia (Catherine Walker) getting closer to Joseph (Steve Oram ) as she reveals the truth of what she wants. Her lies keep her far away and her desperation to get help manifests in her getting closer and telling the truth. This is one of the movement the movie utilizes to depict the way the duo’s alienation manifests and is momentarily overcome with open communication.

In the meanwhile, Sophia runs into her sister who immediately accosts her about the dark magic she’s going to be attempting. She asks if the ritual is “something Godly” to which Sophia responds both that she believes in God and that God’s goodness is missing in a world where her son could be taken from her, leaving her with only pain and hatred. After bidding a farewell, she goes to the house, ready to start the dark song.

Alienation. Grief. Desperation. Faith. Magic. God. A Dark Song is an exploration in the intersections of these concepts against and with one another. As the ritual starts, Joseph explains the procedures as if they’re a science. He draws on numerology , gnosticism, and the like to emphasize how every part of the ceremony is to work and their respective metaphysical purposes. The ritual that he and Sophia are attempting is not one that works 100% of the time, something he mentions early on, but rather, is one contingent on the drives of the conduit, in this case Sophia, aligning with the magic in such a way as to conjure a Guardian Angel who will be able to grant the both of them their respective wishes.

While the intricacies of the ceremony are hard to keep down, the gravity of what is being attempted is incredibly clear – the duo is attempting to use an arcane system of knowledge in an attempt to gain dominion over supernatural entities far beyond their control to grant their wishes. This danger is something that is constantly highlighted by Joseph who yells and screams about the dangers at each and every moment. His trepidation and worry about the magical endeavor give it a palpable sense of tension that keeps the situation grounded in reality. God, angels, demons, and the like are real and serious within the confines of the narrative. There’s no room for disbelief. It is this foundation that gives the movie its uncomfortable aura, as every manifestation of the supernatural is tinged with an feeling of danger that would normally be disregarded in a lesser movie dealing with the same subject matter.

This dark occultism is juxtaposed against both science and a more orthodox religious praxis to highlight the way that belief motivates and gives power to action. From her earlier interaction with her sister, it’s clear that Sophia believes in God. Her doubt comes from whether or not God actively shows a presence in the world or must be conjured through intermediaries to generate any meaning. Likewise, Joseph makes it abundantly clear that he believes in God as he takes the existence of a Creator along with the supernatural as grounding facts for the metaphysical breakdown of the world. In this sense, A Dark Song , is an interesting take on the idea of “dark” magic because it’s predicated on being religious and having faith, not being some kind of Devil worshipper and perverting the will of God.

At one point, Sophia and Joseph talk about science versus religion/magic during which Joseph indicates that science can only describe the least of things while religion/magic can describe the mystery behind those things. The former is a schema for the physical, while the latter is a blueprint for navigating the metaphysical. The elaborate and laborious steps the two follow to complete the ritual invoke an idea of a science experiment – there are clearly defined steps that must be followed, each step has it’s purpose in the grander scheme of the ritual, and there’s an ultimate conclusion to be reached by the end of it all. Where the similarities end is that there’s no guarantee that success can be replicated. As Joseph indicates early on, he’s done the ritual once successfully but failed more than that. The ritual requires looping through the steps over and over till a Guardian Angel appears. There’s no spectacle that confirms or denies the magic is working – only hints and and clues that have to be believed as being signs of the arcane process. It’s a science based on belief. In a very Kierkegaardian sense, the ritual can only work if the practitioners go at with complete faith, in both their drives and the ceremony proper. It may be dark magic, but it plays out an like praying.

At a visual level , the magic ceremony is evocative and keeps your attention glued onto the screen. The rituals are painstakingly followed and the camera constantly cuts to the intricate set-ups that both evokes a strange sense of admiration at the beauty of the symbols and markings while generating a constant sense that there is a meaningful transgression occurring. The dark strings that play at the beginning are persistent throughout key moments of the movie, transforming in intensity based on what’s happening. They evoke a foreboding spirituality which pairs well with what’s going on narratively. When the music transforms into something else, you notice it and appreciate it because of how much the string sections seep into your brain as you watch the majority of the movie. It’s a truly effective use of an otherwise simple score.

One of the many scenes of the artifice involved in enacting the ritual. Symmetrical, geometrically aligned, and evocative – each of these scenes is beautiful to look at and the movie is filled with them.

Accompanying this presentation, is the brutal performance of the ritual itself which involves Solomon tearing down Sophia at every corner as she pushes herself to physical and mental extremes that are uncomfortable to watch. What she’s asked to do isn’t just hard in a physiological sense but also in a mental and emotional sense . She has to go days without sleeping or eating. She’s forced to go through long periods of the equivalent to spiritual waterboarding. The worst part? These are only the lighter tasks she has to persevere through to get to her ultimate wish. All the while, Solomon shows no mercy or compassion to his client, reminding her that she asked to do a ceremony knowing well that that’d be brutalizing. As the movie goes on, their relationship morphs in relation to the rituals, wavering between absolute hatred and a kind of acceptance of each other as fellow aliens to the “real” world.

It is this exploration of humanity underscoring the ritualistic endeavor that makes A Dark Song so interesting to watch. Because the ritual is repeatedly emphasized to be tied to Sophia’s disposition and will, her relationship to Joseph and herself helps serve as a kind of external check on the progress of the magical activity. However, at a more basic level, the back and forth between the two gives the fantastical story a layer that makes you invested. Both characters are loners , alienated from the world for different reasons. They can’t seem to find a place for themselves outside and seemingly reject efforts to reconcile and reintegrate with affairs around them. The scene with Sophia and her sister emphasizes this, as the former rejects the latter’s request to move in with her and embrace a new family structure. Both of these wayward souls naturally repel each other because neither wants to open up and give way to the other . Their natural proclivities prevent that from happening. However, because of their predispositions, they’re both aligned in a plethora of ways, the most pressing being their willingness to engage in the Abramelin ritual to accomplish their tasks. The ebb and flow they feel between their respective misanthropic tendencies and their feverish desire to do what they must gives the movie an emotional center that elevates the magic and the horrors to a level where they pull the audience fully into the story’s world.

This relationship is also explored spatially in the movie, with the characters placement and the respective mise en scène working in tandem to highlight the way it transforms. Initial moments between the two constantly show them separated from one another, often times facing separate directions to show they’re not looking out for each other. The constant framing of the characters in doorways highlights their isolation and sense of loneliness. The few cordial and surprisingly comedic moments between have them positioned closer to one another, facing the same direction without any kind of overarching frame to isolate them. In these brief reprieves, they’re almost a united front of sorts, like a off-kilter romantic couple of sorts. The back and forth shift between their positions and the open and closed framing reflects the way the two try and open up to one another and gives their interactions a profound heft.

The movie constantly highlights how both *Sophia (Catherine Walker) and Joseph (Steve Oram )* are alienated from the world around them and from each other, while also demonstrating that their alienation is what makes it possible for them to become closer with one another. By utilizing distance and framing devices like doorways to highlight their isolation and togetherness, the movie is able to visually show the transformation of their relationship as it fluctuates from antagonistic to caring.

Walker and Oram feel like they get lost in their roles as Sophia and Joseph respectively . Their bombastic disagreements and subtle moments of closeness exude an authentic quality that feels less performance and more like two real people trapped apart from the world and forced to reckon with the dark mysteries that lay beneath. Oram’s eyes can go from conveying condescension to severe fear in a moment’s notice as he desperately seeks to emphasize how dangerous their undertaking really is. Walker’s face never loses her resoluteness to get the task accomplished, her eyes constantly steely and determined. The transformations the characters go through feel believable because the painful subtleties that lay beneath the veneer of their egoistic personas are demonstrated time and time again. You can always feel their sense of loneliness and isolation, which makes their otherwise manic behavior understandable. In spite of how revolting they are at times, they never come off as inhumane monsters. They’re just hurt people looking for something more.

Speaking of something more, the ending completely shattered my expectations of what I thought would happen going in. Gavin really goes for broke in the last 20 minutes of the movie and rewards the audience’s patience and investment in everything that came before. It’s a shocking move that feels both completely out of left field but totally earned. The movie moves subtly and slowly, ratcheting up the tension and scope of magic, until the ending where everything is turned up to 100 real fast. The first time I saw it, I thought it felt too hokey and jarring, but upon subsequent watches I’ve come to appreciate the beauty of what Gavin is trying to convey. My biggest issue with it is the visuals during these moments along with the story logic feel too jarring compared to everything else. They almost threaten to take audience members out of the story completely. If someone came to me and said they hated the ending, I could understand that because it operates closer to a poetic logic than a narrative one. However, the antagonism between faith (poetic) and certainty (logic) is presented as a key undercurrent that keeps all the independent parts of the story moving, so the theme sublimating to the level of the narrative feels earned. If anything, I wish that the movie was a bit longer and fleshed out this discussion so that the shift would be more palatable, but I have to give my respect to the filmmaker for going all out.

To those viewers looking for an grounded and in-depth look at magic, A Dark Song should provide what you’re looking for and more. The story deftly explores dark magic in a way that treats it with respect and grounds it in the same vein as meaningful religious activity. From the intricate way the ceremony is visually depicted to the harrowing consequences that result from it, the story emphasizes the wonder and darkness inherent in the occult. The string based score transports you to a world of arcane possibilities, while the emphatic and powerful performances by the two leads keeps you aware that what’s happening is real and purposeful. Though I think some parts of the movie could be better fleshed out, mainly to make the whiplash of the last 20 minutes feel less prominent, what Gavin and his team have done is truly special. This is a movie that invites the audience to think along with its characters as to what faith and belief truly looks like.

REPORT CARD

TLDR	A Dark Song is that rare horror movie that pushes genre conventions in unexpected ways to great results. The story mixes magic with religion to force us to ask questions about our own faith and orientation towards the unknown and mystical. The formal presentation of the rituals along with the evocative and chilling score help keep the audience glued to the unique presentation of magic and ensure that the deeper meanings of the movie aren’t lost in the background. This is magic done in a unique and effective way that treats its subject matter with the respect it deserves. At the same time, the story never forgets to be chilling and utilizes its narrative elements to get under your skin. The performances by the two leads gives the arcane story an emotional center that helps propel both the themes and narrative to a conclusion that feels satisfying, even if completely out of the blue. If you’re looking for a story about magic or want a horror that examines the mystical in a grounded way, look no further. A Dark Song will help take you beyond simple appearances to a world that will make you genuinely ponder.
Rating	9.4/10
Grade	A

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2010s, 2018, A+, Art House, Grade, Horror, mystery, Review, review-movie, supernatural, Thriller, Year

Review: Luz

November 24, 2020 The Critic 2 Comments

Director(s)	Tilman Singer
Principal Cast	Luana Velis as Luz Jan Bluthardt as Dr. Rossini Julia Riedler as Nora Nadja Stübiger as Bertillon Johannes Benecke as Olarte Lilli Lorenz as Margarita
Release Date	2018
Language(s)	German, Spanish
Running Time	77 minutes

The movie opens on a receptionist who sits behind his desk and slowly does his work. A slow paced synth score plays in the background as if to set the tone. After a little bit, a young woman walks into the reception area, her shoulders drooping and her general appearance indicating a fatigue. She slowly meanders around the location and eventually comes to the vending machine at which point she decides to buy a drink. The score picks up and gains a serious energy as a siren noise penetrates the slow beat. The girl, Luz, walks towards the receptionist and aggressively asks him ,”Is this how you wanna live your life? Is this seriously what you want? ” He looks up at her and signals that he needs a moment. He looks up and indicates to her he’s ready to hear her at which point she repeats what she said before, this time her voice becoming distorted and terrifying. Her words echo and reverberate all around as the title card comes up.

Luz (Luana Velis) enters the reception area as if in a daze and confronts the receptionist after a 4 minute wait. The whole time the camera stays still letting the audience become immersed into the story’s world.

This is Tilman Singer’s Luz, a slow paced story that harkens back to Euro horrors of old in the vein of something like Zulawski’s Possession. It’s slow, methodical, and focused on immersing the audience in an ambiance more so than telling a straightforward story. The opening scene seems short in theory, but it plays out slowly over a period stretching a little longer than 4 minutes – an uninterrupted shot that gives the audience a chance to fully immerse themselves in what’s going to happen while giving away almost nothing of what’s going on. It’s eventually revealed that Luz has entered a police station and is immediately taken in for questioning due to her bruised appearance and strange behavior. Her interrogators include an authoritative chief named Bertillon, a translator going by Olarte, and Dr. Rossini, a hypnotist and psychologist of sorts.

Unbeknownst to them however, a supernatural force is also invested in Luz, albeit for different reasons, and intervenes in the ongoing interrogation. What does it want? Luz’s love and affection – a relationship between the corporeal and the demonic. Thus the stage is set for a movie that’s part police procedural as the law enforcement agents try and get to the bottom of the truth of what happened to Luz and part possession love story as the demonic entity tries to usurp the process and make Luz engage in communion with it. The interweaving of these storylines enables Singer to deconstruct the commonly held ideas about possession, as the spirit does not seem to harm Luz (as is common in possession based movies) but ,rather, tries to make the confused cab driver hers in an intimate sense. Given that the primary method the interrogators use to investigate the past is hypnotizing Luz and probing her innermost thoughts, the movie asks the question if possession is any different from the way we violate others by forcing expectations of proper behavior on them and punishing them for violations of the same. Is hypnosis done for the sake of finding the truth really better than having a body enveloped by some alternative power? Is submission to some kind of code, whether it be religious or legal, distinct from a supernatural exchange of power? By mixing the distinct storylines together, the movie seeks to investigate what the nature of communication, reception, agency really means.

Like the opening scene suggests, some lines are said by characters without a context by which to make sense of them. Luz’s outbursts at the receptionist feel odd because they indicate a sense of familiarity with the recipient. Why ask such invasive questions about someone if you know nothing about them? This idea bleeds naturally into both the intrusive nature of hypnosis and possession but also communication in general. When we speak we attempt to convey a certain meaning meant to elucidate our thoughts and feelings. However, there’s always a disjunct in what we mean to say and what we actually say. Freudian slips, misinterpretations, and the like plague everyday conversation revealing that communication isn’t as easy as it’s made out to be. We only have control over our words, but we have no control over how others perceive them. If I talk to a friend in public, it’s possible they misunderstand me. It’s also possible they understand me, but a random stranger walking by doesn’t understand me. The interpretative chain goes on and on as every utterance can take on a different meaning based on who’s listening and what information they have about the speaker and their respective circumstances. This is the heart of what the movie seeks to explore as sentences and phrases are constantly repeated by different characters in different ways in different contexts.

Words and phrases constantly echo and reverberate in strange and disorienting ways. The camera will go to a close-up of a character’s mouth and words will be heard, but the respective character’s mouth won’t move. Luz speaks in Spanish but her interrogators are German, so each of her lines is initially uttered with no subtitles confounding the viewer, until Olarte repeats her words a few seconds later creating another discrepancy between what we see and what we hear. When Luz goes under for hypnosis, she plays the role of multiple characters and speaks as though she’s multiple people creating a sense of confusion, as the translations on top of her rapid switching between different point of views becomes more difficult to break apart. At times sound fades out. At other times it gets much louder. Most of the while, there’s always an evocative synth score playing in the background adding to the auditory chaos. It’s affective audio mixing and gives the soundscape and impressionist feeling, almost as if the words matter less than the feelings behind them. It’s an experiment that could go disastrously poor, but instead gives full life to the themes and ideas inherent in the story by placing the audience in the middle of the communicative battleground where meaning is constantly being carved out.

Matching this chaotic sound design is immaculate set design and editing. The movie primarily takes places in one location, but with the way flashbacks and clever set pieces are used nothing ever feels stale. This is most evidenced during the hypnosis portions of the movie. The camera constantly shows the shift between where Luz is mentally and what her actual surroundings are like. As she re-enacts the cab driving accident that led her to come to the station, we see glimpses of the real situation coming through the fray. Lighting and camera shifts show the way her past forces itself into the present. In a beautiful demonstration of the way the two intermingle, the camera shows Luz’s passenger in the backseat of her “car” through a mirror, provided by the officers to help create a sense of immersion, while everything around her remains the same.

*Luz (Luana Velis)* “driving” under the hypnosis of Dr. Rossini (Jan Bluthardt). In the begginig the camera is positioned to show Luz looking the right with her face in the mirror. As the session progresses, the camera shifts perspective and shows Luz looking towards the left with her passenger Nora’s (Julia Riedler) reflection now taking up the mirror. The subtle transition marks the way Luz’s vision leaks into reality and demonstrates the shift in agencies she experiences.

As the session becomes more intense, the interrogation room becomes more and more misty eventually turning into to a thick impenetrable haze – a reflection of the miasma that surrounds the discourse being cultivated in the room. Set pieces from earlier flashbacks integrate themselves into the room, demonstrating that an effective script and smart set design is all that’s needed to create an truly immersive story. It helps that movie is shot on 16MM which gives every scene a truly gritty and rugged feeling tying all these moments together in an aesthetic fashion.

The strand holding all these elements together is the multifaceted performances given by the small, but highly talented, cast of actors. Luana Velis is the focus of the story and gives life to the enigmatic titular character. From her early and disturbing behavior to the way she becomes laid back and calm during the early stages of her hypnosis, she demonstrates a full range of emotions. Watching her pretend to drive her cab is a treat to see, because it demonstrates how subtle and precise movements are all that’s needed to convey an effective illusion. The way she bops her head to the imaginary radio in her car along with the way she breaks by slamming the pedals matches up so well with the accompanying driving sound effects. It’s hard to believe that she’s not actually hypnotized. Likewise Bluthardt and Riedler give wholly emphatic performances that demonstrate the duplicities of their respective characters. They have to switch and take on multiple different roles to sell central ideas in the movie, and they manage to do so in a way that’s genuinely unnerving. Bluthardt in particular manages to go to some dark and disturbing places with an ease that gets under the skin. I’d love to say more, but I don’t want to give too much away.

My biggest issue with the movie is that in focusing so heavily on Velis, Bluthardt, and Riedler’s characters it loses the potential of Stübiger and Benecke’s characters. Both Bertillon and Olarte seem important from the beginning, but they’re slowly pushed to the sideline as the plot unravels, which feels like a shame given what they potentially offer to the story. The former is a powerful and assertive chief , while the latter is a more timid and religiously uptight translator. Given the thematic dynamic involving supernatural power, possession vs hypnosis, and communication it feels like they could have had a bigger role in fleshing out some of the ideas. For example, there’s one moment where a hypnotized Luz engages in some sacrilege and Olarte refuses to translate given his religious upbringing. Bertillon’s response is just to confusingly ask if her translator is serious about the refrain. This moment could’ve explored a power dynamic between legality and religion and the power of uttering something profane, but instead it’s brushed aside to get the focus back on Luz and Dr. Rossini. The movie is a crisp 77 minutes (a little under if you include the credits), so it’s not like its overly long and couldn’t fit in these moments. That being said, the story is so tight and well structured that these omissions don’t hurt as much as they make you wonder what could’ve been. It’s a strange thing to criticize a movie by saying “I love it, but I want more.” , but with how great the movie is I can’t help but wonder how much more staggering it could’ve been if it fleshed these ideas out more.

However, in spite of my praise, this is not a horror movie I would recommend to everyone. It’s slow, methodical, and very much in the old-school European art-house vein. This is a meditation on communication, power, and the way our attempts at reaching out to one another are always caught in a matrix of interpretation – a matrix that is only partially controlled by us. From the subdued, yet evocative visual style to the inspired soundscape, the movie imbues every painstakingly long scene with an ambiance that will completely hypnotize audience members who are willing to give themselves to the it.

REPORT CARD

TLDR	Luz feels like a movie from a different age, one that’s more focused on making the audience feel something than giving a clear narrative with answers at every turn. The way it investigates communication is brilliant and makes effective use of both the possession and police procedural elements of its narrative. Combined with strong compositions, effective set pieces, and a brilliant sound design the movie oozes charisma and a creepy ambiance that old-school horror fans will love. Those viewers who are okay with a slower pace, less plot driven, and more mood drive story will find something special in Tilman’s deconstruction of the supernatural possession based genre.
Rating	9.7/10
Grade	A+

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