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Mother! (2017)
The troubled marriage between God and Mother Nature
I understand there's been a lot of discussion and speculation regarding what Mother! is about. For me, having just watched it on DVD, it is perfectly obvious that the film portrays the troubled marriage between Christianity and Mother Nature. In the film, God (Javier Bardem) is a self-absorbed poet who quickly - proudly - writes the bible and gathers overzealous followers while Mother Nature (Jennifer Lawrence) is neglected, ignored and made to suffer, despite the fact that she is always working in the background. Along the way, there are allusions to Adam and Eve (in particular the "apple"), Cain and Abel and the seven deadly sins.
The film is very effective, although a bit too obvious at times, as it sets about clearly demonstrating how Christianity has lead to widespread, thoughtless and ultimately self-destructive environmental devastation. In particular, the film portrays humans (God's creations, and intruders in Mother Nature's home) as above nature, detached from nature, conquers of nature and beyond reproach. This is demonstrated in the horrible way that God's "guests" treat and speak to Mother Nature, and the complete lack of respect they have for the home she is working so hard on. Nature, on the other hand, is portrayed as dark, foul and disturbingly mysterious; it is something to be immediately changed according to human needs and whims. For example, some guests suddenly start painting the house while others lounge and roam wherever they like. Emphasis is placed on receiving immediate forgiveness for any sins against nature; God continually defends the guests' actions, while Mother Nature can't believe what she is hearing. Having worked in the environmental sector for eight years, and studied culture and environment as part of my Master's degree, I know that Christianity has a lot to answer for when it comes to caring for the environment.
As you can tell, thoughts and reflections flooded in, as I watched the film, despite being under duress. I had to return the DVD before the local library closed. I kept checking the time on the DVD player and then glancing up at the clock; I was cutting it close. I kept thinking to myself that if I didn't start to get into it, I could turn it off and return it before I received a fine; I wouldn't miss a thing. However, I stuck with it. I got the feeling that Aronofsky was going for a Buñuel -style social satire with deep religious undertones (bringing to mind Viridiana and The Exterminating Angel, in particular). While I could see some similarities in intent, Aronofsky's approach was much more obvious and at times over-wrought; he lacks Buñuel's subtle, dreamlike intertwining of reality and surreality.
At times, I lost patience with the film, but was compelled to keep watching. As an autistic person, I found the sound design frustrating - even painful. That high pitch whine occurring whenever Mother Nature takes her yellow "painkiller" sent me diving for the volume control - in fact, I almost stopped watching. I believe the repeated consumption of yellow substance, coupled with the noise pollution, was meant to symbolize the slow poisoning of nature brought on by the arrival of more and more uncaring guests. Despite challenging both my senses and my patience, the film slowly drew me in and did something rare for a film these days - it made me think. While watching, I was making all sorts of connections and comparisons, theories and conclusions, as I worked to figure out the director's intentions - which slowly revealed themselves.
Without giving too much away, I found the ending deeply satisfying. History forever repeats itself and God, much like his foolhardy creations, does not learn from his mistakes. Over all, I thought the film was essentially a darkly surreal, Reader's Digest version of the Bible. The fact that I felt passionately impelled to write something about Mother! immediately after watching it really says something - and, incidentally, the DVD was retuned on time.
St. Vincent (2014)
Who ya gonna call? Bill Murray!
The upcoming "Ghost Busters" re-boot may well be a disaster of biblical proportions - "Dogs and cats, living together!" Luckily, Bill Murray avoided getting slimed to star in yet another quirky, edgy character comedy, for which he is a Zen Master.
"St. Vincent" journeys into familiar "Uncle Buck" territory (the 1989 John Candy comedy). Oddly, both films star Second City alumni as alcoholic, self-centred, misanthropic man-children trying to do one last thing right. Murray plays Vincent (get it?), who - despite the reservations of all those around him - ends up playing father-figure to a young man named Oliver. Life lessons are learnt, sentimentality ensues, but so does the laughter. While somewhat predictable - there's even a scene where Vincent teaches Oliver how to fight the local bully - this film's irresistible charm can be summed up in two words - Bill Murray.
The Duke of Burgundy (2014)
Intoxicating brew of dark, atmospheric erotica
"The Duke Of Burgundy" was a fictional pub in the classic Ealing comedy Passport To Pimlico (1949). It also happens to be the name of a certain species of butterfly found only in England. Far from a film about a friendly neighbourhood pub, or an educational chat with David Attenborough, the 2014 incarnation of The Duke Of Burgundy is encased within a potent atmosphere of unease, sexual tension, twisted eroticism and dark humour. Much like viewing a case of mounted butterflies, we watch the action unfold. Visuals are more important than words. This is a truly cinematic experience that demands its audience closely observe everything before its eyes. The butterfly metaphor may be overused - having been exploited in The Collector (1965) and in The Smiths lyric "You can pin and mount me like a butterfly" - however, it is revisited to great effect in this film.
The film observes the daily routine of Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D'Anna). Much like insects pinned down and encased under glass, we observe them trapped in a provocative routine that starts with punishment and pleasure and ends with a crumbling emotional facade. As Cynthia yearns for a more conventional relationship, Evelyn's obsession with erotic role-playing threatens to push the two apart.
The Duke of Burgundy is a unique voyeuristic experience courtesy of Peter Strickland, the award winning writer and director of Berberian Sound Studio and Katalin Varga. Much like Berberian Sound Studio, he returns us to the European cult movies of the 1970's. It's refreshing to note that while many recent directors seem to be emulating the crowd-pleasing visuals of The Wachowskis, Lynch, Tarantino or Snyder, Strickland is enthralled with Dario Argento, Lucio Fulci, Jess Franco and Sergio Martino - with a pinch of Bergman. To a certain degree, Strickland's themes and visuals may also owe a debt to lesser known Euro-cult gems like Baby Yaga and Daughters of Darkness.
Anyone who's familiar with The Duke of Burgundy's cinematic lineage knows how essential a good soundtrack is. Many of the original giallo and Euro-sleaze films where soundtracked by the likes of Ennio Morricone, Bruno Nicolai and Goblin. The Duke of Burgundy benefits greatly from a soundtrack by Cat's Eyes, an alternative pop duo featuring vocalist Faris Badwan - of English indie rock band The Horrors - and Italian-Canadian soprano, composer and multi-instrumentalist Rachel Zeffira (sounding rather like Lynch favourite Julie Cruise). Having played their first ever gig in St. Peter's Basilica at the Vatican, during an afternoon mass "attended by seven high-ranking cardinals", the duo are the perfect choice to compliment Strickland's retro Italo-thriller imagery. The opening credit sequence is an especially good mix of sound and image recalling the era perfectly.
If the overtly commercial eroticism of Fifty Shades of Grey leaves you cold, then head down to The Duke of Burgundy and drink in its intoxicating brew of dark, atmospheric erotica.
Leviafan (2014)
Experience a truly great, epic film before the mighty Russian film industry hunts down its own cinematic wonders, until only a massive pile of bones remains
In the Old Testament, the word "leviathan" refers to a sea monster; but the Old Testament has lost some of its clout, and fear of sea monsters is a thing of the past. The film "Leviathan" makes similar metaphorical allusions to present day Russia. Once a feared giant of the international scene, Russia is now trying to rise up from the depths, pulled up by a overtly macho president riding bareback on a horse. Judo flips, threatening neighbours and bombers buzzing past Cornwall are all part of the plan. However, like the image on the "Leviathan" poster, the Russia depicted in "Leviathan" has been rotted by corruption; only bones remain.
The film is set in the isolated village of Teriberka, by the Barents Sea. It is a place of awesome natural beauty, but also abandoned houses, empty vodka bottles and uncomfortable silence. In this setting, a power-hungry mayor tries to take a sea-side home from a hardworking mechanic, with a new wife and son at his side. Allies arrive to assist the mechanic; however, their real motives soon become apparent. No one can be trusted.
A microcosm of modern Russian life, the film takes a dark, harrowing look at a constantly changing political landscape where notions of power ebb and flow; and the bones of a distant past lay on the shore, the flesh long since picked over by post- Perestroika opportunists. Left with nothing but bones, denied even a modest home by the sea, the family under siege symbolizes a Russia that is tired of the uncertainty and corruption of modern Russia. Perhaps it is a Russia that is thinking back to life under Communist dictatorship which, ironically, must have seemed stable, predictable, and safer in comparison. Perhaps it is the film's not-too-subtle attack on contemporary Russian society that lead to it losing the best film prize at the Golden Eagle awards (the Russian Oscars), despite a nomination for best foreign film at the Oscars and winning best film at the Golden Globes. Throughout 2014, "Ida," and "Leviathan" dominated film awards across Europe. Yet, apparently many Russians disliked the film; and some have accused the director of something called "Russophobia". On the other hand, Americans love a dark, bleak, depressing portrait of Russia. If "Leviathan" had images of people queuing for toilet paper, it probably would have snatched the Best Foreign Film Oscar from "Ida".
Several adjectives have been used to describe "Leviathan" - "dark", "biblical", "epic", "stunning" and unforgettable. Overwhelmingly positive reviews are one good reason to see the film. However, another is the fact that cinematic leviathans like this will soon be extinct in Russia. Apparently, in response to the film's negative reception at home, the Russian Ministry of Culture will no longer fund "negative" films. So, be sure to come out and experience a truly great, epic film before the mighty Russian film industry hunts down its own cinematic wonders, until only a massive pile of bones remains.
The Babadook (2014)
New Take on Old Formula: Mother + Child = Truly Horrifying Cinema
Synopsis: When a hyper young man's hobbies prevent his neurotic mother from playing bingo with pensioners, Edward Scissorhand's evil twin brother - distant cousin to Candyman - appears to sort out the wardrobe, replace the wallpaper and sprinkle some life-affirming darkness on their drab lives while they enter the market for a new pet.
Verdict: A well-crafted, visually inventive psychological horror film that maintains a thick atmosphere of fear and dread throughout. Obviously learnt a valuable lesson from The Exorcist - a child in peril will ratchet up the tension and terror. Truly horrific because we CARE ABOUT THE CHARACTERS! (Hollywood, step back from the CGI and take note!)
Shock Waves (1977)
A fascinating oddity that sticks in the mind
Synopsis: A group of American tourists regret taking the economy tour when they end up in a creepy island resort with lots of pushy Germans who return from a swim with more on their minds than hogging the sun beds.
Verdict: By the far the best of the supernatural underwater Nazi zombie movies. Probably influenced 'Raiders of the Lost Ark' and 'Hellboy', to mention just a few of several possible imitators. Very atmospheric with lots of haunting, dream-like images. The underwater photography is excellent. Consistently creepy and original without relying on gore - of which there is very little. The scenes were the Nazi zombies rise from the sea are very effective. A fascinating oddity that sticks in the mind.
What We Do in the Shadows (2014)
The chore wheel, trying to get past bouncers, and improving household safety - life is tough for vampires
What comes to mind when you hear the words "New Zealand"? If you are thrilled by the overstated, perhaps director Peter Jackson springs to mind; he is rather popular. But fans of the understated may well favour Flying Nun Records, The Chills, Split Enz or New Zealand's greatest comic export - Flight of the Conchords.
Fans of Flight of the Conchords will rejoice at the arrival of What We Do in the Shadows, an awkwardly named but highly acclaimed horror comedy / mockumentary. Flight of the Conchords cast an absurd, often surreal look at the day-to-day activities of two flat-sharing New Zealanders trying to make it in New York's music scene; the deliberate misspelling of "Conchords" suggests that each chord is part of an absurd musical con. What We Do in the Shadows casts a similar eye on the daily mundanities of misfit vampires sharing a flat. The film stars Jemaine Clement and Rhys Darby. The omission of fellow Conchord Bret McKenzie (now an Academy Award winning composer) is somewhat alleviated by the addition of Taika Waititi, who wrote and directed some Conchords episodes. Recent interviews with Clement suggest a Conchords reunion is more likely than Peter Jackson directing a sequel to his Meet the Feebles - a twisted take on the Muppets. Apparently, a Flight of the Conchords reunion tour, featuring new material, is a possibility for late 2015. The Holy Grail for die-hard fans - the Flight of the Conchords movie musical - is still being discussed.
Despite the tired mockumentary structure, What We Do in the Shadows succeeds via comic DNA inherited from the Conchords. Shared traits include juxtaposition of the mundane with the fantastic; droll, deadpan delivery; and a genuine affection for naive, somewhat innocent outsiders and eccentrics trying to make it in an alien environment. The latter may stem from the perception of New Zealanders - as satirized on the Conchords - as isolated, struggling for significance and behind the times. Of course, New Zealand really is isolated, which probably explains why Clement and Waititi's humour usually revolves around outsiders trying to assimilate into a new environment. However, their shared affection for outsiders may also be attributed to their part-Maori upbringing, affording them unique perspectives on the land and the people around them.
In Shadows, the eccentric outsiders are flatmates Viago, Deacon, and Vladislav - three vampires trying to make it in the modern metropolis of Wellington, New Zealand. They face a variety of seemingly insurmountable hurdles including paying rent, adhering to the chore wheel, trying to get past bouncers, and improving household safety. Lesser trials and tribulations include being immortal, feasting on human blood and battling fashion-challenged werewolves. Further trouble arises when flatmate Petyr, the old-school Nosferatu of the group, turns unreliable hipster Nick into a vampire; it's up to the guys to show him how to be a proper vampire, while not attracting attention to their existence. Nick's human friend, Stu, challenges the vampire's world view; in a key scene, they decide not all humans are bad (only 98% of us are no good) and fight to protect him from other bloodsuckers.
The film has been met with almost unanimous critical praise, and it's not difficult to see why. It's the quiet, understated moments that really shine - and there are many of them. Clement, in particular, is in fine form; his slow, careful approach - favouring silence over ostentation - combined with his smooth, deadpan Transylvanian delivery kept me chuckling. On the other hand, some attempts to build up to more elaborate comic payoffs fell into cliché and obviousness; for example, a costume ball for the living dead didn't live up to its potential. To some degree, these minor concerns are due to the over-familiar mockumentary format. A few minor quibbles aside, this is a must-see for fans of quirky comedy and, needless to say, for fans of Flight of the Conchords ... "It's business. It's business time."
Gallowwalkers (2012)
Wesley Snipe's career returns from the dead and feasts on spaghetti using Leone and Joderowsky's silver spoon
Synopsis: In an arid wasteland created by too many lacklustre Hollywood mash-ups, critics think they've put the final stake in Wesley Snipe's career, but surprisingly it returns from the dead and feasts on spaghetti using Leone and Joderowsky's silver spoon.
Verdict: Ambitious, imaginative and visually impressive film that warrants obvious comparison (Leone), but seems more indebted to El Topo's art direction and non-linear, Gothic, psychedelic spaghetti westerns like Matalo! and Django Kill, if You Live, Shoot! Personally, I enjoy this sort of thing, but I can see why many do not; it is brazenly uncommercial and unconventional (a brave choice at this point in Snipe's career decline), and that's part of its appeal.
Several reviews have complained about the incoherent (or completely lacking) plot, but being a fan of spaghetti westerns, I've become accustomed to going along with the film's visuals - like following a good jazz number. I found the plot to be simplistic and classic western: man seeks revenge, flashbacks ensue, he gets revenge and - here's the twist - the people he kills come back from the grave ... so man seeks young apprentice to help him kill them once again.
To some degree, I agree with the negative reviews. I did find it a frustrating and uneven watch. I couldn't help but think that a much better film was possible. Several scenes are cut in a manner that implies not enough footage was shot (made all the more infuriating by the fact that most of the film is extremely well photographed, making excellent use of the Namibian locations). There's also some reliance on rather cheap looking CGI - although the removal of heads and spinal columns was quite impressive. The voice-over narration - always problematic - sounds like a bad advert for men's cologne. The narration is made even worse by two narrators, possibly a necessity stemming from Snipe's three-year prison sentence in 2010 for failure to file income tax returns (Gallowwalkers was shot just before Snipes went to prison).
The music, so important to any spaghetti western, is also disappointing, veering from more appropriate classical to some sort of alt-rock. Lastly, the climatic journey into the "spirit world" looks like it was shot in an underground parking lot. After that, an incongruous animated credit sequence rolls by, suggesting Gallowwalkers wants to position itself with the postmodern, ironic works of Rodriguez and Tarantino. Clearly, it should have remained true to its spaghetti western DNA.
American Sniper (2014)
This Major Misfire is Off-Target and Overrated
Synopsis: A good guy goes on a 10 year killing spree in which bad men, women and children "make his day" while a nation rejoices.
Verdict: I'm afraid my expectations were far too high going into this. First, the reviews were too good to be true. Second, Eastwood has excelled at handling violence and the impact on men in Unforgiven, Flags of Our Fathers and Letters From Iwo Jima. He's also managed to portray both sides of a conflict fairly. American Sniper fails to do any of that. It is a very simplistic film that moves from scene to scene propelled by cliché and jingoism. Thus, it seems like it was made-for-TV.
Sienna Miller - why are people praising her performance? The only thing she's done here is an average job, which I guess is a huge step up for her. Bradley Cooper does a fine job, I thought. Eastwood completely bungles the ending with an awkward - almost absurd - scene followed by news reel footage that feels tacked on.
People have claimed that Chris Kyle was no hero. That is unfortunate, but what "hero" is perfect? Somewhere out there is a far better, more balanced film waiting to be made - perhaps a documentary. This is NOT that film - nor is it as good as other sniper cinema, such as Enemy at the Gates, or even Sniper. American Sniper is my choice for the most overrated film of 2014.
20,000 Days on Earth (2014)
Illuminating Cave Exploration
For better or worse, I've always placed Nick Cave within my "men in black" subgenre. Defining characteristics of these musicians include distinctive baritones, poetic lyrics, sunglasses, cool detachment, interesting hair and - of course - black clothing. Other members include Roy Orbison, Scott Walker, The Doors, Echo & the Bunnymen, The Stranglers, The Sisters of Mercy, The Jesus and Mary Chain, The Tindersticks, and the genre godfather - Johnny Cash. Troubled troubadours, drugs, fisticuffs, rivalries, commercial suicide and near self-destruction are unfortunate traits of this motley crew. If you're not a fan, you may consider these artists inaccessible, pretentious, self- indulgent doom-mongers. What's surprising about 20,000 Days On Earth is that directors Iain Forsyth and Jane Pollard have managed to peel back layer after layer of Nick Cave's dark, mysterious facade to reveal an open, honest, sympathetic, and refreshingly down-to-Earth artist. Even more surprising is the way they go about it.
The press kit heralds their "inventive, lyrical ode to creativity and an intimate examination of the artistic process of musician and cultural icon Nick Cave" fusing "drama and documentary, weaving a staged day in Cave's life with never-before-seen verité observation of his creative cycle." This threatens pretension à la Jean Luc Godard's misguided Sympathy For The Devil. However, the film remains remarkably accessible despite these lofty claims. More surprising still, Cave manages to make Brighton seem cool - by his presence alone.
The opening scene of Cave awakening next to his wife may look familiar; it's shot in the same bedroom gracing the cover of his most recent release - the eerie, atmospheric Push The Sky Away (the distinctive blinds give it away). The film captures several souls who have walked the line with Cave. While she is not interviewed, Cave's wife Susie Bick is very much present. She appeared nude on the striking black and white cover of Push The Sky Away. Perhaps Cave marrying a model is the one rock and roll cliché we can allow this otherwise elusive, unpredictable man; although Bick's past as the cover model on The Damned's LP Phantasmagoria suggests that she was always the perfect match for Cave. Cave's sons also appear briefly (enjoying pizza and a film with their gothfather). While access to Cave's family is limited, the film spends ample time with Cave's regular musical collaborator Warren Ellis; actor Ray Winstone; and one-time collaborator Kylie Minogue, who could use more exposure. Some of these souls join Cave on subtly surreal car rides along the streets of Brighton. Surprising omissions from the world of international cinema include Cave fan Wim Wenders (e.g. Wings of Desire) and regular Cave collaborator John Hillcoat (stretching from 1988's Ghosts... of the Civil Dead to 2012's Lawless); but this breezy film is already packed with more than enough character detail. Still, would have been great to revisit Cave's thoughts on his scene-stealing turn as Freak Storm in Johnny Suede - the directorial debut of Tom DiCillo and one of Brad Pitt's early starring roles.
Avoiding the obvious and predictable, Forsyth and Pollard take us on a journey through Cave's memories via mementos from his personal archive - almost Kubrick-like in its scope and attention to detail. One of the film's best moments is Cave's droll, matter-of-fact account of a 'transformative' Nina Simone performance. Placed on the mercy seat, Cave opens up to a psychoanalyst as he discusses how his early years continue to inform his work. Here 20,000 Days dives 20,000 leagues into Cave's subconscious. Expecting a dark descent into a swirling, solipsistic maelstrom of madness and regret? Think again. On this occasion, Cave is relaxed, genial, and forthright. Of course, in addition to the Cave exploring, 20,000 Days On Earth contains electrifying performances and behind-the-scenes studio footage that will delight die-hard fans of both Nick Cave and Lionel Richie.
The degree of intimacy throughout 20,000 Days On Earth would not have been possible with a more mainstream artist. Cave is the perfect subject - popular enough to be interesting, yet mysterious enough to warrant further exploration. The film's unique approach and sensitivity to its subject may be due to the man and woman directorial team, offering us a more balanced view of Cave. Of course, it also helps that Forsyth and Pollard worked with Cave in the past.
Ultimately, the mark of a great music documentary is what you do when the film ends. If you start rummaging through old vinyl, CDs, or digital files to satisfy a certain curiosity - then it worked. 20,000 Days on Earth made me crave some Cave. Thus, as I listen to Push The Sky Away, I recall that mesmerising final image of Nick Cave, alone on the darkened Brighton shoreline. The camera gently floats away, leaving Cave behind. Lucky for us, he missed the boatman's call. Brighton remains cool.