Sunday, May 20, 2018

Baskin (2015)

Warning: spoilers are an inevitable fact of life!

A group of Turkish policemen (Görkem Kasal, Ergun Kuyucu, Muharrem Baryrak, Fatih Dokgöz and Sabahattin Yakut), most of whom are thugs or at least the sort of cop letting their colleagues work out their inner thugs without protest, receive a call that sends them out to a house in very curious rural area. They are confronted with a terrible ritual in a place and time where the borders between our world and one much worse have grown rather thin. But even before they have arrived at the house, the world seems to shift around them, time and place twisting and turning into nightmares that may not offer escape for any of them.

Turkish director Can Evrenol’s Baskin – based on an earlier short film – is quite the film, as close to the recreation of a nightmare (inside of a nightmare inside of a nightmare, and so on) as possible. Even right at the start, when the plot hasn’t arrived at the point where it will actually show anything supernatural or simply horrifying, the director puts quite a bit of effort into creating a feeling of wrongness and weirdness. Some characters show frays at their edges the situation – or simple digestion problems – don’t quite seem to justify. Colour schemes, camera angles, music, and the disquieting way the camera doesn’t show the faces of certain characters seems to suggest doom, dread and create distrust in the reality of anything we see, until the simple act of meat cutting to appropriately sinister music takes on a sinister undertone, a suggestion of one isn’t quite sure what, only that it can be nothing good, healthy, or sane.

The sense of disquiet Evrenol creates is only further increased by strange jumps in time and place that leave the viewer asking if it is the film as one first assumes or the characters jumping around; the way the talk between one of the cops and his foster son seems to concern dreams, omens and the supernatural quite a bit more than fits the tough guy postures of their colleagues. The film keeps this sense of the high Weird even once the policemen have descended into cellar of a lonely house and have become the unwilling participants of a ritual that contains rather more – inventive and excellently unpleasant - gore and torture than films this heavy on an atmosphere of dread (when they’re not made by Fulci and the other typical Italian suspects at least) usually show, keeping the feeling of the ritual as disquieting as it is brutal. Not a little feat once you’ve realized that most of this latter part in actuality only consists of a bunch of people out of a 90s metal video doing metal video stuff to one another in some ruined cellar. The thing is – Baskin never feels that way at all, but really comes very, very close to the feeling of the never-ending living nightmare its content is supposed to be.

Even the slowness of Baskin’s early phases – about the only element of the film I can see anyone reasonably criticizing – fits the idea of a nightmare perfectly, leaving the audience without the crutches of a more conventionally thrilling first half while still building (and building) a feeling of wrongness. And while I can’t say I was terribly surprised by the film’s ending, I don’t think feeling surprised by it is really the point here; rather, the film seems to delight in confirming the audience’s worst fears.


All in all, Baskin is a fantastic achievement that anyone who likes their horror on the atmospheric yet gory side needs to see.

Saturday, May 19, 2018

Three Films Make A Post: From his French maid, he got Private Lessons. Now his English professor is giving him a REAL education.

Croupier (2008): Despite making the British gangster movie early on in his career with Get Carter, director Mike Hodges’s career has had a strange stop and start structure – with more stops than starts – with a small number of films which tend to range wildly in quality. Croupier is fantastic, though, shot by Hodges in seemingly simple pictures, very much focussed on Clive Owen (in a fantastic performance) as a man who is nearly devoid of all actual humanity and ends up losing the bit of it he has. All the  while, the films is pretending it is a happy (or at least light) end. The film is based on a script by Paul Mayersberg that is a study of absences – the protagonist’s lack of actual human connection, the lack of scruples of the characters he interacts with, and much more philosophical voids that seem to be embodied in the roulette wheel.

Blame! (2017): Going by the productions they buy and co-produce, the Japanese arm of Netflix is on pretty good terms with Tsutomu Nihei, so this neat one-shot anime based on one of Nihei’s early manga doesn’t come as a surprise, exactly. The budget’s probably only on the level of an OVA, but the Nihei-based designs of a weird, techno-biological future city out of control are as wonderful to look at as in Nihei’s manga, and while the plot isn’t exactly deeply memorable (which fits well with the original too), it does bring standard anime and weird far future SF elements together effectively. Certainly well enough to carry ninety minutes of Nihei’s designs, action, and melancholia for a lost future.

The Hidden (1987): This is a veritable classic that crosses SF horror, action movie and cop buddy movie in what I believe to be director Jack Sholder’s finest hour. The script (by Jim Kouf) is deceptively clever in building up the tale of the body hopping sociopathic alien with the loud taste in music, hiding a surprising amount of thought about the nature of civilisation and humanity under a wonderful escalation of violence and craziness, sardonic – violent - humour and an (actually very controlled) anarchic surface.

Sholder always was at least an ultra-competent craftsman, and when a script gave him the opportunity – as this one did – to really dig into crazy action movie stuff, weirdness, and hidden cleverness, things can turn out rather special, with nary a boring or stupid second on screen, particularly not in the moments when the film pretends to be stupid. It’s what the professional blurb writer would call a rollercoaster ride of excitement, and for once, blurbese is just the right language to use.


As a bonus, we get  Michael Nouri, Kyle MacLachlan at the peak of his curious, pretty, alienness (always feeling a bit like a Lynch character, if Lynch was involved in a project or not), and a cast of strong character actors, often playing the alien.

Friday, May 18, 2018

Past Misdeeds: With Death On Your Back (1967)

Original title: Con la muerte a la espalda

Through the transformation of the glorious WTF-Films into the even more glorious Exploder Button and the ensuing server changes, some of my old columns for the site have gone the way of all things internet. I’m going to repost them here in irregular intervals in addition to my usual ramblings.

Please keep in mind these are the old posts presented with only  basic re-writes and improvements. Furthermore, many of these pieces were written years ago, so if you feel offended or need to violently disagree with me in the comments, you can be pretty sure I won’t know why I wrote what I wrote anymore anyhow.


A gang of international evil-doers has invented a drug that can be used to provoke completely innocent members of the military into pushing the Big Red Button that would loose the Big One. Does it show I'm so old I even remember the Cold War?

Anyway, that drug may not sound all that useful to you or me (for what good is destroying the world, really, unless you're an insane cultist of some eldritch god?), but "the third power" we will certainly not call China (oops) is very interested in acquiring it.

Fortunately, our international evil-doers make a very public test run of their drug, giving one of those professors of every discipline you often find in these films enough data to develop an antidote against it. For once, the Americans and the Russians (as represented by agents called - I kid you not - Bill and Ivan) are of one mind, and are even willing to share the antidote with each other, if with gnashing teeth.

For some reason, the good guys ship the Professor and his assistant Monica (Vivi Bach) off to Hamburg, where he is supposed to give a suitcase containing the antidote and/or the formula for the antidote to the proper authorities during some rich woman's party. Of course, the international evil-doers get wind of this particularly useless plan – unless this takes place in a world without any telecommunications - and gun down the Professor. If not for the intervention of suave/smarmy thief Gary (George Martin) who just happens to be a sucker for beautiful women and suitcases containing valuables, they'd be able to kill Monica and steal the suitcase too.

Having acquired Monica and the suitcase, Gary isn't quite sure what to do with them - sell them on to the Chinese? The Russians? The Americans? Be a gentleman thief and protect Monica? Treat her like an actual human being? It would be nice if our hero (or not) had some time for further deliberation, but each and every faction who knows about Monica and the suitcase wants to capture, kill or buy him, leaving the poor jerk hardly a second to breathe or put the (horrible) moves on women. What's a thief to do?

It has always been one of the pleasures of the Eurospy genre for me to encounter unexpectedly fun films like With Death On Your Back. Its director Alfredo Balcázar is one of those workhorses who spent much of their career during the 60s and 70s churning out films in the popular genres of the day, trying their best to craft fun movies out of clichés, pieces taken from other movies, and actual talent. In Balcázar's case, a lot of his work took place in the Spaghetti (or is it Paella in this case?) Western, but I have to admit I don't remember having seen a single one of them, which may either speak against their quality, my memory, or my knowledge of European genre films of the 60s and 70s.

Be that as it may, With Death On Your Back seems to be the director's only Eurospy film, which is a bit of a disappointment given how entertaining the film is. Sure, much of what happens on screen is the usual mixture of a suave/jerk-y (why do these words seem to be synonymous to me by now?) hero charming the ladies in improbable ways, punching goons in the face (or whatever other body parts look most punchable), and going through various chase sequences to acquire and keep a McGuffin, but Balcázar just as surely knows how to make the generic just pretty darn fun.

For me, the light variant of the Eurospy movie to which With Death certainly belongs has a lot in common with the comedy genre. Both don't thrive as much on originality as on an ability to make the well-known and expected feel new and exciting, and both genres often survive problematic plotting through the timing of their delivery. Balcázar's movie is nothing if not good at timing and pacing, letting hardly a second go by that doesn't have something exciting happen in it, never stopping for longer than a joke or a kiss until its hero stumbles into the next punch-up or the next chase, keeping the audience hooked through breathlessness and - always an important factor in a genre movie - a willingness to entertain that makes it easy to just overlook minor flaws like the fact that the scriptwriters don't always seem to realize Hamburg is situated in Northern Germany and not in Bavaria or the silliness of most everything going on.

Balcázar is helped in his endeavour of keeping the audience away from thinking about plots, plot holes and other dumb stuff like that by an ultra-generic - or archetypal - soundtrack by Claude Bolling that's just bound to swing things along, a cast - also featuring Rosalba Neri and a very unexpected Klausjürgen Wussow as mid-level baddies - that has no problems at all to go with the silliness instead of against it (there is, as you probably know, not much worse than an actor trying to be all thespian-like in what is basically an adventurous romp), and some very decent stunt work.


Plus, there's a scene documenting the eternal struggle between earthbound human and small plane (hello, Mister Hitchcock), guest starring machine pistols, so what's not to like?

Thursday, May 17, 2018

Verónica (2017)

Warning: I am going to spoil parts of the ending!

Madrid 1991. When fifteen year old Verónica (Sandra Escacena doing a pretty perfect job with the role) isn’t going to Catholic school, she’s the replacement mom for her three younger siblings. It’s not that their mother is completely absent or neglecting her kids on purpose, but after the death of her husband, she has had to take on dire hours running a bar, leaving little mental and physical capacity for the other fulltime job of running her family. Which of course doesn’t change the fact that Verónica’s clearly missing out on space and time for not being a grown-up herself.

Verónica’s not the kind of girl who’ll let her little kid brother and sisters down, so her only tiny rebellion consists in an interest in the occult – or really, the bit of the occult you can learn about by buying one of these cheap weekly magazine “encyclopaedias” about them (personally, I remember buying similar stuff about the blues and classical music). When a solar eclipse is coming around, Verónica, her best friend and a girl who is clearly Verónica’s competition for the best friend role sneak down into the cellar of their school for a bit of a ouija séance to contact Verónica’s father. Something goes very wrong indeed during the séance, though Verónica doesn’t seem to be able to remember what exactly happened. In any case, her friends – such as they are – shun her afterwards.

Worse still, the séance seems to have opened a door to something very malevolent that is now following Verónica and threatening her and her siblings. The kid doesn’t have much of a support network to help her either. Her mother’s pretty much useless, so there’s only a strange, blind nun (Consuela Trujillo) and the cheap occult encyclopaedia to help her out. That just might not be enough.

As a guy who was fifteen in 1991, with a dead father and a single mum, I can relate to Paco Plaza’s Verónica rather well, even though I didn’t have to care for any siblings, and my part of Germany is more laid back protestant than Catholic. Also, there has been a decisive lack of non-metaphorical ghosts and hauntings in my life. There’s a great feeling of veracity to the film, its portrayal of the period shaped by what feels very much like lived experience; not a product of nostalgia so much as an attempt to show how environments shape experience. This is supposedly based on a true story, but as the narrative unfolds, the supernatural threat is really an embodiment of all of Verónica’s fears, the feeling of grief for her father, an outsider’s desperate clinging to the only real friend she has, as well as the usual teenage malaise even those teens suffer under who don’t have to carry the weight of a whole family.

If a viewer wants, she can even explain most of the supernatural occurrences as products of Verónica’s mind, but some of Plaza’s directorial decision late in the film consciously block this reading from being completely correct. The supernatural isn’t a metaphor, but all of Verónica’s fears and problems externalised and made real in the world of the film, all the nagging big and little things turning nasty. So when the interior rot she feels suddenly presents itself outside of her, under her family’s mattresses, it’s an example of one of the oldest and best moves in the horror playbook: fears turning into something tangible and deadly.

Speaking of deadly, Verónica is an excellent example of horror filmmaking that manages to be ruthless without having much of a body count, winning its tension by making the lone death that happens desperately important as well as terribly unfair. For while one could read the movie as Verónica being punished for transgressing through her use of the ouija board, Plaza plays it very much as Verónica being punished for nothing that’s at all the fault of a teenage girl, the things she has no control over whatsoever: her loneliness and having to carry the load of a grown-up.

All this is packaged as a highly effective horror film that uses a lot of the elements you find in most mainstream horror productions right now. However, Plaza uses the style in very careful ways, timing jump scares and figures lingering in the background exceedingly well. The director always keeps in sight what the louder moments of the film actually mean for the characters, finding a thoughtful middle between some very creepy moments – Plaza makes a lot out of the supernatural invading intimate spaces and actions - and those that are more disquieting through their implications about the inner life of our protagonist.


Plaza also keeps in mind the age of his characters, so Verónica’s final fight against what threatens her and her siblings is done via crap found in that magazine encyclopaedia, drawings made by a four year old, and no help by any theoretically responsible adults. That the film ends how it ends seems practically inevitable, but because of the way Verónica tells its tale, I also felt much sadder about it than most horror films make me.

Wednesday, May 16, 2018

In short: Contraband (2012)

Once, Chris Farraday (Mark Wahlberg), was the best smuggler there was. By now, he has retired to the more bourgeois wife (Kate Beckinsale) and kids stuff, working as the owner of a security tech firm. Unfortunately, his wife’s little brother Andy (Caleb Landry Jones) is attempting to step into his old comfy smuggling shoes, which works well enough until he has to drop a load of drugs into the sea to avoid it and him falling into the hands of the coast guard. Not surprisingly, Tim Briggs (Giovanni Ribisi), the guy whose drugs these were, isn’t at all happy. Why, he’s giving Andy only a couple of days to come up with quite a bit of money. Otherwise, Andy’s dead, and going by Briggs’s logic, his debts will fall on his wife and her family.

Because he can’t find any other way to come up with the money, and because he’s certainly not going to let his brother in law get killed by a raving lunatic, Chris decides to make one last big smuggling run. It’s the sort of smuggling run where whatever could go wrong does indeed go wrong, so he has to fight the vagaries of a really rude ship’s captain (J.K. Simmons doing his thing), work with unreliable contacts, take part in an impromptu armoured car assault, and so on and so forth. That’s all before we come to various betrayals on the home front, mind you.

Baltasar Kormákur’s Contraband is the sort of everything and the kitchen sink thriller that you’ll either loathe with a passion for its various crimes against plausibility and coherent writing or sort of enjoy because it is decently entertaining for what it is. It is certainly a film absolutely disinterested in emphasizing the more interesting parts of its narrative - which could turn this into a gut-wrenching film about betrayals, people falling back to their worst selves in case of danger, and the inability to ever escape the past – in favour of spending most of its time adding one bizarre complication after the other, with a side-line in a particularly yawn-inducing version of ye olde family under threat subplot.

As a member of the order of forgettable popcorn cinema, thriller division, the film isn’t without merit, though, for while only very few of the complications in the path of Marky Mark (who makes all the facial expressions a serious actors makes when tasked with a silly thriller, don’t you worry, and only half phones his performance in) make much sense, there’s something to be said to the film’s repeated shrugging of its shoulders, mumbling “whatever”, and throwing a quick security van heist or whatever other nonsense just came to mind in. It is certainly never boring, though not quite coherent enough in tone, style and pacing to be as fun as it could be. The regular popping in with the indignities Beckinsale’s character has to go through doesn’t help with the latter much, particularly since the film never gives her anything more to actually do than be the helpless wife. And I’ve seen more interesting examples of those too.


Ribisi and Ben Foster as Wahlberg’s traitorous best friend put some enthusiastic efforts in, at least, and the action is competent and fun enough to watch. Just don’t expect to remember anything about Contraband a couple of weeks after you have seen it.

Tuesday, May 15, 2018

In short: Crooked House (2017)

On paper, Gilles Paquet-Brenner’s Agatha Christie adaptation of one of her more interesting books even for a Christie-sceptic like myself should be right up my alley. It does, after all consist of pretty yet excellent actors like Max Irons, Stefanie Martini, Glenn Close and Christina Hendricks broadly strutting their stuff in front of sets so stylized to be of the 50s your eyeballs might melt and you might just feel they have nothing at all to do with the actual feel of the era the director looks at here. It also features show-off camera tricks that’d make young Brian De Palma blush or (gasp) request moderation. But in practice, I had little joy with the thing, for this isn’t a case of style as substance but a film akin to watching a director you’re really not terribly into masturbate to his own image for two hours straight. There’s little emotional or thematic point to anything going on here, apart from the usual suggestion that the rich are vile, pretty, and spend all their time getting their outfits in photogenic shapes. Instead of having much at all to say, the film is just a parade of loud but empty gestures that never add up to much, and while it is pretty to look at, it’s the prettiness of a particularly empty head. While there’s a surfeit at excellent actors on screen, there’s only so much anyone can do when asked to inhabit an empty shell.

The mystery is probably well-constructed (though the “shocking twist” is neither well realized by the film nor terribly shocking for anyone who has seen a horror movie or three), but at about half of the film’s running time, I found myself encountering a very typical feeling when it comes to me and traditional manor house mysteries: the realization that I not only didn’t care which of these high-strung arseholes killed their arsehole pater familias, but was hoping for the rest of them to be killed off too right quick (spoilers: not much joy there). Which probably isn’t the kind of emotional involvement the thing is going for, but a boy must distract himself somehow when a film’s aesthetics are quite this pointlessly tacky, and there’s no intellectual stimulation to be had by it either.


So this turns out to be pretty much the film I unfairly expected Brannagh’s Murder on the Orient Express to be.

Sunday, May 13, 2018

Body Bags (1993)

The Showtime TV movie Body Bags is a horror anthology in the classic style, featuring three independent stories, the first two directed by the great John Carpenter, the other one by the sometimes great Tobe Hooper, connected by a framing device in which Carpenter himself gives a somewhat dead looking guy the film credits as The Coroner and presents the tales cracking jokes that’ll make the Crypt Keeper look funny.

Tale number one, “The Gas Station”, concerns the misadventures of psych student Anne (Alex Datcher) working the night shift at the titular establishment. She has to cope with bad luck, strange customers, and a serial killer. It is the simplest story of the three, the sort of thing Carpenter could probably direct in his sleep, but it’s made with the slick hand of an old pro, and while it certainly isn’t Halloween, it is a fun way to get the audience in the right mood for the rest of the film.

The second segment, “Hair”, is the mandatory comedy bit, but unlike most comedy segments of horror anthologies, it is indeed funny. It tells the sad and tragic tale of one Richard Coberts (Stacy Keach), whose once copious mane of hair has begun to thin considerably – so much so that the word “bald” is beginning to rear its ugly head. Desperation and ridiculous attempts at solving his problem culminate in Richard following a TV advert into the hands of the conspicuously named Dr. Lock (David Warner) and his lovely assistant (Debbie Harry) whose treatment does indeed work wonders on Richard’s head. Unfortunately, it might not exactly be hair he now has to cope with.

“Hair” is probably the high point in Carpenter’s career as a comedy director, at least in so far as it is indeed funny (though how funny for those of you who aren’t middle-aged guys losing their hair like Richard and I, I’m not sure), has a friendly satirical edge and features a wonderful turn by Keach that gets the desperate ridiculousness of getting upset over hair, and the way this stands in for the fear of mortality absolutely right, while being very funny indeed.

Tobe Hooper’s segment “Eye” tells the tale of minor league baseball pro Brent Matthews (Mark Hamill). Mark’s always just on the verge of breaking into the majors (with probably his latest and last chance coming up soon), but things never quite go his way. At least, he’s happily married to Cathy (Twiggy), and seems a pleasantly down to earth guy. When he loses an eye in an accident, he agrees to undergo an experimental full eye transplant. As we all know, that sort of thing always leads to the new eye owner either seeing dead people or terrible visions from the life of the former eye bearer. It’s the latter in Brent’s case, with the added complication that he’s also increasingly being infected by quite a bit of the former owner’s mental state. That’s particularly unfortunate since the man in question was a serial killer and necrophiliac. Even worse, Cathy looks rather a lot like the killer’s type.

This last story is a properly nasty bit of short horror, with terrible things happening to perfectly nice people for no good reason whatsoever. Hooper uses his penchant for the grotesque particularly well in a handful of daytime visions that show the worst of the killer’s exploits, while Hamill portrays Brent’s shift from good man and husband to insane monster with just the right amount of scenery chewing. There’s also a truly upsetting scene in which Brent sexually assaults his wife while fantasizing about her being a corpse that makes this final episode an escalation from the EC fun of the Carpenter stories and the framing device into the realms of horror that hits a bit closer to home, and a bit deeper. That’s not a bad thing, mind you, it’s just not the typical way horror anthologies work.


As a whole, Body Bags is a fine example of its form, with Carpenter and Hooper showing themselves from their good sides, featuring a bunch of great performances, more gore and violence than you’d probably expect after hearing of its provenance as a cable TV movie, and a cornucopia of horror actors and directors in roles minor and somewhat larger.

Saturday, May 12, 2018

Three Films Make A Post: Rest in Beast!

Jack Reacher: Never Go Back (2016): As a package, I enjoy this second outing of Tom Cruise as murderous serial “hero” Jack Reacher as at least nominally directed by Edward Zwick, a bit more than the first one. Cruise is still a pretty bad choice as an actor for the title role, his macho posturing looking routine rather than convincing, and the suggestion of anything more than that going on with his character clearly beyond his abilities to portray, but at least he’s working as an actor more than as a star, so he’s actually watchable instead of annoying the hell out of me.

Otherwise, this is a perfectly competent big budget action movie. As a surprising bonus, it gives female lead Cobie Smulders some agency and most of the time even portrays her as Reacher’s equal in inhuman competence (atypical for the genre as well as the Cruise). Clearly, it was a good idea to shove off the whole getting threatened/kidnapped shtick on (gasp!) another female main character, as played by Danika Yarosh.

Urban Legend (1998): Because I have a bad memory, I revisit this entry in the 90s post-Scream teen slasher wave every couple of years, always sucked in by the seductive set-up of a slasher operating by imitating urban legends, and forgetting the sad fact of the film’s execution. The leads are pretty dreadful: Alicia Witt clearly attempts to portray every possible human emotion by pouting and/or widening her eyes, future Exxxtreme Joker Jared Leto doesn’t actually seem to do more than to just show up, and only Rebecca Gayheart is at least willing to entertain by chewing a bit of scenery. The script is dumb, obvious, and has no idea what to do with the great set-up, while Jamie Blanks’s direction is as slick as it is uninvolving. Please, future me, read this before you watch this thing again.


Pokot aka Spoor (2017): Jacqueline-of-all-trades Agnieszka Holland’s return to making films in Poland – with her daughter Kasia Adamik co-directing (collaboration being her forte seems to be the main throughline in Holland’s extremely interesting and surprising career as a filmmaker), and comes up with an arthouse sort-of crime movie that works as an eccentric character portray of an aging woman (Agnieszka Mandat), an angry rebuttal to a way of life, a rant about animal rights, and about half a dozen other things. Holland and Adamik manage to bind all of these threads together in a somewhat leisurely, sometimes highly peculiar (in the best way, because this peculiarity feels absolutely individual and personal) manner that unearths thematic and emotional connections between things you wouldn’t expect to make any sense together at all.

Friday, May 11, 2018

Past Misdeeds: Death Falls Lightly (1972)

Through the transformation of the glorious WTF-Films into the even more glorious Exploder Button and the ensuing server changes, some of my old columns for the site have gone the way of all things internet. I’m going to repost them here in irregular intervals in addition to my usual ramblings.

Please keep in mind these are the old posts presented with only  basic re-writes and improvements. Furthermore, many of these pieces were written years ago, so if you feel offended or need to violently disagree with me in the comments, you can be pretty sure I won’t know why I wrote what I wrote anymore anyhow.


Warning: it's impossible not to talk about the film's ending when talking about its strengths and weaknesses, so the following will enter spoiler territory.

After returning home from a business trip Giorgio Darica (Stelio Candelli) finds his wife dead in her bedroom with a slit throat. Giorgio does not report the murder to the police, for his business trip was of a type one just can't use as an alibi, unless one is a big fan of spending time in prison. Instead, Giorgio goes to a judge (or lawyer, the fansubs aren't quite sure about that one, though I'd go with judge) he is working with. Giorgio's business, you see, is to smuggle drugs for a conspiracy of corrupt judges, cops and politicians who buy position and influence with the money they make from the drug trade (and clearly, any form of corruption that's profitable). Even though that's not something you want to say aloud in a murder trial, it is very much something a man like Giorgio would be willing to say in a murder trial if his rather well-positioned "friends" don't help him out of his problematic situation.

Because nobody wants to risk to have Giorgio arrested or questioned, and even just killing him is deemed too risky, his partners hide Giorgio and his girlfriend Liz (Patrizia Viotti) in a big, empty hotel building, while they put their influence in action and make further plans that may or may not be meant to exonerate Giorgio.

The couple's stay at the hotel isn't too pleasant. Giorgio's new position in life as a murder suspect does not make Liz happy, especially since she isn't quite sure her lover didn't actually kill his wife, so there's a lot of squabbling and hysterics going on between the two. That, however, is before the hotel turns strange. Music plays in rooms where there shouldn't be any music playing, and noises hint at other people staying where there shouldn't be any. It's as if the hotel were haunted by ghosts peculiarly in tune with Giorgio's troubles. Things turn even stranger when a group of people appear who claim to be the hotel's owners. It doesn't take long until Giorgio isn't sure what's dream, what's reality and what's delusion.

Leopoldo Savona's Death Falls Lightly is a more interesting example of the giallo than it at first seems to be. The film's first half is more than a bit slow going, and even though its rather sardonic comments on the state of Italian judicial and political culture are not completely without relevance for anyone curious about the political climate surrounding early 70s Italian genre cinema, it's also not exactly riveting. Especially the whole "lovers flip out on each other after spending about one day alone together" angle is just not very convincing, and while the secrets and lies which these scenes disclose as the basis of Giorgio's and Liz's relationship will be important later on, I could think of less artificial ways to expose them.

However, once that (expository) hurdle is taken, Death takes a turn for the weird I can only describe as delightful; at least if your definition of "delightful" fits a series of scenes that turn a character's inner workings into simply yet effectively realized metaphors and nearly drive him insane in the process. I find especially lovely how organic the film's turn from the semi-realistic tone of its beginning to the weird and possibly supernatural is, Savona using the empty hotel as a place that - even when we are nominally still in the "realist" part of the movie - does more belong to the realm of dreams than to that of reality as we usually understand it. Savona emphasises this by lighting and blocking everything that takes place in the hotel quite differently from the rest of the film, suggesting the claustrophobia and spacial and temporal disjointedness of a dream.

Of course, and somewhat disappointingly, all the supernatural occurrences will later turn out to be no such things at all in a last act twist that is not exactly to my taste - as I prefer the supernatural in my narratives to stay supernatural, or at least ambiguous -, but that works too well to ruin what came before. Mostly, this part of the movie works well enough for me because Death - quite surprisingly for a giallo - does play fair with its audience by featuring a killer whose motivations you can discern from the clues the film delivers, as well as by using a device for its plot twist whose cause you have actually witnessed and (hopefully) just forgotten as one of these random flourishes giallos tend to include. Of course, even though the twist's set-up makes sense seen from that perspective, it's still quite difficult to buy it as anything any police force, even one as corrupt as the one shown in the movie, would actually be involved in; on the other hand, it's thematically and atmospherically so fitting to the film at hand, I can't find it in me to see that fact as a problem for anyone who doesn't insist on absolute realism - and therefore boredom - in her movies.


I, for one, am happy to have found another giallo that succeeds at wedding rather sardonic politics with moments of dream-like beauty.

Thursday, May 10, 2018

In short: Women Who Kill (2017)

Morgan (director/writer Ingrid Jungermann) and her ex-girlfriend Jean (Ann Carr) may not have worked out as a couple, what with Morgan’s closed-off emotional life and Jean’s tendency to put everything out in the open, but they are working very well together with the podcast about female serial killers – “Women Who Kill” - they are continuing to make. They aren’t just talking about the serial killers, they are actually visiting the women in prison to interview them.

Things could go on this way forever, but when Morgan meets the mysterious Simone (Sheila Vand) at her local co-op (full disclosure: as a German living in a small town, I had to look up what the hell that is about) and falls for her instantly. Quickly, the two become a couple, Simone’s general air of mystery enabling Morgan for once in a relationship to relax. For a time, that is, for there might be something too mysterious going on with Simone. What’s a gal making a podcast about female serial killers with a bunch of rather enabling friends to think?

If you’re like me, you probably think that a lesbian comedy about podcasts and serial murder sounds rather too twee or too produced for the hipster set. However, Ingrid Jungermann’s film isn’t any of that, and it’s too good a film for me to care what hipsters are thinking about it one way or the other. This is a clever, compassionate but never cowardly film about commitment phobia (why doesn’t English have a decent compound noun for this?), loneliness, and love that is as funny as it is sad, grounding its more outrageous moments (don’t worry, there’s no splatstick in this one) in surroundings built at least in emotional veracity, and never looks down on its characters.

It is the sort of comedy that has to be funny because otherwise, it would be a tearjerker of the highest degree. Instead of allowing its audience to wallow in misery, its humour actually helps us to look closer at the reasons for that prospective wallowing. The film also teaches the valuable lesson that taking relationship advice from a serial killer just might not be the best idea. Irony aside, the ending does pack quite an emotional wallop, one the film has worked hard to achieve and that resonates with quite a bit of metaphorical and thematic work it had introduced before without becoming loud about it.

The cast as a whole is rather on the brilliant side, with Jungermann finding great foils in Sagher and Carr and vice versa. After A Girl Walks Home Alone at Night, Vand is apparently now typecast as the Mysterious One, but she’s really rather good at it. Plus, Simone may be mysterious but feels like a very different character from the Girl.


I suspect in two decades time, this will not only be a great, intelligent little comedy about not so little things, but also a time capsule. Which mostly seems to happen to films that come about their naturalistic elements from a side angle, and not so much those where realism is the only reason for their existence. This is only an aside, though, for Women Who Kill is a brilliant independent film all around.

Wednesday, May 9, 2018

Under Suspicion (1991)

Warning: structural spoilers on the way!

Brighton, 1959. A couple of years ago, Tony Aaron (Liam Neeson) was a perhaps promising policeman. His stint in the police was cut short when his having an on-the-job affair with the wife (Maggie O’Neill) of a criminal he and a couple of other officers are supposed to watch leads to one of his colleagues getting killed by a shot that was meant for him. The scene is set up a bit more complicated than that, actually, but then, making things unnecessarily complicated is a bit of a trademark of this one.

Anyhow, civilian Tony is working as a shady, nearly penniless private eye mostly involved in helping people get a divorce, something that by the laws of the time is apparently only possible in cases of dire marital misconduct, like adultery. So Tony helps set men up with a fake girlfriend – the criminal’s wife of affair fame now married to Tony – photographs them, and secures enough witnesses for the whole thing. Let’s not ask why the courts aren’t becoming suspicious about the wife of the same private detective who comes up with the photos of the adultery regularly ending up publicly cheating on him with married men.

Tony’s newest “case” goes very wrong when he finds his wife and their newest client shot dead instead of in a compromising situation. The client, it turns out, was a famous painter, so there might be monetary reasons for the murders. Despite still being friends with Frank (Kenneth Cranham), the cop leading the following investigation, there are hints pointing to Tony’s involvement that can’t be overlooked. Consequently, Tony is starting an investigation of his own, soon getting into an affair with the dead guy’s possibly femme fatale mistress Angeline (Laura San Giacomo) as well as other trouble.

Simon Moore’s Under Suspicion is more an interesting effort than a truly effective and successful film.

In theory, there’s a lot to say for the film: the film’s first half makes some nice attempts at using an audience’s knowledge of noir and thriller tropes as well as clever casting to mislead the viewer. It also generally looks slick, from time to time even in a way that enhances what it is trying to do in a given scene quite nicely. The cast is certainly well put together, though the way the actors are used isn’t always convincing, particularly because the film – perhaps in a misguided attempt at aping classic noir – really wants them to go a degree bigger and more melodramatic than actually works for them or the story they are involved in. Particularly the film’s final third is a sheer endless sequence of Neeson and the rest hamming it up mercilessly while dramatic music never stops swelling and the script goes through great convulsions to come up with melodramatic twists.

The problem with this is that it reveals a film that at first feels like an interesting play on classic noir in a British setting with perhaps a bit of a Patricia Highsmith influence added for good measure to really not have much of anything to say about the tropes it plays with, or the word it takes place in. There are all the elements to make an interesting movie about a male femme fatale, but Moore buries them under too much needless melodrama, only ever showing interest in the surface level of things, which isn’t exactly a good choice in a film supposedly about depths.

I can’t say the melodrama ever worked for me either. There’s something emotionally abstract about it that keeps a viewer at arm’s length – and when it comes to melodrama, a film needs its audience to get emotionally involved. Otherwise, it’s just a lot of scenes of people shouting and making faces at the camera.


If you can live with its general emptiness, the film is an okay enough time. As I said, it certainly looks pretty, and at first indeed promises to do something interesting. There’s just no substance to Under Suspicion.

Tuesday, May 8, 2018

Jack Reacher (2012)

On paper, making a decent to great big screen thriller out of one of Lee Child’s Jack Reacher novels about everyone’s favourite serial killer vigilante/justice-dispensing hero (depending on your interpretation and personal taste) is a no-brainer. Child’s plots generally roll like freight trains – if you imagine freight trains to have a lot of cars, be sexy, absurdly violent and able to look much less absurd than they actually are. And Reacher is a surprisingly interesting character for a thriller series this long.

In fact, director/writer Christopher McQuarrie’s script does make good use of the Child novel this is based on. Even though he changes a lot about it, most of these changes seem perfectly sensible for a big budget Hollywood action vehicle. With his director hat on, McQuarrie isn’t the most sexy or stylish director of this kind of stuff, but the action sequences are generally shot with vigour and flow quite nicely.

Unfortunately, what really drags the film down is the fact that this is not a Jack Reacher movie, but a Tom Cruise™ vehicle, produced by Cruise, directed by someone who has worked under (to be realistic about the power in this star/director combination) him before. Otherwise, they’d probably have found an actor who is a better fit for the role of Reacher, someone with less of a lukewarm presence, for Reacher as a character really needs someone who does hot (the guy may be a murder machine but he’s also supposed to be charming and able to project warmth when he wants it) and cold both exceedingly well. Or really, a lead willing to subsume his star personality under the character they are supposed to be playing. An “actor”, I believe it is called, rather than a star. To make this more Cruise-like, there are regular opportunities for the guy to throw himself into heroic poses (I suspect one every fifteen minutes as mandated in the contract). Worst, where the book Reacher’s absurd competence in investigating, killing and sexing is presented matter-of-factly, Jack Reacher the movie and the characters in it regularly break down to swoon about Creachers awesomeness. Which is funny enough the first five times or so, but does become pretty tiresome after a while.

To get back to the film’s good bits, Rosamund Pike is allowed to do two or three things between her bouts of being overwhelmed by that elderly sex pot she’s paired up with, and Robert Duvall pops in for a pointless but entertaining role. Then there’s the bizarre decision of casting Werner Herzog as the Big Bad; Werner, it turns out, is best when he’s talking about his time in Siberia and trying to convince an unlucky henchman to bite off his own fingers (they didn’t have knives in Siberia, you know). Okay, perhaps not best, but pretty damn funny.


So, how much any given viewer will enjoy this one will most certainly depend on their stance on The Cruise. If you like the guy, most of the film’s flaws will turn into virtues, and the film into a really great cartoonish action thriller; if you’re like me and don’t, you’ll probably find moments of well-done entertainment fighting against a lead too vain to realize that the movie as a whole is supposed to be more important than he is. In any case, this is leagues better than The Mummy (Cruise version), but then, what isn’t?

Sunday, May 6, 2018

The Commuter (2018)

Cop turned insurance salesman Michael MacCauley (Liam Neeson) is having a very interesting day. He’s fired from his job, leaving him and his family apparently one step from losing their house and the ability to pay their son’s college tuition. Capitalism without a social net sucks, it turns out. This will only be a minor problem on this very special day our protagonist is having, though, for a mysterious woman (Vera Farmiga) chats him up on his final commuter train journey home and makes him a proposition, a perfectly theoretical one, she says. What if she’d offer him a hundred thousand dollar to find someone one the train going by the codename of “Prinn” (disappointingly not named after Ludwig, it turns out). The only thing to go on is that he or she is not a regular commuter, is planning to get out at a certain station, and is carrying some type of bag apparently containing something they stole. Why the woman would be looking for Prinn and what she wants to do with them stays open. Oh, and by the way, the proposal might not be theoretical at all.

When Michael picks up a twenty-five thousand down payment hidden in one of the train’s toilets, he is shortly tempted to actually do what is asked of him, but he changes his mind back to sanity quickly enough. Unfortunately, the woman and her associates are not at all willing to take no for an answer, so, this being a post-Taken Liam Neeson joint, they are threatening his family if he doesn’t comply. Now Michael has to hustle back and forth through (and sometimes down) the train, trying to identify Prinn, all the while attempting to come up with a way to save his family as well as Prinn and himself.

Yes, this is another highly (some might say too highly) constructed thriller starring Liam Neeson as an aging tough guy stumbling into a thriller plot and having to protect his family and his moral center through violence, and his moral centre in whatever way he can come up with. There’s nothing at all wrong with that for my taste, for while there’s certainly nothing original about The Commuter’s plot, and I could certainly could do with seeing Neeson playing a very different type of character from time to time, this is also a very typical Jaume Collet-Serra film. If you’ve read my opinions on most of his other films, you will know where the next paragraph is going. I like his work so much, I’ll even watch something based on a Disney theme park directed by him.

That is to say, The Commuter was made by a director who can usually (let’s pretend Non-Stop doesn’t exist) take a very standard, overly twisty script and turn it into something very much worth watching by filming even the most clichéd plot in a way that suggests he actually cares about it. So while there are moments of too convenient plotting, a bit of action movie physics (we all know that action scenes don’t care about how trains work, yet neither do I in this context), and a copious amount of clichés on display, they are presented with absolute willingness by the filmmaker to suck his audience in and entertain it in any way possible. There is nothing lazy about Collet-Serra’s treatment of any of the film’s copious suspense scenes, the staging is tight when it should be tight and loose when it needs to be loose, the whole affair doing whatever it can never to be boring for a second, without ever making the impression of trying to pressgang the audience (or, for that matter, of thinking it is stupid).

When it comes to this sort of action-y thriller, getting an audience to suspend its disbelief can be as important as in a film concerning the supernatural if a film wants its audience to care. Collet-Serra achieves this goal through moments of veracity. Michael’s money problems are of course ripped from the headlines but also ground the film in a believable reality, making it easy for an audience that knows this kind of problem well enough to care for him, yet also pulling extra work by making the film’s world more believable. The same goes for the other characters in the train. While all of them are certainly shorthand characters, they stand as shorthand for contemporary types one might actually encounter in real life, again suggesting the film inhabiting a believable world. Collet-Serra’s job here is made easier by the cast. While the bigger names in the cast - Farmiga, Patrick Wilson and his lone facial expression, Elizabeth McGovern and Sam Neill - apart from frequent Collet-Serra collaborator Neeson (who has this kind of role down pat without projecting bored routine) - are only in the film in what amounts to cameo role, the merry cast of character actors in the train does much to sell the story through small but important gestures, keeping the shorthand alive and lively.


As an added bonus, I found myself rather happy with the lack of cynicism in the film. In the end, this turns out to be a tale singing the praises of the decency of random people, even though it tells a tale of twists and betrayals, not exactly something you often find in thrillers about Liam Neeson protecting his family.

Saturday, May 5, 2018

Three Films Make A Post: NO SEA MONSTER OF MYTH OR LEGEND IS HALF SO DEADLY AS ONE THAT ACTUALLY EXISTS!

Demon Possessed aka The Chill Factor (1993): Christopher Webster’s spam in a cabin movie could be a perfectly okay genre entry, with somewhat okay acting, a degree of visual competence, and some snow, but until fifty minutes in or so there’s little of interest happening in it at all. Too much time is spent on letting characters you couldn’t care less about interact, and once the mandatory murders start, it’s all pretty tame and generally indifferent stuff, leaving this one with little going for it.

La bambola di Satana aka The Doll of Satan (1969): I’m not exactly expecting every Italian sort of Gothic, sort of mystery to be terribly great, but Ferruccio Casapinta’s film not only suffers from the usual troubles of Italian genre cinema of its time but really loses out on everything that usually works well even in the lesser of these films. So the score is bad and so bland it’s barely worth mentioning, the acting’s bland instead of weird, the direction is bland instead of stylish and/or weird, and the script is pretty awkward when it comes to mystical techniques of filmmaking like transitions or constructing a mystery but in the blandest possible manner. I could cope with the whole affair not being exactly good but there’s no reason for it to be quite this, well, bland.

The Museum Project (2016): To the rescue of this rather dispirited post comes a short item from Australia directed by Dion Cavallero and Paul Evans Thomas. It’s your typical POV movie set-up about the usual trio of film students doing a project about some haunted place and getting quite a bit more than they bargained for. However, said haunted place is highly atypical, for it takes the form of a railway museum haunted by a dead serial killer, which certainly provides the film with a more interesting setting than the forest usually expected in this style. The directors put the museum to good use, too, with some nice moody shots of empty train cars at night, and a thematically appropriate and nicely timed haunting.


Thanks to a running time of just 44 minutes, the film doesn’t overstay its welcome and loses nothing by it but potential filler, ending up as a nice little ghost story told effectively.

Friday, May 4, 2018

Past Misdeeds: The Devil-Ship Pirates (1964)

Through the transformation of the glorious WTF-Films into the even more glorious Exploder Button and the ensuing server changes, some of my old columns for the site have gone the way of all things internet. I’m going to repost them here in irregular intervals in addition to my usual ramblings.

Please keep in mind these are the old posts presented with only  basic re-writes and improvements. Furthermore, many of these pieces were written years ago, so if you feel offended or need to violently disagree with me in the comments, you can be pretty sure I won’t know why I wrote what I wrote anymore anyhow.


It's 1588, and the Spanish Armada has just taken its deadly thrashing. The Diablo, the small ship of Spanish privateer Captain Robeles (Christopher Lee) has taken flight as soon as the tides of battle – and the weather - turned against the Spanish. With his ship in a bad state, Robeles decides to pilot it into the English marshes in the hopes of finding a place to make repairs in peace before he and his crew can take up pirating again.

Their luck leads the pirates into the vicinity of a small English town whose younger male population has nearly completely gone to war, leaving the place in the hands of a cowardly country squire (Ernest Clark), some middle aged and elderly men of the lower classes, and Harry (John Cairney), a young man who lost the use of his left arm in Spanish captivity, and who romances Angela (Suzan Farmer), the daughter of the squire, quite against the man's wishes. Harry's father Tom (Andrew Keir) is something of a spokesman of the village’s working classes. There are, of course, also the women of the village, but the film isn't quite progressive enough to do much with them.

Robeles hopes to win the help of the village in the repair of his ship - and later get an opportunity to loot it - by applying a trick that plays on the place's relative remoteness. He'll march his men into town and pretend that Spain won over the British fleet and is now occupying the British Isles.

The squire and the local vicar only seem all too glad to oblige the new master in town, but the working classes - especially Harry and his father - are burning to make contact with any British resistance against their supposed occupiers. Ah, class war.

While Robeles has to use all his cunning and cruelty to play his ruse and keep the villagers under control, he is also threatened by philosophical differences with his first officer. That young man, Don Manuel Rodriguez de Savilla (Barry Warren), is a true Spanish patriot, and disagrees quite resolutely with Robeles plans for returning to the pirate business. Perhaps he will even disagree with them enough to partner with a bunch of English villagers?

While everybody (of taste) loves Hammer Film's horror output, people - me too often included - tend to ignore most of what the studio put out in other genres. In some cases, like the studio's small yet insipid comedy output, that's pure self-defence, but in other cases, like its land-locked pirate movies, ignoring these films means missing out on some very fine genre filmmaking.

Case in point is The Devil-Ship Pirates, as directed by the generally dependable Don Sharp (who must have had a very good year in 1964, creatively, for it's also the year that saw him direct the very fine little horror movie Witchcraft). It's a film as clearly done on a budget as anything Hammer did at the time, but it's also a film that knows how to use what it has (one ship, some fine looking sets and a highly dependable cast) in often inventive, always professional, and very entertaining ways.

Sharp's direction isn't as endowed with an eye for the pretty as it was in Witchcraft, but it provides the film with a sense of pace and tension that works well with its script. Sharp also manages to handle the film's more melodramatic parts in a rather off-handed way that provides them with a stronger feeling of veracity than you'd usually expect from scenes like them. There may be nothing flashy about Sharp, but he sure does all the right things to tell a clever story in an appropriately clever way.

Clever is also a good way to describe Jimmy Sangster's script for the film. The pirates' plan does at once provide a simple yet exciting set-up and keeps the film's action constrained to a comparatively small number of locations without letting the production feel impoverished in any way; and once that plan is set up, it's only a question of letting the various characters act appropriately, put in a few opportunities for mild swashbuckling (an English countryman is no Errol Flynn), and just let the plot roll out in a logical yet entertaining manner. Of course, Sangster also finds time to add in some of Hammer's usual political interests: the upper classes (especially the middle-aged men of the upper classes; there's often still hope for the younger men and women in the production house's films, at least if they're willing to fall for lower class guys and girls) are not to be trusted, the working middle class is awesome, priests mean well but often don't really know what they're doing. It could be quite annoying, if it were not a) obviously true and b) made more complicated by characters who are allowed to transcend their class characteristics to act like actual human beings, or at least the adventure movie version of such.

On the acting side, The Devil-Ship Pirates provides ample opportunity to watch various Hammer stalwarts do their usual thoroughly convincing stuff. Standouts are Andrew Keir - who brings surprising intensity to a rather small roll, and Michael Ripper who portrays a pirate as if his usual innkeeper character had gone nasty with a relish that can't help but delight.

Even the film's romantic leads in form of John Cairney and Barry Warren are perfectly okay. That may be caused by the script providing them opportunities to play somewhat more complex characters than usual for romantic leads, but I'm surely not going to complain about added complexity in my adventure movies.

For once, I'm also not going to complain about my least favourite iconic horror actor, Christopher Lee. Sure, he plays more than half of his scenes on auto-pilot, doing his usual menacing shtick with little obvious interest in his role, but he has two really great moments. The first one - in his first violent confrontation with Don Manuel - is one of these (getting rarer the longer the actor's career went) moments when the actor stops letting his Christopher Lee-ness stand in for acting and really puts some energy into projecting the smouldering menace he always was able to bring into its roles, but often seemed too disinterested to actually bring to use, turning his villain suddenly into someone not just bad in a perfunctory way as afforded by the script, but Evil in a much more total sense. Staying with the capital E Evil, his second great scene here sees Lee delighting in doing the most evil thing imaginable in a movie villain: outwitting a little boy.


So, clearly, The Devil-Ship Pirates has everything you could ask of an adventure movie.

Thursday, May 3, 2018

In short: Mother! (2017)

While I sometimes think I’ve seen basically everything in a movie, and can find my way around any of them, there still is the possibility to encounter a movie that takes me by surprise and may even confuse me quite a bit. So how about Darren Aronofsky’s somewhat divisive Mother!?

This may or may not be a religious allegory (which may or may not be saying that the creator godhood is an asshole sucking the blood and love of women –perhaps standing in for humanity - while giving them nothing in return but an illusion of love and a baby he’s going to take away again), a film about that horrifying conceptual entity known as The Artist (which may or may not be saying that The Artist is an asshole sucking the blood and love of women while giving them nothing in return but an illusion of love and a baby he’s going to take away again), or a couple of other things. Insert your own favourite theory here, really - you’ll probably find more than enough ambiguous moments in the film to hang it on.

It most probably is a male-driven feminist work, curiously because Aronofsky’s camera can’t seem to glance away from Jennifer Lawrence – whose performance dominates the picture not without good reason – for more than a moment, than despite of it, clearly wanting to say something about the way women and society in public and in private relate.

In the beginning stages, this aspect also turns Mother! into something of a social horror film with a couple of scenes that reminded me of the books of Ramsey Campbell in their dread of skewed social situations; later it becomes a (probably metaphorically) apocalyptic one. It’s not a film made with a horror audience in mind, though. At least marketing-wise, Mother! really wants to be sold to a mainstream audience, though it certainly isn’t the audience that would get much out of it.


Be that as it may, this is clearly the work of a director who is perfectly alright with presenting his film to an audience not being willing to follow where he goes, one misunderstanding him, or one just getting out of a film whatever the hell they want. Even if this approach doesn’t work for a viewer – and for once, I wouldn’t even blame anyone for calling a film pretentious - one should at least appreciate the incredible visual power of Aronofsky’s filmmaking, as well as the fearlessness to make a film like this and pretend it’s totally going to be the sort of thing a mainstream audience is going to want to watch without complaining afterwards.

Wednesday, May 2, 2018

I Remember You (2017)

Warning: there will inevitably be spoilers, and one might want to go into this utterly brilliant film blind.

Original title: Ég man þig

Some years ago, psychiatrist Freyr’s (Jóhannes Haukur Jóhannesson) little son simply disappeared without a trace. Apparently, the country having a rather low population, children don’t vanish into thin air in Iceland as regularly as they do elsewhere, so the whole affair was a big media sensation at the time. Even now, after years have passed and Freyr has moved to another town, every stranger he meets seems to know all about the case, something that certainly isn’t helping Freyr, or his divorced wife, for that matter, to move on.

Freshly installed in his new home, Freyr is asked by the police to help with their inquiries into a suicide as medical examiner. An elderly woman hanged herself in a church, but her back shows old and new cross-shaped scars that simply can’t have been self-inflicted. Things become even more concerning once they check the woman’s apartment. Apparently, she was obsessed with the disappearance of Freyr’s son, as demonstrated by that eternal classic, the wall of newspaper clips. Further investigations by Freyr and policewoman Dagný (Sara Dögg Ásgeirsdóttir) turn up ever stranger things. As it seems, there have been quite a few people of the woman’s age been dying in accidents, all of them carrying these cross-shaped scars on their backs. The connection between them not only leads the investigators into a dark past but regularly touches on the disappearance of Freyr’s son. The increasingly distressed man starts to see visions or the ghost of a little boy that might be his son or somebody else connected to the case.

Freyr’s plot line is regularly intercut with the film’s second central line of narrative. After having lost a child and gone through the incredible strain this puts on a marriage, Katrín (Anna Gunndís Guðmundsdóttir), her husband Garðar (Thor Kristjansson) and their friend Líf (Ágústa Eva Erlendsdóttir) have decided to change their life by moving to an old house in an abandoned town in the middle of nowhere, a place with a population of zero, no cell reception and no connection to the outside world apart from a boat that may or may not come in some day or week, probably. The plan is to make some basic repairs to the house and rough it for a few months before they can really fix the place up. Unfortunately, while there isn’t anyone living there, the place does have an inhabitant, the ghost of a child that increasingly haunts the trio. Apart from this buried past, there are also dark secrets between the three of them; and of course there too is a connection between this part of the film and Freyr’s, if perhaps not exactly the one you’d expect.

Óskar Thór Axelsson’s I Remember You is straight out of the gate one of my favourite ghost movies of the past decade or so, pushing all the right buttons for my personal tastes in this sub-genre, so I’m not going to pretend to have even the tiny degree of distance from the film I usually have.

Firstly, I just love how well it mixes its tale of ghostly horror with that of the Nordic Crime genre (Yrsa Sigurðardóttir, the author of the book this is based on, does mostly write in that genre). It makes a lot of sense, too, for both genres have a deep interest in using pretty unpleasant happenings in the present to speak of the pressures of the past, of the things people – or a society - do not want to think or speak of but which made them what they are, for better or (mostly) worse. Both are genres about hauntings, the biggest difference being that the ghosts in a good ghost story are real as well as metaphorical.

So there are quite obvious places where these genres intersect, but Axelsson’s film also finds other common ground. Both genres speak a lot about loss, and what loss does to people, past and present very often mirroring one another in catastrophic ways. In I Remember You, this mirroring happens in various ways again and again, tragedies begetting tragedies, the undead past moulding the present into becoming its mirror. The film will also explore this through a formal trick that could have gone badly awry in a lesser picture, but which here, thanks to a complex script and Axelsson’s deeply atmospheric and intelligent, compassionate direction, feels deserved, logical, and totally in tune with the philosophical points the film is making about the connection between present and past, and human suffering in both.

On a more obvious level, we have two child ghosts who mirror one another, we have two tales of the loss of a child that connect in terrible ways, but inside these tales, there are further reflections of the past in the present, like the way Katrín’s final destiny mirrors that of the ghost that helped push her into it. On the other hand, the film never goes so far with this as to turn its present characters into abstractions that only act out the past. These are rounded human beings carrying terrible inner wounds, and while what’s happening to them feels all too fitting, destined even, it also is a product of decisions and chance. Unless one wants to be metaphysical and suggest a malevolent universe.

What really, utterly turns my respect for the intelligence of I Remember You into actual excitement, though, is how well the film turns its ideas into a narrative, how deftly and complex it draws characters it could very well have left as mere functions of its plot, how well its crime story works as a pure crime story, and how well its ghost story as a ghost story. And not the Conjuring kind of ghost story with jump scare following jump scare but the style based on breathing an increasing mood of dread that is caused by terrible hints more than by outright telling. Though, it has to be said, in the climactic moments when the film does show, it shows very effectively.


On a technical level, there is no fault with the film, either – acting, direction, music, and so on and so forth – just fit one another, telling this tale in exactly the way it needs to be told.

Tuesday, May 1, 2018

In short: Los Angeles Plays Itself (2003)

Los Angeles Plays Itself is a nearly three hour long film essay by Thom Andersen. It consists nearly exclusively of – usually incredibly well chosen – clips from Hollywood movies, commented on and used to illustrate Andersen’s thoughts. Despite being as personal as it is, the narration is curiously not spoken by Anderson himself but by actor Encke King. It’s a sometimes rambling and digressive meditation on L.A. (Anderson hates this short form, and goes on about that fact forever, so I can’t help but use it here in the spirit of eye-rolling resistance), its depiction and use in and by Hollywood.

At times, this is brilliant, well-argued, thoughtful and thought-provoking, while other parts of the film mostly made me wish someone not the author had edited the script down to lose some of the digressions that reminded me particularly of an old man shaking his stick and shouting about kids and his lawn. What is it with L.A. fans always feeling the need to tell innocent bystanders how horrible their city is misused? There’s also an idea of purity and “realism” the film is very much in love with I abhor, a leftist conservatism (that’s not the discrepancy some may think it is, we got a lot of that style of left-wing thought in Germany, see Adorno about jazz) that is unable to laugh at itself nor able to show a sense of wonder, even when confronted with things that are indeed very funny (not ridiculous, mind you), or cause for great wonder.


But then, I’ve never been much interested in film as a depiction of reality, so it’s no surprise I found myself rolling my eyes at Los Angeles Plays Itself about as often as thinking alongside it. This doesn’t mean I’m not happy that it exists and I have seen it. It will, after all, cause anyone loving films and/or Los Angeles to think about quite a few things connecting and dividing them, and larger concepts and ideas that may or may not intersect this connection. Disagreeing with some of Los Angeles Plays Itself is something it seems to be made for as much as for agreeing with it.

Sunday, April 29, 2018

Maigret Sets a Trap (1958)

Original title: Maigret tend un piège

aka Woman-Bait

aka Maigret Lays a Trap

aka Inspector Maigret

A serial killer stalks the streets of Paris during a very hot summer, killing women regularly, always right about sunset. The killer clearly knows all of the classics, so he summons his probable nemesis, Chief Inspector Maigret (Jean Gabin), to one of the killings via an emergency call, and seems right proud of his job. Maigret, pretty tired and frustrated after twenty years of police work, has the guy pegged as a show-off right quick, so he decides on various methods to goad him, starting out with a fake public arrest of an acquainted crook, and putting a small army of police secretaries (apparently there were no other women in the French police at the time) of the physical type he’s going for on the street as honey traps.

Eventually, investigative work and a bit of luck lead Maigret to a rather curious bourgeois couple, Marcel (Jean Desailly) and Yvonne (Annie Girardot) Maurin. Something’s clearly not right with the husband, but it will take the Inspector some time and quite a bit of interview work to get his man.

When you’re like me, you’re used to the way US cinema of the late 50s had to treat elements of the human existence like sexuality, the way it could only ever suggest the facts of the lives of quite a few people without rubbing the censors wrong. In that case, the first of two adaptations of some of the immensely popular (and often rather excellent) Maigret novels of Georges Simenon might just come as quite of a culture shock, for in the French version of the 50s, the existence of gigolos is normal, the sort of thing our protagonist takes without even raising and eyebrow, and you can even use the fact that a woman is still a virgin after five years of marriage as a perfectly spelled out plot point.

These are only some of the elements that make Jean Delannoy’s film sometimes feel strangely modern. Its idea of how serial killers work is at least in part surprisingly close to the more codified interpretations of the matter that became popular knowledge years later. The film emphasizes the importance of the appearance of the killer’s victims, the connection of this to his messed up past; Maigret understands the shortening length of time between killings as meaningful, and so on and so forth. Now, these ideas weren’t completely new for crime film and literature – or psychology - at the time, of course, but they weren’t yet set in stone as pop cultural base-line knowledge about these things, nor, as far as I know, in real life. Less modern in this regard is the film blaming the killer’s mother for his problems by basically not letting him become manly enough, but you can’t have everything, I suppose.

Maigret’s interview methods are a lot closer to more modern ideas of how this sort of thing works, too, his sometimes threatening, sometimes ingratiating manner combined with psychological insight de-emphasizing the search for practical clues and replacing it with one for motive. Particularly the interrogation scenes work as well as they do because of a combination of sometimes – let’s ignore the whole blaming the mother bit – incisive and insightful writing and a fantastic performance by Gabin that starts from the actor’s trade-mark phlegmatic air but can shift emotion and meaning lightning quick. Gabin’s even good enough to help one overlook the lack of subtlety and substance in Desailly’s performance as the killer Marcel, who’s really doing too much of a rote crazy person bit for the kind of film this is. The rest of the cast is thankfully as good as Gabin.


Delannoy’s direction of all this is elegant, sleek, and stylish, without the noirish shadows one might expect (or hope for), but still creating a sense of intimacy for a film that, is all about character psychology and twisted kinds of love.

Saturday, April 28, 2018

Three Films Make A Post: Fall under her spell into the depths of terror.

Deep Trap aka Exchange (2015): Kwon Hyeong-jin’s film is your typical South Korean backwoods thriller, less interested in cannibalism than in sexually loaded violence, and therefore generally a bit nastier than its US counterparts today. It’s not a particularly impressive entry into the genre though: sure, the direction is slick, the acting good, and the script tight, so I can’t imagine anyone being bored by this, but the film lacks a bit in substance, not going through with some elements the basic set-up suggests and not digging as deeply into the subtext than I would have wished, turning to the standard tropes of its genre without need when it has a way to more interesting (and possibly even more unpleasant) pastures right in front of its nose. It’s perfectly fine entertainment, though, at least if you can be entertained by a film with stuff like rape and semi-realistic violence.

The Boy (2015): By all rights, I should like this one quite a bit more than I actually did, what with the fake English Gothic setting (including Rupert Evans as the poshest grocery delivery guy you could imagine), the pleasant production design, and the good old call of the creepy doll at its centre. However, for most of the time, this plays out like a best of of scenes from other creepy doll movies, adds a sprinkling of crawlspace horror and tries to tie everything up through an in theory damaged protagonist as given by Lauren Cohan.

The whole thing just doesn’t work very well: William Brent Bell’s direction is strangely reticent, lacking the gothic conviction the sets deserve and never getting intense enough to make one forget the very silly set-up (not to speak of the even sillier third act). Cohan never convinced me of being someone who has gone through some heavy shit in her recent past, either.

Paranormal Sex Tape aka Sex Tape Horror (2014/16): This is a bit more interesting than the title suggests, seeing as it isn’t a desperate attempt at a “sexy” found footage movie but rather an amateurish one at making some sort of erotic horror movie by throwing all the digital effects, filters and avantgarde movie tricks it can muster at its audience in between the sex scenes. There’s nearly no location sound, little dialogue (and what there is of it is dubbed in afterwards and sounds atrocious), and a plot that regularly breaks down into five minute bits of psychedelic filter mania or repetitions of scenes we’ve already seen. Sometimes, this approach does even induce the mood of dream-like irreality the film probably is going for; there are even a moment or three in here I found vaguely disquieting.


Of course, the other eighty percent of the film are a bit of a boring slog that could have used some judicious cutting down from a seventy minute sort of feature to a thirty minute short film, but at the very least, director Dick Van Dark’s (winner of this week’s prize for the silliest nom de plum in a movie) film fails attempting something somewhat interesting.

Friday, April 27, 2018

Past Misdeeds: Die Farbe (2010)

aka The Colour Out of Space

Through the transformation of the glorious WTF-Films into the even more glorious Exploder Button and the ensuing server changes, some of my old columns for the site have gone the way of all things internet. I’m going to repost them here in irregular intervals in addition to my usual ramblings.

Please keep in mind these are the old posts presented with only  basic re-writes and improvements. Furthermore, many of these pieces were written years ago, so if you feel offended or need to violently disagree with me in the comments, you can be pretty sure I won’t know why I wrote what I wrote anymore anyhow.

The 70s. The father (Patrick Pierce) of Arkham academic Jonathan Davis (Ingo Heise) disappears while retracing his own steps during and shortly after World War II in rural Swabia. Jonathan, deeply concerned, follows him, only armed with a pack of old photos.

At first, Jonathan seems to be completely out of luck in his mission. Nobody in the small village he traces his father to seems to have seen him, but at last one of the villagers, a certain Armin Pierske (Michael Kausch), recognizes the elder Davis not on the contemporary photo but at least from a thirty year old army picture.

Pierske tells Jonathan a weird story about how he met the elder Davis when he himself came home from the front, and tried to warn Davis and his men off of visiting a neighbouring farm for reasons Pierske then goes on to explain to Jonathan by way of flashing back to a time shortly before the War.

A meteorite crashed down on the farm of Pierske's (in the flashbacks played by Marco Leibnitz) neighbours, the Gärteners (Erik Rastetter, Marah Schneider, Leon Schröder, Philipp Jacobs, Jonas Zumdohme). The scientists coming to investigate were confused by the thing's curious properties: meteorites don't, after all, generally shrink over time, nor do they have properties strangely at odds with what we know about physics. Shortly before the meteorite disappeared forever during a lightning storm, the scientists found some sort of capsule inside of it, setting free an unearthly colour when trying to take a sample.

With no physical evidence at all anymore after the disappearance of the meteorite, the scientists left. However, strange things began to happen on the Gärteners' farm. Fruit (and later some animals) started to grow freakishly large, but they also developed a foul taste that made them unsalable; the trees in the family's orchard took on disquieting properties, moving when there wasn't any wind to move them. And slowly, one by one, the family members began to change, growing unstable, mad, and ill through the agency of something not of this Earth.

Of course, the Gärtener's farm is the one Jonathan's father was visiting after the War; and it might just be that something he saw there has now called him back in some way.

Huan Vu's (whom you might know as the director of the Warhammer 40K fan film Damnatus that was killed by the angry lawyer brigades of Games Workshop) Die Farbe is a very fine adaptation of one of my favourite Lovecraft stories, the wonderful "The Colour Out of Space". At first, I was rather sceptical concerning the story's relocation from New England to Southern Germany, but for the most part, this change of location is to the film's advantage. Sure, a viewer has to make a bit of an effort to accept the actors speaking English with clear (yet not very heavy) German accents in the film's beginning as Americans, and then, once the film's narrative has relocated to Germany, Ingo Heise's Jonathan speaking German with a fake American accent, but the alternatives would surely have ruined what is after all an independent low budget production. Trying to pretend Germany is New England would have either robbed the film of its often impressive and mood building outside location shots, or threatened to make unintentionally funny what desperately needs to be earnest. A bit of accent trouble is much preferable.

This is especially the case because Vu uses the individuality of rural Swabia so well, giving the film the all-important sense of place that - as I can't help but repeat again and again in write-ups - is one of the most effective ways for a low budget movie to gain a character all its own; competing with high budget films - European or American - on their own terrain generally means ignoring the advantages this kind of production has over them. Plus, the Swabian-Franconian Forest can be - filmed in the right way like it is here - an excellently creepy place, just the kind of locality where the intrusion of the Weird seems believable.

Die Farbe not only manages to evoke a place, but also specific times, through simple yet effective tools. Initially, I thought the three time levels of the narrative were unnecessarily complicated, however, it soon became clear that the nested flashbacks really were the best way to tell Vu's version of Lovecraft's tale, and that - not a given in independent horror - Vu actually knows how to handle this sort of structure without the resulting film becoming tedious or needlessly confusing. It's also nice to see a Lovecraft adaptation that does not feel the need to permanently include winks and nods towards the author’s other works. There's a guest appearance of the Danforth Memorial Library at the beginning, but that's mostly that.

This admirable sense of restraint runs through the majority of the film's writing. The movie prefers to underplay many of its dramatic and horrifying beats, all the better to be able to get its viewers with those it doesn't underplay. It's spiritually as close to Lovecraft's writing in this particular story as possible, using those of the writer's techniques that are applicable to film, and only changing the story's framing instead of its major beats. The only part of the writing I'd criticize is the twist in the last act that doesn't ruin the film, but also doesn't do anything to improve it. As plot twists go, it isn't horrible, it just seems a bit unnecessary.

On the visual side, Vu makes the interesting decision to film in black and white, except for the Colour itself, which is a clever and elegant way to get around the question of how one shows a colour that is indescribable - when the world is black and white, any colour will look Weird. For once, I also find it impossible to be annoyed by the use of CGI; in fact, CGI seems to me the right method to bring a living colour without a body as we understand it to life (such as it is). After all, a thing without body mass can't suffer from the typical problem of low budget movie CGI of looking like it has no body mass.


All these elements (plus some decent to good acting) add up to a piece of contemporary independent horror cinema I for once find easy to praise; I am, as it turns out, a sucker for films whose directors make one intelligent decision after the other and even improve on these decisions through thoughtful execution.

Thursday, April 26, 2018

In short: Mute (2018)

This Netflix production was apparently a dream project for its director and co-writer Duncan Jones, a film he tried to get made over quite a few years. Watching it, however, I can’t help but think only the wonderfully strange future Berlin it takes place in (which an aside shows to be situated in the same world as Jones’s one perfect movie, Moon), presented as a mix of Blade Runner, today extrapolated sideways and German Shadowrun, was the dream part of the project. At least, I have difficulty imagining a filmmaker’s great dream movie plot would concern a clueless yet violent mute Amish (so he can be conveniently clueless about the place and time he lives in to an absurd degree) dude looking for his girlfriend who seems involved in the usual future noir shenanigans.

While the world Mute takes place in is often fun, as idiosyncratic as a real future, and interesting to look at – and for once in an English language movie features actual idiomatic German (admittedly, it’s a German co-production) – the plot that should lead us through it is rote, told without anything that could hook a viewer emotionally, and moves slowly, oh so very very slowly, for no reason I could make out. Adding some awkward feelings to the boredom is a low-level yet difficult to ignore vibe of homophobia that’s utterly bewildering coming from the son of David Bowie.


The characters moving through this have all the life of stage props. Alexander Skarsgård’s Leo in particularly is probably meant to be a tragic naïf but comes over as totally lifeless, not a man out of time so much as a man too boring to bother with, the actor’s never-ending barrage of would-be soulful glances notwithstanding. In general (and quite a bit of this blog proves it) I have no problem at all with movies more interested in showing a world instead of providing a classic narrative, but the tedious way Jones approaches the narrative that’s there doesn’t actually seem to be designed to show the movie’s world off at all. Unfortunately, what it’s supposed to do and why, I have no idea, and I can’t help but have the impression Jones doesn’t know it either.

Wednesday, April 25, 2018

The Big Fix (1978)

Moses Wine (Richard Dreyfuss), formerly a proper 60s radical, is now a divorced industrial detective (missions in this glamorous job include the counting of chickens, which is more depressing than hunting cheating spouses), with two kids living with his ex-wife (Bonnie Bedelia), and a minor case of depression, sadness and self-hatred all his own. Things change when his old protest buddy and flame Lila (Susan Anspach) steps back into his life.

Lila hasn’t given up as many of her dreams as Moses has, and while she’s arranged herself with elements of changing times, she has stayed alive in and engaged with the world around her in a way Moses has not. Right now, she’s working for a political candidate named Hawthorne. Hawthorne might very well be the most boring and uncharismatic man alive yet he is also not corrupt and no monster, the kind of compromise you bet on when all the alternatives are all sorts of terrible. Unfortunately, someone has taken it upon himself to print flyers carrying endorsements for Hawthorne by radical turned terrorist turned disappeared wanted man Eppis (F. Murray Abraham). That’s the sort of thing that can end a political career right quick, so the Hawthorne campaign has sent Lila to hire a private detective to find out who is responsible for these flyers. Who’d be a better candidate for that than Moses – a trustworthy guy who knows the circles Eppis once moved in?

At first, the investigation is very much fun and games for Moses. He’s spending time with Lila, falling back in her love with her – a feeling that’s clearly reciprocated – and enjoying a light-hearted investigative romp that awakens an optimism in him he hasn’t felt for a long time. However, things turn much more serious, a murder and a conspiracy (or more than one) pressuring Moses into sticking his nose in very dangerous corners.

Jeremy Kagan’s comedic mystery The Big Fix is a very pleasant surprise. It’s one of those late 70s films that seem to have fallen through the cracks nearly completely, and while it isn’t the sort of film that’ll rewrite movie history, it is certainly a hidden gem. With a script by Roger L. Simon based on his own novel, it is another of those late 70s movie concerned with the unfulfilled promises of the 60s, but it is a bit more hopeful than many of its brethren in its belief that some of the people who have seemingly given up on all those high ideals they espoused might step back into the body politic again. The film doesn’t use the dire consequences Moses’s return to life has for a character who really doesn’t deserve this at all to end on a cynical and bitter note – it rather treats this as the sort of injustice the Moseses of this world should help fix. It’s just not lying about fixing the world being easy for anyone involved.

The film’s tonal half-shift from light-hearted mystery to something a bit darker is handled very well, Kagan timing the moment when it happens excellently, and actually rather more subtly than it at first seems. After this point, the film rightly never quite gets regains the sense of whimsy it had before (when the Moses/Lila team basically capered through their investigation), but it still contains quite a few funny and satirical ideas, like the true fate of Eppis and the way hippie and yuppie collide in how he lives now (milked grandly by an Abraham who seems to have a very good time). All the while, the film steps merrily through the ruins of former radical politics in the US, visiting the groups that still fight, those that have given up, and those that have turned malevolent with sarcasm but without the sort of cynicism that could easily come with this territory. The film’s too interested in its characters’ humanity to ever become completely bitter about it, I think. It also has a great hand for memorable side characters, not just because it has some very memorable actors (John Lithgow, Fritz Weaver and Ron Rifkin are around too, for example) to work with, but because it so clearly enjoys spending time with figures like Moses’s staunchly socialist Russian Jewish émigré aunt (Rita Karin), even if they are only marginally pertinent to the plot. 


Along this way, the viewer is accompanying a lead in Dreyfuss who finds humanity and depth in a character that could have been a caricature through a plot that probably becomes a bit too complicated for its own good (but that’s par for the course for this sort of mystery) and is finished perhaps a bit too neatly.

Tuesday, April 24, 2018

In short: The Cloverfield Paradox (2018)

In the near future, the world is on the brink of war – or really, a lot of wars everywhere – caused by an energy crisis. There is still one international attempt at solving the world’s energy troubles in form of a highly experimental particle accelerator built in Earth’s orbit. However, the crew of scientists (Gugu Mbatha-Raw, David Oyelowo, Daniel Brühl, John Ortiz, Chris O’Dowd, Aksel Hennie, Zhan Ziyi) can’t quite seem to crack the problem. Time is running out, and tensions between the crew members as well as on Earth rise. Things really start to go to crap when one of the last possible attempts with the accelerator actually seems to succeeds, only with something happening to the station that turns things decidedly weird. Not to speak of the little fact that our protagonists seem to have lost Earth.

Ironically, that isn’t even the most troubling problem our protagonists now encounter. The station seems to take on a life of its own, its walls shifting and moving and even starting to become a bit nippy. And let’s not even talk about the woman (Elizabeth Debicki) the crew finds in one of the station’s walls who says she’s a member of the team. A member nobody seems to remember, but who sometimes appears and disappears in photographs of the crew, for that matter.

After five minutes of intense hype, Julius Onah’s Netflix entry in the Cloverfield universe got a right critical drubbing from mainstream critics. Me, I found myself enjoying the film just fine, sometimes even more than that, but I can understand why not only mainstream critics but also people who actually have a clue about fantastic genre film aren’t terribly happy with the movie at hand. It is, after all, impossible to deny that Paradox does waste quite a few interesting ideas and a wonderful cast on a very standard plot with a very standard finale and on in general not terribly interesting characters. There’s much more – and much stranger things – to be done with its conceit of alternative universes and I wish the film had given more characters than just Mbatha-Raw’s reason to be emotionally involved with the alternative universe they find themselves in. Or, you know, had brought them into a universe that’s just stranger than the one we got.

On the other hand, the actors are good fun in the roles they actually have, and the plot, while not as interesting as I would have hoped for, does hit its standard beats expertly enough. I also like the way the film kinda-sorta explains how the different Cloverfield films might relate to one another in a way that leaves the door wide open for the following Cloverfields to do whatever the hell they want.


Because I’m me, I can’t end this without mentioning the utter glee I felt once the business about the arm (the film’s true hero) started. There’s something to be said about a film that dares to do something so silly (some would say goofy) and even make it important to the plot.