Sunday, July 2, 2017
I'm all for intelligent science-fiction films, but this isn't one of them. Like THE MARTIAN, this is one of those faux-intelligent movies for 'adult-minded' people. Some may compare it to GRAVITY, but Cuaron's movie worked wonderfully because it was big on action, emotion, & effects and let 'ideas' drift into space. There was too much happening in Cuaron's movie to 'think' about anything.
In contrast, ARRIVAL is supposed to make us think and ponder. What about? Some giant stony half-eggs arrive from who-knows-where and invite humans to change notes. It turns out these alien being are giant squids(not unlike the squid monster in the Gamera movie DESTROY ALL PLANETS but kinder), and their message to humanity is a series of childish circles that they keep drawing over and over. But it's not just a squid story. It's a squid love story. There are two squids but one is sick, and squids can feel tragedy too, so they want to help humanity by promoting globalism. You see, China and Russia are belligerent and 'xenophobic' against the alien visitors, but goody-goody American 'liberal' scientists are so understanding and figure out some New Age flaky code as to why the squids are really doing what they doing. So, next time you think of the Jewish Octopus devouring the world, it is just spreading love. So, Germany should take in all those invaders 'refugees' and the entire world should tune into CNN and other Jewish-controlled globalist news.
Though sold as 'intelligent' sci-fi, the movie's more noteworthy for its emotional chords. In UFO stories, we tend to think in collective terms of 'humans' and the Other. Where ARRIVAL deviates from its predecessors(with the possible exception of CONTACT) is in suggesting at the 'personal' among the alien beings --- not 'personal' in what a space alien may mean to us humans(as in E.T.) but to one another in a ways that are both mysterious and familiar.
The woman comes to relate her own personal loss with the tragedy of the squid whose partner is ill. Until then, she only considered the squids as the collective 'them'. But upon closer contact, she realizes each squid creature has its own 'personal' issues(possibly unbeknownst to other squid creatures).
To her human peers, she is just a professional, a representative of America or the human race. And initially, she regarded the alien creatures like the humanity did: The Strange Other. But through special contact with one, she becomes, at least in one respect, closer to it than to her own kind because of the commonality of experience: tragic loss of dear one. Commonality of experience differs from commonality of race, ethnicity, or nationality. Only those who underwent the ordeal can really understand and belong. This is a lonely community as tragic experiences are always dispersed and unexpected, universally occurring but only to particular 'chosen' individuals.
And, it is this commonality of experience that prevents war-making by Chinese and Russians because a certain General Shang, it turns out, also lost a dear one and was especially touched by the message(a fusion of future and present) he received from the heroine. So, the film seems to be saying that, if we go beyond the collective identity and ponder the personal -- the Kodak moments of our lives, like in TREE OF LIFE -- , we will all a deeper connection with the universe marked by tragic beauty. On the other hand, what happened with Annakin Skywalker because he got so personally involved with Amidala? He went over to the Dark Side just to save his loved one.
We are doomed no matter what.
Posted by Right Camera Reaction at 3:18 PM
Victor Salva followed up JEEPERS CREEPERS with this sequel that is even more audacious, astonishing, and hair-raising in style and suspense. Salva's wicked creature is many times creepier than most horror villains(and funnier in a gross way, as Salva seems to be a student of George Romero and Sam Raimi of EVIL DEAD fame).
Unfortunately, the movie feels a need to preach us a sermon about race(like Romero at his worst, as if to morally justify and overcome the tawdriness of the b-movie material), so we get the predictable scenario of how white kids and black kids must cooperate to survive the swooping attacks by the Alien-Monster-and-Freddy-the-Kruger-with-Wings. For anyone who knows about race, this is too comical. Surely, it's hard to conjure up horror worse than the horribleness of ghastly Negroes. The white kids and the monster should have united to whup the Negroes.
Posted by Right Camera Reaction at 3:01 PM
Posted by Right Camera Reaction at 2:51 PM
STELLA DAVIS(directed by King Vidor) shows how motherhood can redeem even a no-good worthless tramp.
Barbara Stanwyck delivers a sterling performance as a woman of spunk and ambition. And ridiculousness. Born poor and raise vulgar, her idea of success and respectability is marrying up, partying, and weraing too much jewelry, real or fake. Estranged from her well-heeled husband who can't satisfy her appetites, she ends up raising her daughter alone. The girl, taking after her father, is a kinder and gentler creature. And Stella, with her maternal instincts kicking in, must make sacrifices for her beloved daughter. It's melodrama but wonderfully done.
Posted by Right Camera Reaction at 2:38 PM
Posted by Right Camera Reaction at 2:28 PM
One of the ugliest films ever, surely one of the most demented since Pier Paolo Pasolini's TEOREMA in which some godlike visitor blesses the alienated characters by 'teo-reaming' them up the ass.
This degenerate film by Guiraudie has some hipster as a bisexual nomad, a post-modernist who stumbles into the role of accidental prophet and messiah. Though a creature of the city, he drives around the countryside where things are nearly as primitive as in the ancient world of Hebrews. But if the ancients came up with strict sexual morality to keep things in order, the new revelation, according to Guiraudie's vision, is that everyone should just drop their pants and stick their thingies into anything that moves and wants it up the pooter or the poop-chute. After all, unlike the old days, there's plenty of food and social safety nets that make traditional morality moot, at least to these decadents and degenerates. Not exactly boring but only because it has stuff like the 'hero' sticking his dong up a flabby old man breathing his last. How the world has gone from shotgun marriage to shotgun 'fuc* me in the ass'.
Posted by Right Camera Reaction at 2:15 PM
Wednesday, August 3, 2016
I have some advice for Terrence Malick. Lose the actors(who stand around clueless), voice-over narration(that sounds constipated), and script(if that's what it is). Lose the classical music, overly solemn and structured for Malick's informal joyrides. Just do travelogue and show us pretty pictures. KNIGHT OF CUPS works on that level. Major characters, such as they exist, are little more than bored tour-guides for Malick's attention-deficit-disorder musings. Everyone else is either eye-candy, exotica, or distraction, though always posturing for epiphany.
Stylistically, this latest monstrosity is an improvement over horrors such as THE NEW WORLD and TREE OF LIFE. The camera-work is nimbler, finer-tuned to shifts of action and attention. TREE OF LIFE, the most expensive home movie(or youtube video)ever made, couldn't reconcile the monumental with the momentary, no more than Einstein could unify stars with sub-atoms.
Tuesday, August 2, 2016
This could have been a captivating adventure about the extremes of masculinity and megalomania. The themes are all there. Daring mortality for delusions of immortality. And there are spectacular moments on the waves and along the cliffs. But shallow characterization deflates the tragic dimension, the only thing that can sustain and justify a movie like this. Some of the action scenes are beyond ludicrous; they 'jump the shark', making the feats seem more fanciful than mad. And the damn tattoos. Maybe getting more than one tattoo should be a capital crime. Enough already.
It lacks the finesse of a top production feature like SOCIAL NETWORK. A cheapie TV production. The acting is uneven, and the plot isn't always convincing. But the low-budget amateurism has charm and captures the nervy and nerdy spirit of ne'er-do-well garage geeks chasing after their dreams by fits and starts of talent, vision, cunning, and luck. It works on the level of romp. While Fincher's movie and Danny Boyle's STEVE JOBS are technically more impressive, they are overloaded with seriousness and relevance, whereas PIRATES OF SILICON VALLEY grooves to the vibes of geek egotism. If John Hughes had made a movie about high-tech world, it might have been something like this.
BOILER ROOM features some Jews acting like Italians acting like Negroes. It has wall-to-wall Rap music, which drove me crazy, but it suits the tacky material. It features familiar elements of drama, like father-son conflict, but well-done formula is next best thing to art.
Smart successful Jews make it to Harvard and Yale and go directly to Wall Street. The smart-but-not-smart-enough and driven-but-not-disciplined enough Jews must find other routes to fortune and success. These Jews must go 'Soprano' and 'goomba' route, traipsing the thin line between legality and illegality. BOILER ROOM effectively shows the underbelly of this kind of enterprise. The illegitimate crassly masquerading the legitimate. But given recent revelations about Wall Street, maybe BOILER ROOM is just a grubbier expose of what goes on in the legitimate world too.