#or appreciate it as a horror element or a plot device

[grimark]

i can just never take any complaints about media like hannibal or whatever “normalising/romanticising cannibalism” too seriously. like yeah sure this practice that has an EXTREMELY strong taboo against it in many cultures throughout most of human history is gonna be brought into vogue by uh. gay horror enjoyers on tumblr. sure. big risk we should all be worried about.

[fibula-rasa]

Favorite New-to-Me Films

January ’24

READ on BELOW the JUMP!

(listed in order of collage above, L to R)

Eleven P.M. (1928)

[letterboxd | imdb | kanopy]

Synopsis: Sundaisy, a violinist, tries to fulfill a friend’s dying request to ensure his son is raised away from the criminal element of the city. Unfortunately, Sundaisy is duped by a phony priest, and the boy grows into a low-level crime boss. After a series of misfortunes spurred on by the boy over the course of decades, Sundaisy’s family is nearly ruined. However, Sundaisy’s will for vengeance leads to supernatural consequences. All this is couched in a frame story of a man trying to meet an 11 p.m. deadline.

This is easily my favorite first-time viewing of the month. The synopsis above admittedly does not capture the mystical/transcendental attitude that Eleven P.M. reflects. This is the only film Detroit-based Richard Maurice ever directed, but it displays sophisticated ideas about film storytelling, using an array of devices in inventive ways. It’s always a treat to be reminded of how creative and exciting independent filmmaking can be in America. If you want to check this one out, I advise you to keep an open mind and not approach it with an overly literal, nitpicky mindset. Let Richard Maurice take you on this ride and I don’t think you’ll regret it!

I watched this on the Pioneers of African-American Cinema box set, which I can’t recommend highly enough. The films are outstandingly curated and contextualized and the set showcases an often-overlooked but indispensable part of American cultural history. A lot of the films are also available on streaming through kanopy, which you may be able to access with your library card if you live in the US.

---

Lea on Rollerskates / Lea sui pattini (1912)

[letterboxd | imdb]

Synopsis: Lea isn’t allowed by her parents to go rollerskating with a friend, so she decides to skate in her own bedroom. She proceeds to wreak havoc in the home before an accidental self-defenestration sets her free to wreak havoc at the roller rink instead.

A jam-packed, stunt-heavy bit of nonsense led by Lea Giunchi. I’ve watched quite a few of her films now and I’ve learned this is pretty standard for her. I love each and every pratfall.

---

Two Girls are in Love with Foolshead / Le due innamorate di Cretinetti (1911)

[letterboxd | imdb]

Synopsis: Cretinetti is dating two girls at the same time. The girls decide to duel, but Cretinetti is the one who loses… repeatedly.

I’ve finally gotten around to watching more Andre Deed films and this one was a highlight for January. I don’t know who the skinny woman is, but she and Valentina Frascaroli are great together.

---

X (2022)

[letterboxd | imdb]

Synopsis: A crew of filmmakers leave Houston, TX for the country in order to film a farm-themed porn. The producer of course did not disclose the nature of their stay to the elderly property owners. Said owners have ulterior motives in renting their cabin and respond violently to the group.

Appreciative of all of Ti West’s work, and X has so much going on and so much to say that I originally typed out two full pages (single spaced) on it before I knew it. I won’t be sharing those two pages because I think there are a few points on the approach to gore in recent horror movies that I need to mull over more. For now though, I’ll just say, I didn’t enjoy X at all, but I deeply appreciate what Ti West is putting out there. I probably won’t watch it again and I’m going to be sure my stomach is prepared for whenever I get around to Pearl (2022).

---

The Hayseed (1919)

[letterboxd | imdb | Silent Comedy Watch Party]

Synopsis: Fatty wants to marry Molly, but so does the sheriff. Buster tries to keep the general store in working order while the sheriff plots against Fatty.

Luke the dog is one of my top 5 movie dogs of all time. I’ve never made an official list, but I know in my heart that Luke is at the top. Also, I adore how many modern professional wrestling moves you end up seeing in Fatty/Buster collaborations! In this instance, note the dance sequence with the lady who gets swung around wildly.

---

The Ghost Ship (1943)

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Synopsis: Tom Merriam, a young officer, reports for his first commission on a long haul trip on the Altair. The captain has a bit of a strange vibe, but the newbie likes him, at first. As crewmen perish under the captain’s leadership, and the captain’s lectures take on a more sinister tone, Tom knows he needs to act to save the remaining crew and the ship. 

Checked this out as I was on a Val Lewton kick not knowing much about it beforehand. I did not expect it to be a movie about fascism done in microcosm. So, if you were looking for a movie about ghosts or a Flying Dutchman, this ain’t it. Its off-beat structure amped up the tension, though the denouement was a little too pat. Cinematography was fantastic, as you might expect from Nicholas Musuraca. I hope Sir Lancelot got two checks for how much his singing contributes to the movie. Richard Dix is such a skilled actor in everything I’ve seen him in, but he is pitch-perfectly terrifying in this movie.

---

Miss Pinkerton (1932)

[letterboxd | imdb]

Synopsis: A nurse who’s bored with hospital work gets assigned to an old woman who’s ailing after a big shock: finding the dead body of her nephew. The detective on the case asks the nurse to gather reconnaissance for him at the house and she gets all the excitement she can stomach as a result.

Miss Pinkerton is a pre-code gem I somehow have never seen before, despite my devotion to Joan Blondell. The plot and characters are interesting, the cinematography (done by Barney McGill) and staging of the film is very dynamic and Joan Blondell brings so much to Miss Pinkerton with her signature effervescent sass. It’s also just over an hour long, so it would make a great watch for one of those evenings where you’re indecisive but want to find something compelling but compact.

---

Phil-for-Short (1919)

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Synopsis: Damophilia “Phil” Illington is a free-spirited tomboy brought up by a Greek-professor father and his right-hand man, Pat. Her lack of lady-like decorum raises the ire of two town elders, who are also the local killjoys. When her father passes away, one of the elders abuses his position of power to force her into a conservatorship. Phil disguises herself as a boy and hightails it with Pat. While on the lam, Phil makes the acquaintance of a young woman-hating Greek professor. Through a set of misadventures, Phil and the Professor end up married, but it takes quite a bit of work after the marriage for them to find happiness with one another.

Great characters and performances and I enjoyed marriage not being treated as the resolution or an end point to the story. It’s also very endearing to see such a pervasively queer story about a man and a woman getting together.

---

The Mystic (1925)

[letterboxd | imdb]

Synopsis: A con artist enlists the help of Hungarian travelling carnival performers to enact a phony medium scheme against the hoi polloi of New York City.

Tod Browning is a sure-bet filmmaker for me and The Mystic was no exception. Highlights for me were: the execution of the seance sequences, Erte’s gorgeous costumes for Aileen Pringle, and an ending that I hoped would happen but assumed wouldn’t!

---

There Ain’t No Santa Claus (1926)

[letterboxd | imdb | Silent Comedy Watch Party]

Synopsis: When Christmas rolls around, Charley doesn’t have enough money to both pay the rent and buy his wife a present. He uses his $80 to buy her a watch, instead of the rent, and his nasty landlord/next-door-neighbor steals the watch. Christmas Day turns into a free for all, when both Charley and his landlord dress as Santa and plan to enter via their respective chimneys for their respective children. 

Well-paced, great comeuppance, and very well-executed gags. Additionally, Charley Chase looks absolutely outrageous in his Santa wig and he knew it!

---

This one didn’t make it into the collage, but it’s still on the list:

Little Moritz Runs Away With Rosalie / Little Moritz enlève Rosalie (1911)

[letterboxd | imdb]

Synopsis: Little Moritz loves Rosalie and wishes to marry her, but her father objects. So, of course Rosalie and Mortiz run away together in his funky little flivver, but dad and the family dog give chase.

Most of this short is the chase sequence and it’s very well executed. Sarah Duhamel is so cute and so is her family dog. The location shooting is nicely done (was this shot in Nice?) This charming poster captures the vibe of the short perfectly:

---

In January we were hit with a nasty winter storm and, while we were relatively lucky in my neighborhood, we were without internet for a third of the month. So, we ended up relying on our home video collection, which accounts for five of the films above and me re-watching two seasons of Soap and Fritz Lang’s Niebelungenlied (1924). 

Despite the holdup, I continued my “Lost, but Not Forgotten” series with The Dancer of the Nile (1923) and started a limited spin-off series, “How’d They Do That?” about special effects and stunts in the silent era. 

I also made themed gif & still sets for: Miss Pinkerton, Dementia (1955), and A Christmas Carol (1971).

Here’s to a less eventful February! And, as always, if you’re interested in any of these films, but have specific content warning needs, feel free to ask me.

[freshlybrewedbookreviews]

Black Mouth by Ronald Malfi

This novel was thriller with some horror/supernatural elements, and it was a good page-turner. I did have one issue, though: I wasn't a big fan of having a character with developmental disabilities being affected by the supernatural (and used as a plot device) struck me as a bit yucky. While the character did have some agency, and I am all for representation in all genres (and did really appreciate his inclusion), it didn't feel like this was the most sensitive representation. I could see an argument the other way, but my personal opinion was that his developmental disabilities didn't serve the story, but served more of a deux ex machina role.

All this is to say, if you have someone with developmental disabilities in your life, you may have feelings about this one, and I can't say what those feelings might be.

[lightdancer1]

Where do you get your ideas for each au that you write from? Every time I read one of your stories I find myself beyond amazed with the plots and just the way how you write these stories overall.

With my first AU it was simply wanting to write Avatar: The Last Airbender as it would have been written if it were a part of my broader multiversal cosmology. Including the Urhalzantrani as the central cosmic figures, a multiverse, and the slow dawning awakening on the part of the people in that universe of the nature of the truth....and since it's an ATLA story they get to fight back and win a victory. In the course of writing that story one of the main ideas, a Fire Nation Katara as a villain and a bloodbender led me to the idea of the opposite, a Water Tribe Azula who'd be a hero.

That led to the idea of the Dragon-verse, which combined with it themes from the alternate history novel Fatherland. The Dragon-verse also took in the other half of my main themes in my original fiction, with that Azula incorporating a few aspects of Xaderavcal the Unifier on smaller scales, specifically the experience of mind-whammy from super-science, a berserker mode, and gleefully burning down the society that made her into what she became.

From there it grew to seven different AUs, each of them designed to interweave into the others, with the House of Wonders AU in a separate kind of storyline that spun out of talks with @ultranos over the notion of what time in the asylum would have realistically done to Azula and how the storyline might have evolved if she had actual realistic human limits.

The seven AUs basically developed from the first when the glimpses of alternate universes in a specific scene in the third story of the Fire and Water verse led me to want to develop various universes, with the seventh, the Fire Sage AU, working as the 'if it had been the 'good' cosmic horrors instead of the bad ones that made first contact' scenario.

I also take in each case with the Fire Nation various influences from real life societies and fictional totalitarian regimes that serve as the theme of various universes, as well as experimenting with a variety of different people to fill the niche of Fire Lord, and making each case where this happens feel like its own story and its own universe rather than coming across as cookie cutter plots.

Also at a broader creative level, I never lose sight of the idea that each of these worlds is a deliberate creation, where the characters are devices to tell specific kinds of stories. One very deliberate aspect of telling such different stories and different iterations, like the affably evil totalitarian overlord of the Dragon-verse versus squishy happy cuddly badass Iroh in the Sins-verse and the Azulon II spinoff or House of Wonders Ursa vs Empress of Humanity Ursa is to reinforce that. I think too much of the Avatar fandom, as Tumblr, Twitter, and Reddit show regularly and sadly loses sight of this because the world as it was created felt real enough it was easier to feel the characters were real, and not characters in a story. Treating them as means to tell the tale allows each tale to stand on its own without feeling like they duplicate each other or are required to do so.

TL;DR: To slightly misquote J.R.R. Tolkien 'the tales grew in the telling.' And include elements from my original fiction + reading on history and military history, which is very helpful in telling war stories and making them feel like actual glimpses of other worlds that could exist.

As always I appreciate and am humbled by the feedback. It's a pleasure to know that people enjoy reading my stories as much as I enjoy writing them.

[cjloogy]

Pulse - 回路

As far as Japanese horror goes, this is not near the top of my list sadly. While I did appreciate some of the on-screen visuals and the atmosphere on display, the constant bouncing between two distinct plotlines and a rather muddled message that ended with a pretty jarring shift to an apocalyptic setting really bogged down any positive elements I saw here.

It seems like this movie came in around the height of the J-horror boom after Ring really caught the international attention, and this film set out to deliver further on ghost stories that avoided gore and violence over tension and atmosphere. Plenty of points were definitely unsettling, but overall, I feel like the plot fell victim to “this is only happening because every character has a lower IQ than average.” It’s an interesting enough premise, once I pieced together what it actually is, which is that the world of the dead is becoming overrun, and spirits are invading the world of the living, or so one of the characters claims. The devices that are used to help keep us connected are vulnerable to these invaders, and so the living become subject to their intense apathy and give up on life the same as these ghosts did. Rather than inflicting pain, they simply invite the living into their own isolation. “Death is unending loneliness, why should I be the only one to suffer it?” is a possible motivation here, although it is never explicitly stated beyond a confrontation with a spirit towards the films end.

My issue with all this is I’m still not sure what message this is sending out exactly, I don’t think it’s meant to be pure entertainment or just shlocky, I’m sure there’s some kind of commentary on human isolation, connections, budding technology and how this affects people socially. My best guess is that this is trying to confront the issues of “hikikomori” culture, especially as it was developing at the turn of the millennia, in that many people in Japan were beginning to live in total isolation, almost withdrawing entirely from society. "People don't really connect, you know. We're all totally separate." Many of the deaths in the movie are suicide victims who were living alone, forced into isolation by their work routines or other life circumstances. It’s a real and prevalent issue in Japan to this day, with many people passing away alone and going unnoticed for extended periods of time. Maybe this film is an attempt at painting an image of what can happen to the world should too many people give up on staying connected while living their lives in a more fulfilling manner, and instead resign themselves to being isolated and passing on alone. I still think that the ending sequences feel too obtuse compared to the way the film was set up, and that a less dramatic and more somber ending would have been more appropriate.

I really can’t say this movie was really outstanding for me beyond a few cool visual sequences and some interesting attempts at commentary on human isolations and connections, but these ultimately fell flat in the end given the rather jarring transition into the unveiling of an apocalypse. This one really fizzled out for me.

[fearsmagazine]

WITCH HUNT - Review

DISTRIBUTOR: Momentum Pictures

SYNOPSIS: In modern America magic is real. In this America witches are feared and persecuted by US authorities. Teenager Claire and her family are part of an intricate network that helps these women escape across the border to seek asylum in Mexico. When their mode of transport is disrupted by federal witch hunters, trouble befalls the family as they struggle to hide two young witches within the walls of their home. As witch hunters close in and strange magic begins haunting the family, Claire discovers that she may have more in common with these witches than she could have ever imagined.

REVIEW: Filmmaker Elle Callahan’s WITCH HUNT embraces themes of Arthur Miller’s “The Crucible,” the underground railroad, “The Diary of Anne Frank,” along with beliefs and issues on the “other” in our zeitgeist to weave this tail of persecution and horror.

Unlike those tales, Callahan’s tale embraces fantastical elements of magic and the supernatural. The film begins with a witch burned at the stake as her daughters watch. They end up in Claire’s home. The narrative focuses on Claire and her thoughts on the plight of the witches, her mother’s aiding them and pending legislation on witches and witchcraft. I appreciated the metaphors and the issues she asked us to consider. Some of the character names and plot devices pay homage to the stories of the Salem Witch Trials as well as few films about witchcraft. Some of her contemporary tests for witch finding, as well as some of the weapons she presents, were interesting. I was a bit disappointed that there were no warlocks, male witches, but I understand how that might not figure into the plot. In terms of the big reveal, I didn’t find it as much of a surprise due to the fact that some elements hint at it. Many of the film’s more subtler moments I found more effective than the bigger special/visual effects. I screened the film with my adolescent daughter, a big consumer of the WB fantasy/supernatural shows. She truly enjoyed WITCH HUNT, especially its more focused, adult themes than the series she watches.

WITCH HUNT features some nice locations and sets. I like the concept of the house with the space between the walls where the witches hide, however it looked like a rather large space. Also, given the light coming in between the wood slats it felt a bit off given the exterior of the house. The film is nicely shot, well edited, and an effect score by Blitz//Berlin. The visual and special effects were nice enhancements to the plot and set the tone for the story.

I enjoyed the performances. Gideon Adlon, Elizabeth Mitchell and Christian Camargo are excellent as the three main characters that drive the tension and drama of the tale. Gideon Adlon plays Claire and wonderfully crafts a complex character at odds with her beliefs and her mother’s actions. The cast easily draws in the viewer and takes us for the ride. They allow the viewer to feel the tension and drama of the story and allow us to be emotionally invested.

WITCH HUNT is a timely tale that is as thought provoking as it is emotionally engaging. It’s nicely written, has strong production values, and is a high end independent film. Elle Callahan does an exceptional job of allowing the story to come through and does not distract the viewer with effects. The story stays focused and keeps the viewer engaged. The performances and direction drive the narrative to deliver a highly entertaining film. I enjoyed Elle Callahan’s work and am eager to see what she delivers next.

CAST: Gideon Adlon, Abigail Cowen, Christian Camargo and Elizabeth Mitchell CREW: Director/Screenplay - Elle Callahan; Producers - Maurice Fadida & Eric B. Fleischman; Cinematography - Nico Aguilar and Tommy Oceanak; Score - Blitz//Berlin; Editor - Nick Garnham Wright; Production Designer - Holly Trotta; Costume Designer - Joanna David; Special Effects Coordinator - Simon White; Visual Effects Supervisors - Anthony Gomez, Salvatore Sciortino & Zach Zombek. OFFICIAL: www.momentumpictures.net/witch-hunt FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/K1SP8mWKdIE RELEASE DATE: In Theaters, On Demand and Digital October 1st, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[ja-khajay]

2020-2021 Animation Watch(ed)list

I haven’t posted about animation in a while that I remember, and I know a lot of my followers are into it as much as me so I decided to make a list of the animated movies and series I watched on the past year or so, coupled with my short, spoilerless take on them. Enjoy!

Organized by

Things I saw for the first time

Things I rewatched

Under a cut for the sake of your dashboards! PS: I have not added any images yet. If you are interested in knowing more about the visuals of these movies, I might make an old fashion ask-prompted imageset list.

Part One: Things I saw for the first time

The Bear’s Famous Invasion of Sicily

Movie, 2019, Italian/French

9/10, a delightful little movie with amazing visuals. It feels like an animated picture book.

One of those “plot is in the title” media! I had never heard of this before but was heavily recommended it by my family members, who all loved it! It’s a sweet story, nothing groundbreaking but the unique colorful visual style alone makes it worth it.

The Castle of Cagliostro

Movie, 1979, Japanese

10/10. Reminded me of all the books i loved reading as a child

I assume its because it’s so old and the art style and themes are so different that it gets little to no love compared to other Ghibli movies, which is a shame! It’s fun with an endearing cast and as always, great animation and music

Mushishi

Series, 2006, Japanese

10/10 three episodes in I knew it was going to be my favorite series ever

One of the few things I’ve seen I’ll describe as life-changing. It’s absolutely lovely but never toots its own horn about it. Humble, calming, emotional and surprisingly mature. It’s pretty impossible to binge due to how intense the experience is. I just want to walk in the forest now...

FMA: Brotherhood

Series, 2009, Japanese

6/10 Dissapointing adaptation of a classic story

I read the manga for this when I was in middle school and remembered loving it. The animated version does an ok job of presenting the characters and worldbuilding and has some nice action scenes but overall looks really damn cheap and just. Not very good. Seeing I already knew most of the plot I did not have the element of discovery that made me marvel so much reading the original. It’s still a nice series but I really recommend reading it instead.

Code Lyoko (s1+2)

Series, 2003, french

3/10. 1.5 being for the opening song alone

This show sucks ass if I hadn’t been watching this with my bestie I would have dropped it two episodes in. The art style is ugly the stories are always the same and the first season has a (later removed thank fucking god) LITERAL “erase any consequences” button as a plot device in every episode. If you watch it for one thing let it be the nostalgia factor of early 00s Vidya Game Plot

The Legend of Hei

Movie, 2019, Chinese

7/10. Impressive visuals and a poor story

I finally watched this, peer pressured by the load of gifsets on my dashboard! It’s a sweet movie with really impressive animation, sometimes a bit too flashy for my taste (the action sequences go so ham they become not very readable...) but the story was just ok? The setting is barely explained and you are instead bombarded with vague epicspeech about powers and stuff that made me fondly remember Kingdom Hearts lol but that asides it’s a really good time! I need to watch more Chinese movies the few I know are just delightfully off the shits in how they approach action and I love that

Hunter x Hunter

Series, 1999, Japanese

9/10. Superior to the recent one!

I first got introduced to the series via the 2011 one. Comparatively, the 99 series focuses way less on action and way more on the characters, which I love because that fits my personal preferences! Despite mediocre filler episodes and some weird slight pointless plot changes, what it changes from the original manga doesn’t have much of an impact on the characters. The animation quality isn’t always consistent including a huge art style change for an arc (???) but it’s overall pretty nice. The series really shines in the last arc it adapts.

Oban Star-racers

Series, 2006, Japanese/french

9/10 a lovely surprise

This series is completly obscure despite having been created by people famous for their other series (Cowboy Bebop, Code Lyoko that i can name) and it’s a crime! It’s a kids show but without being stupid about it who tells the story of an inter-planetary race. If you liked that one scene in the star wars prequels you know what I mean. It’s got surprisingly nice animation for a TV series, and some truly great character design. The art style is a bit unique in a not for everyone sense, but I didn’t mind it much. It’s also THE most offensively 2000s series i’ve seen in terms of visuals. y2k kids assemble

The Little Prince and the Eight-Headed Dragon

Movie, 1963, japanese

8/10. Classic fairytale format with incredible visuals

Watched this for the art style because I know it inspired Samurai Jack, and it delievered! I dont’ have much to say about this one, it’s a very simply film but it’s sweet. For my pirates out there if you want to find it in good quality with english subtitles it’s VERY hard to find. If you just want to see the looks of it, it’s on Youtube with portugese subs.

We now enter the Gobelins Shorts Zone....!

My Friend Who Glows In The Dark

10/10 makes me cry each time

Pure delight...great animation writing everything. A little short about death and friendship but not in the way you imagine!

Colza

9/10

Visual treat...homely and nice :) not far from a 10 but a 9 because nothing about it is that groundbreaking

Sundown

9/10

If you’ve ever been ten minutes from failing a group project because of a single dude you will REALLY enjoy this. Loved the colors and personality

T’as vendu mes rollers?

10/10

It’s SUCH a sweet little short I loved that one so much

Dix-huit kilomètres trois

10/10

Surprisingly well written dialog. Visuals are great but the humanity of the characters carries this to another level

Un diable dans la poche

9/10

Amazing visuals and the most tense/creepy of Gobelin shorts i’ve ever seen. Chilling

La bestia

8/10

I had some issues with the pacing. Interesting story and visuals choices but I was not fond of the art style

Goodbye Robin

5/10

Confusing but predictable. Both at once??? Yes!

Le retour des vagues

6/10

Cool animation stuff but felt pretty pointless

                                                                ***

Part Two: Things I rewatched

Ruben Brandt: Collector

Movie, 2018, Hungarian

10/10. Underrated as hell

Watched this fully blind for the first time in an animated festival and rewatched it with friends. It’s a crime I never see anyone talking about it given the amount of whining I see about the lack of both adult animation and 2D movies? This film is a unique love letter to art in the form of a weird mix of charming crime story and psychological horror with amazing visuals. I recommend watching it blind and also buying it to show appreciation for how nice it is!!! WATCH THIS MOVIE...

Mononoke

Series, 2007, Japanese

10/10 Visual/storytelling masterpiece in the weird shit departement

If you can stomach intense stuff watch this. The visuals are incredibly unique and beautiful and under the jewel tones and art direction high takes it’s a really cool horror series. My only obstacle to enjoying it the first time I saw it was how dense it is - simply put, it’s so...culturally Japanese it’s not very accessible to me who doesn’t know anything about the culture? Watching it for the second time helped understanding the stories more! 

Corto Maltese in Siberia

Movie, 2002, french

9/10 but really close to ten. A great adaptation!

I’m a huge fan of the original comic so I entered this a biiiittttt suspicious it would suck but it was a really pleasant surprise! It has all the wonder and charm of the original and the animation was surprisingly good for the little budget. If you’re not familiar with the series, it’s a sort of geopolitical action/adventure movie but with it’s own really poetic vibe to it. It’s almost impossible to find online but happens to be fully on YouTube so go ham I guess?

Redline

Movie, 2009, Japanese

10/10 cinema was invented for this, actually

Every review of this movie i’ve seen gives it five stars and starts by talking about how immensly stupid it is. I’m no different. It’s a masterpiece of escalating energy with the depth of a puddle and it fucking rules. It’s free on YouTube too so there really is no excuse to not watch it. Watched it for the first time on a huge cinema screen and despite this my second rewatch on my small laptop was as/even more enjoyable. If you watch this stoned with friends you might travel to another dimension

Spirited Away

Movie, 2001, Japan

10/10 deserves the love it gets

I watched this a single time as a kid and had little memory of it! I mean it’s Ghibli you know it’s going to be good as hell but this one rly shines in how colorful and detailed it is and in it’s world! It made me remember I had a huge crush on the dragonboy as a kid. I’m gay now

Kung-fu Panda (1&2)

Movie, Usa

10/10. KFP fucking rules

Honestly my favorite franchise of the whole disney/dreamworks/pixar hydra. It’s fun as hell, doesn’t skip a single beat and has amazing animation and character designs. If something is a good time I will not care if it’s deep or not and boy I fucking love these movies

Sinbad, Legend of the Seven Seas

Movie, 2003, Usa

5/10 Some great some really bad and overall generic

I tend to hate american cinema and this includes that era of animation I have no nostalgia for. Sinbad is in a weird place because I love adventure stories and the visuals of the movie absolutely deliver but it’s very predictable and TANKED by the addition of the female character, pushed in your face as “look we have woman!!!” despite her writing being misogynistic as hell lol. The evil goddess rules tho. This movie would have been a solid 9 if instead of the girl the two dudes had kissed

[skin-slave]

🔥💙

The Cave is a way better film than The Descent.

I understand the appeal of an all-woman cast. That can be important. But I felt kinda insulted by the Girl Time Will Heal Your Heart thing, and the cheating husband thing, and the deadly-but-catty revenge thing. A lot of the elements made me feel like they started with a "girl movie" and changed things around to make it a horror movie. I tire of cheating husbands used as plot devices. I tire of them so.

The Cave felt more organic, more like a film that was *about* the cave and what was going on in there, rather than being *about* other things with monsters taped on later. I found the characters more engaging. We get a look at the characters and dynamics before the important stuff starts. I like that foundation.

The Cave also explains the monsters. I appreciate that. And the sets are more realistic. (Idc how many critters the Crawlers kill, a pond of blood is not happening.) And the ending is way better. It made me want a sequel. The Descent did not. And The Descent's Dali poster made no sense.

That's my opinion 😁🎬

[ninthfeather]

You have been offered an exorbitant sum of money to (somehow) remake The Untamed as a mecha series. What Do You Do?

So, this is actually a bit trickier than the times you asked me the same about Detective Conan and Fruits Basket. Both of those stories are ones that I’ve interacted with for a long time and they have cores that I feel work with varying amounts of sci-fi and tech involved as long as certain elements stay stable. Meanwhile, the Untamed’s specific version of xianxia cultivation is pretty heavily tied to its plot. But I think it’s still doable.

Ok, so, for The Untamed, the most central plot is ultimately the one about the dangers of rumors and hearsay, with the theme of the complicated nature of real-world morality being almost as central. Other than those, my favorite theme is probably the whole ongoing narrative of each generation’s actions affect the next. None of this stuff would be out of place in a traditional sci-fi style mecha series set in space.

So, my inspirations here are primarily gonna be Magic Knight Rayearth, Sakura Wars, and the bits of various Gundam shows that involve what’s collectively referred to as space magic.

(this got long so have a readmore)

The concept: this is still, to some extent, xianxia. People still cultivate, they just do it on non-Earth planets and moons (note: if this is something that is specifically not allowable in Taoism I would appreciate someone letting me know). Each of the clans has their own planet/moon, corresponding in climate to the locations we see in the show and presumably named after those locations on Earth. The Burial Mounds is probably a subsatellite of the Yiling moon orbiting Yunmeng. The costuming will not change for the most part, though because space travel exists, there will be space suits—just made of materials available in the setting. I’m picturing some real funky ship designs, and also probably some scenes of cultivation-based metalworking to justify the existence of the spaceships in the first place. The sets would probably also look very much the same, but with occasional modern devices made with obviously ancient methods, thrown in just often enough to be subtly jarring. Tech levels would probably vary by clan—the Jins would have the most, the Lan would have the least, the Jiang would have a few weird things that Wei Wuxian came up with but not much else, etc.

As far as the mechs themselves, my solution here would be essentially creating a magitech setup, with mechs more along the lines of the ones from Magic Knight Rayearth or Scrapped Princess in piloting mechanics—i.e., they’d have magic bubble cockpits, transfer damage directly to pilots, and run on the pilot’s energy. I’d probably go ahead and have mechs be essentially summons that are exclusive to cultivators and tied to their swords, which adds even more layers to a number of scenes in the drama (people’s swords being stolen, certain people losing the ability to cultivate, the Nie saber stuff, etc.). Maybe people who have spiritual tools like Zidian can use them to power up their robots? Also obviously Wei Wuxian builds himself a new mech in the Burial Mounds and ties it to Chenqing.

I’m seeing the great clans all having very traditional sort of fantasy robot designs (like, Escaflowne/Rayearth/Dunbine vibes), color-coded by clan, with some design variations to differentiate them--I can see the Lans having the most curves, the Nie units being really blocky, the Jin units having extra ornamentation, the Jiang units being sleekest, and the Wen units being the most pointy. And then, just, the robots made through demonic cultivation? Evangelion-type eldritch horrors that are, given how demonic cultivation works, most likely made of organic material from dead bodies and scavenged bits of metal.

So, ok, it’s the Untamed, but everyone’s got robots. The thing is, they don’t only have robots. The show that results from this would probably end up including a mixture of the original series’ sword & cultivation combat and robot battles. There are some fights, for example, that basically have to take place indoors or right next to buildings, and those would probably end up involving sword combat. On the other hand, some fights would be just as fun if they involved two giant robots zooming around in the sky.

Some specific scenarios: a lot of the Sunshot Campaign involving simultaneous space and ground battles, the First Siege of the Burial Mounds starting with a gigantic robot assault before Wei Wuxian knocks enough of them out of the sky for them to try sending in ground troops, the battle between Lan Zhan and Xue Yang in Yi City happening in mechs while Wen Ning fights [spoiler] on the ground. It could be cool. Also, it would really emphasize the difference between people who can cultivate and people who can’t.

I’m not going to go full spoilers here, but I think you can imagine how the feelings of certain characters who aren’t strong cultivators would be even more intense in this type of setting. And how much easier it would be for them to argue that they felt weak, and vulnerable, and threatened!

I don’t think there’s any reason you’d need to add robots to The Untamed. But I think if you did, you could have a lot of fun using them to reinforce existing themes and make situations that were already gutwrenching even worse.

So, for that unlimited budget? The majority would be spent on getting as much of the original team as would be willing to return to make The Untamed: But Robots This Time, or replacing the cast & crew members who were unwilling to participate in this level of nonsense. The rest would go into hiring a robot-focused effects team with a focus on recruiting people who worked on Pacific Rim or Transformers, and then paying them to do a lot of work.

Once again, disclaimer: if I screwed up anything on a cultural level, feel free to tell me. I genuinely do not mean anyone any harm I just like putting robots in stuff.

[bubonickitten]

i'm so happy you got into tma!! i've always enjoyed seeing you write meta posts for dragon age, so seeing you write meta for tma is such a treat! thank you for your words! i hope you have a lovely day :)

Thanks!! it’s been awhile since I’ve written meta for anything, I forgot how much I liked it. Once I realized how emotionally invested I was getting in the characters, I should’ve known I’d end up having to make a dedicated TMA meta tag. 

And not to be dramatic of anything, but TMA really is a masterpiece of horror imo. I like horror, but it’s always a minefield because so much of horror really does (sometimes unintentionally, sometimes not) employ some really awful racist, ableist, etc. tropes, or rely on sexual violence or hate violence as a narrative device without making any critical commentary on those subjects. So sometimes there’s a horror story that has a neat premise, but then it’s so saturated with unnecessary and harmful tropes that I just end up feeling alienated and frustrated. 

Even a lot of supernatural horror falls back on Lovecraft, and a lot of people don’t realize how racist and xenophobic his works really are. admittedly, there are some cool, more recent transformative works that reappropriate Lovecraft into something new (e.g. some stuff in the New Weird genre), but sometimes people just grab the aesthetic without knowing its roots. And I get it, it’s a cool aesthetic, I love monsters and tentacles and things that slumber in the deep and the dark -- it just ends up being bad when people aren’t conscious of what Lovecraft was actually saying. which, I know, is how tropes work sometimes -- creators reuse tropes because they’re so salient in fiction, but sometimes the roots are really horrible and we just don’t know the history, and horror is a genre that is really susceptible to that. 

Getting off topic -- what I mean is, I really think Jonny Sims is a brilliant writer and this is one of my favorite horror stories I’ve come across. He’s a master at character development and foreshadowing. I’m on my third time listening through and there’s just so much detail that I didn’t notice on my first listen, so many thematic elements and parallels and keywords that he snuck in from the very first few episodes that become so important later. It starts out as having a horror anthology vibe, with really brilliant short stories embedded in a larger framework, but then you realize that every single one of those stories is connected to the larger metaplot. 

I joke about Jonathan Archivist Sims and his conspiracy corkboard thinking, but I’m really sitting here listening with my own conspiracy corkboard during each episode -- sometimes reading too far into things, sometimes not, but damn is it enjoyable to try to pick apart the web (so to speak). 

I think it’s incredible how well Jonny Sims manages to pull all those strings together. It’s partly because he had the whole plot mapped out before they even recorded episode one, but it’s impressive to me, because I always have trouble following through on a story -- I’m not good at being decisive or consistent with my writing, I’m always changing my mind and losing the threads of what I was originally trying to do, and honestly most of the time I don’t have an end in mind anyway, so I end up giving up on things too early. 

One of the other things I appreciate is just... how compassionate Jonny is when writing his characters. One of my biggest complaints about Dragon Age was always that I felt like certain characters weren’t written with real compassion and weren’t given a chance to grow and so much of their potential was wasted. Jonny Sims, otoh, puts his characters in some dark, painful situations, which can be heartwrenching and anxiety-inducing to listen to (especially when it’s characters I relate to), but he also allows them to grow and change throughout the story, and that adds to their complexity. Even the characters I hate, I can still wrap my head around their motives. Without giving away too many spoilers for anyone who hasn’t listened and wants to eventually, the Big Bad is repulsive in every way but his motives are so realistic and emblematic of real world horrors like imperialism, Machiavellianism, totalitarianism, and a willingness to abuse, manipulate, groom, and oppress others for self-profit. 

Jonny Sims manages to utilize common fears, horrors, and phobias to present some really clever and thoroughly unsettling short stories. Even the ones that explore a fear that I don’t personally have make my skin crawl -- he’s just that good at descriptive imagery and conveying psychological horror. And a lot of the episodes also have social commentary (which is a hallmark of good fantasy, sci-fi, and horror for me) -- sometimes it’s subtle, but then sometimes he comes out with these episodes that knock the wind out of you. Especially the most recent episodes. He comes right out of the gate sometimes with a treatise on war or institutional violence or xenophobia and it’s... well, it’s powerful. 

And, god, I could write forever about how this story deals with the question of what it means to be human in the most horrific of circumstances -- what choices we make, what we are versus what we do, whether we grow or stagnate, the importance of human connection and trust and love even (and especially) when the world seems against you. The potential for character studies is... oof, I want to write an entire essay.

You know those books that are like, “The Philosophy of [Fiction Story]”? Oh, I am so tempted to write a full essay on the philosophical concepts presented in TMA. Especially existentialism, lmao. “What use is a philosophy minor?” people asked. Apparently the answer is, “Spend time during quarantine writing a treatise on existential philosophy in a horror-tragedy podcast I binged within a week and now can’t shut up about, because it’s been nine years since I had a philosophy class and I forgot how much I enjoyed pointlessly navel gazing about the nature of existence.”

I’ll shut up now. TL;DR if anyone wants to ramble at me about TMA, chances are I’ll be excited to respond. I’m having trouble focusing on creative writing right now, and I think my hype over this podcast might be helping me with writer’s block a little bit. 

[hjertetssunnegalskap1]

HOW TO PLAY WITH TROPES AND CLICHÉ CHARACTERS/ STEREOTYPES

One of the ways I get ideas to write, is that I take some characters I love and mix them with a trope I want to try out. Tropes are common expected plot devices. Some typical fanfic examples are Friends To Lovers, Fake Dating, Bed Sharing, Enemies to Lovers, Aliens Made Them Do It, Fuck or Die, sex pollen, etc. Tropes don’t always have to be cliched like these examples. But that’s how the term is used most often, I believe.

Trope inversion occurs when an existing trope is used in a story, but flipped on its head, defying the audience's expectations. Trope subversion is when the elements of the original trope might all still be present, but deconstructed. I haven’t really subverted or inverted many of tropes , and I would love to know more about how to do that. So I have picked up some tips and tricks. To be honest, I will probably mix the terms here. 

Now, I’m going to rant a bit about different terms, attempts at definitions and examples, so jump to my pretty awesome list of tips below if you don’t want to read all of this. 

Tropes are often based in archetypes - very broad, typical examples of a certain person or thing. Can be found in all cultures. Western descriptions of archetypes are King, Queen, Witch, Wise man, Joker, Hero/ Prince etc. More general descriptions are Sage, Innocent, Explorer, Ruler, Creator, Caregiver, Magician, Hero, Outlaw, Lover, Jester, and Regular Person. I have also seen the term used to describe elements/ roles in the hero’s journey. We have a Hero, a Mentor, an Ally, a Herald, a Trickster, Shapeshifter, Guardian and Shadow. I suspect that the suggestion that we only have 7 types of stories to tell, like Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Rebirth, Comedy  and Tragedy, implies that these story types also are archetypical. We all use them, all the time.

Tropes often end up as stereotypes, that are very typical oversimplified ideas of a particular type of character/ thing. Clichés, basically. So when I talk about tropes I suppose I mostly talk about stereotypical tropes. Since the term tropes often are used to describe typical plots and storylines, I’ll sometimes talk about stereotypes when I describe commonly expected or cliched characters. Like The Chosen One, Damsel in distress, Manic Pixie Dream Girl. All of these things are basically tropes. Hell, I will probably throw around these terms and mix them horribly. Sorry about that.

Example: The Geek meets the Manic Pixie Dream, falls hard, and grows to appreciate more in life

Let’s say you have a character who is based in the Thinker/Scholar archetype, a person who is constantly in search of knowledge, who meets a Creator, a person who wants to make things. 

The thinker can easily become a Geek, and that’s a typical western trope. And we have stereotypes about the Geek having poor social skills, being serious and wise etc. and these ideas can become cliched, boring and overdone. Just like the Creator stereotype often can become the Manic Pixie Dream Girl. The stereotypical trope would be that the Geek meets the Manic Pixie Dream Girl, falls for this person against his best intentions and grows to see more to life than facts. 

Example: Isak and Even from Skam

You can write Isak from Skam as this Geek meeting this brighter than life Even, falling for him against his will and growing from that. In a way, Skam starts out a bit like that. Isak has expressed prejudices as “hipster wannabe movie makers” like Even before, but then he sees this gorgeous Even and falls hard. However, in Skam, Isak was never written as a pure Geek role. He was more a Geek/Hero/Jester with internalised toxic masculinity, forced independence and abandonment issues based in his Christian upbringing, friend group, being left by his father etc etc. 

While Even appeared at first glance as a Lover/Creator/ Hero or Manic Pixie Dream Girl, he gradually showed more and more cracks in the facade, tricking the viewers to think he was more a Shadow/Trickster character, or a possible Fuckboy, until it was revealed that he  was a more rounded character with a troubling background, mental health issues, fears and insecurities. To be fair, Skam did follow a trope of Isak growing as a person because he met Even. They got their romantic happy ending and the viewers got what they wanted. 

It was everything but boring, though.

When trope subversions or inversions don’t work

There’s a price to pay if you subvert a trope, especially if you do it at all costs - like when they they subverted 5 years of character building in the last season of Game of Thrones. The first season has an example of excellent trope subversion (Stark). However, to pull out the rug at the end like they did in the last season, and disappoint the viewers’ trust, is probably not the best way to do this. 

Twists and turns can fail if they seem to come out of the blue. It can be smart to add some small hints of novelty from early on in the story, especially if you’re writing tropes that people find a bit boring. You won’t lose bored readers and you will prepare them that something is going on. Also, it can be good to do the subversion early enough in the story to be able to make interesting changes. 

If you choose to subvert a trope it can sometimes be wise to show why you do something differently. Like, if you write a female character who turns out to not fit the norm in the Victorian era, for instance, it could be smart to explain how this character has become who she is. If she’s this badass character fighting for equality, where do these ideas come from? Or if you have this character surviving traumas, abuse and lack of love, how does he turn into an empathic, more or less likable hero?

A lot of disappointment with trope subversions, like in Avengers Endgame or the last season of GoT, feel worse because the the characters act out of character. If you try to write something true, with characters that seem real, consistent and believable, that helps.  

If you play with a trope it helps if you manage not to make it too pretentious. I can’t think of any examples right now, but I know I have experienced it. Trope subversions often have a hint of nod to the trope itself, and humour can help making the subversion work. Like if the villain comments on how villains typically loses, before actually killing the hero. Or kissing the hero, lol, but that’s another trope.

A lot of build up that fizzles out can be disappointing. If our Victorian badass character has, say, superpowers, she also should have a reason (a way to use them). The readers expect that. So if you play with that and she fails using them, they probably should end up important in the story in some other, surprising way. Same goes with a romance where there’s a lot of pining, tension, heartache and misunderstandings and these are not addressed. If you choose to subvert this trope, it’s probably smart to address these things in a new way. 

All in all, when you subvert a trope you often will have to tread carefully to balance between meeting the readers’ expectations and not meeting them. Remember that the story always needs a satisfying conclusion.  

Then again, some say even trope subversions are becoming new tropes, and that there’s no reason to subvert them. Could be.

No matter what, I like to play with stuff like this. So. Here are some ways you can play with tropes and archetypes and maybe get some story ideas. 

MY PRETTY AWESOME LIST OF HOW TO PLAY WITH TROPES

1 Subvert clichéd characters

You can keep some parts of the wise man archetype, for instance, and change other parts of it. Instead of writing a “wise old wizard” (like Merlin, Gandalf or Dumbledore) you can make the old wizard into a cowardly old idiot. Instead of writing the love interest as a hot hero-type, you can make him more of a charming dork who is impulsive but also smart, intuitive, caring and with insecurities (Even from Skam). Another typical example from fanworks is to subvert typical gender norm characterisation or typical top/bottom or dom/sub characterisation.   

2 Parody the clichéd character

Write the typical “Hero/Warrior” character and take it almost too far - like with Thor in the Avengers, or even better, Thor in the Sandman series. In Skam, several characters are taken almost too far like this - up until a certain point. Eskild is written as the “funny gay” until he gives Isak some serious advice, Magnus is basically written as a typical horny idiot until he tells Isak some truths about bipolar disorder. Vilde becomes a parody at times, as well, as several of the other characters. 

3 Deconstruct the cliché/ stereotype

Why is the villain a villain? Why is the comic relief a comic relief? Identify the attributes of a character type - say, the likable and frivolous Comic Relief character. For instance Chris Berg in Skam. Explain her in a surprising way - perhaps she’s not just a clown or a funny sidekick, but uses humor as a coping mechanism. Reveal something deeper and true about the character (Chris wants to be a good friend but doesn’t know how to do this because of reasons, clowns are often sad behind the joker mask, etc). Make readers wonder if they’ve misjudged the stereotype. This can sometimes work with typical fandom clichés as well. 

4 Lampshading a character or a trope

“Hanging a lampshade” is the technique of countering your reader’s disbelief in a character’s ‘reality’ by acknowledging how blatantly they fit a cliché. The would-be victim in a horror story trips while running away (as they always seem to do) but the would-be killer stops and comments it. Perhaps they say, “Oh, you’re going to trip and make this boring?” Another typical one is when the villain has captured the hero and the hero finds a way to escape while the villain has his big speech. I love subversions of that trope, like in Black Orchid where the villain comments it and shoots the hero without a speech (if I remember correctly). In a way, season 3 in Skam does something similar to lampshading. The season is written as an epic love story, but the characters comment this in different ways, talking about epic love stories, movie references etc. 

5 Turn the plot trope upside down

You can hint about a trope, than turn things around. Sometimes this is called baiting, or showing that the expectation was a red herring. For example, you can write a story where you set up a typical hero story but the hero befriends the dragon instead of killing it. Or maybe the dragon wins. Bed sharing and it leads to nothing. Fake dating where they stop lying.  A setup for a possessive jealous partner who doesn’t get possessive at all. Soulmate story where the heroes aren’t soulmates. An ugly duckling story where the makeover doesn’t really change anything. 

6 Parody the plot trope

Write the plot trope but amp it up and make it extreme. Fake dating going too far (whatever that means), or soulmate story where all the brutal implications are clear. Ending in disaster, most likely. I can’t think of good examples here but I suppose crack fics are a bit like this. Oh, and parodic horror movies. Parodic movies in general, probably.

7 Deconstruct the trope

Somehow make it believable that the story builds as it does, based in the background of this world, or the characters. If I use Skam as an example again, the plot in season 3 is a quite typical boy meets boy trope, strangers to lovers, and it includes tropes like personal growth, miscommunication to communication, but it doesn’t feel forced because the characters feel true and real and their actions make sense based on their backgrounds. We get the feeling that there’s something deep and true behind it all. Isak’s difficulties makes sense, and so do Even’s and it also makes sense that they get each other.  

8 Changing the point of view

This is a neat trick. You can pick any fairytale and make something new if you write it in the pov of the villain, or the jealous hindrance character, or one of the helpers. You can write fake dating viewed from the outside. Or a coffee shop story where you’re the guy washing the dishes, or perhaps the owner of the coffee shop, getting annoyed at the baristas flirting with the guests? Or a cute meeting where you’re a bystander watching someone crash into each other, and you almost piss yourself laughing. 

9 Switch a story element

You can put the whole trope into a new location, like a new time or place, and make a new type of story. For instance, a love story in space can give an interesting twist. You can write a fairytale set in modern time. Most AUs are switched story elements like these. The trope is still being as it is, so this isn’t really a subversion, but the trope is dressed up in a way that's unique.

10 Averting the trope

This isn’t really playing with the trope at all, since it’s just avoiding it. Like, writing an action movie with cars but without a car chase (oh puhlease that’s like a dream, I hate car chases). It is when you would very much expect the trope but despite there being plenty of opportunity for it, it is never used.  

That’s it. I probably mixed a lot of terms and ideas. I still hope you found some interesting ways to play with characters and plots. There are so many more ways to do this, but these are my tips, I sure had a lot of fun writing this. 

[geopolicraticus]

Some Recent Low Budget Science Fiction Films I Enjoyed

There have been a lot of very bad big budget science fiction films in the past several years, but rather than talk about how bad these bad films were, I’d rather talk about low budget and lesser known films that I enjoyed. None of the films mentioned below are perfect; indeed, I would even hesitate to call them “excellent,” but there were enjoyable and entertaining and moreover they fulfilled what is for me the essential element of science fiction: they presented an idea that gave me something to think about. 

Time Trap (2017)

Already from the title you know this is going to be a time travel movie, and it was. In a good time travel movie you expect to be surprised by some unlikely twists and turns, and this film delivers in this respect.

One of the things I liked about this film was probably one of the cheapest but nevertheless effective special effects, and these were the creepy abandoned vehicles, revealed later to be abandoned because their owners had unexpected gone time traveling. But this is only a small detail.

Unlike a lot of other, higher budget time travel films, this time travel film really captures the weirdness and the epic scope of time travel, and people from one era meet people from vastly different eras and predictably misunderstand each other. There are awkward moments, but many of these confrontations are handled competently.

The Gateway (2018)

Gateway is a story of travel across alternative universes, some of them nearly identical to our own, close enough that we could mistake one for the other, but more often other universes with sinister differences from ours, which invite us to extrapolate the scenario to even more sinister possibilities, which are implied in the final scenes. There are a few good twists in the story, as one would hope for from intelligent story writing involving a number of closely similar universes.

Travel to other universes is made through a device only just large enough for a person to fit themselves into, which is set in a small laboratory. My guess is that these sets, while satisfactory for the viewer, were not expensive to build, and this was really the only technological element of the film. All of the rest of the story is writing and acting and direction—the bare bones of cinema, and here these are well handled. This isn’t a perfect film, but it is pretty darned good in my estimation.

The Endless (2017)

This film is as likely to be called horror as science fiction, and may even be identified as Lovecraftian cosmic horror; just because I am writing about science fiction films here I will include it as though it were science fiction, regardless of any other classes it may fall under.

The Endless is weirdly compelling in a good way. Clearly there is a problem, perhaps many problems, and there is some big, terrible secret that the audience is not being told. Like a mystery, the film gives clues as to what the big, terrible secret is, and, in the case of The Endless, the buildup is worth the wait. The big, terrible secret is truly big and terrible.

As with Gateway (above), the story has some good twists, both large and small, and even after I figured out the basic idea of the film was about, I was kept interested to the end, so the science fiction element of the film isn’t just a gimmick; once you get the gimmick, there is still much of the story that remains to be unraveled, which leads one to the horror that is wrapped in the science fiction gimmick.

Skyline (2010) and Beyond Skyline (2017)

Beyond Skyline had a budget of about 20 million, whereas most of the other films I’ve discussed here had a budget closer to a million dollars, so that is an order of magnitude more money, and it is obvious from the film that they spent the money on effects. One of the things I liked about Skyline and Beyond Skyline is that you don’t just get to see human beings kidnapped by aliens, you actually get to see inside the alien spaceship and the horrible things that happen to the unfortunate human beings who get taken up into that alien spaceship.

When I watched science fiction films when I was a child I was always disappointed that more wasn’t shown of aliens and alien spaceships, though many people feel that a film is more effective for what you don’t show, but rather only suggest. A perfect example of this was Close Encounters of the Third Kind, which (in the original version) ends as soon as Richard Dreyfus walks into the alien spaceship. Another version of Close Encounters was later released, in which they gave some teaser images of the interior of the alien spacecraft. I wanted more, and so this film was kind of like a satisfaction for my younger self, who wanted to see the otherness of the other manifested in a radically alien spaceship interior. For this reason alone I appreciated these films, though the writing and story aren’t at the level of The Gateway and The Endless, discussed above.  

S.U.M.1 (2017)

S.U.M.1 is a creepy film, made the more creepy by the fact that it came out at the same time the lead actor was on Game of Thrones as Ramsey Bolton, who was hands-down the creepiest character on Game of Thrones. So he not only fit the role, he magnified the creepiness, which in this case added to the intensity of the film.

There is a pervasive sinister feeling to this film, which I assume was intentional, which makes it verge on being a science fiction horror film, like The Endless (above). One could define a spectrum of cinema with pure science fiction at one end (with, say, the classic exemplars being films like This Island Earth or Logan’s Run) and pure horror at the other end (with the classic exemplars being a film like Dracula). Given this science fiction/horror continuum, Frankenstein is close to the horror end, but has science fiction elements; Alien and Predator are near the middle of the continuum; S.U.M.1 is near the science fiction end, but still has a number of horror elements, including the undercurrent of anxiety that keeps the film moving forward and keeps the viewer interested. 

Extinction (2018)

Extinction is built around one major twist in the story, and, once that twist is revealed, it doesn’t continue to have the same level of interest as The Gateway and The Endless, which also feature major plot twists, but it isn’t a bad film, and can be enjoyed on its merits.

I Am Mother (2019)

Several of the films mentioned here have been Netflix productions, and I Am Mother is one of those Netflix productions. Netflix seems to have more-or-less taken over the market that used to be cheap made-for-tv science fiction films. To Netflix’s credit, their science fiction films are pretty good, and much better than than their predecessors in the 70s, 80s, and 90s (back in the days of broadcast television—yes, I know I’m old). Part of the improved standards of science fiction is due to the greater affordability of good quality special effects, but part of it is also due to the maturation of genre. As science fiction becomes more mainstream, it becomes less bound by some of the familiar features of the genre, which is, in all honesty, a mixed bag. Some of these familiar features were good, and some of them were silly or stupid. Thus capturing the best of science fiction means transcending the genre conventions by retaining what is best and dispensing with the most cringe-worthy aspects.

As with all the films mentioned here, there is a twist in I Am Mother; if you’ve watched enough science fiction films you will probably try to guess how the plot twist will highlight the central idea of the story; sometimes it is obvious, and sometimes it is a genuine surprise—better yet if it is a shocking surprise that makes you jump in your seat. If we make having a plot twist in the central idea definitive of science fiction cinema (or definitive of one kind of science fiction), then we can trace this tradition back to The Cabinet of Dr. Cagliari.

As I noted above, I don’t consider any of the six films mentioned above to be great films, however, compared to the big budget flops, these films are great entertainment and far more enjoyable that the big budget science fiction films that I have seen of late. The most recent Predator film was truly terrible, a worthless film, Disney has not merely made bad Star Wars films, but has vandalized the entire mythology and so retroactively weakened the earlier films by retconning them. In this dismal context I did not even bother to see the new Terminator film, which by all accounts was as pathetically bad as the new Predator film. These films are my basis of comparison, and, with this basis of comparison, the films that I have discussed above are eminently enjoyable and well worth watching. So forget the big budget disasters at the theater and find the above films on DVD or on some streaming service. Maybe after the studios have been punished by financial loses, they will come to understand that spectacle cannot substitute for story.

[chiseler]

VISAGE... VOICE... VITAPHONE

In Dimitri Kirsanoff's Menilmontant a destitute waif, betrayed and abandoned by the man who seduced her, sits on a park bench with her newborn infant. Beside her is an old man eating a sandwich. This wordless exchange is one of the greatest moments ever committed to film. Nadia Sibirskaia’s face reveals all of life’s cruel mysteries as she gazes upon a crust of bread.

The persistence of hope is the dark angel that underlies despair, and here it taunts her mercilessly. A whole series of fluctuations of expression and movement in reaction to anguish, physical pain involving hesitation, dignity, ravenous hunger, survival, self-contempt, modesty, boundless gratitude. All articulated with absolute clarity without hitting notes (without touching the keys). Chaplin could have played either the old man on the bench (his mustache is a sensory device!) or Nadia. And it would have been masterful and deeply affecting, but Nadia went beyond virtuosity and beyond naturalism.

She made it actual. And it was more than just a face. Sunlight travels across buildings at every second of the day; and the seasons change the incidence of light, too. Nothing stands still. Even déjà vu doesn’t attempt an exact rendition with the feel of a perfect replay.

***

Another face equates with pain—though a far more luxurious and decadent kind of pain, a visage summoning leftover ancient Roman excess or Florentine backstreets, the contortions of Art Nouveau with its flowers, prismatic walls and perennial themes of ripeness/rottenness, sadomasochism. While various directors have helped mold her naturally unsettling screen presence into nightmare visions, it’s Barbara Steele's vulnerability I tend to remember.

She is open and sensitive even as she materializes in the viewer’s mind as a kabuki demon one moment and a radioactive waxwork the next, a kind of alchemical transformation, an appeal to what Keats called negative capability—one’s ability to appreciate something without wholly understanding it; in fact, one’s ability to appreciate an object for its mystery.

“When did I ever deserve this dark mirror?” Barbara Steele asks me. “Clever you – I feel you’ve just twisted and wrung out an old bible to dry that’s been left somewhere outside lost in timeless years of…” She pauses. “…of rain.”

She made her Italian screen debut as a revenant.  And in so doing taught us all the eye is not a camera. It’s a projector.

Barbara Steele’s appearance in 1960’s Black Sunday is, even now, a shock of such febrile sexuality that it forces us to ask ourselves—why do we saddle her with diminishing monikers like “Scream Queen”? And, more fundamentally, why does her force of personality seem to trouble and vex every narrative she touches?

Of course, the answer is partly grounded in Steele’s unique physical equipment—and here I’ll risk repeating a clichéd word about those famous emerald eyes of hers: “Otherworldly.” As if sparked to life by silent-film magician Segundo de Chomón, the supreme master of hand-tinted illusionism. Peculiar even within the context of gothic tales on celluloid for the consumption of Mod audiences, flashing at us from well beyond their allotted time and place in history.

Barbara Steele is one of cinema’s true abominations—a light-repelling force that presents itself in an arrangement of shadows on the screen. No “luminary,”Steele is celluloid anti-matter; a slow burning black flame that devours every filament around it. Steele’s beauty is no accident of nature, even if she is, but in Black Sunday she gives a virtuoso performance by an artist in full command of her talent summoning and banishing it in equal measure in her dual role as mortal damsel in distress and undead predator released from her crypt. Filmmaking is the darkest and unholiest of arts (done right, that is), and for Mario Bava it becomes the invocation of beast and woman from the unconsecrated soil of nightmares. Steele remains the high priestess of the unlit and buried chambers of the imagination; the pure pleasure center of original sin and the murderous impulse buried just below the surface. She reminds us that existence itself is the highest form of betrayal and a continuing curse on us all.

Where Steele’s Italian films are concerned, we are watching silent movies of a sort. “The loss of voice for me has always been devastating…. It’s almost like some karmic debt…” Her sonic presence was eclipsed in a string of crudely, sadly dubbed horror vehicles, yes, including Black Sunday—no doubt aficionados of the great Mario Bava will object to my calling it a “vehicle.”  But whenever Steele appears, the storyline falls away. Anachronism rules. Not to mention the director’s exquisite sets, all keyed and subordinated to his ingénue’s stark loveliness (understood in black and white, molded by Italian cameramen into disquieting and sudden plasticity). Like a hot-blooded funerary sculpture made of alabaster, raven hair piled high, Steele’s already imposing height summons schizoid power, satanic sorcery—she’s Eros and Thanatos dynamically balanced. I’ve screened the film many times; and the famous opening sequence invariably leaves my otherwise jaded film students looking traumatized. (Just as a young Martin Scorsese was shattered by it once upon a time.) Barbara Steele’s defiant witch, spewing a final curse upon her mortal judges, pierces to the bone.

While Italian movies robbed Steele of her voice, they liberated her from what it had meant in Britain. Leading ladies in Brit films tended to be well brought-up young things, unless they were lusty and working-class like Diana Dors. Even at Hammer, where sexuality was unleashed regularly via bouts of vampirism, the erotically active roles usually went to continental lovelies (Polish immigrant Ingrid Pitt got her work permit based on Hammer’s claim that no native-born actress could exude such desire and desirability). Steele turns up all-too briefly in Basil Dearden’s Sapphire (1959) as an art school girl, the only kind of role that might allow for both intelligence and a certain liberated attitude. And Steele really was exactly that type. Her appearance is so arresting, you want the movie to simply abandon its plot and follow her into some fresh storyline: it wouldn’t really matter what.

In Italy, Steele suddenly became class-less and nation-less, devoid of associations beyond those conjured by the chiseled cheekbones and enormous eyes (convincingly replaced with poached eggs by Bava for a special effects shot). Her inescapable exoticism didn’t make sense in her native land, but that bone structure could suggest Latin, Slavic, or anything else. Omninational, omnisexual, but definitely carnivorous.

Generally remote with his actors, who were nothing more than compositional elements to him, Bava’s capricious move of selecting his female lead from a magazine photo-spread looks almost prescient in hindsight. Was it luck? Or, perhaps her now legendary eyes suggested a bizarre and beautiful leitmotif… to be destroyed, resurrected, and played endlessly on a register of emotions—extreme emotions, that is, tabooed delights.

Steele shares an anecdote about her director’s temperament and working methods on Black Sunday… “Everything was so meticulously planned that Bava rarely asked me for multiple takes. There was no sense of urgency or drama, which was rare for an Italian director…” I’m suddenly detecting deep ambivalence as she vacillates between little jabs at Bava (“He was a Jesuit priest on the set, somewhere far away”) and gratitude. “There was a tremendous feeling of respect, whereas in my earliest roles at Rank I always felt shoved around, practically negated by the pressure of production.

“Bava did go absolutely berserk once,” she goes on. “John Richardson, this gorgeous, sinewy creature, for some reason couldn’t carry me across the room. And I was like eleven pounds in those days. We had to do it over and over, twenty times or something, and whenever John stumbled or dropped me, the whole crew would be in hysterics. We were all howling with laughter, except for Bava – he went simply wild! Eventually, some poor grip had to get down on all fours, and I rode on his back in a chair with John pretending to carry me.”

If Black Sunday is a summation of spiritual and physical dread, it’s because Steele is everyone in this dream-bauble, everyone and everywhere, an all-consuming autumnal atmosphere. Which, of course, provides Mario Bava with something truly rare—a face and mien as unsettling as horror films always claim to be and almost never are. The devastation she leaves behind, her anarchic displacement, which has nothing to do with conventional notions of performance or “good acting,” is hard to describe. And here Bava earns his label of genius through compositional meaning—amid the groundswells of fog, lifeless trees and gloomy dungeons, Steele is an absence impossibly concretized in penumbras and voids. She is a force of nature never to be repeated.

Nightmare Castle (1965) starts off in Lady Chatterley mode as Steele cheats on her mad scientist husband (“At this rate you’ll wipe out every frog in the entire county,” is an opening line less pithy but more arresting than “Rosebud”) with the horny handyman. She’s soon murdered on an electrified bed, hubby preserving her heart for unexplained reasons while using her blood to rejuvenate his mistress. Then he marries her insipid blonde half sister (Steele again in a blonde wig) and tries to drive her mad. So we now have Gaslight merged with Poe and every revenge-from-the-grave story ever.

The identical twin half-sisters (?) bifurcate further: blonde Barbara goes schizoid, possessed it seems by her departed semi-sibling. Dark Barbara comes back as a very corporeal revenant, hair occluding one profile, like Phil Oakey of the Human League. Tossing the locks aside, she reveals… the horror!

Almost indescribable in terms of plot, character or dialogue, the film looks stunning, as chiaroscuro as Steele’s coal-black hair and snow-white skin. Apparently the product of monkey-typewriter improvisation, the story serves as a kind of post-modern dream-jumble of every Gothic narrative ever. You might get a story like this if you showed all of Steele’s horrors to a pissed-up grade-schooler and then asked them to describe the film they just saw. As a result, the movie really takes what Dario Argento likes to call the “non-Cartesian” qualities of Italian horror to the next dank, stone-buttressed level.

When I first met Barbara Steele about ten years ago, we somehow found ourselves sitting in front of a Brancusi sculpture here in New York City—I remember a filmmaker acquaintance joking afterwards: “Steele beats bronze!” Indeed, at 66 she was still stunningly beautiful, flirtatious, frighteningly aware of the power of her stare.

She was a painter in her youth, so it’s not surprising that, even as I visualize her in a voluptuous, cinematic world of castles and blighted landscapes, her own self-image is perennially absorbed by art—in the sense of André Malraux’s Museum Without Walls. She asks me to show her my paintings and when I dodge the subject out of shyness she offers:

A friend of mine just had a show of his art in a little cinema here – very small paintings, about 8 inches by 6 – and then they projected them onto one of their screens and they looked fantastic!  Size is everything!   Unless you were born in the Renaissance… then you were surrounded by silence and stone walls, shadows and glimmers of gold, and faces that are like spells they look so informed.

Steele speaks of her “old, suspicious Celtic soul,” her bitterness at having “flitted through movies par hazard,” and a newfound desire to make audio books (what colossal revenge!). It’s poetic really, this doppelganger, a ghost-like screen persona following her around. Whenever I think of the effect her movies have had on me, the following words by Charles Lamb leap to mind.

Gorgons and Hydras and Chimaeras – dire stories of Celaeno and the Harpies – may reproduce themselves in the brain of superstition – but they were there before. They are transcripts, types – the archetypes are in us, and eternal. How else should the recital of that which we know in a waking sense to be false come to effect us at all? Is it that we naturally conceive terror from such objects, considered in their capacity of being able to inflict upon us bodily injury? O, least of all! These terrors are of older standing. They date beyond body – or without the body, they would have been the same… That the kind of fear here treated is purely spiritual – that it is strong in proportion as it is objectless on earth, that it predominates in the period of our sinless infancy – are difficulties the solution of which may afford some probable insight into our ante-mundane condition, and a peep at least into the shadowland of pre-existence.

Even the wooliest metaphysics can be hard to separate from actual violence. Case in point: the night of September 22, 1796. Charles Lamb had his own brush with horror, when the future poet and author of children’s stories found himself removing a bloody knife from his sister’s hand. A spasm of matricidal rage that would land her in a mad house—and tending to prove, once again, the need for genres of terror and trepidation.  For a moment at least, Steele seems to agree, bowled over by the Lamb anecdote, literally screaming: “AND THAT NAME – LAMB – IT MAKES YOU THINK OF SUCH INNOCENT BRITISH LANDSCAPES!”  She’s a fairly solitary and introspective person on the one hand, capable of intense and unexpected eruptions of joy on the other, which may be why Italians have always embraced her—a shared gloomy zest for life, fatalism and pasta. There’s something intensely porous about her (as porous as film itself), which helps clarify her otherwise inscrutable tension with that shadow-self up on the screen, the one she so busily downgrades.

***

The thirties bustled with wise-cracking, fast-talking dames, probably not for any proto-feminist reason, but simply because the writers had a surplus of sassy talk to dispense onto the screen, and audiences liked looking at legs, so why not combine the two? Amid all the petite peroxide pretties, a few acerbic character actresses were allowed room, perhaps to make the cuties bloom all the more radiantly against them. Whatever the aesthetic logic, we can be grateful for it, since it gave us Ruth Donnelly and Winnie Lightner and Jean Dixon and a few other unforgettable shrews and wiseacres, adept as stage mothers, streetwise best pals of the leading lady, etc.

Aline MacMahon sort of fits into this category, but also destroys any category she sees with her laser vision. In Gold Diggers of 1933, she’s a Fanny Bryce type comedy showgirl, and in Heat Lightning (1934) she’s an ex-moll running a garage. In between, she played world-weary secretaries and put-upon mothers, taking any role and stealing the movie along with it. Rather than resist classification, she goes on the offensive, smashing down stereotypes and insisting on her own peculiar individuality.

Big and rangy in the body and hands, she had a strange, sculpted beauty, and was as luminous as Dietrich. Maybe more so: cameramen hit Marlene with brighter lights to make her shine out, whereas Aline was typically in the lead’s shadow. Her complexion is like the glass of milk in Suspicion in which Hitchcock planted a light bulb. That white. A sheet of paper passing before her face would appear as a dark eclipsing rectangle.

The law of photogenics insists that actresses hired to play the non-glamorous roles must be staggeringly lovely, but off-kilter and unconventional enough to fool the audience into thinking they’re seeing failed beauty. Aline’s unlikely photofit of attractive features resulted in a caricature of elegance and earthiness in precisely the wrong proportions, which makes her fascinating and alluring to watch.

The eyes are seriously big, saucers hooded by the heaviest lids since Karloff’s monster, resulting in long slits which strive to echo the even wider mouth, a perfectly straight line seemingly intent on decapitation. Like a horizon with lips. The chin cleft below catches the viewer by surprise. Were chin clefts on women more common then, or did studios screen in favor of them? The cheekbones have a graceful, yet powerful curve, so the face as a whole combines the qualities of an ice-cream baby and a crystal skull. All wrong, and alright with me.

Aline’s humor about her ill-assorted collection of perfect features was often played on in dialogue, so it’s pleasing when a role like the one in Heat Lightning admits that, for all her unlikeliness, she was indeed beautiful. More than a pretty face, too: her way with a snappy rejoinder distinguished her even in an era of exceptional wit and quicksilver delivery. And her essence, which radiated out whatever the role, was that of a philosophical, warm, smart, funny, sad woman: the essence of the age.

By Daniel Riccuito and David Cairns

[sage-thrasher]

Extra: “Sanitize” and Outsider POVs (Chemical Reactions)

Well, here’s 1.5k words of outsider POV: a hobbyist chemist/physicist meets Yui. Science results. It’s basically indulgent fluff I wrote for no reason besides, well... indulgence. Sparked by the thought that our knowledge of physics and chemistry has grown so much... people and science are pretty wonderful. Takes place in no specific time. Here’s Chemical Reactions.

---

Being wealthy and charismatic meant that Haru Watanabe was called ‘eccentric.’ He was also a middle-aged man with three children and a doting wife, the owner of a thriving spice business—mostly ran by the aforementioned wife—and a self-described scholar with a surprising amount of perceptiveness. Basically, Haru did everything else right so that he could get away with doing some things wrong.

(The first sin in question: throwing himself headfirst into physics and chemistry despite having enough money to pursue respectable subjects like history, politics, literature, or historical political literature.)

Haru had people who could do the tiresome but necessary business of actually bringing the goods from one place to another. Unfortunately, there did come times where he had to make the trek in person, generally when it involved a noble personage of one dinky plot or another who got delusions of grandeur. Haru would then kiss his wife and children, board the caravan, and head to woo the noble who was choking his trade routes. This time, he was with a scribe, a servant, and two hired Sarutobi guards.

(The greater sin: blabbing about his scientific interests with everyone who had the slightest amount of interest, which in Haru’s world, was the equivalent of looking in his direction.)

He’d talked his associates’s ears off during the journey there, and on the way back, both his employees were resigned to hearing his newest ideas--his scribe knew it by heart. Though the younger ninja had been interested at first, now the two Sarutobi were staring into the distance with glazed eyes.

(The final sin: making sure that he walked his hostage audience through the concepts in question until they understood it instead of blabbing without input, denying said audience the luxury of entirely tuning it out.)

So when Haru stopped in Chiyuku to pay the necessary pilgrimage to Healer Yui’s residence, he of course took her offer of tea as an invitation to speak about his newest pet theory. Haru hadn’t met with her personally before, having never been down this route himself, but he and every merchant with business on this side of the country knew about her. And Haru especially knew of her reputation for sharing knowledge. Was it likely that she knew anything about his interests? No, but that had never stopped him before.

“I have a great interest in science,” he began, smiling.

She didn’t pause in the middle of bandaging—the younger Sarutobi was lightly burned, but only because he’d practiced some sort of ninja technique above his skill levels, much to the exasperation of the older one—but she looked up.

“Is that so?” Yui was perfectly polite. “What kind of sciences?”

“Oh, physics and chemistry, mainly.” He let his smile grow brighter. “The very big and very small, the planets and the atoms.”

There was a glint of genuine interest now, even as she said, “Give me a minute, please.” Haru was content to wait as she gave the ninja instructions, washed her hands, poured herself a cup of tea, and took a seat across from him. “You’re a scholar in both subjects?”

Her voice was the mix of a rustic drawl and clipped enunciation that educated rural folk tended to have, and Haru could detect traces of other accents, likely picked up from all the travelers that came through Chiyuku.

(Again, he wasn’t a bad merchant. He was a rather excellent one, though his wife was the exceptional half. Haru was well-versed in the art of sizing someone up.)

“I am!” Haru sipped his tea and was pleasantly surprised by its mellow flavor. He’d had worse tea in fancier places. “Are you aware of the elements of matter?” Before he could start his theory, he needed to gauge her current knowledge.

It wasn’t quite a non-sequitur, but Yui took the small leap between topics in stride. “Yes. Carbon, nitrogen…” She hesitated. “I have the periodic chart of elements. A colleague of mine gave me some books with them.”

HHaru’s interest was piqued. “Did he?” He reevaluated her and took a different tack. “As you might be aware, we can put some elements together and create new ones. Organics from organics and inorganics from like. Not one from the other, and some combinations of elements won’t combine at all. Why do you think so?”

And so began a conversation like none other that Haru had participated in, beyond his wildest dreams. (A virtue: Haru could talk and talk and talk, but he could also listen. With colleagues and scholars—and his brilliant, incredible wife—he could sit spellbound for hours, with little to say but “Please, continue!”)

He kept asking why, why, and she kept answering. Yui spoke about the shape of atoms and the charged pieces that made up them. She spoke about the bonds between elements and the shape of those bonds, all connected by little electric pieces of matter that orbited around them. Finally, he asked about the interactions of magnets and forces, about the minutiae of why some elements had so many electric bits, why the shells around each center were numbered the way they were.

“I’ve...” she paused. “ I don’t really know. This is all a guess, anyway,” she added. “None of this will be proved for decades.” Yui cleared her throat, gone hoarse with talking, and she sipped her tea.

By now, the sun had dipped from its high point to begin its journey downwards. Haru’s guard took the opportunity to hazard a reminder: “Perhaps it would be best to continue—”

“Thank you, Sarutobi-san,” interrupted Haru. “I think we shall stay sometime longer, if it suits the esteemed healer.”

Yui seemed torn, having clearly enjoyed a conversation with someone who not only followed along but also hadn’t questioned her authority. “I wouldn’t want to keep you…”

“No, not at all!” He waved her concerns aside. “Now, you were talking about proof? How would you prove this?” Haru took care to keep his voice eager and curious, letting no suggestion of incredulity or accusation color his voice. He knew how easy it was to dismiss a woman’s knowledge, intentionally or not. Why, his own darling wife needed him as a frontman to manage the business, as silly as that was—she was better than he ever could be.

With a hesitant smile, Yui began to describe a series of fantastical devices: microscopes that used electric pieces, machines that spun bits of matter fast enough to tear them open, and lightning that could split bonded compounds in two.

Haru listened eagerly, soaking up as much knowledge as he could. His ability to listen, his experience, and his surprisingly deep well of common sense gave him a fine-tuned nonsense detector. And yet, her words didn’t set it off, likely because they made sense. Likely because she admitted freely how she couldn’t prove any of it, that this was baseless speculation.

(It didn’t feel like it.)

“What about chakra? Where does this fit in?”

The two ninja, alternatively bored out of their minds and surprisingly keen to listen, perked up at Haru’s question.

And to his ongoing surprise, she laughed. “I have absolutely no idea.” Yui leaned back in her chair, taking another sip. “An energy source from another universe? A force we don’t understand? Who knows. All I know is that it seems to break all laws of the natural world.”

Haru mirrored her body language, leaning back as well. “And you know how to use it.”

“I do, but I don’t understand it.”

He made a contemplative sound. Haru liked knowing things, and Yui had done him an enormous favor by sharing. Then again, he liked knowing things, and she… was a mystery. For not the first time this journey, Haru wished that his wife was with him. She would know what to say. (Another flaw: his stubbornness, his refusal to let anything go when it caught his interest...)

“Is your knowledge supernatural?”

(... and the bluntness that resulted from it.)

This time, everyone stared at him.

Yui blinked, a mix of shock, horror, and annoyance displayed in her creasing forehead.

Haru blinked back, suddenly aware that this faux pas was inexcusable, even for him. “Anyway,” he said, moving the conversation on before it lingered like a carelessly lit firecracker between them, “I must thank you sincerely for indulging me. As a token of appreciation...”

Haru opened the bag that he had carried with him, full of physics and chemistry books that he had planned on going over with the healer—before she’d blown away every preconception and filled his minds with theories in no book before her. He chewed his lip, considering the titles, and finally picked out the one that had the most similar and detailed analysis to what she’d told him. It was mostly a comparison of elemental properties and compounds, but… Haru had noticed that despite her detailed knowledge, she’d made up many of the words for the esoteric parts of her masterful theory.

“Here,” he said, placing the book on the table. “If you want any others in my bag, do let me know. And if it pleases you, I can send you any book on any topic you desire, if you promise to share me more of your wonderful theories.” He undercut his statement with a bright smile, trying to convey that he meant it as a friend—or at least a friendly acquaintance.

Yui gave him a careful smile back, though her openness had shuttered with his blundered statement. “I’d like that,” she said.

And just like that, Haru had another puzzle he knew he had to solve: the source of her knowledge.

[thefilmfatale]

Parasite (2019)

Bong Joon-Ho’s latest offering, Parasite, is a comedy of manners for a new generation. The film explores the symbiotic relationship between the unwashed masses and the opulent, played out in darkly comic fashion through the story of the dirt poor but scrappy Kim family and the wealthy Park clan. Bong, no stranger to the allegorization of social inequality (as seen in his 2013 dystopian film Snowpiercer), deftly guides the audience through a twisted tale of a modern-day caste system, where rich and poor coexist because they need each other, both cogs in the wheel of a society that depends on this tension to sustain itself. 

We follow the Kim family as they scrounge for scraps in their home in the slums of South Korea, where a perpetual drunkard routinely pees outside their kitchen window. The family patriarch Ki-taek (played by Song Kang-ho), while jovial and generally resourceful, clings to a philosophy and work ethic centered on having no plans. According to his logic, if you don’t make plans, then there’s no way that anything could go awry. So with that, Ki-taek, his wife, and two kids fly daily by the seat of their pants, working odd jobs like folding pizza boxes (poorly, mind you). Ki-Woo (Choi Woo-sik), Ki-taek’s son, stumbles on an opportunity presented by a well-to-do friend: tutor a wealthy girl, Park Da-hye, and get handsomely paid. Thus begins a tangled web of machinations involving Ki-Woo plotting to slowly entrench his family into the Park home.

A major reason for Parasite’s magic is Song Kang-Ho, who is such a gifted actor. It’s not easy to cycle through several shades of emotional intensity but he does so masterfully. Really, performances from everyone in the film were superb—Sang Hye-Jin (in the role of matriarch to the Kim family) is a notable mention too—but it’s the richness of the world that Bong paints that makes Parasite so exciting and such a treat to watch. Visually, it was compelling. You felt that this world was lived-in and authentic to its characters, despite how outlandish some of the situations were that they found themselves in. Just as in Snowpiercer, where Bong used very deliberate set design to show how each train car represented different classes, he employed the same specificity and detail in Parasite. The ramshackle shanty that the Kims lived in stood in stark contrast to the perfectly manicured Park mansion. It was interesting to see how, despite their status, the Kims’ home was filled with a bunch of random stuff, whereas the Park house was deliberately sparse with its minimalist design. It plays with the very real idea of wealth being a state of mind and how, ironically, the people who can afford to adopt minimalist aesthetics tend to be upper class. 

Bong isn’t exactly subtle—from the use of basements and the Kims’ home being flooded by sewage water—all were intentional in conveying everyone’s place and status in this story.  Cinematography aside, the film tackled interesting themes like learned helplessness, poked fun at the rich’s obsession with referring only the best to each other, and took what seemed like a typical MacGuffin (in the prosperity rock that Ki-woo’s friend Min gifts to the Kim family to wish them good fortune), turning it into the instrumental device that accompanies one of the pivotal moments in the film. What makes this comedy of manners so fresh and interesting is that while it followed a traditional satirization of propriety, the added element of horror gave it a unique intensity. Most comedies of manners stop short at making fun of the many contortions people make to fit into society. With Parasite, Bong opts to make the class tensions viscerally felt and near palpable to the audience with an ending that jars you out of your seat. 

It’s rare for a film to balance the quirky and humorous with the disturbing, and even rarer for there to be thought-provoking commentary woven into the plot. Bong effortlessly juggles all of these elements, thanks to a tight script that contained just enough exposition to set the stage for all of the characters to develop, while continuing to advance the narrative in a wildly imaginative way. The film takes twists and turns that are surprising and irreverent, but they aren’t there for shock value. There’s a method to Bong’s madness, and he knows just how far to go and when to pull back. It was also fun to see Bong play with the idea of “putting on airs” literally and figuratively, by having Ki-taek’s downward spiral be centered around how the Parks were sensing an odd smell around the house, as if to say that you can put on a crisp shirt and alter your manner of speaking to be more proper, but there’s something tangible that will always give you away and follow you around like a black mark. In Ki-taek’s case, the Parks kept reminding him over and over that he would never be one of them, no matter how much he tried to fit in. With Parasite, Bong pulls a Talented Mr. Ripley, but takes it to another level with a meatier commentary on class. 

At the end of the day, Parasite isn’t just about a family of hustlers who hatch a wildly entertaining scheme to siphon as much money from a gullible, wealthy family. It’s a question about how long class tensions can be sustained before the pot boils over. Rich and poor are pieces in the same puzzle because their status is entirely dependent on the other to exist. But it’s also Bong’s deeply personal therapy session about impostor syndrome that he turned into a horror comedy. Hilarious and provocative, it’s a movie that fans of Yorgos Lanthimos will surely appreciate. 

The best laid plans are no plans, Ki-taek says in the film, because then there’s no way for them to go awry. In Parasite, things go horribly awry all right, but in the most masterful ways possible. 

[kayskasmoviereviews]

25 Best Films of the 2010s

Admittedly, it has been a very long time since I updated this blog. However, given that we have just come to the end of an exceptionally great decade of film, I wanted to reflect on which films from the 2010s have stuck with me the most. This is of course a very personal list, and I haven’t seen half the movies that I wanted to in the decade. But on the first day of 2020, here are the 25 films I consider the best of the 2010s. If you’re inclined to comment, let me know what your favorites were!

1. Swiss Army Man - This surreal, bizarre comedy has such an eclectic mix of gross-out humor, emotional depth, and spectacularly original visual imagination that I honestly couldn’t imagine putting anything else in the #1 spot.

2. First Reformed - Paul Schrader returns to the transcendental style of classical filmmaking he had studied early in his life, and the result is a film that considers the human condition more seriously than just about anything else in a long time. Ethan Hawke gives a career-best performance, which is saying a lot.

3. Moonrise Kingdom - I always use this film to introduce the film unit of my freshman writing class, meaning I’ve seen it about 8 times or so. It never gets old. It was the movie that really made Wes Anderson click for me, and enhanced my appreciation of his work (and indeed, of cinema in general) to a new level.

4. Calvary - A dark, funny, intensely moving study of a moral dilemma in the life of a priest in Ireland. Absolutely amazing writing and a masterful performance by Brendan Gleeson. Somehow, John Michael McDonagh, the film’s writer and director, then went on to make War on Everyone, one of the worst films of the decade.

5. Lady Bird - Greta Gerwig’s debut movie was an extremely funny, warm, and true-to-life film that artfully and economically created as believable an on-screen world as I’ve ever seen. The film has enormous empathy with every single one of its sizable cast of characters. Gerwig is a major talent.

6. Arrival - Denis Villenueve made a lot of great films this decade (Prisoners, Blade Runner 2049, Enemy, Sicario), but none were better than this intellectually and emotionally brilliant work. As a bonus, it got me into reading Ted Chiang, who is now one of my favorite writers.

7. A Ghost Story - David Lowery also had some exceptionally strong work this decade (The Old Man & the Gun, Pete’s Dragon, Ain’t Them Bodies Saints), but the best and most distinctive was this film, which featured Casey Affleck as a ghost in a white sheet who can’t leave the house he shared with his wife (Rooney Mara). This film did more interesting things with cinematic time than any other this decade, and felt like an actually successful version of what Terence Malick tried (but in my opinion, failed) to achieve with The Tree of Life.

8. Her - One of the most profound romantic films ever made. Most romantic comedies play around with relationships as plot elements, but this one actually asked what a relationship even is in the first place. 

9. Phantom Thread - The only movie to ever actually make me say, “What the fuck?” out loud in the theater. In a good way.

10. Turbo Kid - A wonderfully entertaining low-budget indie movie that mixed irony, sincerity, nostalgia, pastiche, humor, and gory violence into something truly singular.

11. Scott Pilgrim vs. the World - One of the most purely fun films ever made in terms of visual style. Edgar Wright’s meticulous attention to mise-en-scene, editing, and visual effects has never been put to better use than it was here.

12. 12 Years a Slave - The best historical film of the decade, one that used art-house style visuals, stern filmmaking discipline, and major Hollywood actors to create an extremely convincing and harrowing portrayal of slavery.

13. Room - One of the most moving films of the decade, and Brie Larson was a deserving Oscar winner for this one.

14. The Paddington films - The cutest, cuddliest, most sweetly entertaining kids’ movies in a very long time. Both films are essentially perfect in their charm and their surprisingly elaborate attention to visual craft. I can’t wait for Paddington 3.

15.The Hateful Eight - Everyone knows the over-the-top violence in Quentin Tarantino’s other films is largely played for fun and laughs, and I enjoy it as much as anyone. However, I think he was doing something distinctly different here, something much darker and more morally serious. Jennifer Jason Leigh’s performance was one of my absolute favorites of the decade.

16. The Lobster - Few films are this original, this dark, or this bitterly funny. I really gelled with Yorgos Lanthimos’s distinctive style in this movie, and thought Colin Farrell, Rachel Weisz, and the other actors all landed on the perfect wavelength for their performances.

17. Logan - People talk constantly about the Marvel Cinematic Universe movies, and it is very true that those films as a group achieved something truly unprecedented and highly enjoyable in the 2010s. In terms of individual films, though, the best superhero movie this decade (and maybe ever) was Logan, which gave an extremely satisfying conclusion to Hugh Jackman’s 17 years with the character.

18. The John Wick series - The John Wick films are undoubtedly some of the most technically proficient and stylistically accomplished action films ever made. The plot is so simple as to be a joke, yes, but the action is executed with such an incredibly high level of skill and dedication that you simply have to respect the people who put this madness together.

19. Blade Runner 2049 - Some of the most visually stunning cinematography and visual effects I’ve seen, smartly put in service of a strong story that does actually live up to the legacy of the original.

20. Cloud Atlas - Sure, you could pretty fairly say that this movie was cheesy, messy, silly, and missed some of the elements of the book. But dammit, it was truly ambitious, and the Wachowskis (one of whom had transitioned before the making of the film, and the other of whom did later) really did put their hearts into it.

21. The Favourite - Lanthimos further develops the weird style I had liked so much in his earlier films, but this time puts it in the service of a slightly warmer and more accessible story than before. Olivia Colman gave a truly astonishing performance.

22. It Follows - My favorite horror movie of the decade, even more than Hereditary, Get Out, or Midsommar. I found the premise ingeniously frightening, and thought the direction, mise-en-scene, and performances really helped develop the film into a singular horror achievement.

23. Dunkirk - I would actually argue this is one of the best war films ever made, maybe even the best one, precisely because it does away with most of the cliches and contrivances and narrative devices common to most war films in favor of simply creating two hours of an ever-escalating “We need to get out of here right now” feeling. By abandoning so many trappings, it managed to feel more real than almost any other war film.

24. It’s Such a Beautiful Day - This film got me into Don Hertzfeldt’s work, and now he’s someone I’m keeping an eye on forever. This is intense, weird, emotionally powerful stuff, all done with stick figures.

25. Parasite - A perfect film from beginning to end. There’s not one frame out of place, and no way I can imagine Bong Joon Ho and his collaborators having made this film any better than they did. They should teach this one in film school forever.