The movie tonight was Rob Zombie’s latest attempt to upset your mom, “The Lords of Salem”. Honestly, having seen two of his other films, “House of 1000 Corpses” and “The Devil’s Rejects”, I knew that I probably wasn’t going to like this movie. I decided to give it a chance, and wasn’t rewarded for my open-mindedness. While it’s certainly more subtle then his other films, a trait that would have worked in the movie’s favor, it eventually devolves into empty, “ooky spooky” imagery that really isn’t effective unless you are a home-schooled 14 year old with strict Christian parents. It’s seriously like Rob Zombie has a notebook filled with horror movie cliches and lists of things that are “edgy” and “dark” and just rambles them together with a high-school understanding of symbolism, plot structure and character development. I kinda liked the SATANIC RECORD OF DOOM and the evil Golden Girls coven. If these elements were presented with more of a comedic edge, it would have helped the movie greatly. But the film takes itself so seriously, and that is it’s biggest downfall. Maybe it’s just because I’m not the demographic this filmed is aimed at, whatever that demographic may be, but this movie was not scary. And it wasn’t a “so bad, it’s good” situation, either. It simply exists.
Just watched Puella Magi Madoka Magica: Rebellion. LOVED IT. Lots of extended artsy witch worlds, lots of little clues and symbols to help you piece together the wonderfully convoluted plot, which can only be described as TRAPS WITHIN TRAPS WITHIN TRAPS. The ending is a little vague, but is an apt conclusion while still leaving room for possible sequels. Which I will watch because Meduka Megucas is definitely my favorite anime series to come out in probably the last 10 years.
I watched the ‘Carrie’ remake last night and boy was I disappointed. One of the only things they added that wasn’t present in the original film is the ridiculously try-hard opening; consisting of Carrie’s mother pregnant with Carrie in her house. She gives birth and grabs a pair of scissors, holding them to the baby’s face before deciding to let it live. Now, how is this scary if we now that she isn’t going to kill the baby because we would have a movie consisting of one, two minute scene? Also, the baby has no umbilical cord and there is no afterbirth. The other original aspect is that the Sue Snell character is pregnant. That’s it. It has no bearing on the plot all.
Carrie now has the nonsensical power to make crucifixes bleed and while she is able to float multiple pieces of furniture around the room earlier in the film, in the ending scene she has trouble pushing her mother off of her. This is far from the only example of the inconsistency of her powers in the new movie. The antagonists are also ill-defined. Chris constantly has doubts about what she is doing and is egged on by her abusive boyfriend, who has no real motivation for hurting Carrie. I also maintain that the actress that played Carrie was too traditionally pretty to make a believable outcast.
The original film had creative cinematography and a score that was great at creating tension in a scene or conveying a sort of bitter-sweet longing. Not so in the remake. The score was flimsy and impotent and the filming was boring, never really straying from straight-forward shots of the characters.
In conclusion, there is no real reason to see the Carrie remake. Nothing was improved upon and nothing interesting was added. There are actually more reasons I could elaborate on why this was a bad movie, like how most of the script was copied from the original film, or how the gym teacher is saved ultimately taking away from the tragedy and horror, but I think I’ve gotten my point across. Whoever thought that a classic film like Carrie needed a remake should have been given to God when they were born or at least be made to go to their closet and pray.
Directed by Kinji Fukasaku
Sleeping Beauty came out a few years back in 2011. I remember seeing previews for it around the time of it’s release and definitely being intrigued. It relates to the classic fairytale on none but the most metaphorical of details, which are easy to miss. It’s a slow-burner of a film where you really have to pay attention to small details and seemingly unimportant dialogue to understand what is going on. Nothing is spoon-fed to you. The shooting of the film could be described as “elegant”. Equate it to a classical painting. Long unchanging character focus with muted tones, usually in the shade of blue. Which matches perfectly with the opaque, lifeless characters sleep-walking their way through the film. Lifeless characters are a good thing? In this film, yes. From the old man’s musings when Emily Browning’s character first becomes a “sleeping beauty”, it is clear what the point the film is trying to make: What will it take for you to wake up? How is the main character’s situation all that different from the monotony of which we live our lives? And all the disturbing and sexual themes are presented in such a sterile manner, that it washes right over the observer. The film literally drips with melancholy and helplessness. If you are an emotional masochist who loves plots that force you to piece them together yourself, you’ll love this movie. If not, then you will probably just dismiss it as pretentious art-house wankery. And we’d both be right. Not a perfect film, but so few films are. All in all, I really enjoyed wallowing in the cold indifference of Sleeping Beauty.
Satoshi Kon's Dreaming Machine