Friday, 2 November 2018

DAILY CALL SHEET: NOVEMBER 2, 2018

Evilspeak

Evilspeak (1981) Clint Howard's possessed desktop demands human blood. Only then will it unleash a sounder of satanic swine upon his bullies. TIL: Guess when Jesus allowed those demons to enter some pigs they really liked it there, huh? Might need to start praying over my bacon.

Escape to Witch Mountain

Your daily dose of culture courtesy of Escape to Witch Mountain (1975) - "How would it be if we discovered that aliens only stopped by earth to let their kids take a leak?" - Jay Leno

Sicario: Day of the Soldado (2018)

Last April I finally watched Sicario and I loved it. It was not flawless but it had a compelling story, interesting leading character, great acting, and suspenseful and thrilling action. I wish I could say the same about Sicario: Day of the Soldado, a sequel that falls far behind its predecessor. 

It's been a while since the events of the first film and now Mexican drug cartels are smuggling suicide bombers across the border into the United States. CIA agent Matt Graver (Josh Brolin) is tasked to deal with the situations whatever it takes, even if that means starting a war between the cartels, and he brings in vengeful hitman Alejandro Gillick (Benicio del Toro) to help him.

While the plot to the first film was simple and very straightforward, this one's is a tremendous mess. It's not even clear what the main storyline is as the film starts with a plot which is then completely ditched for something else. Also, it lacks logic, it's filled with holes and makes very little sense. And I'm shocked, I'm speechless, I'm angry even, because how is it possible that Taylor Sheridan wrote this mess?

The characters are just another of Sicario: Day of the Soldado's problems. There's very little character development and, as a result, it feels like the new female lead --god, I missed Emily Blunt's naive Kate Macer so much-- has too much screen time for a character you simply don't care about. As for the returning characters, they often act inconsistently as if they were completely different people than they were in the first movie. Not only this doesn't make any sense, but it's frustrating to see those characters, especially Alejandro, treated like that. 

The performances, on the other hand, are strong and definitely make the film more enjoyable. Josh Brolin does great in the role of Matt Graver, the amoral CIA agent, and delivers terror but also professionalism mainly through body language and appearance. Benicio del Toro steals the show though as he plays the thin character in a way that you end up rooting for him, even though he's far from being a hero. 

Columbia Pictures, Lionsgate, Rai Cinema

Then, of course, there's the direction. While Sicario benefits from the more than solid direction from Denis Villeneuve, Sicario: Day of the Soldado kind of crumbles under the direction of my fellow countryman Stefano Sollima. He fails almost completely at delivering drama and tension, and the atmosphere never feels as threatening as it should feel. The result? A pretty boring film that cannot be saved with a few great performances, a great musical score and a beautiful cinematography. 

WRITTEN REVIEW: Trauma

By CORY CARR
Sometimes I like to start a film review with a joke or two as I riff about something related to the film in question, but not this time. Trauma is a tough one, but at least I learned something along the way.

Trauma comes from Chilean writer/director Lucio A. Rojas who previously made films about kidnappings carried out by strange backwoods families (Path) and mysterious epidemics (Zombie Dawn) – and now he has moved on to something more disturbing and more personal.

The film begins in the early '70s, right in the middle of a military coupe. We see a woman bound and tortured – being forced to answer questions that she seemingly has no answers for. To punish her further, her captors bring in her teenage son who is forced at gunpoint to rape his mother. After a few moments – while this rape continues - the mother is shot in the head and killed while her son is forced to continue. This all happens in the first few minuted of the film, so I'm not spoiling anything. But I mention it in detail because this is how the film progresses, with brutal and lengthy scenes that will make most audience squirm in their seat and that's the point.


From here we move on to present day where we meet our main characters. Four women who are planning to take a trip together. We have Andrea, who is traveling with her younger sister Camila, Camila's girlfriend Julia, and their friend Magdalena to a remote rural area where they are staying at a cottage. But as they pass through town, they stir up the less than hospitable locals. Horror Movie 101 says that we'll be seeing these locals again real soon.

Now at the cottage, the girls talk, drink and relax. As Andrea notices that Julia is getting a little too comfortable with Magdalena, and starts to suspect that she hasn't been entirely faithful to her sister. Andrea is proving herself to be the responsible and caring older sister. The girl scout of the group. But before she can raise any red flags about Julia's conduct, the women are advanced upon by a pair of home invaders. Two men who they encountered back in town – one of which just so happens to Juan, the teenage boy who shared the unpleasantness with his mother.

Since the night with his mother, Juan has been irrecoverably scared. Altered to something less than human. Something that takes those acts for granted, and something that has continued to act out in that way ever since.


Each of the women helplessly watch as the two men proceed to take turns beating, torturing and sodomizing them one by one in graphic detail. Each attempting to escape one way or another.

So that's Trauma in a nutshell. You may have been able to tell from my plot description that this film is brutal, but if not, it's worth pointing out again. That this film is brutal! The attacks against these women are violent without the slightest hint of restraint and perverse in a way that is animalistic and humiliating.

Trauma has been referred to as “extreme horror”, akin to A Serbian Film or perhaps Salo. With that picture now painted I say, Trauma is NOT for everyone. There are gore hounds out there who like to push their own personal boundaries – to see what they can endure – searching for horror that represents what's unflinchingly real. If you AREN'T one of those people, Trauma might be too much for you.


While Trauma does represent a certain reality that isn't often seen on film - a reality that holds a place in Chilean history - I can't help but feel like this may be violence over substance. I say this because the story unfolds much like a typical slasher movie. Friends retreat to an isolated location to cut loose and unwind, and while they're there a seemingly unstoppable killer/s warps and twists the lives of the party goers before bringing them to an end (The Last House on the Left). But unlike great slasher movies that utilize suspense to build tension to terrify it's audience, Trauma relies on that grim “reality” to unsettle it's audience. But with this reality, there isn't any room for tension, and I think the film is less good for it.

Other than that I don't have any qualms about the technical aspects of the film. It's directed and acted well, and the finished product is beautifully polished – which juxtaposes the gore, torture and rape in a strange way.

I mentioned the film's connection to Chilean history, which may be the strength of Trauma. Something that I, admittedly, am rather ignorant about. The military coup that takes place at the beginning of the film is something that occurred in the early '70s and was the result of an economic crisis in Chile. It's leader was replaced with Augusto Pinochet who spent the next sixteen years imprisoning, torturing and murdering tens of thousands of his own citizens. As a result, 200,000 people had been affected by "situations of extreme trauma" according to the Latin American Institute on Mental Health and Human Rights (ILAS). That is an incredible amount of human carnage, and has resulted in much of this film's namesake.


Since then, much has changed in Chile. The country has grown in leaps and bounds – becoming a more liberal and free country, but this is just one generation away from the horrors of it's previous totalitarian regime which leave the country in an odd place. Moving forward while not having properly recovered from, or let go of, it's past. This idea is at the heart of Trauma. Modern Chile is being haunted by the ghosts of it's past.

In the end, I have mixed feelings about Trauma. It's brutal violence makes the film less enjoyable and less effective as a traditional horror movie. But this also better serves the greater narrative that Lucio Rojas is trying to tell and in an honest way. So, make of that what you will.

Trauma has won several awards and been an official selection of some major film festivals, including the Brussels International Fantastic Film Festival, Mórbido Film Festival, Vancouver Badass Film Festival and HorrorHound Weekend.

Trauma has been made available on BLU-RAY, DVD & VOD by Artsploitation earlier this past month (October). So, if you think you can stomach Trauma, check it out. And if you would care to learn a little more about the sorted history of Chile, visit here.


CORY CARR
Reviewer | Producer & Editor | Resident Conspiracy Theorist

A blue collar dude with facial hair that would make his Norse ancestors proud. He is a collector of comic books, retro video games, and obscure relics from the VHS era.

"TRAUMA"

★ ★ ★ ½

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Thursday, 1 November 2018

Eighth Grade Movie Review

Eighth Grade (2018)
Rent Eighth Grade on Amazon Video
Written by: Bo Burnham
Directed by: Bo Burnham
Starring: Elsie Fisher, Josh Hamilton, Emily Robinson
Rated: R
Watch the trailer

Plot
An introverted teenage girl tries to survive the last week of her disastrous eighth grade year before leaving to start high school.

Verdict
This delves into the subtle pain of being thirteen. The social fears of finding friends and fitting in are huge. Kayla has a Youtube channel where she wears a confident facade, and that's what all thirteen year olds have, a facade. Kayla just doesn't hide her fears as well as others in public.
How gross kids are to how hard it is for parents, everything feels real, and this is all the more impressive as Youtube comedian Bo Burnham wrote and directed this.
Watch it.

Review
This jumps into it with a Youtube video Kayla is filming. It's awkward, with lots of uhms, but she grows into the speech. I knew what this  was setting up. Kayla's video about being yourself and being confident is just a Youtube persona. It's a front she wants to be.
 
This really gets into what eight grade is like. The kids are gross and often cruel even if they don't intend to be. Kayla is voted most quiet which isn't a good thing. That is everything she doesn't want to be. This also does a great job of empathizing with parents. Kayla lives with her dad. At one dinner, you get her point of view, but you also get the dad's too. She has a lot of anxiety and she lashes out at her dad. He just wants to connect. He's a good dad, but Kayla has completely shut him out because that's what kids do.
 
What I like about this is that she has the answers when she makes Youtube videos. It's sound advice, but that doesn't' translate to real life. I get this movie. I'm that person. I'm an introvert, which doesn't mean i can't talk to people, I'm just not outgoing unless I need to be.
Her Youtube persona is playing the part of someone else. It's a bit of fantasy, wishing people treated her like that.
Burnham wrote and directed this, and as a Youtube comedian, this is impressive. I have to believe he's pulling from his experiences. This goes right into how he made Youtube videos and seems outgoing while he probably isn't. This has to be part biographical.

It taps into the fears of eighth graders while also showing eighth graders as gross and crass. She's at a pool party she didn't want to go to, and you know how it goes. She gives a very thoughtful gift and it isn't received well. This doesn't make it look like all eighth graders feels the same way, but some people have just found a group, Kayla hasn't. She's trying to find a friend, but she can also be that person for someone else.

DAILY CALL SHEET: NOVEMBER 1, 2018

Curse, The

The Curse (1987) When they aren't turning into pus oozing psychos, half the cast spends their time slapping Wil Wheaton around. I'm okay with that. TIL: For the record, "He who loves his son will not spare the rod." does not grant carte blanche to beat a child senseless.

Grand Theft Auto

Your daily dose of culture courtesy of Grand Theft Auto (1977) - “In a quantum universe there are no such things as accidents, only possibilities and probabilities folded into existence by perception.” - J. Michael Straczynski

On My Skin (2018)

I was talking with my mother the other day and that's when I found out about Alessio Cremonini's On My Skin (Italian: Sulla mia pelle), one of the first Italian movies produced by Netflix. That, however, is not the reason it caught my attention. Its subject is, it being the infamous case of Stefano Cucchi.

Just in case you are not familiar with it, on the night of October 15 2009, Stefano Cucchi (Alessandro Borghi), a 31-year-old ex-junkie, is arrested after being found in possession of some packs of hashish and 2 grams of cocaine. He is taken into custody by the Carabinieri and a week later he dies of wounds. 

The plot is very simple as it follows the last days of Stefano, who finds himself alone, denied his trusted lawyer, and at the mercy of the Carabinieri, and it unfolds very slowly. These two, however, aren't the reasons On My Skin wasn't as compelling as it could have been. The problem is that Cremonini tells the story as if he was reading a newspaper, without taking a stand. He simply tells facts, those we know for sure, and because of it, the film feels robbed. On the other hand, Cremonini does a great job at telling Stefano's story, as he leaves no doubt that the initial beating was the primary cause of death, aggravated by a lack of medical treatment in several Roman hospitals and Cucchi's initial silence as he was probably afraid of what the Carabinieri would have done to him if he were to speak up.

The performance from Alessandro Borghi as Stefano Cucchi is nothing short of outstanding. Physically reminiscent of Michael Fassbender's in Steve McQueen's Hunger, Borghi becomes Stefano as he conveys the young man's resignation and the hope that silence will get him out of the absurd situation alive. It is devastatingly haunting, heartwrenching to see his transformation from health-ish man, as he already was malnourished and very skinny, to living corpse. The rest of the cast provides solid support, especially Jasmine Trinca who brings to the screen the determination and indignation of Ilaria Cucchi, Stefano's sister.

Lucky Red, Netflix
While I wasn't very fond of the scipt and Cremonini's choice of not taking a stand, him choosing a simple production design and sets, and the clean and slick cinematography as they make the film visually striking without taking away the focus from Stefano. The music, on the other hand, feels intrusive and over-sentimental at times.

Thursday Movie Picks: Gangsters


As far back as I can remember, I always wanted to be a gangster, says Ray Liotta's Henry Hill in Goodfellas, one of the greatest gangster movies ever made. But I'm not going to pick it for Wandering Through the Shelves' Thursday Movie Picks, nor I'm going to pick any other of those movies that pop into your head when you think of this theme. Without further ado (I have to go visit graves because that's what we do here in Italy on November 1st, which I find pointless but whatever) I leave you with my picks and their gangster quotes.

A History of Violence (2005)

Tom (Viggo Mortensen) lives a happy and quiet life in a small town in Indiana. Then one night someone tries to rob his diner, he takes action, saves his customers and becomes a local hero. That draws a lot of attention from the media, and his past comes back to haunt him in the form of mobster Carl Fogarty (Ed Harris). A brilliant, thought-provoking film from Cronenberg with great acting.

Carl Fogarty: Any last words before I blow your brains out you miserable prick?

On the Waterfront (1954)

After witnessing the murder of a fellow dockworker at the hands of the local mobster, Johnny Friendly (Lee J. Cobb), Terry Malloy (Marlon Brando) begins to question what's really right. Although some parts are dull and feel dragged, it's a very compelling film that deals with serious themes.

Terry Malloy: You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. 

True Romance (1993)

After falling for a hooker (Patricia Arquette) and marrying her, Clarence Worley (Christian Slater) accidentally takes a suitcase full of cocaine from her pimp (Gary Oldman) and decide to run to LA. Soon the Sicilian mafia is after them. One of the most beautiful romances I've ever seen.

Vincenzo Coccotti (Christopher Walken): I haven't killed anybody since 1984. Goddamn his soul to burn for eternity in fucking hell for making me get my hands dirty. Go over to this comedian's son's apartment, come back with something that tells me where that asshole went, so I can wipe this egg off my face and finish this fucked-up family for good.