intertribal: (black)
One of the most common conversations I get into with friends who discover that I really like horror movies is this: "Why are the ghosts/demons always women?"  It's an age-old question, one that I've probably talked about already, but once you point it out to someone you can't stop noticing it.  I've even noticed it in my own writing: I'm way more likely to write a female ghost than a male one, even though when you watch those shitty ghost re-enactment shows, the ratio seems to be about 50-50.  If these little testimonials are any indication, you're just as likely to be haunted by Great-Uncle Bob as Great-Aunt Millie.*

I have a few theories that I offer when asked the aforementioned question:

  • Women are more likely to be disenfranchised with limited options in real life, so their only recourse for the plethora of wrongs done to them is supernatural vengeance (c.f. the rape-and-revenge ghost movies like Shutter and Rose Red, or even that old samurai ghost story retold in Kwaidan, as well as the occasional slow-burner like Lake Mungo or Ghost Story)

  • Women are considered closer to wilderness, savagery, evil, insanity, magic, so they are either explicitly more susceptible to the supernatural or just the quicker, lazier, easier option for the creator (c.f. a whole bunch of stuff, from Evil Dead and Infection to The Ring and Noroi and The Haunting of Hill House)

  • Women are more likely to die a violent death - this goes with #1 (c.f. Ju-On, Silent Hill, What Lies Beneath, Retribution, all them Korean Whispering Corridors movies)

Demon possession movies are an extreme version of Theory #2, because demon possession in real life tends to be colored by the perception that young women are: 1) walking potential demon vessels, because they are the weaker/fairer sex, or further from God, or natural followers, or something - I really don't know, but something about Eve?; 2) really tasty demon food, sometimes because they can potentially bear the anti-Christ; 3) more likely to give in to temptation?; 4) so sweet and innocent and virginal and protected that it's more tragic and horrifying all-around (the same reason some Christians say believers are more likely to be attacked by demons: they're a more impressive conquest); 5) NO ONE EXPECTS THE LITTLE GIRL.

If you look at movies like Emily Rose, The Exorcist, and The Last Exorcism, wherein you've got a pretty teenaged girl writhing around in her nightgown and talking dirty to stiff, straight-backed male priests - and of course, the implication that the Devil has literally invaded this girl's body - you've got to conclude that there's some psycho-sexual shit going on, like the Devil is mocking and showing off our society's sexualization of young women who are, nonetheless, still absolutely required to be good girls (a lady in the street but a freak in the bed, and all that).  Like we are so used to ogling and objectifying young women, well look at her now.  Like the most grotesque and disturbing thing we can think of, as a culture, is a wicked, furious, enraged sixteen-year-old girl - precisely because they are supposed to be pliant, happy, vulnerable, something for Liam Neeson to rescue.  The irony is that she's still all those things, of course, because as the Paranormal Activity trilogy sadly reminds us, it's the demonic spirit acting through her body.

The Conjuring is all about all this stuff, but also highlights a couple less common, but still pervasive themes:

  • Ghosts and demons and poltergeists alike attack families when the father is out of town.  Strangely, this actually does correspond to those ghost re-enactment shows.  I always assume it's because the malevolent entity thinks the father is the alpha.**  The father also tends to be the disbeliever/skeptic, compared to the histrionic mother.

  • The truly most horrifying thing we can think of is an evil mother: a mother who kills her own children.  I'm torn on whether this is seen as worse than or equally as bad as an evil father, because there are fathers-gone-rotten: Amityville, The Shining, Insidious.  I think if you look at the news media, you get the sense that child-killing mothers are worse, because maternal instinct is assumed to be stronger, and men are assumed to be violent anyway.  "Mother is God in the eyes of a child," as they say in Silent Hill, so naturally the topsy-turvy version of that Good Mother is going to be pure evil.

Put in this perspective, The Conjuring isn't really especially right-wing.  It falls right into place in a very old-fashioned, very Christian rendering of the supernatural genre.  "God brought us together for a reason," Lorraine Warren says to her husband, who admonishes the besieged family for not baptizing their daughters.  Note that it's also a very American Christianity here: the Catholic Church is no help because it's tied up in red tape, so if you want an exorcism done right you gotta do it yourself, Signs & Wonders style.  It occurred to me last night that it's really quite incredible how much American demon possession movies align with the world view of a very fringe faction of Protestantism along with other people who take exorcism and "spiritual warfare" into their own hands and are thus most likely to accidentally kill somebody in an exorcism.  The most disturbing part of the movie for me comes near the end, when the demon is breaking the possessee's bones and Lorraine says, "We are now fighting for her soul!"  This is in other exorcism movies too and I gotta say, few sentiments in horror movies seem as likely to lead to the deaths of actual people.

But I guess I've grown weary of movies like this - The Conjuring even comes complete with a creepy haunted (girl) doll that needs to be kept in a glass case, how much more retrograde can you get? - especially when even Hollywood seemed for a while to be churning out new, different types of supernatural horror movies, like Insidious, Sinister, Cabin in the Woods, Mama - not to mention the indies, like the extremely creepy and highly-recommended Lovely Molly, problematic V/H/S, Absentia, The Moth Diaries, Hollow.  I like to think that we can be more interesting.

* Speaking of Bob, David Lynch deserves credit for making one of the most frightening supernatural men ever, and one that clearly hates women, at that.
** Yeah, "malevolent entity thinks"... I know.  Can never be too careful!
intertribal: (girl you talk too much / shut up)
Yes, it's two horror movie reviews!  Not very extensive ones, I'm afraid, but still!

Don't you just hate those movies where dumb Americans go off to some far-off foreign locale and end up getting sacrificed by some deceitful Paganistic locals to some dark and primitive nether-god?  So do I!  And so does The Shrine.  I thought The Shrine was going to be one of those movies until about the 2/3 point, and I kept watching anyway because the acting is decent for a shallow little horror movie and I was curious, despite my distaste for the set-up, about the eventual reveal.  But surprise!  Things are not what you would expect them to be. 

Now none of this is going to change your life.  It's not Candyman or Japanese or anything.  It would be a great entry in the After Dark Horror Fest or a great episode of Masters of Horror or Fear Itself, if those shows were still alive.  A neat little short story.  A worthy contribution to horror as fun schlock.

Absentia is a strange beast, completely lacking in horror movie context and almost directionless.  The characters and setting are great, and refreshing for horror - two young adult sisters (one a former drug addict and one pregnant) just muddling through life in working class California.  Nothing glamorous.  The pregnant one has a husband who's been missing for seven years, and is declaring him dead in absentia.  She's also having horrible "lucid dreams" about him.  The former drug addict has now found Jesus.  You think it's setting up to be a demonic possession type thing.  It's not.  Really, really not.

This one feels much less put together than The Shrine.  It is flawed.  And considering what it turns out to be about - the tone is bizarre, subdued and unsettling and sad, something more befitting a ghost story perhaps.  But I feel like Absentia is both going for and accomplishes more, emotionally/intellectually, than The Shrine.  Probably because I am a sucker for horror movies that try to be artsy and sensitive.  But there really is something here, particularly about the rationalizations we tell ourselves about people that go missing. 

Both on Netflix Watch Instantly. 
intertribal: (want me to get you something daddy?)
So, The Dark Knight Rises - the last Nolan Batman movie (God willing).  I really liked Batman Begins, which I think I saw in theaters with Christina when neither of us knew what we were expecting - and we were both like, "I think I really kind of LIKED IT" - and have a special relationship with The Dark Knight, which I saw on my own in a shopping mall/movie theater in Surabaya after I bought a canvas bag that said "Life.  Industry.  Work.  Strength."  I saw The Dark Knight Rises last weekend in another shopping mall/movie theater in Jakarta with mixed company, and I felt frustrated and disappointed with it. 

Many people have talked about the questionable politics of The Dark Knight Rises - I particularly like Abigail Nussbaum's review (but when is that ever not true?).  Others have pointed out that these weird fascistic/Randian trends have been in Nolan's Batman movies the entire time, although I must confess I didn't really see them.  To me Batman Begins wasn't very controversial politically, and The Dark Knight was about the classic dilemmas facing public servants trying to do the right thing (I think the most interesting character in it is Dent's) as well as the personal mental collapse that takes place when you decide you can't take trying anymore (see for instance "that's it, I'm moving to Canada" on a much more mundane level, or "fuck iiiiiit" in meme terms).  In the Order vs. Chaos argument, I think a pretty compelling point was made for Chaos, even if officially Order won out.  The Dark Knight Rises, on the other hand, was really playing up the 1% vs. 99% thing, and the 99% pretty much turn out to be duped by an evil that has no motivation other than to be evil.  It actually kind of reminded me of Michael Crichton's "environmentalists are actually engineering global warming to scare us all into going with the Kyoto Protocol!" as well as of that terrible book by Glenn Beck.  The 1% don't even really commit any sins except their parties are boring.  And then there they are, being thrown out on the streets and executed by exile onto a sea of thin ice!  Even Catwoman, the "Robin Hood" character, is all "Batman, you don't owe these plebes anything, they stole all your money."  So yeah, all that: kind of sucky.

Beyond that, I didn't find the movie as much "fun" as I did its predecessors.  I had heard a lot about the explosion in the football stadium scene beforehand but it did not pack the emotional punch that it truly should have, given me and my inclinations.  I actually felt most emotional in the opening scene, during the nuclear physicist's surprise kidnapping.  I don't really know why - maybe the claustrophobia and imminent death involved for such a small pack of people?  But the police being stuck in the tunnels, then surprise!liberated and being gunned down like Theoden's Riders in The Return of the King - meh.  The random schoolbus of orphaned boys - meh.  The pit?  I did feel a twinge when Bruce Wayne makes it out at last, but it was for the cheering prisoners still in the pit, not Bruce Wayne.  This one just didn't click with me.  It felt cold and distant and unwilling to really give of itself.

On the other hand: Alfred the loyal-unto-death butler and Gordon the beleaguered police commissioner were great.  I think those two and Blake (the scrappy new cop) were really the actual soul of the movie, as far as it had a soul at all - the most human characters, at any rate.  Batman/Bruce Wayne was just kind of annoying/useless (ironically), Catwoman was like What Happens When Men Write Women #5a, or so, and Miranda Tate would have potentially been a competent character if not for the barren face heel turn.  Cillian Murphy as the Scarecrow was also fun. 

If anything I sort of wished Batman was erased from this movie, and that it was just the tale of the horribly dysfunctional city that had to fend for itself - that there truly was no ubermensch to save it.  Because I'm fond of Gotham - have been since the beginning - and I was always fiercely of the belief that the League of Shadows was wrong, and Gotham should not be sacrificed as hopelessly corrupt.  Maybe that's because I come from a city that really reminds me of Gotham, sometimes ("criminals in this town used to believe in things - honor, respect!"), and Gotham being assailed by Chaos was like the Jemaah Islamiyah era here, when hotels were being blown up; and the Gotham being assailed by Quasi-Revolution is like what's happening now, with people burning suspected thieves in the street.  And let me tell you: we have no ubermensch.  What we might have, if we're lucky, is a Gordon, a couple Blakes.  We certainly have plenty of Alfreds.

ANYWAY.  Something else I realized while watching The Dark Knight Rises: I think I may be finally shifting my gaze from older men (father substitutes, all) to men my age (the "damaged" ones, but oh well).  I was way, way more attracted to Joseph Gordon-Levitt in this movie than Bruce Wayne (that scene where he's running to the hospital with the rifle!  Rarr!), and that is new.  I was talking about this with my mother, and concluded that regardless of who I actually date, my ideal type seems to be this older, married, brooding political scientist type that is clearly a doppelganger for my father.  And it's also!  A completely safe, riskless outlet for whatever feelings I might develop, because I know in my hardest of hearts that nothing real can actually happen there.  There was no possibility of anything developing.  I couldn't really get involved.  I wasn't going to get heartbroken.  Plus it let me deal with my Daddy Issues.  Sort of, anyway.  I mean, the walls I put up -- both because my father died and everything normal and happy was shattered, and probably just because of me, because I was born nuts -- were miles high.

But I think that's starting to change, and that's a good thing.
intertribal: (i like it rough)
Katie is my favorite character of the Paranormal Activity franchise.  For a while I had a default icon that was called "because she looks like Katie."  She was the reasonable one (compared to her boyfriend Micah) in PA1, with a delicious darkward turn as she becomes possessed and kills Micah, as if telling him in the most ferocious terms, "see, this is what happens when you don't listen to me, dumbass."  PA2 reveals that she became possessed because her brother-in-law Dan "sicced" the demon on her - it was to save his wife and son, but still - and Dan gets his comeuppance and "Katie" gets "her" revenge when she comes to their big fancy house, demon-possessed, to kill Dan and Kristi (his wife/her sister) and take Hunter (the infant son).  In PA3, Katie is a child who gets dragged (literally) into Kristi's bad-idea-of-the-year "friendship" with the demon - she and Kristi both end up at least somewhat possessed and in the care of their evil witch grandmother Lois*.


I really love PA1, enjoy PA2 mostly for the big "Fuck U" it allows Katie to give, and am not such a fan of PA3.  I think this is because I didn't like the story that the creators (who changed from movie to movie) eventually laid out to explain what happened in PA1.  Witchcraft - especially of the matriarchal "coven" variety - in horror always sets off an alarm in my head: "this is a women-are-evil story."  That's accentuated in the Paranormal Activity franchise by the special importance given to the firstborn son, who everyone will go to extreme lengths to protect and who is apparently Blue Moon rare (girls in this family are basically throw-aways, especially if they can't be broodmares).  By contrast, Katie is sacrificed by her brother-in-law because she's nothing to him - she is an expendable, mother to no one.  Dan's teenaged daughter from a previous relationship, Ali, is the only one who says "hey, this isn't fair to Katie," and Ali is also safely tucked away on a field trip during Katie's rampage.  And while I liked the potential that Paranormal Activity had to be Katie's Good Girl Gone Bad (kind of Laura Palmer in reverse) story - even if witchcraft and a special son had to be involved - PA2 and especially PA3 show that there's nothing unique about Katie.  The same thing happens to her sister.  They get possessed and go bad because they're women (and I will note that the possession scenes always read very "rape-y" to me), the end. 

There's a perspective shift too.  In PA1, Katie and Micah are both leads, and you're in each of their headspaces; because the "paranormal activity" revolves around Katie and she's an adult, she might be more the main character than Micah.  PA2 is very decentralized - it's also very shallow in the sense that it's in no one's head in particular, and all the characters are ciphers.  In PA3, the boyfriend of Katie and Kristi's mother, Dennis, is the lead.  Katie and Kristi are children and not especially emotive ones, and their mother Julie is a non-entity.  The next closest thing to a character in PA3 is Dennis's male videography buddy.  It's interesting that in PA3 Katie and Kristi are basically there to be "creepy little girls" with incomprehensibly creepy behavior - "little girls are creepy," as my roommate says - whereas there's nothing creepy about Hunter, the baby boy in PA2, and the audience is simply meant to feel protective of him ("that poor baby boy," etc.).  PA1 sets itself apart from its sequels because we actually get to be in the headspace of the eventual-possessee, to see her as a three-dimensional human being instead of just a "creepy little girl" or a blank mother-type placeholder (in Kristi's case - who is Kristi?  God knows!). 

Men are do-ers in the Paranormal Activity franchise.  Micah is dense and foolish, but he is the macho take-charge investigator - and this trait of his is sort of mocked in PA1 as Micah bombastically insists that "no one comes into my house and fucks with my girlfriend" and Katie's just like, "you don't have power here" (his defensive reply is something along the lines of "don't tell me I have no power").  In PA2, Ali is the investigator, but she's not an actor, and she apparently wields zero influence over any other character, making her relevant only as an info-dumper.  Dan, the brother-in-law, is the only actor, and shows piss-poor decision-making - firing the maid for saging the house, ignoring video footage that he himself arranged, and ultimately transferring the demon to Katie.  Dan is actually absent during most of the movie (when the women of the house are being afflicted with paranormal activity), and it falls on him to make up for his failure to be the responsible man of the house by saving Kristi and Hunter and sacrificing Katie to the darkness.  Dennis, Katie and Kristi's would-be-dad, is neither a dolt nor an asshole, and is more of a protector for Katie and Kristi than their own mother.  He's heroic and self-sacrificing, a sensible investigator, and the good-guy foil to the human villain, the evil grandmother (there are no human villains in PA1 or PA2, and I think this does change the dynamic of a horror story - just ask Stephen King).  And of course then there's the biggest do-er of them all: the demon.  With all the marriage talk in PA3, the demon is definitely male.  But whereas the human men of Paranormal Activity all (arguably) mean well as they try to fix this situation that their women thrust them into, the human women are either corruptible to the extreme or just irrelevant, and in all cases unable to even try to protect themselves or their loved ones.  Their bodies are the battlefield for the war/pissing contest between the human men and the male demon. 


The demon always wins, and it's through the demon that the human men are killed by the women in their lives.  The visual effect is different, though: on screen, it's psycho bitches on the loose (with the only really affecting death, at least for me, being Micah's at the hands of "Katie").  It's too bad that Katie's actions at the end of PA2 probably aren't Katie's at all.  I would have preferred her to be taking revenge on Dan and Kristi - if only subconsciously, if only with the last smidgen of Katie that still existed within the bloody Katie-shell - but it was probably just the demon being demonic en route to obtaining that precious little boy. 

"Jennifer's Body" - Hole
"Arsenal" - Kidneythieves
"Climbing Up The Walls (Radiohead cover)" - Sarah Slean
"Behind Blue Eyes (The Who cover)" - Sheryl Crow

*: Fun fact - Lois is my maternal grandmother's name!  This is why one of my middle names is Louise.  Because my mother didn't like the sound of "Nadia Lois."  WITCH! 
intertribal: (aviatrix)
I'm moving on the 24th, so I probably won't be on LJ for a while - sorry!  I will be more available via email.  I'm flying early early in the morning on Wednesday, and we all know what that means: Air Crash Investigation marathon! 


Also, I just watched Up In The Air and I'm pretty sure it's like the anti-Fight Club, which I found pretty amusing (along with the scenes of Omaha's airport).  I think if you combined those two movies (forming some poppy monstrosity that would involve lots and lots of airplanes nose-diving and then flattening out just before hitting the ocean), you would get my approach toward life. 


So, this is that meme that was circling around - I commented on people's memes, then they gave me five questions to answer, so if you want questions to answer, just comment on mine.  Like "hey" or "give me questions!"  Of course, I may not get back to you until next week. 


From [livejournal.com profile] cucumberseed:


1) Form of entertainment in which you have the hardest time seeing value.  I actually looked up wikipedia's listing of "Entertainment."  I'd probably say, out of that list, daily comic strips.  And talk radio.


2) (Recycling one of Sovay's questions) What was the first music you bought for yourself?  Depends on the meaning of "bought for yourself."  The first thing I picked out for myself and had my dad buy for me was The Lion King soundtrack (he probably thought thank God because before then I was trying to sing "Circle of Life" very badly all by myself.  The first thing I bought with my own money - allowance money, that is - is a harder question, but is probably Garbage's Version 2.0 based on "Push It."


3) Secondary world you dislike the most.  I'm not a huuuge fan of Narnia, but that's mainly because I'm so contrarian that I'm all "No!  I want the White Witch's Narnia!"  I do like lawless sea-Narnia a lot, just not kingdom-Narnia.  Generally when I run into secondary worlds that feel very didactic and obvious to me, I push back against them. 


4) If you could remove one aspect from any piece of fiction, what piece of fiction and what aspect?  I don't know if I would, honestly.  Generally it's not just one thing that makes a piece of fiction not work for me. 


5) Substance, fictional or real, you find most terrifying.  Garmonbozia!   Or poisonous gas/airborne disease clouds, more realistically. 


From [livejournal.com profile] squirrelmonkey:


1. What's your favorite dream skill (that is, a skill you only possess in dreams)?  I very rarely have skills in dreams.  Maybe the power to teleport effortlessly across space?  In dreams it's more like changing channels, but eh.


2. Which writer described your favorite version of a real city, and which city was it?  I'm enjoying Erik Larson's The Devil In The White City, about 1890s Chicago, though that's non-fiction. 


3. If for the rest of your life you could only watch movies by a single director, who would it be?  Werner Herzog.  I would say David Lynch, but I can't imagine that would be good for my sanity.  Herzog would be very good for my sanity.  A little on the glum side, I suppose.


4. What book would you write if you were sure it will come out as good as you imagine it to be?  I'm going to skip the one I'm writing now and go for one that I've only envisioned in my head - my "Nusantara" trilogy (The Hotel California, Running Up That Hill, Tremble Burn Die), which would be a magical realist take on Indonesia's transition from a stable dictatorship to an unstable democracy from the perspective of American expats living there during each period.  It would be incredibly difficult for many reasons - the main characters in the second book would be based on my parents, for one.  For two, expat life is very hard to write about well, in my experience. 


5. What's your favorite reality show?  I like professional reality shows (Chopped, Project Runway, and Top Chef are tops), but get kind of tired of them after a while.  So I'm going to say Locked/Banged Up Abroad.  I know it probably sounds bad, but it's one of the most heartfelt, nervewracking documentary-recreation shows out there.  The producers are making the new SyFy show Paranormal Witness, which is probably the best thing PW has going for it.  I think LUA should be part of high school Civics classes.  Because clearly there are still people out there who think the solution to unemployment is a trip to Peru to smuggle cocaine.  I also grew up on Bangkok Hilton, so there's that. 
intertribal: (bottoms up)
First 1/2: Passable Coen Brothers movie.  Amusing dialogue/situations, especially the court room scene.
Second 1/2: "Heroic," grandiose, overstretched, old-fashioned Western with all characterization down the pipes.  Utterly not my thing (I don't like traditional Westerns... I didn't even like Tombstone), and not what I expect from the Coen Brothers.

I'm slightly disappointed that I spent money on it (esp. as I feel it's nothing like the heavy-bass trailers imply), but at least all the performances were good.  And packed house at my theater, for a matinee showing!  We almost couldn't find seats.
intertribal: (something in my eye)
My mother is listening to Christmas music while vacuuming (don't ask me how!).  I just went to three different stores to get some fucking chocolate sprinkles (non-existent at CVS, sold out at Hy-Vee, finally found at Target - bless you, Target, you have never failed me).  Radio is strange on Christmas Eve.  There's the really awful pop-Christmas songs (sorry, I hate them - I also don't like Trans-Siberian Orchestra's stuff), the quiet devotional stuff that plays on NPR, the rock station that doesn't know what to do except play rock that is more optimistic than usual, and 94.1, which has resorted to "Whoop!  There It Is" and "Everybody (Backstreet's Back)."  I listened to 94.1.  My cat is hiding in the basement shelving, behind the gift bags, because fuck if she's going to listen to extremely loud renditions of "Silver Bells."  There's a sugar-dusting of snow outside, but the streets are wet and the air is humid.  Because Nebraska doesn't ever know what it's doing, weather-wise.

Merry Christmas to those who celebrate, and Merry Survival to everyone.  Just don't end up like the people in this movie, okay?


Yes, I think that Black Christmas (1974) is actually a decent movie. 

ETA: A couple pictures of Christmas in my part of the world (my cat in the pre-assembled Christmas tree, the view outside my house 1 and 2, and the country road to my hair dresser's house).







intertribal: (little red)
As usual, haven't read the novella of The Mist.  Consider this a commentary on the 2007 movie.

The monsters were fun; the bigger the better.  Liked that it was all because of a military project trying to contact other dimensions. 

I really dug the ending of the movie.  I wanted the awesome old people to live and I still dug the ending!  The ending, IMO, made this movie work.  It made bland, anonymously heroic David with his beloved little son (I am starting to get really tired of a certain set-up, if you can't tell) - and the rest of his team - accountable characters instead of the holier-than-thou messengers of righteousness that they were sort of set up to be (I have found that movies that try to lampoon/criticize holier-than-thou messengers of righteousness on one side of the political spectrum - in this case, the religious fundamentalist side - usually end up erecting their own holier-than-thou messengers of righteousness on the other side, to act as the correct counterweights.  Left Behind for Leftists, right?  It's ugly no matter who does it, though.  And I've done this myself.  I know it is hard to resist).  I really didn't think another version of Mike the Dutiful Constable from Storm of the Century - whose greatest sin was cheating on a goddamn test! - was really necessary, but at least Frank Darabont had the balls to let this version of Mike make a wrong move.  I give him A LOT of credit for that.

Also, there's been some talk about the role of condescension in politics these days - the idea that educated liberals condescend to "red-state Americans," so to speak, and uh... this movie didn't exactly dispel that.  Having the red-staters say things like "Do not condescend to me!" (while essentially validating any feelings of condescension toward them) did not help.

See, if we just could have paired the first 90% of War of the Worlds with The Mist's ending... we would have like the best, most depressing, most realistic monster invasion movie ever.  Oh yeah, and with the cast of W of the W, please, because the guy who played David could not act, on top of the already crippling setback of David being the most boring character in the whole movie.  It is crazy to me how boring main characters can be.  And I don't mean main characters who act as windows to the world - I mean genuine protagonists.
intertribal: (twin peaks: cooper)
I think this is true of all online social media, but the amount of bad asses on YouTube is really quite amazing.  This is evident on movies like Storm of the Century.  If you are not familiar, that's the Stephen King teledrama where an island community is terrorized by a wizard/demon/evil spirit (Andre Linoge) during a blizzard, forcing them to make the choice between: a) giving the evil wizard one of the town's children, and b) all dying, including the children (well, presumably.  They all believe this will happen because the evil wizard certainly seems to be capable of it).  In the story, the town decides by majority vote on Choice A.  Through random draw (maybe) the evil wizard takes the child of the one guy (Mike) who wants to do Choice B (while his wife Molly agrees on Choice A).  It's all very sad and tragic.  The narrative is sympathetic to everyone involved, and takes pains to explain why the townspeople made Choice A, even though it's the wrong choice.

But YouTube users want you to know that they would NEVER HAVE MADE THIS CHOICE NEVER EVER:
  • I would have stood along with Mike. Good always wins out. The townspeople should have all taken a stand against the evil.
  • I would walk off the end of the earth before I gave a kid away to demon
  • i cant believe that these people would do something like that
  • michael anderson you are the man!!! his stupid ass cunt wife didnt even stand behind him that shows you that she didnt love her son that hard. respect to michael at least your son will know that you stood behind him and these people are so stupid
  • At least Michael did try to get his son out of this like any good father will.
  • I`d say, better to all die there and then with the possibility of all going to Heaven, rather than living longer but knowing you sent a child to Hell.
  • i would of took my child and left too he had a gun i would of shot my way out and she needs a good slap
  • i would prefer let die my child and let it go with God to heaven, that play with his future might become the son of the devil!! that molly is an asshole
  • Weak townspeople!!
  • no way someone would take my kid without killing me first
  • Fucking cunt Mollie. Of course it was fixed you dumb bitch. Mike should have fought harder and took his son before that queer Lenoge asked if they made their decision yet
I have to say, I have trouble believing them.  Yeah, of course there are a (very) few people like Mike around.  The great majority of us are not like Mike (and I think that's the whole point of Storm of the Century: how easy and common it is to make the wrong choice, how much easier it is to see things clearly in hindsight, when the stress and insanity of the moment is gone!).  I get that we all want to think we're the one exception to the rule, just like all our children are above average here on Lake Wobegon, but I do not think the point is that this town is just wretched and evil for choosing Choice A.  The town is excruciatingly normal and human.  We fit that definition as well.  Like my favorite quote from "Courage" goes, "The human tragedy consists in the necessity of living with the consequences."  See also the chorus: "Courage, it didn't come, it doesn't matter/ Courage, couldn't come at a worse time."  Here, just have the damn song.


I'd even go so far as to say Not In My Back Yard tough guy antics actually make people more susceptible to the moral trickery that Andre Linoge sets in motion... it's so dogmatic, so self-assured for no good reason, that it's like putting on blinders.

Anyway, this is ironic timing given that I saw the movie The Rapture last night, which resolves similar themes in a decidedly different way.
intertribal: (ich will)
You'll notice "suicidal mountain-climbing" is on my list of LJ interests, but I'm not sure how much I've talked about it.  I have read the wikipedia List of deaths on eight-thousanders many times.  I am especially partial to stories about K2 - its peril is not exactly a secret in the mountaineering world (and really I should start looking up Annapurna, the mountain with the highest fatality rate: over 40%), but I was surprised to read about K2 in college.  The overriding theme of most of these stories is the question of personal vs. social/communal responsibility: that is, if you pass a mountaineer in trouble on your way to the peak, do you stop your ascent and try to help them down, or do you say "well, he made the mistake of climbing without oxygen/training/equipment, we all have to look out for ourselves"?  See David Sharp.  Sir Edmund Hillary is by far my favorite participant in that debate (Hillary described Mark Inglis' attitude as "pathetic").  Also see the controversial Into Thin Air, which is probably the most famous contemporary mountaineering story.

I think the real reason these stories appeal to me, though, is the surrealism of the whole experience, the time spent "in the company of death," where frozen dead bodies who have been there for years are actually markers like "Base Camp" and "Camp IV."  The surrealism and the incredible desire of these chronic climbers to do something so difficult, so likely to lead to death.  You watch those Everest documentaries and these people just do not stop thinking about 8,000-ers, especially if they've already tried to climb them and failed.  It appears to be their driving purpose in life, one that subsumes family, work, health, finances.  These mountains fucking haunt them.  Then of course there's all the Type-A, competitive aspects of the whole endeavor (that tie directly into the responsibility question) - the "rarr I defy death and gravity and nature" triumph-of-the-human survivalism, the "oh yeah?  well, I'm going to climb WITHOUT OXYGEN" oneupmanship that more often than not leads to death, the extremely bitter disputes over whether the dead people reached the summit or not (I'm guessing it's a question of whether their death was "for nothing").  Note that this attitude does not extend to everyone - Anatoli Boukreev being just one exception: "Mountains are not stadiums where I satisfy my ambition to achieve, they are the cathedrals where I practice my religion...I go to them as humans go to worship."

So here I have watched three mountaineering movies.  Touching The Void is a documentary about Siula Grande, in the Andes.  K2 is "based on a true story" about K2 (obviously).  The North Face is "based on a true story" about Eiger, in the Alps.  Touching the Void and K2 are contemporary stories, while The North Face is set in the 1930s.


Touching the Void is a superb movie.  Simpson and Yates are descending from the summit of the Siula Grande.  Simpson breaks his leg and Yates is trying to rappel the both of them down (an extremely tough pill).  Eventually, Simpson is dangling off a cliff.  Yates can't see him and he can't support the weight of them both, so he hopes that Simpson is only a few feet from the ground and cuts the rope (and becomes known forever more as "The Man That Cut The Rope").  Oh dear, turns out Simpson is 100 foot from the ground.  Yates sees this and assumes Simpson's dead, then goes back to base camp.  But Simpson isn't dead, and has to crawl/hop out of a crevasse and onto a glacier and down to base camp by himself.  Touching the Void may have a leg-up on the other two just because it's a documentary.  But it's a well-done documentary that totally captures the hallucinatory weirdness (for lack of a better term) that Simpson experienced on his horrifically painful descent.  It is also very darkly funny - probably the most memorable part of the movie is when Simpson (on the mountain) has the auditory hallucination of hearing "Brown-Eyed Girl" by Boney M, a band that he hates.  And he's like, "Bloody hell, I'm going to die to Boney M."  My second-favorite part was the guys at base camp hearing this noise that sounds like Simpson crying in the wind but because they're sure he's dead, are too scared to go out because they think it's some undead spirit back to haunt them.  Trufax.  Note also that Simpson has always defended Yates' decision to cut the rope (he reasons that they both would have died otherwise).  Simpson also still climbs mountains.  Really highly recommended.


K2 is not so good.  I don't know what the true story is like, but this felt quite overwrought.  I didn't really understand the motivations of the climbers, and I was totally on the side of the porters that ran away from the Savage Mountain in fear (sherpas, I should note, are incredibly bad ass).  The set-up here is that because the first two guys who tried to go up to the summit fell and died, the two best friends that were "cheated out of their chance" got to go up to the summit despite the great risk of bad weather.  The rest of the group has gone back to base camp and is going to fly away with a helicopter because the one guy has altitude sickness and will die if he doesn't get off the mountain.  But no, the helicopter can't leave!  They must go pick up the two climbers!  Even if the one dude dies of altitude sickness because of it!  Granted this may all be a realistic situation - in which case, quite frankly, it would be a shitty, dire situation exemplifying the tradeoffs and deals-with-the-Devil that people make on 8000-ers - but the presentation was so one-sided, and so straight-faced ("hooray they're dead!  now we can go!"  Huh?), that I found it more than a little eye-rolly.  Besides, the mountain didn't look very threatening - it looked like a tame mountain on a controlled set.  There was no darkness in this movie.  Just triumphant electric guitar.  Give it a pass.


The North Face falls between these two (but closer to Touching the Void).  The main characters are German, and the mountain is in Austria.  The Third Reich is just coming into power, and the German expats are sort of basking in their country's perceived inflation in global value.  Two German mountaineers have decided to climb the never-before-conquered North Face of Eiger, and Germany lets them leave the military to pursue their suicide-dream because it's a good PR opportunity.  Thus the media and onlookers watch them from a little chateau, taking pictures, eating feasts.  An Austrian team is climbing at the same time, and they join forces after one of the Austrians gets a head injury and the Germans discover the dead bodies of a pair that had gone before them.  The mountaineers know both they and their national honor are fucked.  Given these high stakes, they make the profoundly suicidal decision to keep going, lugging up the half-dead Austrian with them, in piss-poor weather.  This movie does not have a happy ending.  It is actually quite brutal, despite the mountain itself being a lowly 4000-er (probably partly because they have shitty equipment).  The movie's also trying to transcend the mountaineering genre and get to something broader - about patriotism, and voyeurism, and living vicariously through a couple sturdy young men who are then thrown around like rag dolls (militarism woo-hoo) - and, of course, about conquest and the predatory state of Nazi Germany.  Also highly recommended.

This song just came on shuffle, and I think it oddly fits [the pretend world being the veneer of achievement and conquest that accompanies these mountaineering missions, and the real world being what actually happens]:

In the pretend world, we all are very awake
In the pretend world, we all look sterile and fake
In this atmosphere we all could chatter for days
In the pretend world, we never admit our mistakes

But in the real world, we're hiding alone and ashamed
And we can't live well because we're addicted to pain
You see I cannot feel this no matter how you try
In the real world, we can't deny

In the pretend world, we gaze into empty eyes
We amuse ourselves with tawdry tales and white lies

But in the real world, where fools tormented for sport
We just stitch up our mouths so we can't admit or retort
You see I cannot say this, please don't ask me why
In the real world, we can't deny
intertribal: (oops)
Apparently my new hobby is analyzing what international action movies have to say about foreign policy - and whether their word should be trusted.  In terms of Taken, for example, just run away.  Far, far away.  The Losers is irrelevant.  The A-Team is okay, although quite fantastical.

The Expendables is actually remarkably accurate.  The gist is "an American is always behind everything," and by "American" we mean a CIA agent.  Thus we actually have CIA agents backing puppet dictators in sad little Latin American republics so that they can get rich off coca - clearly "director" Sylvester Stallone read up on the United Fruit Company and perhaps Manuel Noriega.  Of course, the movie is at minor pains to make sure we understand that the CIA itself does not condone such undemocratic behavior - that the Big Bad was a CIA agent gone rogue, gone bad, gone greedy, and the CIA's now trying to clean up his mess.  Just ignore this disclaimer bit, and you will have the basic idea of Stephen Kinzer's Overthrow.  We even have some exaggerated waterboarding (done by the CIA). 

None of this is made all that complicated or nuanced - the mercenary heroes don't think barely at all about their role in the system (they're too worried about having lost their souls), the evil (rogue) CIA agent is just like, "I am greedy, greed is good," and... that's about it.  There's some blather about patriotism, but it's the poor little Latin Americans that have this patriotism, not the Americans.  I think I could count on one hand the number of times the American flag makes an appearance in this movie. 

And about that little bit of anti-colonial patriotism that blossoms in the Latin American republic?  Well, the Americans quickly stomp it out.  The mercenary heroes don't know why these fools don't just leave their fucked up country.  The corrupt puppet dictator makes a turn for the better at the climax of the movie, when he tries to make the (rogue) CIA agent take the money back and leave the country.  He tells his idealistic, patriotic daughter that "you are who I was supposed to be," and he goes to his balcony to shout to the only people in the vicinity, his bored and confused soldiers, about his mistakes and his greed and "this American disease" that has infected their country.  He asks for his people's forgiveness and vows to stomp out the foreign invaders - and then gets shot off the balcony by the CIA agent still inside his room.  There's a definite under-current of the death of idealism, and perhaps any kind of moral passion, or even values, going on here - even though the heroes make it out, they don't seem to have returned to much except throwing knives at walls.  Kind of a downer, if you think about it.

So good going, Expendables.  That was more than I expected.

the a-team

Jun. 15th, 2010 03:08 pm
intertribal: (ride with hitler)
Spoilers, I guess.  

For my money, the best part of this movie is a 5-minute sequence in a car featuring no member of the A-Team.  There are four CIA personnel in this car, and squeezed in the backseat is their "hostage," a military contractor dude.  The CIA has earlier been described as "wearing body armor in headquarters... which should tell you all you need to know" while the military contractor dudes, "Black Forest" (get it, get it?) have been described as "assassins in polo shirts," which I must admit is a nice touch.  So anyway, the CIA thinks that it has the drop on Black Forest guy, because after all Black Forest guy is in handcuffs, and one CIA guy makes a big show of getting a gun ready to shoot Black Forest guy with - except he can't unlock the safety, he can't screw the silencer on right, he can't even aim it properly.  And Black Forest guy is like, "Please.  Don't let him shoot me."  And the entire scene is basically this brief, wonderful little comedy of errors featuring two of the big behind-the-scenes hitters of US foreign relations - one incompetent and arrogant, one ruthless and heartless.  And oh yeah, they're the bad guys.  

For a blockbuster, this thing is hugely about the American government at war with itself - well, maybe a better word would be the American government squabbling with itself - as opposed to AMERICA fighting Obscenely Wealthy Foreign Fiends (OWFF, for short.  It's the sound they make when you punch 'em in the guts!!)  And I thought that was really great.  Black Forest isn't redeemed with a "few bad apples ruin the whole artillery" speech.  A different CIA dude tries this speech, but it's quickly undermined.  At the end, the A-Team complains that they tried to play by the system's rules, "but the system burned us again."  Similar complaints have been lodged by other super-squads in other summer movies, but it means a little more here because of how believably flawed the system really appears.  The bad guys aren't despicable, rodent-like politicos trying to cut deals with an OWFF - they're just government people trying to get rich quick, themselves sick of playing and getting burned by the system's rules.

That all is the good part.  The bad part is how lame and backward the movie's racial politics are.  There is only one minority with a speaking role (there's one Asian guy that stands around in his job working for Love Interest), and that is B.A.  And he is clearly the Comic Relief of the A-Team, except not even in that Chris Tucker black-guy-that-cracks-lots-of-jokes way.  Nope.  B.A.'s repertoire is basically (a) loud, physical anger accompanied by loud, physical threats, (b) crippling fear of flying (he's the only one that's shown as having fear of any sort) that leads to him being knocked out several times so the A-Team can take flight, and occasionally screaming in utter distress during flights (while everyone else seems to be having a good time), and (c) being bribed into calmness by being offered some kind of food in babytalk.  But there's one part where he's even trapped in essentially a cage and the rest of the A-Team is laughing at him (they claim to be scared of his anger, but they're laughing).  When he tries to guess the which-of-the-three-cups-is-holding-the-ball magic trick, he's wrong (the others are right).  Even his spiritual/ethical awakening is played for laughs and implied to be shallow.  B.A. does get the coolest kill, but I don't think that fixes, you know, everything else.  Now I don't know the original A-Team - maybe this is just how the character is - but it was embarrassing to watch.  Oh wait, there's one other minority.  A Mexican general who literally commandeers the Mexican military to chase after the A-Team because one of the A-Team dudes sleeps with (and then runs off with) his wife.  Ah, those hot-headed Mexican generals.  Always getting blown up by American missiles.  

4s Marry 4s, 7s Marry 7s: I guess, although because Romance Dude actually isn't Main Protagonist (at least from my perspective), the whole romance subplot doesn't factor in too much.
intertribal: (strum strum)
I haven't read much in the way of Twilight (like a few excerpts), but I own the soundtrack to both movies because they are pretty freaking awesome IMO.  "Eyes on Fire" by Blue Foundation is one of my favorites from the first (which I never would have ever found otherwise), and off the second, "Hearing Damage" by Thom Yorke.  Keep in mind almost all these songs are used sloppily in the movies, because the movies are like way out of its league compared to the soundtracks.  But see, that's my issue with the whole Twilight movie franchise.  Elements of it - cinematography, music choice, setting - seem to belong in a way better movie.  And then you see Pattinson and you remember they're albino Fortune 500 vampires and you're like, "oh, man."

Then of course there's the classic Twilight song, "Decode" by Paramore.  I'm a sucker for the pop song that tries to be epic (I like Shiny Toy Guns for similar reasons), so naturally I'm a big fan of "Decode."  My favorite part is near the end where she's all, "I think you know!" and the electric guitar goes "rarr, rarr, rarr, rarr"... yeah, I can't narrate music.   But it's basically like this dramatic musical telenovela bitch slap, and it's great. 

So I was trying to listen to the lyrics, and I convinced myself that this song was a bad choice for Twilight, because it's actually about a couple that is having serious problems.  There's "How did we get here?/  I used to know you so well," there's "Not gonna ever own what's mine when you're always taking sides/ But you won't take away my pride, no not this time."  My favorite, though, was: "But you think that I can't see what kind of man that you are/ if you're a man at all."  It's like, ohhhhh, burn.  And I wanted it for my OTP.

Then I looked it up and it turned out Paramore's Hayley Williams wrote it for Twilight.  So "if you're a man at all" literally implies that he's a vampire.  

Sigh.  And that's what I get for listening to the Twilight soundtrack, badam-ching.

P.S.  Saw Splice the other night.  It's definitely an uncomfortable movie, with a rather uncomfortable (perhaps problematic?) narrative arc as well, but I don't think it's going to poison the wells of society or anything.  I think I'm going to come down somewhere in the middle on this one.  Well-made, but didn't know where to go with the premise (and hey, don't I know how that goes!).  Still, some interesting things to say about sexuality and parenting. 

etc.

Jun. 8th, 2010 01:29 pm
intertribal: (strum strum)
Sent off my contract today for Paula Guran's The Year's Best Dark Fantasy and Horror, inaugural edition.  My "Everything Dies, Baby" (Strange Horizons, last year) will be part of the book, along with stories by a whole bunch of crazy illustrious people.  As I told [livejournal.com profile] handful_ofdust, who is also on the TOC, my reaction to the list of contributors is basically "holy shit" and "I'm scared."  It'll be out in October.

Watched the Machinist.  Can't say that's a pleasant movie.  Limbs being eaten by factory machines, refrigerators dripping with blood, people getting run over (over and over), and worst of all, skeletal Christian Bale (why oh why).  But hey, if nothing else goes to show the Spanish horror movie industry is alive and well.
intertribal: (can't look)
From the subtitles of Re-Cycle:

Press Dude: Are you afraid of ghosts?
Famous Writer: I believe many of us are.  Even though I'm afraid, I would still like to see one.
Press Dude: Why?
Famous Writer: Because I want to experience true terror that wells up from the depths of the heart.  Personal experience is crucial to the writer. 

YOU STUPID FOOL

Yeah, and now the ghosts of Microsoft Word are calling your phone.  WHY DOES THIS NOT SURPRISE ME

ETA:  Would have been a good movie, if not for the preachy, anvil-dropping pro-life message at the end. 
intertribal: (to be with you in hell)
"I'd worry if I were you.  Everything is in red.  Red is either Huskers, or Satan."

iron man 2

May. 9th, 2010 10:47 pm
intertribal: (to be with you in hell)
Context:  I saw the first Iron Man because our passes didn't work on Speed Racer (I was one of those crazy people who liked Speed Racer, btw), and I must confess that it was a little much for me.  I know, "too much" is basically the definition of a superhero movie, but the whole uber-American rock star CEO thing was just not something I could get into. 

This Movie: Because of the above, I actually ended up liking Iron Man 2 more than Iron Man.  Things go wrong in this one.  There's some doubt cast on the viability of the military-industrial complex, both for a nation and a person.  The whole thing is basically a metaphor for nukes - right down to flashbacks to Iron Man's dad making '50s era, Jetsonian promotional vids for technology that will save the world, etc. - so fittingly the two big specters in this movie are: 1) Dangerous, angry people who've been steamrolled by America and its shiny, fancy nukes making shitty, dirty nukes; 2) Nuclear energy turning out to be poisonous in the long-run.  And in the end, the bravado is toned down.  I for one appreciated this.  My favorite scene was probably Iron Man's disastrous birthday party that kind of highlighted how ridiculous the "techno-fantasy" can become.  No wait, my favorite scene was actually the one where Iron Man (or rather the guy that wears him, Tony Stark) presents Pepper with strawberries as an apology, and it turns out that's the one item she's allergic to.  That's what I mean: things go wrong for the rock star CEO in Iron Man 2.  I mean, I was actually rooting for him at the end here, and I wasn't rooting for him in the first one.

The action is a little meh on this one, to be honest - my eyes kind of glazed over - but since The Dark Knight my standards for action sequences have gone up astronomically.  There's also this whole subplot with the Avengers that I thought could have been junked, because introducing random people who look like they're from another superhero universe just distracts, frankly.  If I was not sitting with someone who knew who the hell these people were I would have been going, "who the fuck are these clowns?"  And do we really need to have the "climactic" battle between weaponized mechas intercut with Scarlett J. in a leather catsuit using sexy martial arts to take down security guards?  Don't answer that.  My point is I'm here to watch medium-sized robots fight, and Scarlett unfortunately reminded me way too much of this Scarlett, from this horrible, horrible movie.  That's bad.

Overall, though, I liked the movie and can recommend it.  

4s Marry 4s, 7s Marry 7s:  Yes.  But I think Pepper is awesome, so YMMV.  I thought the snippety interaction between RDJ and Paltrow was one of the best things about this one, and the saving grace of the first. 
intertribal: (i dig that rhythm and blues)
I'm pretty sure the only thing I'll remember from The Losers is this song, which is awesome:


As for the movie itself - I enjoyed watching it, even though it was totally brainless.  Kind of like my boxes of Teh Sosro: sweet and ridiculous, but no redeeming nutritional value.  It passed my newly-imposed 9s Marry 9s, 4s Marry 4s test, so I guess it's got that going for it. 
intertribal: (the arrgh files)
I try not to talk too much about non-religion politics on here, and I'm not a huge fan of endorsing random political shit.  But Homecoming, an episode of Showtime's Masters of Horror series, is really good.  It's also really political.  I mean, it's satire (the director is the guy that made Gremlins), but... not really.  It's almost too dark to be satire, especially toward the end.  The trailer:


The protagonist is a Republican politico who inadvertently starts a gooey catch phrase about "if I had one wish, I would wish all the dead soldiers could come back" because he's "sure what they would say"... thanks for letting me give my life to serve my country, basically.  Which is a strange catch phrase, but the reason he says it is revealed eventually.  Bush (not named) says it in a big speech, and suddenly the dead soldiers are coming back to life.  More specifically, the ones who died mad and discontented (not the ones who believed they died for a good cause).  Except they're not after brains, they just want to have a chance to "have their say" - i.e., to vote.  And it's all about what a big political mess this becomes for the Republicans (the most amusing bit comes when a Falwell type makes a total 180 from calling the undead soldiers a gift from God to calling them hell spawn... there are much less amusing moments as well).  Oh yeah, there's also an obligatory Ann Coulter type. 

I didn't find any of this funny, by the way.  It's not funny or scary.  It's just sad and angry.  It's also too political, the kind of movie that isn't going to change any minds.  There are definitely moments that are too heavy-handed.  Judging by the comments on Netflix, it's incredibly polarizing - and not just along political lines.  I wish it hadn't been so obviously about Iraq, because then it becomes all "topical" in a way it didn't have to be.  The "Republicans" here could be of many political ideologies (much like W., there are no liberal characters - it's one side talking to itself).  This is much, much more about war in a democracy than it is about American Republicans or Democrats.  So, I liked it.

Uh... anyway. 

His adaptation of The Screwfly Solution is pretty good too.  That one is definitely scary as shit for various reasons.  Too bad it's marred by the annoying as hell acting by everyone except poor old Elliot Gould.
intertribal: (she dyes it black)
All I really have to say is... where the hell has FARGO been all my life?  

I watched this on the plane going to China.  This is the clip where I was like, "OMG, it's Nebraska."  Except of course it's not, and it's not our accent, but whatever.


The whole movie is on YouTube, so seriously, no one has an excuse not to watch this beauty.  It's already vaulted into my top ten.  If I'm not careful my entire top ten will compose of Coen Brothers movies and Apocalypse Now.

I've managed to recently watch quite a few movies that I should have seen long before.  Like, The Matrix.  There are some really neat ideas tucked in here, and great music that I already own.  But damn if Keanu Reeves is not a horrible actor.  I wasn't blown away.  Especially by the climactic events.  This was sort of - worldbuilding = A, plot = C.  I fell asleep watching The Matrix Reloaded, but not before getting creeped out by their future human city.  Another movie I fell asleep watching was The Informant.  Really I watched the first 1/3 and then woke up for the last fifteen minutes.  Which seemed interesting, really, and I want to try to watch it again, but the dialogue was so quiet and I couldn't hear it on the plane.  Don't ask why I could hear everything on Fargo. 

I also watched the entirety of The Shining (Stanley Kubrick) for the first time.  I'm a Nicholson fan, and a Shining fan, so it's not like this could really go wrong.  It's not as scary as the book, and I admit some changed details annoyed me, but uh, I had to look away during Room 217.  That was not good, and it went on way too long for comfort.  I hadn't known much about Insomnia, but I clicked on it because I saw Christopher Nolan and "land of the midnight sun."  It's one of those cops going crazy movies, and it's actually pretty good.  Mostly because Alaska makes for such an intense setting, and it's filmed with aplomb.  Get Carter - Stallone the financial adjuster goes home to the Seattle burbs to find out who killed his brother - is pretty entertaining for the first 2/3 of the movie, all this off-beat humorous violence and stuff.  Then it turns into a rape-secondary-revenge movie and gets all somber and icky.  Still, not bad for a let's-be-criminals movie. 

The Legend of Drunken Master/ Drunken Master II is some seriously good shit, better than the first.  I know some people aren't into kung fu attempts at comedy, but I was literally laughing like 80% of the movie (I mean, you know me).  Anita Mui is just fucking fantastic in it - she plays Jackie Chan's stepmother.  Oh yeah and Jackie Chan.  Basically I wanted to join their family.  And yes, I know - I watched the dubbed version.  My only other language choice was French!  Thanks, Netflix!  I can't recommend Bloodsport, though: '80s Van Damme movie about an underground world fighting tournament.  Yeah, you hear world fighting tournament and you're like, oh man, it's gonna be awesome!  Not really.  More like land o' cliches with no entertainment in sight.

I watched a few of Showtime's Masters of Horror pieces.  They're not very good, in general.  That Damned Thing is under an hour but probably the best, about a monster in a small town in Texas.  The acting is reasonable for a TV movie and the plot feels... I don't know, genuine in some way?  I don't want to totally recommend Dreams in the Witch House, a modern adaptation of the Lovecraft story, but for you horror junkies, it may be worth a view.  It's not only creepy in a fun way but it's highly amusing as well, kind of like a good Tales From The Crypt.  Nightmare Man, about an evil African fertility mask, is very very bad - laughably bad.  Valerie on the Stairs, about a haunted writer's colony, is even worse because you can't even laugh at it.

So many religious horror movies!  I lost interest in The Prophecy pretty much immediately.  Requiem, on the other hand, is a really interesting movie if you want to know the true story behind the "true story" behind The Exorcism of Emily Rose.  As in, this is what really happened to the girl - epilepsy and intense religious pressure, from within and without.  Depressing movie, but good, with a very retro/antique feel (set in the '70s in rural Germany).  On a similar note, we've got The Woods, a sort of B-movie-trying-to-be-A-movie-or-is-it-really-trying? about a girls' boarding school with a supposed history of witchcraft, and oh, the evil woods.  If you're into that sort of thing, it's not bad.  I can't say it's worth watching though.  Picnic on Hanging Rock is a far superior treatment of the Witchy Boarding School idea.  Hell House, the original Jesus Camp, is a less scathing, more personal documentary about fundamentalist Christians trying to save America - by building "haunted houses" to scare people out of being gay or having abortions.  It really gets in the heads/motives of the organizers, though, with interesting results.  Not a movie, but I also watched an episode of this BBC show Apparitions - about a Catholic priest who exorcises demons in modern London - and quite enjoyed it, particularly the emotional honesty of the characters portrayed.  Plus I'm a sucker for the whole ambiguously "good" versus "evil" fight over some guy's eternal soul thing.  Apparently British people didn't like it, because it got canceled.  C'est la vie.

Oh yeah, and I watched Shutter Island.  I never felt like it was a real movie.  The acting made it seem more like a community theater production.  Like, way below the caliber I expect from all these guys involved, including Scorcese.  A couple unnerving shots, and I will admit the last 20% of the movie felt like a step up from all that came before - ironic given the plot - and of course, gratuitously scary asylum is gratuitously scary.  I'm not going to rec it though.  I have very mixed feelings.  Like disappointment matched with bewilderment.
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