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Review: Irreversible by DrChocolate

DrChocolate — Fri, 23 Oct 2009 17:54:50 +0000

DrChocolate helps me out with movie reviews from time to time due to my limited budget. The review below is for a movie that contains very graphic and violent scenes. Those scenes are addressed in the review, so read at your own discretion. While I feel his analysis of those scenes and the effect they had on him, the viewer, have value, neither he nor I will be offended if you skip this one.

Previous to watching the French made Irreversible I had read dozens of articles about it, knew all of the deviant, viscous events, but none of it could prepare me for the most gut wrenching, disturbing movie I have ever seen. This French film debuted at Cannes in 2003 and I’ve been daring myself to watch it ever since: well, I watched it and I don’t think I won the bet. By way of a spoiler warning too, a discussion of this film is to reveal much of the plot.

It’s almost difficult to decide where to begin with this cinematic sledgehammer. To call it sadistic, exploitive trash is to ignore its obvious talent and lasting power; however, to call it a masterpiece is to excuse its cruel, sadistic nature and abhorrent authority. Uncoiling in reverse, chronological end to beginning, this tale of revenge and misfortune is not a movie to be viewed, but one to survive. (There should be survivors guilt groups for this film). And I think that fully was director Gaspar Noe’s intention.

The “beginning” of the movie features two men, who we later learn are Pierre and Marcus, angrily scouring a gay S&M club for someone called “The Tapeworm.” Their search ends with the most violent scene I’ve ever seen on film. A man gets his face literally caved in, by the repetitious blows of a fire extinguisher; the camera never looks away. During the beating, which seems to last far too long, I actually whimpered to my laptop screen, “please…stop…” The way the camera hammers down in the same arc as the extinguisher makes the viewer feel like a participant in the beating. There is no way to illustrate the savagery of the scene; it is unrelenting.

Only until after this act of animal destruction, and frantic scenes of Pierre and Marcus scouring the seedy end of Paris for knowledge of The Tapeworm, do we learn that Marcus’ wife Alex, remarkably embodied by Monica Bellucci, was raped and beaten in a into a coma by The Tapeworm. The assault takes place over nine seemingly un-ending minutes inside the grimy confines of an underground pedestrian tunnel. It is unbearable in its savagery. The camera settles onto the concrete that Alex herself is pinned too and never looks away – for nine minutes. I didn’t last that long, I shut my eyes but could not escape the horror of the sounds and the images I had already seen. It is the most barbarous, disturbing, sickening scene I have ever seen on film. Ever.

Why would you subject yourself to such scenes of ultra-violence? The answer, maybe insufficiently, comes in the scenes that follow. As the film distances itself from the savagery it becomes calm, friendly, and at points, beautiful. We see the trio traveling to the party bantering mischievously about sex. We see Marcus and Alex lounging naked and beautiful together in bed, sweet and playful with one another. We also see the simple yet, in hindsight, tragic turn of events that sends Alex on the long walk home and into the tunnel. I will save the last big twist for those brave, or stupid, enough to submit to this hammer blow. The juxtaposition of beauty and depravity, of serenity and barbarity is deeply affecting and jarring. And this is where I find myself mixed.

The movie is profound and vile, effective and despicable, powerful but offensively manipulative. Director Noe can almost be heard in every scene ranting, “I am the director, submit yourself to my whims. I am in charge! And I have a point!” But the acting prowess, especially the deeply moving Bellucci, is without reproach and the technical skill is masterful. Each roughly ten-minute scene is staged with one long, seemingly unedited, take. The cooperation and timing of cast and crew is so impeccable that I didn’t even notice the technique until the film was over and was reflecting on what I had just witnessed. Yet, again, do skill and merit balance unrelenting viciousness and dubious motives?

The message is strong as well, in reverse and told with such a language of brutality, the whole notion of revenge, and action, and horror films is called into question. If told in proper order this might have been a satisfying, but extremely graphic revenge flick. (*MAJOR SPOILER* but even that it is called into question because they kill the wrong guy while The Tapeworm watches *SPOILER OVER*) Yet we are asked to confront our view of violence immediately, without frame of reference, and most importantly, without any reason to excuse, or frankly – enjoy, the beating in the club. The witnesses to the murder make this graphically evident by cheering, encouraging, and one actually masturbating during the beating. The point is as blunt as the extinguisher, but it stuck with me. Deep down I had to ask why do I smile at the savagery of The Hills Have Eyes, why do I laugh when Bond blows up that guy on the runway in Casino Royale, why do I feel joy when Liam Neeson dismantles all those deviants in Taken, or find myself giggling at the gore in Dawn of the Dead. Why am I entertained by violence and revenge? What makes those movies and their violence and manipulation any more reprehensible than this film? It took a good while after surviving this to bring myself to watch any movie with more than slapstick violence. Even now, after moving back to more graphic fare, this movie still haunts the recesses of my mind. I now have to make a conscious decision on whether I’m going to be entertained by carnage and bloodshed. Often, I feel guilty after I do, more than I usually did.

There is also appears to be some very interesting, provocative commentary exploring manhood, machismo, female attraction, and sexual roles. However, it would probably take another viewing or two in order to full absorb the themes and I just don’t think I have it in me.

So is this a good movie? I don’t know, essentially it’s probably a very good one, but I don’t want to admit that. Do I recommend it? Never. Not to anyone. If you want to see it, it is your own, singular decision, do not include me in that process. And do not blame me if you do.

This Fall in Television

Luke Stay — Mon, 21 Sep 2009 18:15:37 +0000

Every Fall, a crop of new TV shows comes out with a suck ratio of 5 to 1 and every Spring, some helpless, innocent show gets pushed into oncoming traffic because you aren’t watching it. That’s right, I’m blaming you. It’s all your fault. You obviously don’t know how to watch TV, so this Fall I’m going to tell you which among the pile of steaming dog poo they call new programming you should be watching.

New Shows:

Accidentally on Purpose (CBS) – Jenna Elfman gets knocked up by a younger man, sit-com ensues. Yes, you have seen this before. No, you should not watch this. Premieres Sep. 21.
Trauma (NBC) – If the promos are any indication, this show is about explosions and their relationship with emergency workers. Skip it and watch some quality Michael Bay explosions instead. Premieres Sep. 28.
The Jay Leno Show (NBC) – The only reason NBC agreed to try this little experiment is because it was much cheaper than having to continue to search out quality original programming season after season. In short, if you watch this show, you are killing television as we know it. All the best shows are already running off to cable. I personally don’t enjoy paying for television, so do not let this happen! Do me a favor and wait an hour for Conan. The writing is much better anyway. Or better yet, watch Conan on Hulu so they know you’re watching. And if you know any Nielsen families, block this program from their TV. Original programming is at stake. We must make a stand. Television fans of the world unite! Premiered Sep. 14.
Shark Tank (ABC) – It has nothing to do with sharks, at least not the cool kind. It’s a bunch of Joe Shmoes with get-rich-quick schemes pitching them to five rich dudes (Sharks). The fact that they’re trying to ride the coattails of Shark Week’s popularity is reason enough for me not to watch this show. You should do the same. Premieres Sep. 29.
NCIS: Los Angeles (CBS) – Yes, they made another one. This one’s got Chris O’Donnell and LL Cool J. Does that mean it will be any different than the other one? Absolutely not. Look, if you keep watching these unoriginal crime dramas, they’ll keep making spin-offs. It’s your own dumb fault, America. Premieres Sep. 22.
The Good Wife (CBS) – This one’s about the wife of some scandalous politician who was just outed to the press. Just because it’s timely doesn’t mean it’s good, let alone accurate. Watch it if you’re into that sort of thing. Premieres Sep. 22.
Melrose Place (CW) – Yes, they brought it back. No, you shouldn’t watch it. Premiered Sep. 8.
Hank (ABC) – Kelsey Grammer tries his hand at another sit-com that isn’t Frasier. Friends don’t let friends watch lame ABC sit-coms. Premieres Sep. 30.
The Middle (ABC) – Patricia Heaton and the Scrubs Janitor star in a sit-com about a blue-collar family with oddball kids. I have a feeling hijinks might ensue. Do not watch. Premieres Sep. 30.
Modern Familly (ABC) – Ed Bundy robbed the cradle with Sofia Vergara at the behest of his ex, Shelley Long. That’s seriously the premise of this show. Premieres Sep. 23.
Cougar Town (ABC) – If Monica divorced Chandler, was now 40+, and had her own show, it would be Cougar Town. Now I ask you this, did you watch Friends just for Monica? Yeah, didn’t think so. Premieres Sep. 23.
Eastwick (ABC) – A modern drama about Witches. I’m going to tell you not to watch it just because ABC has wasted so much of my time with their crappy new shows. Premieres Sep. 23.
Mercy (NBC) – An Iraq-war veteran becomes a cranky nurse at a busy hospital. It wants to be Nurse Jackie, but looks more like a poor man’s Grey’s Anatomy. Grey’s Anatomy is already pretty poor. Premieres Sep. 23.
Glee (Fox) – This show could really be a whole lot more. They take the singing segments way too seriously. It’s original though, and funny enough, plus there’s absolutely nothing else to watch on Wednesday, so go ahead and watch it. Premiered Sep. 9.
The Beautiful Life (CW) – It’s produced by Ashton Kutcher, it’s about a bunch of pretty white girls, and it’s on the CW. As far as I’m concerned, that’s three strikes. Premiered Sep. 16.
FlashForward (ABC) – This one looks good. The world blacks out and everyone gets glimpses of their own future. They spend the show trying to figure it all out. It’s produced by David S. Goyer, who wrote The Dark Knight, Batman Begins, and Dark City. This is a guy with serious Sci-Fi cred. My interest is piqued. Premieres Sep. 24.
Community (NBC) – This show has all the ingredients for a tasty treat, and the pilot didn’t fall short. I’m in. Premiered Sep. 17.
The Vampire Diaries (CW) – If you watch these Twilight/True Blood spawns, the terrorists win. Premiered Sep. 10.
Southland (NBC) – Technically not a new show, but they gave it the death toll of a Friday time slot and it’s a great show, so I’m putting it here. This was the best crime drama on TV last season, if not the best drama on network TV. Watch this show and kidnap a Nielsen family and make them watch it. Premieres Oct. 23.
Brothers (Fox) – Oh, brother. Premieres Sep. 25.
The Cleveland Show (Fox) – Family Guy jumped the shark a long time ago and Cleveland was far from the funniest character. You do the math. Premieres Sep. 27.

So there you have it, the only new shows really worth watching are Glee, FlashForward, Community, and Southland. I was going to tell you what you should already be watching, but I wasted a lot of time writing this. I did manage to save you hours of brain-rotting trauma, so you’re welcome.

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Review: Adventureland by DrChocolate

DrChocolate — Wed, 09 Sep 2009 21:12:30 +0000

Kyle Terry is DrChocolate and my good friend from college who I asked to help me out with my movie reviews. My budget limits the amount of movies I can see and the good Dr, while having similar taste in movies as me, often has differing viewpoints that I think are valuable to the site.

Coming of Age. Like “sexually active” to Juno, I’ve never really been sure what that means. Regardless, quite a few films have been dedicated to capturing that moment in life and reflecting it back to its audience. Amongst this sub-sub-genre exist a few much-loved classics. The Breakfast Club. Dazed and Confused. Garden State. Among others. Add Adventureland to the list, and in my opinion – put it near the top. Up front and honest – I unabashedly adored this movie.

As with all great “coming of age” flicks, Adventureland made me nostalgic for times I’ve never lived, places I’ve never been, things I’ve never done, and people I’ve never met. I wanted to hit play again the instant it was over. It takes place in 1987 but this isn’t an “80’s movie,” its not a gimmick (again, like all great COA movies) it serves as a reference point and a mindset for the characters. The decade doesn’t intrude but enhances. Despite being accepted to grad school at Columbia and due to circumstances beyond his control, James, effortlessly played by Jesse Eisenberg, must suffer the indignity of working at a rundown amusement park the summer after completing his undergrad. His humiliation soon eases as he bonds with the other ragtag employees including the earnest nerd Joel, immature Frigo, and the beautiful Em. Romance ensues, hilarious mishaps occur, and parents and children disappoint each other. If it lacks one thing it’s that the plot is familiar – you kind of know what’s going to happen from the start, but that in no way detracts from the enjoyment of the film.

Eisenberg and Kristen Stewart (who plays Em) shine and have palpable chemistry, and the supporting cast, including SNL’s Bill Hader and Kristen Wiig, are hilariously, endearingly eccentric, but they never feel like caricatures or sketches. Ryan Reynolds’ caddish maintenance man is perhaps the only main character who suffers from thin writing, but he does what he can with the material. Greg Mottola has written and directed a sincere slice of life and love. It’s hard to believe this is the same guy who made the overrated, overlong, and overly crude Superbad.

I can’t overstate how much I enjoyed this movie. It’s funny, heartfelt, real, and has an expertly used soundtrack, including fantastic use of Lou Reed and Crowded House. This relatable tale of worst summer ever turning to best summer ever is highly, highly recommended.

Review: What Doesn’t Kill You by DrChocolate

DrChocolate — Tue, 21 Jul 2009 21:18:25 +0000

It all seems so familiar. At a young age, South Boston friends mix into the local Irish mob. Drama, grit, bleakness, and crime all conflict with friendship and family. Boston and Boston crime seem to be bravura filmmaking central these days. Yet this one is different, different because it’s true. Different because the story is deeper. Different because it’s about becoming a man. Becoming a man not by exerting confrontational machismo, but by recognizing responsibility and buckling down and doing it for yourself and for those you love.

This is the directorial debut and first screenplay for Brian Goodman. And Lets hope he does more. It’s closely based on his life and experiences growing up in Southie. A haunted, spectacular Mark Ruffalo (why is he not one of the biggest actors in Hollywood?) portrays Brian on film and Ethan Hawke is his rangy, more volatile best friend/street brother Paulie. Tiring of pulling small jobs for a local mobster (Goodman himself, with a menacing pitbull’s presence) the pair starts pulling jobs for themselves, eventually saddling Brian with a fierce drug addiction and the both of them with a prison term. Brian, meanwhile, has two boys and a devoted, but not delusional, wife played by a surprisingly terrific Amanda Peet. Fiscal uncertainty, a damaged marriage, and a distant, guarded son all weigh on Brian, made so vivid by Ruffalo, as faces his options and the true definition of manhood.

Goodman’s direction is assured and calm and balances the gritty plot lines. Having the director be the subject of story clearly goes a long way towards making the drama feel so exposed and authentic. It’s Brian’s (character and director) exploration of manhood, fatherhood, and the bonds of marriage that make this film. Highly recommended. After watching, the making of doc on the DVD is also recommended as you get to hear from Goodman himself concerning the film, his life, and who the two melded together. First-class, overlooked film.

Favorite Video Friday – Tribute

Luke Stay — Fri, 10 Jul 2009 19:26:55 +0000

Google Reader users may have to click through to the site to see the 3 videos below.

This week, I decided to tribute the great Michael Jackson in a way that only YouTube can. Oh, the things grown men will do when left alone in their mother’s basement…

This Week: A Tribute to a Legend

Try to ignore the pop-ups, they aren’t mine and I couldn’t find the original.

I don’t know what’s sadder, the fact that he chose “Man in the Mirror,” or the fact that he took the time to make props.

No tribute would be complete without the great Baby James!

Review: Revolutionary Road by DrChocolate

DrChocolate — Thu, 09 Jul 2009 20:31:08 +0000

In an effort of full disclosure I’ll start with this opinion: I think Sam Mendes is vastly overrated. As a matter of fact I think he borders on being a hack. He strikes me as drama’s version of Michael Bay; drama for dramas sake, drama for those who don’t know any better. He knows all the paint by numbers for a drama, and every now and then he show flashes of brilliance (Road to Perdition), but for the most part, it all seems counterfeit and overly calculated. With that intro, onto his latest film Revolutionary Road. This impeccably acted drama asks a lot of the viewer. For one, it has no routing interest – both Kate Winslet and Leo DiCaprio are nasty, brutish, ugly people. When first watching this movie I honestly looked down at the time counter thinking I had skipped a scene or three. But no, the movie literally drops you, quite heavily, into the bitter, raging disappointment of a dissolving marriage. The film has that Mendes sterility and distance, like you’re watching everything unfold in a fishbowl where you’re never able to truly connect. I also am constantly irritated by Hollywood’s insistence on using the middle class and the suburbs as metaphors for wasted life and unfulfilled dreams. You do realize that the same people you’re asking to indulge your piousness with their hard earned middle class dollars are those that you are criticizing, right? (Yes, I know this film is based on a book from the 1960’s but my irritation still holds). See that steaming hot mess of overrated self-importance American Beauty for another example.

That’s not to say this movie isn’t without its positives. Winslet and DiCaprio have probably never been better. DiCaprio’s man-boy looks have never served him better than here as an emotionally stunted man-child fearful of his corporate future who struggles with the definition of what it means to be a “man.” The furor with which the two fight and steam and reconcile and fight again is monumental and engulfing. Their fights are cringe-inducing in their veiled, reprehensible brutality. That the actors are able to convey that nastiness with a level of care for each other is rather extraordinary. Michael Shannon as a mentally unbalanced neighbor is frightening and exhilarating as the only individual in the movie that sees the truth in their lives and isn’t afraid to speak his mind. He’s a revelation. The art direction, the submersion into the time, is immaculate as well. However, it still carries the Mendes sheen, where you’re never able to care about two people when it’s vital to do so. That sheen and veneer eventually muddles the performances and the message of the film. I felt like I was watching actors acting the hell out of individual scenes rather than an actual story arc. It’s definitely an affecting piece of cinema but it stays there instead of becoming something significant and powerful, something it could have been. Overall it’s a typical Mendes film, flashes of brilliance, flashes of hack, and some fantastic performances. I marginally recommend it, but again, with reservations. If you like Mendes other films you’ll probably like this.

This Week in Movies – 7/3/09

Luke Stay — Thu, 02 Jul 2009 21:57:04 +0000

In Theaters:

Ice Age: Dawn of the Dinosaurs – The third movie in a trilogy whose only real redeeming quality is the prehistoric squirrel. But who am I to judge, if you liked the first two, you’ll probably like this one. Also available in 3D.
~ Save to Netflix Queue
Public Enemies – Michael Mann (Heat, Collateral) directs Johnny Depp as the infamous gangster, John Dillinger. Also stars Christian Bale and Marion Cotillard (La Vie en Rose), but in a surprise move, the soundtrack contains not a single track from Audioslave. I’m always up for a Michael Mann movie.
~ Save to Netflix Queue

On Video:

Nothing worth watching came out this week, including The Jonas Brothers: The 3D Concert Experience.

This Week in Movies – 6/24/09

Luke Stay — Wed, 24 Jun 2009 16:55:08 +0000

In Theaters:

Transformers: Revenge of the Fallen - You may have heard of this one, it’s about a bunch of giant robot cars set on world domination and the giant robot cars trying to stop them. Oh, and there’s some humans mixed in there, namely Shia LeBouf and Megan Fox. Oh, and some explosions too … lots and lots of explosions. It is a Michael Bay flick after all. Came out today. Watch it in IMAX. Portions were filmed in IMAX on 70mm film (standard film is 35mm, IMAX doubles that and turns the picture on its side, making the picture 9 times larger than your standard release … I told you, giant robots), and let’s face it, if you’re going to spend all that money on the theater, you might as well get the biggest robots you can. This has turned into the largest description in the history of This Week in Movies. Michael Bay would be proud. BOOM.
~ Save to Netflix
My Sister’s Keeper – I haven’t heard anything about this one, but it stars Cameron Diaz, so I wouldn’t watch it with your eyes.
~ Save to Netflix

On Video:

Confessions of a Shopaholic – You know … for chicks.
~ Add to Netflix
The Pink Panther 2 – Poor, poor Steve Martin. Let’s not encourage him. Maybe then he’ll go back to guest spots on 30 Rock instead of making Pink Panther 3.
~ Add to Netflix
Inkheart – Brendan Fraser reads books to his daughter and guess what, it comes to life. I think this one may be based on a book of some sort, but I’m way to uninterested to look it up.
~ Add to Netflix

Past Video Releases of Note:

Gran Torino – Clint Eastwood directs Clint Eastwood as a crotchety old man who learns to love his punk kid neighbors. It looks really good despite my lame description, but I have a platonic man-crush on Clint Eastwood, wrinkles and all.
~ Add to Netflix
The International – Clive Owen and Naomi Watts go to war against a national bank. It got mediocre reviews, but looks like a fun enough rent.
~ Add to Netflix

Review: Terminator Salvation by DrChocolate

DrChocolate — Wed, 03 Jun 2009 22:34:58 +0000

Whiz-bang fizz pop. That’s where director McG excels, and he shows it in Terminator Salvation with many many dogfights, fistfights, and gunfights. I’m sure anybody reading this knows the Terminator back story, so I’ll skip it and dive right in: McG, he of the infinitely vexing moniker, actually acquits himself quite well to the Terminator material and luckily for him, the parts that seem destined to spin off into la-la land are saved by an effectively gritty Christian Bale. The action scenes pop and move furiously, but not without a sense of purpose. They, barely I’ll admit, transcend the Michael Bay action-for-actions-sake vortex, but they plunge, swerve, and explode on a grand scale and are generally effective because you care about the cast. As mentioned, I think McG needs to graciously thank his cast for keeping this movie in line. The performances from Bale and Anton Yelchin as a young Kyle Reese are particularly good. Newcomer Sam Worthington is charismatic as a mysterious outsider (although the previews completely spoiled why he’s mysterious), this despite that fact that he doesn’t do much but glower and fight, though I believe that’s more the scripts fault than his. Bryce Dallas Howard is a victim of the screen writing as well; her role seems ancillary and underwritten. The entire Terminator saga has not come without its fair share of clunky, brick heavy dialogue and some poorly manufactured emotion and this installment is no exception in that department either. However, I ended up liking this movie far more than I thought I would. Recommended for a weekend of surprisingly well-made whiz-bang fizz pop.

This Week in Movies – 6/1/09

Luke Stay — Mon, 01 Jun 2009 18:26:31 +0000

In Theaters:

The Hangover – Four friends go to Vegas for a bachelor party and wake up the next day with alcohol induced amnesia. Mike Tyson ensues.
~ Save to Netflix queue
Land of the Lost – Will Ferrel remakes a 70s camp-fest with expected results. Be sure to watch him on Man vs. Wild, Thurs. June 4 on Discovery channel.
~ Save to Netflix queue
My Life in Ruins – Nia Vardalos (Big Fat Greek) is a tour guide in Greece who is unhappy with life. I can’t tell if this is supposed to be a sequel or not. I can tell it’s going to be 2 hours of Greek-flavored poo.
~ Save to Netflix queue

On Video:

He’s Just Not that Into You – Marketed as a romantic comedy that really understands women and their woes. In reality, it’s directed by the 51-year-old married male director of such gems as License to Wed, The Beautician and the Beast, and Dunston Checks In … Oh, and Sesame Street’s Follow That Bird. That movie changed my life.
~ Add to Netflix queue
Defiance – James Bond organizes a rag-tag rebel army to fight the Nazis. Sounds like Return of the Jedi with less Ewoks.
~ Add to Netflix queue
Revolutionary Road – Sam Mendes (American Beauty, Road to Perdition) directs Leo DiCaprio and Kate Winslet as they battle through the struggles of marriage. Looked pretty good.
~ Add to Netflix queue

LukeStay.com - Random Ramblings, Music Videos, and Movie Reviews

Review: Irreversible by DrChocolate

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This Fall in Television

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Review: Adventureland by DrChocolate

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Review: What Doesn’t Kill You by DrChocolate

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Favorite Video Friday – Tribute

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Review: Revolutionary Road by DrChocolate

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This Week in Movies – 7/3/09

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This Week in Movies – 6/24/09

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Review: Terminator Salvation by DrChocolate

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This Week in Movies – 6/1/09

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