Monday, November 28, 2011
Sunday, November 27, 2011
music: occult rituals
just found out that two of my current favourite bands, ghost and blood ceremony, will be performing in toronto on the same bill...ON MY BIRTHDAY! AHHHHHHHHHHHHH!!!!!
Tuesday, November 15, 2011
movies: stake land (2010)
Dir: Jim Mickle
Cast: Connor Paolo, Nick Damici, Danielle Harris, Kelly McGillis
Jim Mickle's Stake Land shows us an America perhaps in the not-too-distant future wherein vampires have begun to dominate, and society has essentially been splintered into small bands of survivors, with two clear cut camps: religious fundamentalists and the sane. In these days of Tea Party hysteria, this is all too uncomfortably familiar. More a road movie than a vamp flick, Stake Land reveals that, in an age of fanaticism and intolerance, vampires are the least of our worries.
The story has a man ("Mister") and a boy ("Martin")joining forces in order to get to a safe haven in the north known as New Eden. However, it is unclear if this refuge will even provide solace, as the boy is warned by a store clerk that they'll need to watch out for the cannibals one they arrive there. Along the way, Mister and Martin pick up a ragtag band of survivors, whose only link is that they share a respect for human life regardless of race or creed.
All of the actors, to a person, do a fantastic job of creating realistic characterizations out of what could very easily have been caricatures. Kelly McGillis' nun, "Sister", is particularly affecting, for even though she wears the cloth, she is not so lost in fundamentalist beliefs or irrationality to realize survival trumps all when belief and urgent pragmatism clash. Nick Damici, who wrote the script for Stake Land (as well as Mickle's previous film, the wonderfully grimy and similarly humane Mulberry Street), plays Mister, a brooding antihero who softens over the course of the film, and becomes more and more compassionate, learning that looking out for number one may keep you alive, but it will ultimately have the more damaging effect of total alienation. Martin doesn't have much to say, but provides the voice-over narration that nudges the story along at an easy pace. Sean Nelson, Bonnie Dennison, Danielle Harris, and especially Michael Cerveris as Jebedia Loven, the personification of the idea of Christian Fundamentalism taken to a terrifying extreme, all contribute solid work in slightly smaller roles.
The pacing of the film needs mention, as it is neither fast nor slow, but sort of flows like a languid river, free and easy, never slowing or hastening, and always staying the course. The whole thing felt very natural, very real, and even tangents in the plot acted more like swirling eddies rather than highway off-ramps, deviating for a brief moment of pause before once more giving in to the pull of the water. In fact the whole film has a very naturalistic feel. Kris mentioned before the film that he had been speaking with one of the MM programmers and was told that Stake Land was like if Terrence Malick had shot a vampire film. That idea stuck in my mind as I watched the film, and it is not a poor description at all. Shades of Malick, David Gordon Green's earlier work (man, what happened to him?), Lance Hammer's Ballast, and, to come full-circle, fellow Glass Eye Pix alum Kelly Reichardt's naturalistic films. In particular, I saw similarities between Stake Land's characters and the small, touching and very human interactions in Reichardt's Wendy and Lucy. Pretty deep stuff for just another "vampire" movie.
But that's just the thing - much like Glass Eye Pix founder, Stake Land producer, and renaissance man extraordinaire Larry Fessenden's own Habit, Stake Land is really a vampire film in name only, using the vampires as a vehicle to deliver a more important message, a message that perhaps would be criticized as being ham-fisted if it had been wedged into a traditional drama. However, that is an area where horror excels - because of the suspension of disbelief necessary to enjoying the films, an urgent message can be the driving force of a film and not come across as forced.
The camera work is stunning in Stake Land, and for every gory money shot, Ryan Samul's camera lingers over wintry landscapes, reeds, rushes, trees, streams. There is a very familiar sense to these landscapes, the purple and blue hills of the Catskills and beyond, not only because I've traveled through them, but because the frosty woods and icy brooks mirror our very own landscape. This familiarization of the setting helps convey the message, but I don't think it would isolate viewers from a different geographical region, though it might make the film a slightly less personal experience.
Jeff Grace contributes a compelling score that draws as much from symphonic work as it does from early Americana and Smithsonian Folkways recordings. In the Q&A after a screening of the film, Mickle spoke of how the score moved backward in time, almost as if the characters were heading back into pioneer days, evoking old ghosts and decaying dreams. In fact, the film felt very much like we were witnessing a societal de-evolution, a return to primal needs and fears, where survival is not a right, but a privilege, and the score at times reinforces this idea, and at times juxtaposes it, all to great effect. The score acts almost like another narrative device, in the same way that the camera, the narration, and the plot all have us floating down the river at the same pace. The way that all these elements seamlessly mesh and play off each other is nothing short of cinematic excellence, and really showcases the power and importance of the "director".
Back to Malick - Mickle mentioned in the Q&A that he was heavily influenced by Days of Heaven while shooting Stake Land, and it shows. From the child-like voice-over narration, the score and the naturalistic cinematography - even the small group on the run - Days of Heaven is prevalent here. Which, I suppose, is why Stake Land comes off less like its similarly-themed but completely different feeling contemporaneous celluloid peers Zombieland and The Road, and more like, well, a really good film, a piece of cinema rather than just a movie. Stake Land, while having the potential to be overly sensationalistic, is expertly helmed by Mickle and the fine production touches by the Glass Eye Pix crew bring it all home.
Highly recommended.
Cast: Connor Paolo, Nick Damici, Danielle Harris, Kelly McGillis
Jim Mickle's Stake Land shows us an America perhaps in the not-too-distant future wherein vampires have begun to dominate, and society has essentially been splintered into small bands of survivors, with two clear cut camps: religious fundamentalists and the sane. In these days of Tea Party hysteria, this is all too uncomfortably familiar. More a road movie than a vamp flick, Stake Land reveals that, in an age of fanaticism and intolerance, vampires are the least of our worries.
The story has a man ("Mister") and a boy ("Martin")joining forces in order to get to a safe haven in the north known as New Eden. However, it is unclear if this refuge will even provide solace, as the boy is warned by a store clerk that they'll need to watch out for the cannibals one they arrive there. Along the way, Mister and Martin pick up a ragtag band of survivors, whose only link is that they share a respect for human life regardless of race or creed.
All of the actors, to a person, do a fantastic job of creating realistic characterizations out of what could very easily have been caricatures. Kelly McGillis' nun, "Sister", is particularly affecting, for even though she wears the cloth, she is not so lost in fundamentalist beliefs or irrationality to realize survival trumps all when belief and urgent pragmatism clash. Nick Damici, who wrote the script for Stake Land (as well as Mickle's previous film, the wonderfully grimy and similarly humane Mulberry Street), plays Mister, a brooding antihero who softens over the course of the film, and becomes more and more compassionate, learning that looking out for number one may keep you alive, but it will ultimately have the more damaging effect of total alienation. Martin doesn't have much to say, but provides the voice-over narration that nudges the story along at an easy pace. Sean Nelson, Bonnie Dennison, Danielle Harris, and especially Michael Cerveris as Jebedia Loven, the personification of the idea of Christian Fundamentalism taken to a terrifying extreme, all contribute solid work in slightly smaller roles.
The pacing of the film needs mention, as it is neither fast nor slow, but sort of flows like a languid river, free and easy, never slowing or hastening, and always staying the course. The whole thing felt very natural, very real, and even tangents in the plot acted more like swirling eddies rather than highway off-ramps, deviating for a brief moment of pause before once more giving in to the pull of the water. In fact the whole film has a very naturalistic feel. Kris mentioned before the film that he had been speaking with one of the MM programmers and was told that Stake Land was like if Terrence Malick had shot a vampire film. That idea stuck in my mind as I watched the film, and it is not a poor description at all. Shades of Malick, David Gordon Green's earlier work (man, what happened to him?), Lance Hammer's Ballast, and, to come full-circle, fellow Glass Eye Pix alum Kelly Reichardt's naturalistic films. In particular, I saw similarities between Stake Land's characters and the small, touching and very human interactions in Reichardt's Wendy and Lucy. Pretty deep stuff for just another "vampire" movie.
But that's just the thing - much like Glass Eye Pix founder, Stake Land producer, and renaissance man extraordinaire Larry Fessenden's own Habit, Stake Land is really a vampire film in name only, using the vampires as a vehicle to deliver a more important message, a message that perhaps would be criticized as being ham-fisted if it had been wedged into a traditional drama. However, that is an area where horror excels - because of the suspension of disbelief necessary to enjoying the films, an urgent message can be the driving force of a film and not come across as forced.
The camera work is stunning in Stake Land, and for every gory money shot, Ryan Samul's camera lingers over wintry landscapes, reeds, rushes, trees, streams. There is a very familiar sense to these landscapes, the purple and blue hills of the Catskills and beyond, not only because I've traveled through them, but because the frosty woods and icy brooks mirror our very own landscape. This familiarization of the setting helps convey the message, but I don't think it would isolate viewers from a different geographical region, though it might make the film a slightly less personal experience.
Jeff Grace contributes a compelling score that draws as much from symphonic work as it does from early Americana and Smithsonian Folkways recordings. In the Q&A after a screening of the film, Mickle spoke of how the score moved backward in time, almost as if the characters were heading back into pioneer days, evoking old ghosts and decaying dreams. In fact, the film felt very much like we were witnessing a societal de-evolution, a return to primal needs and fears, where survival is not a right, but a privilege, and the score at times reinforces this idea, and at times juxtaposes it, all to great effect. The score acts almost like another narrative device, in the same way that the camera, the narration, and the plot all have us floating down the river at the same pace. The way that all these elements seamlessly mesh and play off each other is nothing short of cinematic excellence, and really showcases the power and importance of the "director".
Back to Malick - Mickle mentioned in the Q&A that he was heavily influenced by Days of Heaven while shooting Stake Land, and it shows. From the child-like voice-over narration, the score and the naturalistic cinematography - even the small group on the run - Days of Heaven is prevalent here. Which, I suppose, is why Stake Land comes off less like its similarly-themed but completely different feeling contemporaneous celluloid peers Zombieland and The Road, and more like, well, a really good film, a piece of cinema rather than just a movie. Stake Land, while having the potential to be overly sensationalistic, is expertly helmed by Mickle and the fine production touches by the Glass Eye Pix crew bring it all home.
Highly recommended.
Saturday, November 5, 2011
Tuesday, November 1, 2011
movies: an occurrence at owl creek bridge (1962)
Dir: Robert Enrico
Cast: Roger Jacquet, Anne Cornaly
Filmed in France in 1962, the look of An Occurrence at Owl Creek Bridge (La riviere du hibou) is more akin to that of a D.W. Griffith effort. In fact, knowing nothing of the film beforehand, I was under the impression that it was the product of early American cinema. However, once the movie began, I began to notice some very strange camera techniques. The use of sound in bizarre ways completes the surreal feel of the film. Then there is the repeating theme, "Living Man", which punctuates the absurdly tragic outcome of the prisoner. But let's start from the beginning...
The film is based on a story by American satirist, ex-Civil War soldier, and later, Pancho Villa's right hand man, Ambrose Bierce, in which a treasonous member of a Union regiment is set up to be hanged at the titular span. As the man falls, however, the rope breaks, and after a series of close brushes with death, he is on the road to freedom, and back into the arms of his sweetheart...or is he? To say more would be a disservice to the film's unique structure, visual tone and sound design. Truly a virtuoso work that draws as much from Griffith as it does from the French and Spanish surrealists.
Watch it now - you can probably even find it online somewhere. If you can, see the original, although the Twilight Zone-edited, Rod Serling-narrated version will do just fine. You'll get more out of this film's 25 short but dreamlike minutes than you will from watching another rerun of Two and a Half Men.
Cast: Roger Jacquet, Anne Cornaly
Filmed in France in 1962, the look of An Occurrence at Owl Creek Bridge (La riviere du hibou) is more akin to that of a D.W. Griffith effort. In fact, knowing nothing of the film beforehand, I was under the impression that it was the product of early American cinema. However, once the movie began, I began to notice some very strange camera techniques. The use of sound in bizarre ways completes the surreal feel of the film. Then there is the repeating theme, "Living Man", which punctuates the absurdly tragic outcome of the prisoner. But let's start from the beginning...
The film is based on a story by American satirist, ex-Civil War soldier, and later, Pancho Villa's right hand man, Ambrose Bierce, in which a treasonous member of a Union regiment is set up to be hanged at the titular span. As the man falls, however, the rope breaks, and after a series of close brushes with death, he is on the road to freedom, and back into the arms of his sweetheart...or is he? To say more would be a disservice to the film's unique structure, visual tone and sound design. Truly a virtuoso work that draws as much from Griffith as it does from the French and Spanish surrealists.
Watch it now - you can probably even find it online somewhere. If you can, see the original, although the Twilight Zone-edited, Rod Serling-narrated version will do just fine. You'll get more out of this film's 25 short but dreamlike minutes than you will from watching another rerun of Two and a Half Men.
Monday, October 31, 2011
freedom rides: all hallow's eve
spent some hours riding some secret trails and walking in the woods on this gorgeous halloween afternoon.
Monday, October 24, 2011
movies: [rec] (2007)
Dir: Jaume Balagueró, Paco Plaza
Cast: Manuela Velasco, Ferran Terraza
As in [Record]. Another film that mines the increasingly common gimmick (in horror) of the first-person shaky-cam narrative. Man Bites Dog, The Blair Witch Project, Cloverfield, Diary of the Dead, etc, have all used this conceit - that what we are watching is actually happening, or the faux-documentary. And now (or, at least, 2 years ago) along comes this little Spanish horror flick doing the same dance. Thing is, this one's good. Really good. This is what Romero's Diary of the Dead coulda and shoulda been.
We start with Angela, a news reporter, doing a kinda fluff-piece on the lives and habits of firemen. After a bit of familiarizing us with both herself and a couple firemen, an alarm comes in, beckoning the firemen to an unknown crisis at a Barcelona apartment building, Angela and cameraman in tow. What begins as a fairly routine call turns into a very confusing and frightening descent into harnessed chaos. While ostensibly a zombie film, [Rec] is more about the interrelationships of people kept against their will in close quarters, and how bonds are formed and emotions are frayed when people are forced to act without a safety net.
The filmmakers cleverly play with the viewers' senses and sound and lighting are used to expert effect, showing just enough, but not too much. The film takes a bizarre turn in the final 10 minutes, but if you can go along for the ride after what seemed to me like a bit of a stretch plot-wise - and one that admittedly comes out of left-field - then the final scenes are incredibly frightening.
Yes, some think it's silly or puerile to revel in films categorised as "horror", especially with the world's economies crumbling before our eyes and truly terrifying environmental threats that dwarf any cinematic ones, but I think what the genre at its best can offer is a mirror of the pressing issues of today, without having to conform to any kind of constraints of traditional dramatic cinema. [Rec] is kind of a frenzied hybrid of Night of the Living Dead and Cloverfield, and if you dug either of those, you'll probably find something very intriguing and surprising in [Rec], which touches on strained relationships, bio-horror (think The Host), and religious obsession all in an economical 76 minutes (even though the box claims the running time is 89 minutes. Extra long credits?).
Be forewarned - the R1 Seville DVD has a default English-language audio track (a la Let the Right One In). Be sure to change the settings to the original Spanish with English subtitles for maximum enjoyment. Also, avoid the American remake Quarantine, which stumbles badly out of the gates by foresaking subtlety of character for blunt-object head trauma.
Cast: Manuela Velasco, Ferran Terraza
As in [Record]. Another film that mines the increasingly common gimmick (in horror) of the first-person shaky-cam narrative. Man Bites Dog, The Blair Witch Project, Cloverfield, Diary of the Dead, etc, have all used this conceit - that what we are watching is actually happening, or the faux-documentary. And now (or, at least, 2 years ago) along comes this little Spanish horror flick doing the same dance. Thing is, this one's good. Really good. This is what Romero's Diary of the Dead coulda and shoulda been.
We start with Angela, a news reporter, doing a kinda fluff-piece on the lives and habits of firemen. After a bit of familiarizing us with both herself and a couple firemen, an alarm comes in, beckoning the firemen to an unknown crisis at a Barcelona apartment building, Angela and cameraman in tow. What begins as a fairly routine call turns into a very confusing and frightening descent into harnessed chaos. While ostensibly a zombie film, [Rec] is more about the interrelationships of people kept against their will in close quarters, and how bonds are formed and emotions are frayed when people are forced to act without a safety net.
The filmmakers cleverly play with the viewers' senses and sound and lighting are used to expert effect, showing just enough, but not too much. The film takes a bizarre turn in the final 10 minutes, but if you can go along for the ride after what seemed to me like a bit of a stretch plot-wise - and one that admittedly comes out of left-field - then the final scenes are incredibly frightening.
Yes, some think it's silly or puerile to revel in films categorised as "horror", especially with the world's economies crumbling before our eyes and truly terrifying environmental threats that dwarf any cinematic ones, but I think what the genre at its best can offer is a mirror of the pressing issues of today, without having to conform to any kind of constraints of traditional dramatic cinema. [Rec] is kind of a frenzied hybrid of Night of the Living Dead and Cloverfield, and if you dug either of those, you'll probably find something very intriguing and surprising in [Rec], which touches on strained relationships, bio-horror (think The Host), and religious obsession all in an economical 76 minutes (even though the box claims the running time is 89 minutes. Extra long credits?).
Be forewarned - the R1 Seville DVD has a default English-language audio track (a la Let the Right One In). Be sure to change the settings to the original Spanish with English subtitles for maximum enjoyment. Also, avoid the American remake Quarantine, which stumbles badly out of the gates by foresaking subtlety of character for blunt-object head trauma.
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