Revenge (2017)

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Another entry from the over a year old now back of my list of Shudder movies[1]. Revenge is one of those movies in which a lady been done wrong by almost always some dudes rather than a dude, in a very specific way that benefits from a trigger warning in these more enlightened days. Later, she takes, uh, revenge[2] on them.

And there’s really not a ton more to say. It’s a pretty good example of what it is, and alternates between being genuinely tense, genuinely disturbing, excessively gory, and over the top silly. You wouldn’t that that would be a thing in this subgenre, but between the burn scar transfer and the circular house chase… Maybe they were going for slickly stylish, which is a thing some action movies do these days. (This is occasionally an action movie, though it’s mostly a tense thriller.)

[1] Sidebar: A thing I hate about tech patents is that it means most streaming services, unless they had a vanishingly rare novel idea or have enough money to pay someone, are forced to have really terrible watchlist organization, when they’re even allowed to have watchlists at all.
[2] Usually the title of a movie with this plot is not so on the nose. I Spit on Your Grave, for obvious example.

Pengabdi Setan (2017)

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Today I learned that Indonesian horror cinema, much like the local version, sometimes goes back to the well. Because it turns out that Satan’s Slaves is a remake of the same title in Indonesian (although Satan’s Slave, singular, in English), made in 1982. I haven’t seen that one, but the IMDB summary makes it clear they’re related.

Anyhow, this version starts with the quiet grief of a family whose once-famous singer matriarch is withering away from a mysterious illness. Not only are they losing their mother (or, in one case, wife), but they’re also losing the things they own and quite possibly their house, in paying for her care. I guess mostly the medicines and old doctor bills, as the mother is in house and being cared for by the family, not a hired nurse or anything.

But then things get flickery at the edge of your vision ghosty, and then they get in your face ghosty, and then things get a lot worse than that, in unexpected ways. (Or, well, maybe not so unexpected, based on the title.) Despite a third act full of running and hiding and fighting with generally about triple the cast of anything that has gone before, the movie as a whole is quiet and meditative albeit with occasional actual scares (and more than a few attempted jump scares). Meditative on how families might dissolve, on the kind of loss that we all someday face, on falling away from your religion, and most especially on how the sins of the past must be paid, even if they weren’t your sins.

The Invisible Man (2020)

Then, on Friday night, I went to see another movie. Woo, movies!

Except, not so high as all that on the “woo!” factor, because what I saw was The Invisible Man, which… man. I don’t know where to go here. The thing is, this is a legitimately good movie, and arguably it’s a legitimately important movie on top of that, and (also arguably) Elisabeth Moss is the finest actress of her generation. At minimum, she’s the best there is at what she does, which is be compellingly emotionally injured.

But goddamn. Leaving aside the subject matter[1], which should be hard for anyone to watch (although it probably is not, and I weep for some of my fellow so-called humans) and definitely would be hard for a segment of the population to watch, the movie is also unceasingly tense, after the first 30 seconds or so. The longest period in which it let up was for maybe five minutes, and this only happened the one time. I can’t recommend it to anyone for that reason alone. So stressful!

But it is seriously good, and seriously important. It’s just even more than either of those seriously unpleasant. Basically, if you are aware of the concept of gaslighting, watch at your own risk. If you are not, or if you don’t really believe in it, watching is mandatory. Not that, if you somehow disbelieve in that concept, you would listen to me here.

But you should.

[1] Another plot summary by footnote: don’t mind if I do! Aforementioned Elisabeth Moss escapes an abusive relationship, only to discover that she has not. Because, seriously, you know who can get away with pretty much any damn thing? A rich techbro who is also invisible. Or! Could it possibly all be in her head?

Birds of Prey and the Fantabulous Emancipation of One Harley Quinn

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So, I did it! I got the Alamo Season Pass thingy, which this is not a commercial for, but one free movie a day is kind of great? I have to go twice a month to not lose money on the deal, and I want to go a lot more than that, although I think there’s a tiny human hoping to thwart my plans. …who will probably succeed. But for now, salad days[1]!

Upshot, on Thursday we saw Birds of Prey, a movie about which I have non-controversial opinions. To recap, I thought the Wonder Woman movie was great at being the first female-led superhero movie, but the actual film itself has not aged well for me outside that context. It’s perfectly cromulent as a superhero movie but no more than that. I thought Aquaman was shockingly good, better than it had any right to be, and therefore maybe a half-rank above “perfectly cromulent etc”? The rest of the modern DC movies are hot garbage at best, including Suicide Squad, except that Harley Quinn was revelatory in it.

All of that to say: Birds of Prey would fall on a tier maybe just above hot garbage, except for that fantabulous emancipation bit. As nearly as I can determine, Margot Robbie was born to play this role. (She seems to think so too, given her heavy involvement in getting the movie made.) This is basically Harley’s transition from the Joker’s emotionally manipulated girlfriend to chaotic good trending neutral antihero, and she’s hilarious every step of the way. Plus, the narration! I will keep watching her make these movies as long as she’s interested.

[1] I have no idea what that means. What it conveys, yes. What it means that results in conveying that: not a clue.

Keepers of the Sun

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This week in the Deathlands, our heroes… are not in the Deathlands, actually. See, for the past three to five books, there have been hints of circa 17th C samurai that have been using the same teleportation gateways that our band of semi-heroes have been using to travel around the post-apocalyptic remains of what was once the United States. (So, y’know, near future sci-fi.) All of which to say, this time they come out in Japan!

Well, in the post-apocalyptic remains of what was once Japan. Because, you know, global thermonuclear war has only the one winning move, and nobody in this series took it.

Anyway: Keepers of the Sun is mostly interesting as a historical time capsule of the late ’80s[1], when we had an economically tense relationship with Japan. I have frequently lauded the sexual egalitarianism of these books, and I would have guessed that the racial parts would be the same. This is… kind of true here? Not as much as I wanted, but in some ways it felt like the blustery, rough-edged folk of the future were learning not to be racist against the Japanese[2] as a stand-in for the (let’s be honest) mostly working class truck driver type who became the biggest audience for this series.

I know for sure that I kept expecting [hereafter follow spoilers for a book you will never read] the other shoe to drop with the nominally noble-minded, Bushido-coded warlord[3], but no, he really was what he seemed. Even their points of contention over a possible mass invasion of the Deathlands could I think have been solved by the realization that even with the many uninhabitable or outright destroyed regions of North America, population reduction has resulted in plenty of room for everyone. But the mostly episodic nature of the series largely prevents that size of change to geopolitics, I suppose. So they found another way to resolve it.

[1] I’m trying very hard to disregard the 1996 publication date here.
[2] Except manga. Everyone stayed racist against manga.
[3] Okay, what I cannot especially defend is the premise that the meager remains of Japan’s main island would revert to circa 17th C warlords, samurai, ronin, and peasants. But since the US has mostly reverted to feudalism, it’s not as troublesome as it sounds at first glance.[4]
[4] I’m a little proud of that phrasing.

Fantasy Island

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If you’re like me[1], when you saw the preview’s for Blumhouse’s Fantasy Island, you thought, “Hey, awesome, someone is adapting the old Fantasy Island TV show as a movie, but instead of romance or whatever, it’s horror!” And this is largely exactly what happened. You have your people arriving at the island, you have Mr. Roarke greeting them all and promising that not only will their fantasies be fulfilled, but that it is mandatory to fulfill them to the [bitter] end, you have two A plots and two B plots interweaving amongst one another, now and then interacting. Which is a lot of plots for a TV episode, but about right for a movie I reckon? In any case, I got exactly what I expected, and honestly it was pretty good for what it is.

My caveat is, I never actually saw an episode of Fantasy Island. I saw a great deal of advertisements for it and its shared timeslot with The Love Boat in my misspent youth, but I largely gave both of them a pass. So I pulled up the Wikipedia article for a refresher[2] just before writing my review, and the wry twist is this: except for what are largely PG-13 horror trappings that only borderline at best couldn’t be shown on network TV, and definitely unairable R-rated language, I had completely misjudged my comparison. Because the TV show? “Instead of romance or whatever” doesn’t really apply. It actually already was more or less horror with fantasy-the-genre trappings, and it’s entirely fair to view this movie as a prequel in which Roarke as host of the island learns that it’s okay to intervene just a little bit, so people can have happy, or at least morally informative, or at the very least mostly non-fatal, endings.

Luckily, though, the movie works just fine under my initial misconception too. It’s just that I sort of regret that I never watched the TV show, now.

Lastly, apropos of nothing else in particular, it is important to note that Ryan Hansen’s lucrative career of playing Dick Casablancas in every role for which he is hired continues unimpeded.

[1] Disregarding the “awesome” bit, I mean
[2] Well, for a fresher, I suppose.

Golden Fool

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I have really a lot of thoughts about Golden Fool, which (unless something changes) marks the approximate midpoint of Hobb’s travels in her world of assassins and Elderlings and dragons. That clause looks like the kind of clause you say to fill time, but I meant it to actually convey something, which is that the many swirling thoughts and confusions I have not yet expressed are probably in the right place. After all, if I don’t find myself with more questions than ever and my previously held answers upended in the precise middle of a story, when should I find myself in that predicament?

But anyway, the series and the world continues to be both really good and to not bother me as much as it has in the past, on an emotionally depressive level I mean. So those are both things that are great! In addition, they are pretty much the only things I can say that are not spoilers. Well, that’s not quite true. My one line not very spoilerly summary goes like this: this is the book where Fitz learns how to interact with humans again.

Everything else below the cut, though.

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Death Masks revisited

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So, uh, massive spoilers for not so much this book but for the entire series through Peace Talks, which is not yet published as of this review. Don’t read farther unless you don’t mind.

Without yet having checked my previous review of Death Masks, I assume that I liked it quite a bit[1], since all of the Dresden books have hit me pretty favorably. And yet, reviewing the audiobook relisten in my head, mostly what I think of it is… well, that’s not fair. It’s still extremely positive. The war with the Red Court is really heating up, we get the first real glimpse of the Denarians, Marcone is humanized[2], there’s some big movement with the Knights of the Sword that, if I remember my timelines correctly, has only recently paid off. Plus, they finally introduced Molly, who appears to have set off the chain of events leading to Harry’s procreation. A lot of really important things happened!

The problem, if there is a problem, is that everything I’ve said (or almost everything) is groundwork for future books. Whereas my actual experience of Death Masks as a book was: you know, it was fine. Butcher has already written better single book mysteries and anyway it only reached half-resolution, and only via deus ex missourian at that. I mean, unless you care how the Shroud of Turin thing turned out, which I suppose is fair enough. The problem, briefly expressed already a paragraph above, is that this makes me sound sour on the book, and I’m not! It was, y’know, fine.

Anyway, the by far more important part, my timeline update. The book occurs in February of year 3, seven months after the book prior. And various events lead me to conclude that okay, probably Harry’s daughter was conceived during this book, rather than being 6 months old already. Which makes her birthday in November of year 3 rather than Augustish of year 2. (Because, see, I’m still making this calculation easy on future me. Woohoo!)

[1] Guess: correct! Shockingly.
[2] Which has stuck with me ever since even if the details of how it happened had not.

The Canal (2014)

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When I started thinking last night about my review of The Canal, I was pondering whether I could really capture the spirit of the the movie’s slow disintegration of reality without delving deep into spoiler territory. See, there’s this sad faced Irish film archivist, played by a guy I had never heard of before a couple of years ago, but who plays an oppressed Jew in The Man in the High Castle and also the Watcher-equivalent in the Charmed reboot, and so basically he’s all over TV now, reliably playing the same sad faced character type (although to be fair the meat behind each of the characters is substantially different). And he learns that his house was the scene of a sensationally grisly century-old murder the same week he receives an emotional shock, which sends him into a haunted (whether literally or metaphorically is at the heart of what the movie is about) downward spiral.

It’s basically treading the same ground as Paranormal Activity, except if it’s not found footage so much as an external camera recording the guy creating the footage, and if it were crossed with a crime drama. Which, that’s not a “crossed with” I personally have seen before, and it’s fair enough. Only, while I was back at the beginning of the first paragraph thinking about how to explain all that in non-spoiler fashion, I came to an unexpected realization, which I can only explain by for sure getting into spoilers: it is that I don’t actually care about any of that, because of a critical flaw at the heart of the film’s conceit.

Thusly, a spoiler space break.

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Sweet, Sweet Lonely Girl

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I scrolled to the tail end of my watch list on Shudder last night, because it’s been a minute or three since I watched anything there that wasn’t hosted by Joe Bob Briggs. The movie at the end was conveniently short (since I was halfway thinking about going to sleep early instead) and in English (since I wanted to get my outstanding review handled before the plot got very busy[1]), so perfect placement, and thusly did I watch Sweet, Sweet Lonely Girl, which is one of those recent modern movies with a heavy ’70s aesthetic[2]. Check the poster to your right, for example.

Despite the 20th C gothic setting, which is teenager gets away from her creepy stepdad by taking a summer job as caretaker for her mother’s shut-in sister who lives in a big empty house but refuses to leave her bedroom or for that matter even open the door to be seen by anyone due to agoraphobia and also she has a heart condition, despite all those horror movie trappings, this easily could have been mistaken for an awkward teen lesbian coming of age art film. Because there’s the alluring raven haired beauty at the grocery store, and wait, she’s interested in me, the quiet shy wallflower, as a person? And she’s a free spirit who doesn’t wear a bra when changing clothes into the flapper gear in the basement of the big empty house? And she’s maybe interested in me as more than just a person?

But this is a horror movie, and the shut-in aunt is downright creepy, and long story short there’s more going on than coming of age, and for that matter more going on than a plausibly haunted 20th C gothic empty old house. But like indie arthouse flicks in general, it is definitely more concerned with mood and atmosphere than it is with plot, and the result is I’m not entirely sure whether I was satisfied or not.

But I think so. The final shot of the movie does a lot of heavy lifting, is all I’m saying.

[1] Which goal, incidentally, I think I accomplished? I missed an early key transition, but since it had been expressed in the plot summary, no confusion!
[2] The House of the Devil, for example, although that’s more mid ’80s aesthetic.