Lucky (2020)

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I don’t know that I exactly liked Lucky, but I respect the amount of catharsis it must have provided for the writer / star, Brea Grant, and probably for a non-trivial number of people who have watched it.

So there’s this self-help author whose premise is Go It Alone, ie how to fix yourself instead of relying on someone else to fix you, and that premise was a best selling big hit with multiple printings, but now the publisher is not sure if they even want her next book, plus she doesn’t especially have one. Okay, fine, but then at night in bed with her husband, she sees someone outside, and he’s very blasé about how it’s the guy who comes to kill them every night. She is understandably confused about this, so he calls her a drama queen and leaves.

And then the dude comes back. And keeps coming back. Unraveling what the actual hell is going on constitutes the remainder of the movie. We learn more about May, more about her husband, a little more about her career, and a lot more about how capable she is at self-defense / how incapable the dude is of killing her. It’s sometimes pretty funny, usually mind-bending, eventually over the top in a way that was probably not necessary to get the point across, and ultimately a little opaque right at the end, post- the Message Received part.

I think the best chance this has to be a good movie instead of a useful one is if it was a critique of her self-help premise, in addition to the rest of what it was, which was a metaphor about the lived experience of American women. But I’m not 100% sure if it actually was both, since, like I said, it’s a little opaque. Probably it lost its way making sure we got the metaphor part.

All in all, I preferred Promising Young Woman.

The Gorge

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A few days ago, before I got entirely sick, I watched The Gorge, whose preview I had been intrigued by while watching, I don’t know, probably an episode of Severance? I cannot say with any certainty if it was entirely a popcorn flick or if the fault is my being sick, but yesterday when I was preparing to write this interview, I had no idea what I had watched, only that I was pretty sure it was, y’know, something.

So there’s this guy who’s a sniper who is completely detached from his life and his job, just adrift, you know? And Sigourney Weaver offers him the chance to get away from it all via a year-long, top secret, completely isolated assignment. Like, too secret for her to even explain it, but when he gets there (via parachuting and a several mile hike), the guy he’s replacing is there to explain the deal.

Here, then, is the deal. Two towers, on opposite sides of a gorge. He is on the western side, representing the countries of the west, who have been tasked to guard the gorge from there. Also, there’s an agent in the eastern tower representing the countries of the east, who presumably has been offered the same deal, but since the two towers are not allowed to have contact, it’s impossible to be sure. In the gorge is… something. Perpetually clouded, but things crawl out sometimes, and the whole mission is to prevent them from escaping. Premise: set.

Execution: well, mostly good? Lots of exciting action set pieces, yay. Anya Taylor-Joy as the eastern agent was just fun all the way around. The main dude was… well, okay, more than a little wooden, and I could not decide if it was the character or the actor, so that’s at least better than it could have been on average, but honestly a wooden character isn’t much fun, either, so. Effects were, I was going to say A+, but all special effects these days are either great or (rarely) abjectly terrible, such are these days of the future.

Mostly worth checking out, with one caveat: the last line of the film is just an awful stinker. Be warned!

Blind Rage

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Since October, I have been buying cheap (or often free) Kindle books. Like, 99c for seven books kind of thing. I’ve spent maybe $30, and increased my digital library by hundreds of titles. Are most of them garbage? Okay, probably. But it gives me something to read when I don’t have anything but my phone handy.

The first of these books that I’ve actually read is Blind Rage, the first volume of an eight book series called Under the Breaking Sky. It steals heavily from Cell, and is otherwise about what you’d expect out of a not quite zombified airport thriller. Set in Denmark and with maybe five or so main characters, it tells the story of the day a weird hole appeared in the sky that causes anyone who looks at it to go blind and enraged, such that they hunt down anyone they can hear, to rip them apart or bash them to pieces. (But not each other.) Then the thing in the sky goes away, until it comes back again 12 hours later. And again. And again.

So, I lied earlier though. A small percentage of the population is unaffected. Most of the main characters are this type, and the book (and probably the series) is entirely about them trying to stay alive, and maybe eventually trying to figure out how this is even happening? Beats me, and I’m not holding my breath. It’s an apocalypse, I’m just a long for the ride.

Körkarlen

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And then there are some nights when you sit down to watch a silent Swedish film that is spiritually ripping off A Christmas Carol, but if the Ghost of Christmas Future is the only one who showed up to berate Scrooge, and if Tiny Tim were a consumptive self-deluded Salvation Army worker.

It’s New Year’s Eve, and Sister Edit is dying, while David Holm is getting drunk in a cemetery. What do these scenes and people have in common? This informs the entire plot of The Phantom Carriage, except for the part about the carriage itself, which we are notified in Act I is driven around all year helping Death to reap souls, by whoever died closest to midnight the previous year. (If nobody dies on New Year’s Eve, I think the previous person keeps the job? This doesn’t seem a likely scenario, however.)

At first, as per my cheeky but fair summary above, I did not consider this to be a horror movie. Just because there’s a horse ghost and a guy in a hood with a sickle, it was still mostly a drama about bad decisions. But somewhere in the second half, it goes dark, and it goes hard, and I gotta say, in the end I was impressed. Between the depth of darkness and the (for 1921) technical prowess of the special effects, I can understand how this has turned into a classic’s classic. (You know, people in the industry love it, people outside the industry never heard of it. Like the anecdote about how only 300 people heard The Velvet Underground’s first album, but every one of those people went on to form a successful band.)

Indiana Jones and the Great Circle

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In December, Game Pass got a big Day One release[1], Indiana Jones and the Great Circle. This is a graphics intensive first-person puncher in which Indy races a rival Nazi archaeologist to solve the mystery of why Vatican giants are stealing cat mummies. Aside from the punching and the field archaeology, it’s mostly a puzzle and collections game, which is a style I’ve been enamored of for most of my adult life, and then I’ve been enamored of Indiana Jones for even longer.

So you can imagine how cool it was to see the introductory scene of Raiders of the Lost Ark in a somewhat controllable scenario, before the actual game (set a year later in 1937) kicked off. From there, it’s all a Nazi-punching, globetrotting, graverobbing good time, interspersed with cut scenes that really could have come right out of an unfilmed script.

Plus, there are definitely plots left unresolved enough for a sequel or at least a substantial DLC release. …which they might make me pay for, but I hope not! Especially because I might fall for it, you know? This thing was like catnip, as evidenced by my 100% completion and 970 of 1000 gamerscore points over the course of a month and a half. I basically never finish AAA games anymore, but, here we are.[2]

Downsides: I can only think of one, which is the game started nagging me to move forward / how to move forward, much too early. I like the idea of the helpful voice, whether internal or external, telling you to investigate the thing you might have not been able to find or understand. But wait like 5 minutes, not 30 seconds. (And then the time I really did need help, there was no help forthcoming, which is also sort of a problem when you’re nagging so hard the times I don’t.)

[1] This is to say, for those out of the loop, it arrived on Game Pass the same day it became available to purchase outright.
[2] Continuing to help: DLC = DownLoadable Content, ie expansions instead of sequels; gamerscore is points that mean functionally nothing that you get for completing main or side plots, or doing difficult or implausible things that the designers thought were funny. (Bragging rights, maybe? But functionally, worthless.) AAA = I don’t know what exactly, just big budget big studio or something,

The Curator

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A book has been sitting on my nightstand instead of my to-read shelf, for somewhere between one and a half to two years. Long enough that the top part of the pages are yellowed from the sunlight through the window behind my nightstand. I got it from someone for my birthday or Christmas, and I honestly don’t know who or why. Did I put it on a wishlist? I cannot rule this out, but I don’t know why I would have. And yet I cannot think of another reason it would have appeared, and nobody has asked me about it in the meantime.

But appear, it did.

The Curator, by Owen King[1], tells the story of a fictionalized probably European, probably 19th Century independent city[2] in the throes of revolution. See, the rich but liberal students at the University, after an inciting event, have taken it into their heads to free the extremely poor people in “the Lees” from their oppressors among the nobility, and the attempt is astonishingly successful, except… now what?

In the midst of these happenings, a maid lately employed by the university named Dora finds an opportunity to look into her older brother’s mysterious final moments, from when he died during her childhood, by becoming the owner of the newly vacated Society for Psykical Research, in which he had spent some time before that death and the complete failure of her family’s fortunes. Alas for her plans, it has burned completely to the ground, one odd doorframe in the middle notwithstanding, and so she becomes the Curator of the National Museum of the Worker next door, instead.

The remainder of the book, in a meandering style that the jacket copy accurately yet somehow non-pejoratively calls Dickensian, explores her new museum, and a city and its inhabitants in rudderless transition, and the mostly poor folk religion surrounding the many, many cats in the city, and the strange disappearances that are beginning to mount up, and the Morgue Ship that used to reside in the harbor as a penny dreadful curiosity until it got swept up in the inciting event I mentioned earlier, whereupon it disappeared, except rumor has it all those disappeared people are being abducted onto the ship as a part of their disappearance. Which is ridiculous, of course.

By way of recommendation, I must say that it’s been a while since I’ve been so invested in the fate of a new-to-me character, and almost all of the characters had something endearing to offer. I’m somewhat surprised I haven’t seen more noise around this one.

[1] of the Maine Kings. You might know him from his collaboration on Sleeping Beauties.
[2] Or I suppose it’s the capital of a fictionalized country? On the one hand, it never seems like more than a city and surrounding estates, but on the other, it has a king. Those kinds of details hover in the no-man’s land between sparse and irrelevant.

Mama (2013)

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If I remember correctly, the random elements of this week’s movie[1] were “witch” and “Latin-American”. Mama is definitely a Latin-American movie, sort of. It was produced by Guillermo del Toro on the strength of a two minute film by a guy from let’s say Colombia, about two young girls who, upon realizing that Mama is back, quickly plan their escape. It is easily findable on YouTube and well worth the watch. That said, it’s not immediately apparent to me that anyone from that short is attached to this movie, and, well, del Toro or not, that’s problematic? Also, not a witch to be found, although there’s certainly a witchy vibe.

Anyway.

After the 2008 housing market crash, this investment firm guy kills his business partners, and then kills his (ex?) wife, and then takes his daughters (ages 3 and 1) on the run. All three completely disappear, but the dude’s brother never gives up looking for the girls, and they are found 5 years later, living ferally in a cabin in the woods near where the father had a spin out in the ice car accident.[2]

So the brother and his thoroughly not into kids rock band girlfriend win custody over the protests of the dead mom’s sister, and work to rehabilitate them from feral to, you know, whatever 6 and 8 year old girls are on any given day of the week. And I know what you’re thinking: this could be any family drama. What you don’t know is that someone or something, which they call “Mama”, was in the woods with them this whole time. And just because they left the woods, that doesn’t mean she’s done with them yet. …or with anyone who stands in her way. Spooky!!

I did not hate the way this ended, and I expected to. Which is not low praise.

[1] Reference: the week in question is 4/12/2021
[2] To be clear, the car is found the same day as the girls; it’s not like people knew about this in advance but never glanced around.

Fast & Furious

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Finally, after one side movie that was only a sequel for one character and one side movie that was basically its own thing (and for no apparent reason), The Fast and the Furious has a true sequel with all of the original characters involved[1]! It is, how you say, about time.

The wildly original title, Fast & Furious, conceals a halfway decent plot. Paul Walker has been reinstated to law enforcement, as part of the FBI. (Or maybe he was in the FBI in the first place? Impossible to know.) He is honestly still no better of an FBI guy than he is an actor, even though five years have passed in the story world and eight I suppose in the real world. But that’s okay, because he can still drive. Vin Diesel is still on the run from the law and still using fast cars to jack trucks. So nothing much has changed, despite the two prior movies that would pretend a lot has happened. I’m not saying they are eminently skippable, but… oh, wait, no, I totally am saying that. It’s the central thesis of this paragraph, in fact.

“Halfway decent plot,” I said. So, after being on the run for all these years, Diesel’s Dominic is back in LA investigating the murder of a close friend. Meanwhile, Walker’s Brian is investigating a Mexican drug lord who is trafficking a lot of heroin across the border, somehow. They are suddenly thrown together when Dom’s murder and Brian’s infiltration end up at the same street race audition to be one of the drivers for the drug lord’s smuggling operation.

Can they get hired so their investigations can continue? Can they get over the sins of the past and learn to work together again? Can they stop destroying so very many fast cars? Can Brian finally seal the deal with Dom’s sister? Can Dom seal the deal with Gal Godot[2]? Oh, right, and can they solve their cases?

The answers to these questions might surprise you, but, well, I bet they don’t. That’s okay, though, as they are mostly not the point. The point is car stunts and an incremental progression in the lives and relationships of these characters. And, the movie finally delivers on that second thing, in a way that episodes 2 and 3 decidedly did not. Hooray!

[1] Okay, that was 2009, which is as of this writing a pretty long time ago. But it is “finally” in my personal chronology. So.
[2] In what is essentially her first role. Who knew?

Creep 2

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Because of an intriguing series on Shudder, I believe I mentioned that I watched Creep a few months ago. In addition to that show, there was also a sequel, and now I watched it too! Please note that this review will include spoilers for the first movie, although I think not any for Creep 2, which wears its premise on its sleeve with no coyness of any kind.

There’s this lady Sara with a youtube series called Encounters, where she trolls weird lonely people posts on Craigslist so she can film it, and gain a viewership via awkward art. And she comes across the eponymous creep from the first movie, now going by the name Aaron, who wants to tell her his story about being the most prolific unsuspected serial killer in history. We as the audience know this is almost certainly true, but she as the unwitting subject of her own film does not, and that is the tension of the movie.

It’s hard to judge the effectiveness of the first movie’s “is he or isn’t he” premise, since I already knew. So take it with a grain of salt when I say I liked this one better. But the character in the first movie was definitely going against his own instincts way past the point of believability, even if (and this is key), the creep had just been an awkward dude who wasn’t going to murder anyone. Whereas Sara definitely knows he’s hinky and troubling right out of the gate, but she keeps staying because this is the fulfillment of her dream, and she deems the payoff worth the risk.

And so they dance back and forth, and I can honestly say that at no point did I know how the movie would turn out. When you consider that this film came between a prior movie and a six episode TV series, that’s kind of impressive?

Southbound

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The most recent [new] podcast movie was Southbound, a mix of anthology and psycho killer… which tracks, yeah. There’s this DJ being creepy on the radio while five stories play out along the same highway, in sequential, minimally overlapping order. I liked this conceit exactly once, as that was the time the interaction was direct, instead of incredibly indirect, nay, practically forced.

So anyway, the stories are as follows:

  1. Two blood- and regret-covered men are forced to face their demons, literal and metaphorical alike.
  2. A lady rock band on tour breaks down, and gets the wrong kind of help.
  3. A dude hits and tries to save a pedestrian, more or less in Silent Hill.
  4. A dude tries to rescue his sister from monstertown.
  5. A family is attacked by strangers.

Aside from the tenuous linear timeline that connects these stories, an even more disappointing facet of the movie is that the latter two stories don’t really involve anyone driving down a highway. If you cannot maintain the theme of your anthology for more than three-fifths of the movie, that is a pretty bad compromise someone made along the way.

…okay, I’m going to stop now, because I have some regrets about what just happened. Anyway, the first and last stories did not make a lick of sense, I think mostly by virtue of not being written as though someone would ever need them to, but the other three ranged from decent to pretty darn good. It’s just the wrapper that is annoying me here.