0.0 MHz

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“Zero point zero megahertz is the frequency at which a person’s soul meets a ghost,” someone technobabbles in like the third scene of 0.0 MHz. I, uh… I to be honest did not understand this at all. Something about radios and/or brainwave scanning? Other than a few scenes in which the megahertz reader is inching downward towards zero to create tension, I don’t know that there was a reason for it. …or maybe it’s real ghost hunter technobabble, rather than made up? They did, after all, have a salt circle at one point.

That’s not really important right now, I suppose. The thing about this movie is, it is a nearly perfect Frankensteinian amalgamation of classic American slasher horror and Asian spooky ghost horror. It’s like, the entire first third is, hey, let’s get some teens (whether high school or in this case college, they are honorarily teens for these purposes) in a car and drive out somewhere bad, and even make sure that a crazy-eyed dude warns them not to go there. You know, the thing that’s gone from staple to signifier to self-parody over the course of my lifetime.

Then, gradual transition with significant overlap from that movie to the haunted ghost movie, complete with unwashed black hair and random double-jointed body horror. But somehow, it works? For a movie that feels like it was put together to fulfill the terms of a bet, it’s surprisingly effective. Of five cast members, I only knew for sure whether one of them was going to live or die, and that ain’t bad. (You’ll know too.)

Some Kind of Hate

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Some Kind of Hate opens with a scene of high school bullying[1] that culminates in actions that could be categorized as self-defense or as fairly extreme escalation. I know what I think, but ultimately that’s not important. What the people behind the scenes in the movie thought (school officials, parents, the legal system, whoever) is that the bullied kid needed to go out into the desert for one of those homes for troubled teens, we’ll straighten you out, you’d think military academy but not in this particular instance kind of programs. I’m not sure on what timetable they stay out in the desert, but the part where there were 10-20 kids total makes me think it’s not more than a few months.

…not that even a few weeks would have been short enough to save anyone.

See, the kid starts getting bullied again at the straighten you out in the desert place, because of course he does. And then the body count starts rising, because of course it does. But what makes the movie interesting is the number of switchbacks the plot takes on its way to the blood-soaked conclusion, with dark secrets and unexpected turns galore along the way.

As I’ve said elsewhere, there are several spots where the premise doesn’t entirely hold up to close scrutiny, but if you accept every aspect of the premise, the movie that follows from it does a good job of presenting multiple angles of what is at first glance a pretty one-sided issue. More angles than I would (at that initial glance) have thought plausible.

[1] that was being recorded on cellphone camera no less, and I can tell you I have a lot of thoughts about whether that did or could or should have made a difference to the premise of the film

Extremity

A small but visible number of movies I’ve watched in the past few years are premised as “what if a haunted house attraction, but bad things are actually happening?” Which makes me wonder, mainly, if these extreme haunts are a thing that really exist. Like, I don’t want to do the thing in this movie where the goal is to probe your psyche and bring you the very worst experiences, because that will… help, somehow? I don’t even know. But someone is actually menacing you with a butcher knife or whatever, and they chase you and things, or… look, I can’t actually imagine any way these could work in real life, which ultimately is my point. But if I’m wrong, someone needs to tell me what is the deal with them, is what I’m saying.

But in the case of Extremity, the deal is that this chick who has meds to be off of and is arguably suicidal and who definitely has a concerned girlfriend and an uncooperative therapist and has a lot of flashbacks to a dark and troubled past has decided that the best thing she could do for herself is sign a bunch of waivers and give herself over to the fine people at Perdition, which as you may have guessed is an extreme haunt, for the purposes of confronting her fears or herself or something[1], and before you know it we’re off to the races.

On the whole, I liked everything except for the unnecessary subplot where a Japanese TV show’s camera crew is onsite today doing interviews with the owner of and b-roll footage of the haunt. It added nearly nothing, definitely nothing that couldn’t have been revealed elsewhere, and had as far as I could tell no payoff. Otherwise, there were twists I saw coming a mile away and twists that caught me entirely by surprise and at least one moment late in the movie that I’m still not sure whether I’m supposed to believe actually happened or not. It would make a lot more sense as a partial hallucination, but they seemed to play it inextricably straight.

Nevertheless, it’s a solid movie on the strength of the psychological studies of the two main characters and has very little to disrecommend it, if you can get through the first 15 minutes or so that are too busy being shocking for the sake of it to remember there should be a plot.

[1] She actually said what all at one point, I just don’t remember, probably because I was too busy being skeptical of the whole concept at the time.[2]
[2] This is not to say that the concept is meritless. It is to say that I imagined telling people for whom I had just signed an absolving waiver that I wanted their untrained asses to help me overcome my fear of spiders, and my brain basically shut down for a while, followed by acknowledging that no, I would never do that, nor can I imagine any sane person doing so.

We Are What We Are

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A proposition: if we accept that gothic horror must include a lonely countryside castle, then it (necessarily?) follows that American gothic horror must include a lonely farmhouse in the country. There is even, I believe, pre-photographic evidence of this.

We Are What We Are is a modern (well, set in the past 50 years, anyway) American gothic horror in which days of torrential downpour first kill the mother of an extremely religious and reclusive family, and then begin to unearth certain family secrets.

Honestly, the horror bits are less interesting as plot than as exaggerated backdrop for the coming of age story of the two daughters suddenly thrust into being in charge of the remaining household of their brother (who is too young to take care of himself) and their father (who is too really a lot of things, none of them complimentary, to take care of himself), even though they’ve been unhappy with their family traditions for some time. Just one more thing to come to a head during the week or so of heavy rains that kicked everything off.

Ancillary Mercy

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I finished Anne Leckie’s Ancillary trilogy yesterday, and it comes with a realization that I had completely failed to anticipate what the story was actually about.

Okay, that’s not entirely true. I’ve been sussing out the thematic ground all along, but the plot? I thought I was learning about the end of something[1], when I was actually learning about the beginning of something else entirely.

Which is to say, now that I know what story I was actually reading, the trilogy does in fact have three strong, reasonably divided acts that tell exactly the story they were always telling, even though it took me until the end of the series to correctly order things in my own head and be able to see it clearly. Also, it’s a good story that I’m happy to have read, even though I’m sad I’ll probably never get a clear look at either the millennia old beginnings of the story nor the equally distant ending of it.

Perhaps because of my inability to grasp the picture until so late, I’m particularly spoiler averse here, so I will say only that issues raised in each of the prior books are well-resolved in Ancillary Mercy, and with more room than you can shake a stick at for Leckie to return to this universe and tell other, completely different stories, were she of a mind to.

[1] It’s not impossible for it to be both, but I doubt I’ll ever know.

The Suicide Squad

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I remember liking Suicide Squad better than most people did, even if mostly by comparison to other DC movies on offer in the same continuity. And my just glanced-over review bears that memory out.

The Suicide Squad is kind of an oddly named sequel? It’s maybe slightly closer to reboot than sequel even though there is character continuity and it’s clearly still part of the DC Cinematic Universe. Basically, it feels like James Gunn came along while he was briefly persona non grata with Disney[1] and said hey, DC, you know what would make this movie better? Leaning into the comedy part and out of the grimdark part. And they listened!

There are a few things he did especially right. First: it is over the top. The plot is over the top, the violence is over the top, the character are all aware of these facts and embrace their ridiculous, hyper-violent, insane world for what it is. Second: it is funny. This is another thing the characters embrace. I don’t know how to explain exactly what I mean. It’s not like they’re trying to outfunny each other. But there’s an absurdity to everything that’s going on, and they lean into it instead of staying aloof from it[3]. Third: would be a giant spoiler to actually say, but trust me. Gunn understands the world in which he is operating, and I do not mean DC at large, I mean this series in particular, of which I hope to see more.

This is the new best DC movie, and their trendline has been so solid that I legitimately want to see whatever they make next. …I mean, as long as it’s not another Superman.

[1] For historical purposes: he got “canceled[2]” by right wing people who were tired of seeing their heroes be “canceled” for things they were doing in real time, so they dug up things Gunn had done years earlier, and Disney briefly listened to this and took it as the same kind of thing, instead of noticing that he had learned from the past and was no longer doing those sorts of things. Later, they got over it and there will be a third Guardians of the Galaxy movie after all. Still, I cannot hate the outcome of his personal digression.
[2] For additional historical purposes: canceled is when you did something wrong, and people called you out on it, and consequences ensued. Prior to a few years ago, the people calling you out part rarely happened, and consequences ensuing happened so rarely as to be basically never.
[3] Well, except for Amanda Waller as the orchestrator of the squad and its varied missions, who takes everything and herself just as seriously as she did last time. But even this is an important aspect of the story being told.

A Way Out

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I found it difficult to classify A Way Out. It’s nearly a walking simulator, but too interactive for that. (It does frequently occupy the same story-telling space, though.) It’s on occasion a shooter. It’s definitely a light puzzle solver, going back almost to the middle days of your Kings’ Quests. I guess the best way to describe it is as a two player split screen[1] interactive movie, about breaking out of prison.

It’s also about more than that, in much the way that the TV series Prison Break was. I think it is fair to say that between watching all five(?) seasons of that, consuming two versions of Shawshank, and playing this game to completion, I will have no problems if I ever find myself in, er, diminished circumstances.

Downsides: antihero types. You are, after all, playing one of two people who wants to escape from prison, seeking revenge. But it’s rarely a dark take; mostly, in fact, it is kind and humanizing of everyone involved. It’s like, some people in prison are a danger to society and need to never come back. But some people in prison just, y’know, do crimes sometimes, and that doesn’t automatically make them bad people, even though probably you don’t want to have a crime done to you.

I bet that doesn’t make sense.

[1] Even if you play it online[2]! I found this at first pretty annoying but ultimately it grew on me. Thanks to illness in the house, we weren’t going to play couch co-op anyway. But at least it affirmatively worked, so now we can play Borderlands not on the couch, which means I won’t hate everything while trying to play it.
[2] Which is why even though I finally got a Series X, I played this on the XBox One. Mary, on the other hand, got the fancy treatment.

Absentia

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Here’s the thing: if you made a movie about having to declare someone legally dead because they’d been missing for so long that you have to accept that they won’t come back, but you also have to go through all the emotional trauma that you’ve been holding out against for so long, and so you’re packing up to move, you’re filing this paperwork that makes it real but will also allow you to get out from underneath years of crushing debt, and you have to deal with the trauma of that being a main driver of accepting it, because now you can finally get insurance payouts, but still you don’t even know if he’s dead, and you keep having visions of him, evil-ghostly-pissed as you bridge each milestone on the path to it’s finally over, he is now according to the county-issued certificate of death in Absentia in your hand no longer a living person?

That would already be a horror movie, just all the real and imagined things happening as you process the enormity of what has happened, of what you’ve done.

But what if your sister is hanging out to help you, and she sees a weird dude in a jogging tunnel between your neighborhood and the park (because, overpass) and creepy things start happening, and maybe it turns out that a lot of people have gone missing in this area, and what if sometimes they come back?

I don’t think it quite stuck the landing, but I reckon this movie will stay with me for a while. It goes places that you do not want to go in your life, and not in the “machete at summer camp” kind of way; it goes there in ways you can imagine actually happening, in your worst daydreams.

 

Seoulyeok

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According to the write-up, Seoul Station is a prequel to Train to Busan, which would actually have to be more of a sidequel since the first twenty minutes of the latter movie take place during the same day / overnight that all of the former movie occurs during. The zombies are the same style (controlling for live action vs animation at least), and I have no reason to disbelieve them, it just… doesn’t make sense as a prequel instead of its own standalone movie. Partly because they have nothing to do with each other save look at how many more views we’ll get with brand recognition, but mostly because the logistics fall apart. If the Seoul movie had happened as it did, people would have known by early AM not to be getting on trains to Busan.

Whatever, it’s the same writer and director, I guess I have to take his word for it.

Leaving all that aside, though, this is a dark, brutal, and above all angry movie that would definitely fit in any US metropolis as well as it fits in Seoul. See, the zombies are real and all, but they’re also a metaphor for the homeless problem. I say that in the sense that at every opportunity, the citizenry at large and especially anyone in a position of authority continuously portrays the crazy people who are running around biting folks as the homeless gone wild, to the extent that anyone who is still alive but also homeless is considered just as dangerous as the actual zombies are, and always to their detriment.

(There is an actual plot to this movie that I have not even slightly addressed, if the above sounds like spoilers. I mean, it probably still does, but you should know.)

I wonder if anyone in the target audience, such as people who can afford TVs or movie theater excursions, listened to the angry undercurrents. US audiences wouldn’t have, so I can’t really have a lot of faith that it was different somewhere else. But maybe!

The Green Inferno

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Eli Roth has a favorite type of movie to make, I think, and it is this: young people go somewhere that they should not have gone, and pay the price. Sometimes it’s a cabin, sometimes it’s Eastern Europe, sometimes it’s the beach[1], sometimes it’s the rainforest.

The Green Inferno is an homage to Italian cannibal cinema, and judging by when I saw Cannibal Holocaust last year on Joe Bob, it’s a pretty successful homage at that. I know I spent a lot of time wincing, and it’s hard to say how much was due to memories of the source material rather than this one. See, these college students have gone to Peru to stop some bulldozer-style exploitation of mother earth, with chains and cellphones and the internet, and that’s all fine and good, but what happens if circumstances arise and they find themselves hanging out with the very people they were ostensibly down there to save from encroaching modernity?

It’s hard to tell where the line between homage to past exploitation and actual exploitation lies, but focus on the characters kept me from thinking this was just done for the sake of a cheap buck at the expense of indigenous peoples. There was sequel bait, and I’m really torn between wanting to see the sequel and thinking that the genre has been capstoned and should stay safely dead and buried.

[1] Except Eli Roth wasn’t actually involved in Turistas. Well that’s weird.