All hail the Lords of Salem!
Madison County. 2011. Directed & Written by Eric England.
Starring Colley Bailey, Matt Mercer, Ace Marrero, Joanna Sotomura, Natalie Scheetz, Nick Principe, Dayton Knoll, Adrienne Harrell, and Katie Stegeman. Image Entertainment.
Rated R. 81 minutes.
★1/2One of the young characters asks the question “where did he get the ideas if they weren’t true?” at an early point of the film while inquiring about a local legend the locals say is only just that – nothing more. This really represents the sort of tired dialogue and story inherent in Madison County. Granted, the character speaking the line isn’t exactly the brightest seeming sort of guy, I still find it a really rough portion of dialogue. At least Eric England had the sense enough to let the old woman who’s asked the question explain it to the young man. Still, it is a bad piece of dialogue.
Other than this film, I’m actually a fan of England after seeing his most recent effort, Contracted, and I really would like to see his portion of Chilling Visions: 5 Senses of Fear. He definitely has his own unique vision, I just don’t think that vision is most fully realized in the mediocre effort of Madison County.
This movie tells the story of a young group who head into the backwoods of Madison County. They’re looking for an author of a book which details the real life account of horrible murders that took place there years before. Unfortunately, Madison County is much, much more horrifying than any book could ever make it seem. Once they’re in the small town, things escalate from one thing to the next, and as the day wears in it’s more than obvious they’ve stumbled across more than the author of some book. And they will be lucky to ever make it out of Madison County alive.
The plot description I’ve given could really sound like that of any other basic slasher movie taking place in the backwoods country of any state on the map. It’s real formulaic setup. I can’t really say much for how it developed, either. There isn’t much going on in Madison County to make me feel like England put a new spin on slasher material. When I said the dialogue is lazy, as well as the story, I don’t mean everything is totally a waste – there are moments of good dialogue, and also a few scary bits now and then. However, it’s the laziness which really overtakes the entire film. For instance, on their way into Madison County, the group encounters the archetypal “messenger” character many horror films include – the old man, often, who gives directions that lead a group into horror territory. On the contrary, here the group opt to not take the road mentioned, as it will most likely get them lost. This subverts our usual expectations for horror movies with this sort of setup.
The first time we see the man wearing his pig mask, I thought that was done pretty well. I was sort of expecting something would eventually happen, but regardless I found the shot itself where he is introduced pretty chilling. We see a nice wide shot of the victim standing on top of a tiny waterfall, getting ready to hopefully jump in the water with two naked young women, and then – BAM – pig mask killer. There’s nothing revolutionary going on here. It’s just a really effective opening to the killing, which begins in full throttle after this scene. Also, the inclusion of the two girls is key – after the victim is stabbed and dumped in the water, the girls casually get out, as if their job was done – and it was, certainly. We get a lot of information here because if there were any hesitations as to whether or not the town itself were all in on the killer’s secret, those are completely dispelled after this death scene. Honestly, this is probably my favourite scene in the film. Effective and creepy.
My problems with this film are the problems I have with many horrors, and slashers in particular. I try not to judge a lot of characters in these movies in regards to real life – you can’t judge how you would react when confronted with a pig mask killer, or Leatherface, or any of these horror movie killers. That being said, if I’d seen my close friend with a baseball bat jammed into his mouth, blood spurting, a man in a pig mask standing over them, I would run until my breath ran out. Instead, the girl here runs until she finds one of her friends. Then the action slows down – she is crying, she can’t complete a sentence. Sorry, but this is just awful. I mean, anyone would probably just run, even after meeting up with the friend. Yet we’re treated to another real mess of a horror because of ridiculously stupid decisions coming out of very tired writing. If that’s not enough, England has the pig mask killer creep up on the two friends moments later, right behind them on a dirt road nonetheless – but of course neither of them hear him. Somehow he manages to be quiet enough to wait for a really good swing, and still he misses. It’s just situations like this which do nothing for the slasher sub-genre. It makes the characters look stupid. Most of all, though, it makes the writer look sloppy. Basically, after the creepy introduction to the pig masked man, it loses the appeal and reverts back into the same old garbage. The whole section where he is chasing the two girls really grated on my nerves – so many bad choices, not only by the girls but also by the killer. Another example is when one of the girls decides to lure the killer away. I still don’t understand, at all, why the killer didn’t just take a nice swing at the one girl’s neck, kill her, and then chase down the other one. This movie makes no one out to be smart – neither the killer nor his victims. Too many missteps on every side.
For a slasher, there are a few nasty bits. On the whole, however, I wasn’t overly impressed with any of the horror gags. I like the first knifing, but that was mainly due to the introduction of the killer, and how nice the shot itself looked; pretty aesthetically pleasing overall. Aside from that, the blood wasn’t anything spectacular. Most slashers try to go for an interesting kill or two. Madison County sticks mostly with a lot of axe-work and things of that nature. Not that I don’t like to see a good axe murder on film – don’t get me wrong, I do. I just think a slasher really needs to try and do something different to set it apart from the usual, typical pack. Even if it’s a few neat little bits of blood and guts, or a couple visually cool kills – there needs to be a defining element if the filmmakers want it to go above the hordes of low budget slasher horror movies out there stinking the place to high heavens. I feel like England could have done something much better. His latest film, Contracted, was really great on all fronts – innovative, gross, creepy. This is his second feature, so I don’t expect him to have been a master, but I do wish there was something more to this than the regular fare so often pumped out.
I give this a 1.5 out of 5 stars. There were a couple moments I enjoyed, mainly due to the level of violence, which helped it as a slasher. Unfortunately there were not enough of these to make this anything memorable. I can guarantee I will not be watching this again. I’d seen it once before, and watched it today for review purposes. After this, I won’t revisit Madison County. It’s a by-the-numbers slasher, set in the backwoods, and there’s really nothing special here to take away. If you want something at least more creepy, maybe check out Just Before Dawn or even Deliverance, because this just does not deliver as a backwoods horror. I hope to see more from England, and maybe wouldn’t mind seeing him take on a slasher movie again. If he does, there will hopefully be better characters, dialogue, and all around a more complex, original story than this altogether unremarkable slasher outing.
True Detective. 2014. 8 episodes directed by Cary Joji Fukunaga; written & created by Nic Pizzolatto. Starring Woody Harrelson, Matthew McConaughey, Michelle Monaghan, Michael Potts, and Tory Kittles. HBO Home Entertainment. Rated 18A. 458 minutes. Bonus Material Not Rated. Crime/Drama/Mystery/Thriller
★★★★★ (Season 1)
★★★★1/2 (Blu ray)
The story of True Detective looks, on the surface, as similar to other television shows about police officers, serial killer cases, troubled partners with their own separate and troubled lives; you know the type. There are a lot of things, though, to separate this one from many of the others.
Nic Pizzolatto’s show begins its first season in the year 2012 – Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey), former partners, are being interviewed about an old case involving a young girl named Dora Lange who was found dead in 1995, bound with a set of antlers placed on her head. Two detectives seem to be looking back into Lange’s death in relation to a new murder, which could be connected. The storyline spreads from ’95 to 2012, as well as hovering around 2002 when things went sour between Hart and Cohle. While the two men battle their own private lives and mistakes, they’re confronted with a possible conspiracy stretching across the state of Louisiana. Everyone believes the Lange murder to be some type of “occult murder“, but Cohle particularly deeply suspects a vast cover-up involving everyone from church officials to governors to the police force itself. Hart reluctantly follows Cohle until it becomes painfully clear he is most likely right.
While the description I’ve given of the plot might even sound like a riff on Serpico or Prince of the City, it really is a fresh detective show. While many have accused Pizzolatto of stealing material from Thomas Ligotti (I won’t go into it here – look it up), I don’t necessarily agree. There is a lot of really good material. It isn’t all about McConaughey’s performance (which is amazing), nor Harrelson’s either (also amazing). It’s not even about Cohle and his whimsical conversation with the present day detectives sussing out from him what they can, or his great banter with Hart in their driving scenes, particularly the very first episode of the show. There’s simply a really great mystery to this show. Even when Pizzolatto really gives us a few great clues, ones not too hard to follow through, there’s still a lot of excellent tension. For instance, even in the final episode when we clearly know who the killer is there still exists a really tense and dreadful atmosphere. Right until the finale of the episode, it’s hard to predict what might happen in the end. At least in my mind. I thought to myself, several times, in that last episode I knew where things were headed – and constantly, Fukunaga and Pizzolatto really played with my expectations. That atmosphere carried through the entire first season of True Detective.
Another excellent thing about this first season is the presence of all the red herring material Pizzolatto doles out in many episodes. I’ve seen a lot of really thoughtful interpretations, pre-season finale, of who the killer might turn out to be, who is involved in the massive conspiracy. I’ve also come across a fair share of really mental interpretations too far out into the psychosphere (dig it) for me to give any modicum of credence. But that’s what makes some shows really engaging and interesting. When fans of the show, even certain people who rag on the show with what they deem to be formulaic interpretations, can’t stop discussing possible theories it really goes to illustrate how well the show has reached an audience. I’m not saying it isn’t divisive – it certainly has been. I just think Pizzolatto really did some great, twisty writing.
There was a point in time I really believed Marty’s father-in-law had some sort of involvement in the grand conspiracy, and maybe there is a chance that’s still the case (I don’t believe so – doesn’t make it so), but this is the great part – Pizzolatto leaves little trails of bread crumbs that don’t go anywhere, that play part in the coincidence of the real world, the unforeseeable events in life, and lead us off on paths of pure imagination. I mean, there are several little red herrings such as Audrey’s situation. For instance, Cohle calls his daughters down to dinner and as they leave their room he notices Audrey has placed 5 male dolls around a single female doll in a very inappropriate and suggestive manner. There’s also a small drawing in Hart’s house representing the spiral image drawn on Dora Lange’s back in the first episode; one of his daughters drew it. These little clues are really red herrings. Pizzolatto does not want the answers to come easily here, as he shouldn’t, and these extra bits really help to send a lot of people off on imaginary tangents, thinking of who the Yellow King really could be, et cetera. Genius writing.
There are a few similarities between True Detective and the British trilogy Red Riding. Both take on stories about corruption and murder in rural areas; the original murders sparking both plots are similar, as the Red Riding story starts with a girl found dead, wings put on her back (as opposed to the antlers on the head here). One scene in the first Red Riding film with Andrew Garfield playing a reporter named Eddie Dunford is reminiscent of a scene in True Detective where Cohle visits a woman in a mental institution and drives her into hysterics; one difference mainly has to do with the difference in their occupations, as Dunford’s visit is followed by a severe beating at the hands of the police for bothering the woman, while Cohle is disciplined by his superiors. Finally, each of these shows has a young male prostitute who provides links to the murdered girl, albeit in different ways. Not to mention, in Red Riding the prostitute plays a much bigger part. Whereas Cohle only meets the young male prostitute present in True Detective during a single scene, which is basically thrown in as an extra link to something fishy going on in the main case. There are no doubt some similarities between Red Riding and True Detective, but mostly I would say they are coincidental. Certainly, most of these similarities are either connected to the similar themes (corruption in police force & authority figures), and the majority, if not all, are only really connected to the first Red Riding film; the other two in the trilogy really don’t connect up much, aside from the aforementioned police corruption angle. I think maybe Pizzolatto might have been influenced more by the novel Red Riding is based on instead of the films, and either way the influence is no more than a bit of the surface. Each of these works are quite different and aim to accomplish much different things.
There are a few specific points I’d really like to address in regards to some of the deeper meaning behind True Detective overall.
First, I want to mention the reoccurring number five. I believe the first time this really comes into play is when Hart and Cohle interview Dora Lange’s mother, Mrs. Kelly (played by the fabulous Tess Harper) – while Cohle looks around and Hart asks the lady questions, he notices a picture of a young girl (most likely Dora) surrounded by five men on horses, each of them dressed in what we later learn are costumes for what’s called Courir de Mardi Gras. In the second episode, as I mentioned earlier, Hart finds his daughter Audrey’s dolls placed in a very promiscuous situation: five male dolls surround one female doll, one of the men is hauling down his pants to have sex with the girl.
Furthermore, in the present day scenes during the latter half of the season, Cohle drinks beer while being investigated and cuts them up: he places them in a circle of five, indicating the undiscovered members of the grand conspiracy (harkens back to those five horsemen in the picture at Mrs. Kelly’s home).
Most people might look at this as another instance of red herrings, or some such idea. However, in literature specifically, the persistence of numbers, especially in earlier literature such as from the Middle Ages, usually has a kind of significance. I happen to believe the number five here happens to refer to the pentagram, or a pentangle as it’s referred to in an index of the Middled English Anthology edited by Ann S. Haskell.
This ties into the plot of True Detective directly, as we clearly see in a scene with villain Reggie Ledoux – when Hart and Cohle arrest him, his back is visible and has a massive tattoo of a pentagram, more specifically the Sigil of Baphomet. These instances of the number five all tie in to the evil angle – the five horsemen are dressed just like those men in the video Cohle finds and shows to Hart in Episode 7, the beer can figures point to the five horsemen, as do the dolls in Audrey’s room. They might not be the only repetitions of the number five. They’re just the ones I’ve noticed. I think these little details are the sorts of moments which really elevate True Detective above a lot of the detective procedurals on television, and on film for that matter. Provides more to dive into aside from the main case the show focuses on with the story, and offers endless hours of re-watchable scenes.
One of the biggest things, for me personally, I ended up realizing was how Cohle sort of ended up predicting the future when he talks about being able to “smell the psychosphere“, and that it tastes like “aluminum and ash“. Maybe others noticed this quickly, but I think it’s something a lot of viewers never once thought about for a second. In the present day while Rust is being interviewed by the two new detectives looking through the old Dora Lange case, he is continuously smoking (ash) and drinking out of (aluminum) beer cans. He’s literally unable to escape the psychosphere he first found himself in. This was one thing I really enjoyed. Coupled with the end of the episode where Hart and Cohle meet up once again in 2012, Cohle’s broken taillight (not fixed since their decade old fight from 2002), this really goes to show how all of this case, everything in it, the fact it has not truly been solved and it was his case, really stuck to Cohle. There is nothing to do except solve the case because if not there is truly no escaping it. Having this “aluminum and ash” come back as a part of the story, in a very slight sense, was a really clever way of tying things from the past back into the present, showing how the entire atmosphere of the case would never really wash of Cohle. Another instance of the great writing inside True Detective.
Undoubtedly, one of the greatest parts about the entire first season is the excellent character development.
There’s Hart, who is basically a by-product of the misogyny inherent in the place he lives. While he is not one of those elite predators who uses his authority to help cover-up the murder and abuse of young women, Hart is nonetheless affected by the overall state of misogyny and the atmosphere of where he lives. This can be seen through his treatment of women throughout the season – his daughter, his wife, his mistress. There’s even the thread where he reconnects with a young hooker from earlier in the season; Hart interviewed her in connection to Dora Lange in ’95, and later he begins to sleep with the girl when she’s older. This really goes to show, when he’s trying to reconnect with his wife, how much his heart is truly in a normal relationship. In ’95, Hart gives the girl some money and tells her to “do something else” – Cohle then ribs him by asking if it was a down payment. Of course, later we find out it really was an early payment for services to be rendered. Maybe Hart didn’t know it then, but his ideas of women would never change. Though she was older, the fact Hart could engage in a sexual relationship with the girl after seeing where she came from, the life she grew up in, and our look at his hypocrisy after having taken offense with the older lady who’d been pimping her out in ’95, it’s obvious this man is only good as a detective – he is a true detective, and nothing else. He can’t be a good father or husband, truly. Only good at enforcing the law.
Cohle is not perfect, however, he’s much more about control, as opposed to Hart who represents a real loss of control. McConaughey did a great job of playing Cohle, with all the philosophical thoughts and out-there theories. I don’t know if anyone else could have done such a great job with the material given. Cohle has a lot of different things going on. I really like how his story came to a close by the end of the season, and part of the pessimistic attitude he’d been displaying for most of the episodes tied off, or at least loosened a little. While coming face to face with death, he finally discovers there may possibly be something beyond the brink, or maybe not – regardless, he finds out the thought of something more than life, pas death, isn’t as terrifying and ignorant as he once thought it to be. On the one hand, I also think Cohle provides a really great opposite for Hart in the sense he is a man who lost his wife and child (the former because of the latter’s death) – Hart has those things but does not appreciate them, and yet he really wants to have those things in his life. On the other hand, Cohle lost it all, and whether or not he would have it again if that chance was available, he seems to really not have wanted it to be with – maybe this is due to the death of his child, maybe he has been this way all his life. I just think having Cohle be the way he was, Pizzolatto provided a really great antithesis to Hart; having them as partners really juxtaposed their separate world views and created more tension between them than what naturally existed in their dialogue. Not to mention, having Harrelson and McConaughey, two real life friends, play these characters worked better than could have ever been expected.
I have to mention the 6-minute tracking shot in Episode 4 “Who Goes There”. This is a monumental scene in television. Probably the best scene of any television show I’ve seen in the last 5 years or more. Honestly. Even shows I love like The Sopranos and The Wires also from HBO never had such incredible camerawork as this; while there were a lot of great scenes in both those shows, nothing like this. Just the sheer size of this tracking shot is really amazing. I can’t get enough of it. Right from the moment Cohel grabs hold of a hostage, the camera never breaks, following him through this whole scene. Fukunaga mentions on the Blu ray release how there was a need to give this scene some sort of tension – we know Cohle makes it out all right because we’ve already seen the 2012 narrative partially, so we’re aware he has survived – so the tracking shot itself serves as a way to really keep us in suspense, as we literally ride along with Cohle. I thought it was the most thrilling scene of the entire season. Tied only with the big finale with Hart and Cohle facing the murderer in his self-made world of Carcosa. If nothing else, you’ve got to give it to True Detective for really knocking this particular episode out of the park.
The Blu ray release from HBO is absolutely on point. While I expected maybe just a smidgen more, there are still some great features. To start, the picture and sound on this release are beyond perfect. While I watched True Detective several times over already, the Blu ray actually ended up revealing more to me than I’d ever noticed. Just little small bits. Everything is so clear and gorgeous here from the music, the sound design, to the spectacular sweeping shots of landscape and rugged terrain of Louisiana. Then there is the audio commentary, including bits from Pizzolatto, which really help the shed light on the overall production. One featurette on the release called “Inside the Episode” gives us bits from each episode with thoughts from both Fukunaga and Pizzolatto, covering everything from story, to writing, to directing, editing; all of it. There are really valuable pieces of insight from the writer and director. Definitely worth watching at least once. Also, there’s a Making Of featurette; this encompasses everything including some interviews with the actors, et cetera. Finally, there are some deleted scenes, as well as exclusive interviews with Harrelson and McConaughey concerning the filming of the series’ first season. All in all, a bunch of great stuff making this Blu ray a must-purchase for any real fans of the show. As in most cases, the picture and sound alone are worth it. I can’t get enough. I’ve watched the episodes through a couple times now since getting the Blu rays. Wonderful release.
Anyone who has seen True Detective knows it is either loved or hated – I don’t think there is much middle ground. My opinion is that this must be one of the best shows ever on television. Lots of people reference shows like Twin Peaks, and others, but I really think aside from influence and maybe a bit of homage, this series stands on its own. No matter if the second season turns out to be a bust, this first season is a classic bit of television. All of it was shot on film, giving things a really beautiful look, and the fact both Fukunaga and Pizzolatto were on board for the entire season really helped with its overall vision. I know there are those who don’t exactly dig the show, but I really find True Detective to be in a league of its own. I hope the show continues to prosper, I’m really looking forward to what Pizzolatto has in-store for the second season. Pick up this Blu ray if you loved this as much as I did, and you will not be disappointed in the slightest.
The Interview. 2014. Dir. Evan Goldberg & Seth Rogen. Screenplay by Dan Sterling; story by Rogen, Goldberg & Sterling.
Starring James Franco, Seth Rogen, Lizzy Caplan, Randall Park, and Diana Bang.
Rated 14A. 112 minutes.
This film will no doubt divide people. There are a lot of people who want you to believe watching The Interview is some sort of patriotic act. Fact is, if Sony hadn’t initially backed down because of the threats over its release this would have just gone into theatre. Sure – the threat is what started it, but essentially Sony prevented everyone from seeing it by negotiating with terrorists. All that being said, you should see this just for the fact we should never let anyone tell us what to see, whether it’s a person, a government, our government, a foreign one, or anybody. Never. Now that Sony has decided to put it out, you can through Google, Xbox, and other outlets – plus, it’s a cheaper alternative than actually seeing it in theatre.
People need not be looking at this as some sort of way to take part in activism. It’s not. If the movie were a bit more satirical than outright foolish maybe I’d see it in more of a political light. This movie is in no way actually political. I’m sorry if you see it that way and disagree – I respect those opinions.
Personally, I just can’t enjoy this in any other way than a bit of stupid fun, as opposed to something like Bulworth, which on the surface feels silly at times but really has a true message behind things. The Interview has points it seem to want to make, claims about the way North Korea treats their people, et cetera. Unfortunately, there are less hits than the multiplicity of misses, and there’s mostly just a lot of jokes falling flat. While I love both James Franco and Seth Rogen, they’ve done much better before with This is the End and Pineapple Express.
Everyone knows the plot of the film because unless you’ve been hiding under a rock, or living in North Korea (and not working for the Supreme Leader), you no doubt heard something about The Interview. Two trashy journalists, host Dave Skylark (Franco) and producer Aaron Rapaport (Rogen), similar to the type of guys and gals who populate TMZ’s “newsroom” (pains me to even call it that), end up scoring an interview with Kim Jong-un, who is apparently a big fan of their tabloid show “Skylark Tonight”. The CIA gets wind of their interview and taps them both to assassinate Kim. Of course things go wrong in, supposedly, hilarious fashion, as neither Rapaport nor Skylard are equipped, mentally or physically, to handle such responsibility.
One of the first parts I really didn’t enjoy was when Skylark feeds Aaron ecstasy. Now, it’s not because I’m afraid of drugs; on film, they can be especially hilarious when portrayed correctly. My problem with this quick little segment is that it feels like Goldberg and Rogen just said “hmmm we need a segue from one scene to another – let’s recycle”. It reminds me so much of This is the End when Jay Baruchel accidentally drinks a can full of ecstasy; it then kicks into a little montage of them all high as hell getting crazy. I enjoyed it the first time. This one just felt out of place. While I did laugh because I always find it funny in a movie or television show (never in real life – and that’s for fucking real – never do this to anyone) when someone ingests drugs unknowingly, it really is completely recycled from their previous collaboration.
This scene also just didn’t fit at all. They could’ve introduced Lizzy Caplan’s character in any other way. For some reason, they decided this little drug-fueled sequence leading to Franco & Rogen waking up in the same place was the best. Maybe it was to make room for the raunchy, but really hilarious, “dick stink” joke Franco plays out. We laughed pretty hard at this one, I have to admit. Overall, I just don’t think it played well. I know the point was to have the two main characters somewhere alone together, so as to allow for the secret CIA meet with Caplan, however, I have to imagine there was a better way to write this scene than the scene that exists.
My problem with The Interview doesn’t lie with all the crude humour or any sort of perceived offensiveness. Not at all. It’s not particularly a great comedy. In the slightest.
I do find Seth Rogen funny. I’ve honestly considered myself a fan of his ever since Freaks and Geeks and Undeclared. I like more of his recent work, too. For me, though, this is just not a good example of his best work. While Rogen is absolutely one of the funnier parts of The Interview, that isn’t to say it’s one of his funnier movies.
One example of a real good scene for Rogen is when he and Diana Bang share a “love scene” (you’ll understand the reason behind my use of quotation marks once you’ve actually seen the movie). It’s not just funny because of the physical comedy involved – Bang and Rogen are both really hilarious here. Genuine laughter. There’s also another very quick, crude little moment with the two of them I did not expect. The girlfriend and I laughed, as well as being generally surprised, when this happened. It’s quick, but an effective little gag.
I also like James Franco quite a bit. Maybe even more than I like Rogen. No matter how people view Franco I’ll always enjoy his performances because I usually find him pretty engaging, as well as a fairly interesting actor. On the other hand, there are a few of his movies where I don’t really enjoy him. Throughout The Interview I swayed back and forth between finding a few of his scenes funny, to being perpetually annoyed with his character; and that’s not in a sense that he was trying to be annoying. Certain jokes Franco tries to pull off here really aren’t funny. They verge on being worthy of a cringe or two. While I found some bits really funny (example: the bit with Eminem at the beginning was funny), others that were maybe not meant to be as funny (example: Skylark finds some fake fruit setup in a grocery store), certain scenes intended to play for outright laughs went over like a wet fart in church (example: “hate us ’cause they ain’t us” both in the earlier scene with Rogen & later in the scene with Randall Park were excruciatingly bad). There was just such a mix with Franco’s performance as Skylark. I don’t know if it’s how Franco played the character or how his character was written, but I just couldn’t get into him consistently enough to enjoy.
Some say Randall Park is absolutely hilarious in this, as if his performance was a revelation. He was competent enough, and yes, I absolutely did laugh at a handful of moments with him. Regardless, it wasn’t anything great. He looks a fair bit like Kim, though not at all identical, but the role itself (not Park – he did a decent job) isn’t exactly written well. I mean, the stuff with Katy Perry was funny during the tank scene. I laughed hard. Then, once they brought it back from the dead and beat it to death, I just got sick of the whole thing. The role of Kim could have been satirized much better. I don’t understand how anybody can’t see that – world leaders have been skewed with more clever wit in a movie like Dr. Strangelove, where even the Russian president’s role was hilarious while his dialogue is never actually heard, only second-hand through Peter Sellers as fictional United States President Merkin Muffley. That is not Park’s fault whatsoever. The writing for Jong-un’s character in the film was sloppy. They had a chance here to really knock it out of the park with a biting characterization. Instead they went solely for the slapstick comedy. While I do enjoy certain slapstick-style comedies, this just didn’t connect because it was really lazy, opting for silly jokes such as Kim Jong-il telling his son margaritas are “gay”. On the surface they’re good for a chuckle, but little else.
Honourable mention for Franco must go to – the end of the scene where Skylark busts into Aaron’s office to let him know about Kim Jong-un being a fan of the show. Another guy from the show busts in and claims there’s a possible video of Matthew McConaughey having sex with a goat, to which Skylark replies: “Get the goat! Get the goat! (turns to Aaron) I got some questions for that goat.” Honestly, just the way Franco does the turn, looks at Rogen and delivers the line, absolutely slays me. There are some really great little throwaway lines in here like this. That’s perhaps the problem. There doesn’t feel, to me, like there is much of a constant throughout The Interview, but rather a ton of tiny jokes thrown together in a script. Worse still, many of the jokes, even some of the actual funny stuff, often rely solely on the bromance between Franco and Rogen. I do enjoy their hilarious friendship, I just don’t want to watch a movie where they’re not playing themselves and yet still playing themselves somehow.
While a lot of people have high praise for The Interview that is just one bandwagon I cannot jump on, even if I wanted to hitch a ride. While I found it funny enough to make it through the near two-hour running time, I don’t think I’ll ever watch it again. I really wanted to watch it, and pay for it, because I do believe in freedom of speech. Although I don’t necessarily think this is the greatest representation for this particular right, people really should go see it just to make your own personal statement; you should never let anybody, as I mentioned earlier, determine what you can or cannot see in terms of art (I mean real art – pederasts unfortunately use this rhetoric to try and justify their sick visions of “art”).
On the other hand, don’t expect The Interview to really break down any sort of barriers or any new ground in comedy. This really is meant to just be a fun comedy. Due to all the controversy and the hackers, North Korean or otherwise, people want to give this movie more meaning than I believe it ever intended to convey. I expected more in that sense, however, in the end I’m just ultimately disappointed by the comedy itself. I’ve enjoyed lots of what some critics would like to call “low brow comedy” (for instance I love Dumb & Dumber and even lesser loved raunchy comedies like Kingpin), I don’t have anything against crude humour, dick jokes, anything like that – I’m 30 and I don’t think I’ll ever stop laughing at fart jokes. But even in the dirtiest jokes there’s still a way to tell them to ensure they actually make people laugh.
Basically, I just don’t think the performances, all together, add up to enough. Rogen is the only one I really found funny from start to finish. Some may even disagree with me on this point, too. Caplan and Bang weren’t in there enough to really be hilarious, and they were great female roles, which is sad; I particularly enjoy Caplan and wish her character was better. There are a lot of individual jokes I enjoyed (the honey pot/honey dick lines wore away my nerves after the numerous repetitions), but I can’t say this is anything more than a mediocre comedy at best. See it – only to say you didn’t like cyber terrorism ruin our collective right to see the movies we want. Otherwise, don’t expect much more than a few laughs and a lot of Franco hamming it up beyond belief.
Whatever you do: DON'T FEED THEM AFTER MIDNIGHT! Always listen to Chinese vendors.
Bela Kiss: Prologue. 2013. Directed & Written by Lucien Förstner.
Starring Kristina Klebe, Rudolf Martin, Fabian Stumm, Ben Bela Böhm, Janina Elkin, Angus McGruther, Julia Horvath, and Jörg Koslowsky. 4Digital Media.
Rated R. 106 minutes.
There are movies which sometimes fool me, for one reason or another, into thinking they’ll turn out to be something much more than they really are – Bela Kiss: Prologue is one such film. Not that I expected greatness whatsoever, but the beginning wasn’t bad. The inclusion of serial killer Bela Kiss intrigued me. Also, the first fifteen minutes or so were decent enough I started believing this might not be too bad. To my chagrin, I slowly came to realize this movie was headed downhill.
The plot of the film is sort of foolish from the start. We get bits and pieces of the Bela Kiss story (I won’t go into this much – you can check it out online & get a much better description of his crimes than I will give you) & then nearly a century later you’ve got a bunch of robbers headed to a remote forest hotel. When they arrive it’s assumed the place will be their safe haven from any law enforcement or authorities, but their safety vanishes once people start to die.
I suppose the whole idea is that Bela Kiss may still be roaming around. There are all sorts of newspaper clippings, yadda yadda, laying around about Kiss; the bodies in the gasoline drums, pictures, et cetera. I mean, it’s just nonsense. Basically there’s no real explanation other than “blood gives you eternal life”, but somehow Bela Kiss hasn’t died – he’s almost 140 and still killing people. Or at least he’s having people killed so he can use their blood. I don’t even really know. It’s an awful, awful screenplay.
They sort of take Kiss’ story and mix in the, short, belief that he was some sort of vampire (due to puncture marks around the neck & the bodies being drained of blood). Instead of coming out with something interesting, it just seems really boring. Bela Kiss as a serial killer alone is terrifying enough. They could’ve given us a version of his story instead of making it into a very confused update, or whatever it happens to be.
This brings me to another point – the title. Basically states it’s the prologue of a story. Whose story? Certainly not Bela’s story because if it were a prologue to that then we’d most likely have a look at his childhood. Or do the filmmakers understand the meaning of ‘prologue’? Not to be rude. I just really don’t get why the word is in the title. I could maybe get with it if they called it Bela Kiss: Epilogue because this is most certainly the end/continuation of Kiss’ story. I try to never really get hung up on a film’s title, especially horror, but this is just laziness. It’s like they were trying to figure out some cool title, they really wanted to the serial killer’s name in there, and all they could think of was the word prologue. I can’t get over it. Sloppy. Unless someone can give me an explanation for it that makes any sense. Otherwise this is one of the rare cases where a movie’s title really pisses me off for having no significance whatsoever.
Most of this was a real heaping pile of nonsense, however, there were a couple scenes I really liked for the camerawork. Two of these particular moments both involve bodies being dragged. One is early on when the group of robbers end up blowing away a man in the forest on their way to the hotel; the gore is pretty good here, and also the camera view as the body is dragged away looks neat. Same sort of camerawork happens again later once one of the poor victims in the hotel is being hauled away for who knows what sort of torture – the disorienting feeling the camera angle puts us in really works. Not that there is a whole lot of incredible visual flair throughout the entire film. Though, there are a few instances I really enjoyed like these two moments.
Some of the slasher-type bits of Bela Kiss: Prologue worked well enough. There are one or two scenes which really put this in the slasher genre. Although it is a bad movie and I wouldn’t compare it to any good slashers already out there. Regardless, we get a few nasty throat slashings, stabbings, and other violence. Enough to satisfy the blood quota. That being said, there’s nothing at all new.The villain runs around with a knife senselessly, casually slitting open jugular veins and thrusting blade after blade into victim after victim.
The finale of the film is fairly blood drenched and gory at parts. Yet I’ve seen much crazier violence. They try to go for this big finish, but it really left me cold. Part of the reason why is because I cared about one of these people. They were awful, petty so-called robbers, who all look like they were cast from out of magazine ads; the characters were weak and ridiculously stereotypical of the worst slasher movies. Then there’s the terrible attempt to throw in a final scene where “The Master” shows up, with his hokey blood red pupils, chomping on a cigar, and telling the woman who runs the hotel their plan has only just begun; he cackles, I cringe. Like a rotten cherry thrown on top of a curdled ice cream sundae. Even worse, the last scene is just atrocious! The dialogue was breathtakingly bad, and the whole way things caped off was just really horribly done. Sloppy from start to finish.
I can’t give this movie 0 stars because there were honestly a couple moments I enjoyed, which I discussed earlier. Plus they had enough blood in a couple scenes that I was able to at least enjoy the deaths of the useless characters in the movie. I’ll only give this a .5 out of 5 stars. Most of this is really cringeworthy. I find Bela Kiss interesting because I’m interested in the psychology of serial killers; I’ve read books from people like Elliott Leyton to Christopher Berry Dee, the subject is just fascinating. However, the filmmakers really took a creepy story that could’ve provided the basis for a pretty neat period piece (I know this isn’t exactly a massive budget film – I’m just saying this idea is better served in other ways than a mixed-up modern slasher), and turned it into something forgettable. It certainly did not do the film any favours the acting was subpar. I couldn’t wait for this whole ordeal to be over.
If you have any interest in Bela Kiss, go watch some documentaries on A&E or somewhere else. This has nothing to do with Kiss other than they hijack his story to come up with a load of nonsense. Avoid this. If you’re looking for serial killer stories being adapted into fictional horror, stick with Ed Gein’s tale told through movies like Psycho and Silence of the Lambs, or even the classic Texas Chain Saw Massacre. Because Bela Kiss: Prologue is not worth the hour and forty-six minutes you’ll waste trying to struggle through the running time without fast forwarding past huge chunks.
One hot, horrific, Christmasy remake that has a bit of bite to it.