Tagged Mumblegore

Mark Duplass is CREEP(y)

Creep. 2015. Directed by Patrick Brice. Written by Patrick Brice & Mark Duplass.
Starring Patrick Brice & Mark Duplass.
Blumhouse Productions.
Rated R. 82 minutes.
Comedy/Horror


★★★★★creep-posterI know Mark Duplass mainly from two sources – his amazing portrayal of Pete on FX’s raunchy fantasy-football comedy The League, and the film Baghead which he co-directed with his brother Jay Duplass. He’s a great talent, and of course I’ve seen his other work; another film he wrote and directed with his brother I love is the acerbically funny Jeff, Who Lives at Home. But it’s his performance on The League I love most.
In Creep, Mark Duplass channels brief spots of Pete, which I think are mostly culled from his own personality anyways, and yet there is a real childish gentle quality to the character he plays – at least in the beginning. This, above all else, drives Creep into terrifying territory.
The film starts with Aaron (Brice) who is heading to meet someone he has contacted through Craiglist that wants to be filmed, of course in exchange for money. Aaron arrives at a cabin in the hills where he meets Josef (Duplass) who explains he is dying, and about to be a father, so he wants the video of him to reflect the good & bad of him; later to give to his son. Josef wants to be filmed constantly. Even as he strips naked for a bath, what he calls “a tubby“, which is recorded all for his yet-to-be-born son, Josef asks Aaron “are you okay?“, and seems to want him to be at ease during the process. Uncomfortable, yet harmless, the conversation and relationship develops between Josef and Aaron, but all is just not as it seems.

For those who don’t want a small portion of the film spoiled – turn away. I think when I really started to finally become unsettled is partway through the film as Aaron shuts off the video on his camera, but leaves the audio recording, and Josef reveals something he’d never told anyone before. It starts off like a weird animal porn story, evolving into a quasi-rape Josef says he perpetrated on his wife while wearing a wolf mask. This comes only awhile after we first see the mask – Josef tells Aaron initially the thing was a mask his dad had, a character named Peach Fuzz that he’d developed. But once the story is told, which worked well only as audio because it ratcheted up the suspense, the wolf mask takes on a new terror.
creep-mark-duplassWhat I love most about Creep is that the found footage sub-genre is used appropriately. Maybe there are a few minor nitpicks, but for the most part this film really follows the unwritten rules of the sub-genre to perfection. Best of all, the premise of the story fits in very organically with found footage.
Even further I think the idea of the whole thing initiating from a Craiglist ad is a great post-modern twist on the genre; while scary and enjoyable as a movie, it actually makes you re-think the whole idea of the online communities such as Craiglist where people anonymously perform transactions on everything from professional jobs to the unprofessional world of buy, sell, trade, and online prostitution. But most of all, the fact it’s just two guys, two characters, for the most part in one remote setting the greater portion of the film really works for the whole story. The found footage sub-genre often fails and seems beyond stale when the style is being forced inorganically into a situation where there’s disparity between how a camera should or shouldn’t play into each scene, and so on. This in turn stirs the nitpickers who will tear a film apart, sometimes rightfully so, to say ‘this doesn’t follow the “rules”‘ or what not. The sparse setting, characters, and basic plot really help the environment remain controlled and helps showcase the found footage style without too much going on.
Picture 1The moment that got me most is the phone call from Angela, when Aaron picks up the phone. A real great reveal, so to speak. It sort of peels away Josef’s facade slow with each sentence until you sort of gasp to yourself – not terror, but the feeling of the moments before a terror strikes – and from that moment on the creepiness descends upon us in torrents, waves, scene after scene, up to the end.
The mask really creeps me out. At first it wasn’t so scary, but in the final half hour it becomes the thing of nightmares; one scene, as Josef wears the mask and stands blocking a doorway, is spectacularly weird and creeped me out wholly.
There’s a genuine amount of suspense going on throughout the closing fifteen minutes or so, an air of dead, which ultimately leads to a real shocking conclusion. I thought it was about to go one way, yet still the finale was surprising, and didn’t come exactly as I’d expected it to. Duplass really makes the last couple scenes pop with the creep factor he puts out, and you should freeze frame it if you can right before the credits roll – a very dark, suggestive shot, brief and yet long enough to get under the skin. Then the title appears, the credits go, and you’re left to ponder. Great stuff.

I’ve got to give this a full 5 stars. Going into any Blumhouse film I’m honestly weary. There are a couple films I don’t mind, a couple I like, and then several I hate. Creep delivers the goods. Sure, it’s a very contained and limited film, but that’s not to say those are negative commentary. As I said earlier, I think found footage can be terrible if it tries to put in too much, this is exactly why Brice’s film is directed so well in my mind, why the shots all work and things seem to flow naturally without being forced. This is one of the most efficient uses of the sub-genre in horror. Along the way there are some excellent comedic moments, mostly dark I think, and they come in little bursts. I honestly found myself dropping my jaw a few times, amazed at the way things were going in the awkward relationship between Aaron and Josef – I watch a ton of horror, I’ve seen a ridiculous amount of gore and shock horror and all that, but regardless, Creep has so much tension, suspense, and the performance Duplass gives is creepy beyond belief, that the film goes over perfectly.
See this, ASAP. It’s on VOD via iTunes, and I would assume other platforms, today. Real great little watch. It isn’t an outrageous horror with elaborate plot, it doesn’t have any blood in it, or monsters, or supernatural entities – it is a straight up, balls to the wall psychological horror, and it melted me. I loved it. I can’t say that enough. And not to ruin anything, but I hope that they’ll expand and go for a sequel. No doubt Blumhouse is already champing at the bit for a sequel, or two, or three. This is one film I wouldn’t mind seeing more of, maybe even a prequel to see Josef before he arrived to his relationship with Aaron.
This is a creeper of a movie. I can’t wait to watch it again.

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The Sacrament: Found Footage in Jonestown

The Sacrament. 2014. Directed & Written by Ti West.
Starring Joe Swanberg, AJ Bowen, Amy Seimetz, Kate Lyn Sheil, Gene Jones, and Kentucker Audley. Magnet Releasing. Rated R. 95 minutes. Horror/Thriller

★★★★★

Previously I discussed The Sacrament in my 15 Found Footage Films Worth Watching. Here, I’ll go much more in-depth on why I think this is a great film overall.

I only discovered Ti West once seeing his 2009 film The House of the Devil. I went back and secured a copy of his first feature film from 2005 called The Roost – a neat little movie with mutated killer bats and a few friends on a road trip headed to a wedding; I love every frame of this one. Included on the DVD I bought, luckily, there came his earlier short film from back in 2001, Prey. He later went on to do the fantastic modern ghost tale of The Innkeepers, and a couple of great segments in both V/H/S (the short called “Second Honeymoon” featuring Joe Swanberg – actually my favourite of the first film’s shorts), as well as the 2012 horror mega-anthology The ABCs of Death (a divisive short called “M is for Miscarriage”).

sacrament_ver3_xlgThen came The Sacrament – West’s retelling of the Jonestown Massacre )see: Jim Jones and the People’s Temple in Guyana). For those who don’t know, Jones was a supposed preacher who basically built up a cult of personality around himself using the faith, and money (and bodies/souls), of a congregation made up from lonely and lost, broken hearted people who wanted nothing more than to believe in something tailored to them. They all eventually fled to the Republic of Guyana on the coast of South America and, using the life savings of many members in the People’s Temple, built their own town – aptly named Jonestown. Jones convinced his congregation they were better off in Guyana. He also managed to convince many, not all however, the American government and certain agencies such as the CIA wanted to kill him, and in turn them – that people were, as the saying goes, “out to get them”, (as Father says in The Sacrament when a young member questions why their fate must be what it is: “(if not) they will come down here with their guns and bombs and wipe us out!”). Then one day, Jones finally went off the deep end, after having lived a double life for quite some time pretending to be the all-righteous preacher by day and then indulging his primal urges by night (including alcohol, drugs, and the homosexual practices he condemned – Jones claimed himself to be the “only true heterosexual male” and justified his sodomizing of other men in his church as his sole option in helping those men in realizing their own homosexuality). He brought everyone their little meeting area at Jonestown, a crew of people brought out big jugs of mixed up Kool Aid with cyanide, and everyone proceeded to drink up – some were force fed, et cetera. You get the picture.

The-Sacrament-pic-300x210This is essentially the plot of The Sacrament, however, West does not use this as a “based on a true story” tale. It never says this anywhere. I believe West used the Jim Jones story to translate things into a new modern era. This also explains the reasoning behind choosing VICE as a way to explore the Jones story through a different lens, as well as a neat way to help lend the film a found footage feel. People will argue it isn’t “true” found footage, but it is – using VICE, West is able to disguise this as one of their hands on trips to a foreign country, practicing what they call “immersionism”, and so under that he’s able to also incorporate little bits of editing and the like.
Which brings me to one of the things I really feel puts this movie over as a horrifying ordeal. Aside from all the imagery of terror throughout, especially in the final reel, the music really helps West’s film in regards to atmosphere and tone. The mood is immediately set when the VICE guys roll into the Eden Parish complex (the West-version of Jonestown) and soon the foreboding music begins. It’s really great. As things get more uncomfortable, and at times downright creepy, the score goes along: it gets dark and deep, slow, picking up its pace in parallel to that of the film itself. This is one of my favourite parts about the inclusion of VICE as part of the plot – West can account for the sense of editing inherent in the music by putting it off on VICE taking the footage back, editing later, as they do. This helps alleviate some of the pressures of the found footage sub-genre. West didn’t have to be too strict worrying about whether or not everything seemed perfectly explainable in as far as they had to perfectly fit the found footage “rules” in order for people to accept how things were being filmed (because we all know when it comes to horror and sub-genres specifically some fans are picky as all hell – to an unfair fault both to the filmmakers, as well as their own enjoyment of movies..). All that said, the music is just really wonderful. I couldn’t care less if it fit or not with the found footage aspect because it just worked so well for the film I really cannot complain one bit.
sacrament-880x320 For those who don’t particularly care for / follow Ti West, he often works in conjunction with a bunch of other filmmakers and actors associated with the “mumblegore” film movement (a particularly silly moniker I think doesn’t do their talent justice). These people include fellow directors Adam Wingard and Joe Swanberg (who regularly acts as well), actors A.J Bowen and Amy Seimetz, and multi-talent Kentucker Audley (everyone aside from Audley was involved with Wingard’s 2001 directorial effort You’re Next which was only just released last year; West acted in that one and got murdered fairly quickly).
In this movie, we get everybody mentioned aside from Wingard. Bowen and Swanberg play the VICE guys – each of them are very believable and because of their previous relationship were clearly able to appear natural together on camera + playing faux-real people in the documentary-styled film. I particularly love Bowen, and here he is very good. I thought he played the character of Sam well from start to finish – both as the confident VICE reporter and then later as the scared man trying to help himself while also worrying about helping others. Bowen worked well as Sam in those later bits because West played with the fact this man was an expecting father. While he clearly wanted to get out of there, as anyone would especially if they have no real personal attachment to the place, Bowen showed the struggle of a man who couldn’t fly back home to his pregnant wife, his unborn child, knowing he didn’t do anything and everything he could to help the men, women, and children at Eden Parish. There was some great stuff in there. Bowen helped get that out and make it part of why The Sacrament was effective.
Amy Seimetz, who is always fantastic and great at playing complex female characters, gives a great performance as the sister to Audley’s character; she is one of the lost flock who follow Father down to Eden Parish. In fact, the scene between Audley and Seimetz (you’ll know which one) later in the film is not only heartbreaking, it is a master class in acting. Each of them were in fine form, most certainly Audley, but it was definitely one of the most heartwrenching scenes of any horror film in 2014; without a doubt. I could feel the pain dripping out the frame. Classic scene.

6-the-sacramentI know some people wonder why Ti West chose a story such as that of Jones to use as a template for this story in The Sacrament. But again, I say it – nowhere does West claim that his film is whatsoever based on a true story. He knows we’re smart enough to understand where it comes from – even those younger moviegoers who may not be all that familiar with Jones will probably, through the internet, come to figure out this has some basis in reality.
Regardless, West crafts something better than just a Lifetime Biography on the Jonestown Massacre because he doesn’t hold it to the standards of the actual story. West could write a more diverse character in Father by not holding him strictly to the mould of Jim Jones. If he had based this completely on Jones, he would have had to stick with the period of time in which it happened – right there, not only does this eliminate any elaboration on the character types within the story, it also completely puts the kibosh on the VICE angle, and then all the threads start slowly wearing away. I think it was smart of West to choose this story, as it’s socially relevant in any time let alone the strange times we live in today, and by manipulating it and not sticking totally to a true story he is able to leave certain aspects unlimited.
For instance, the relationship between the brother and sister (Audley and Seimetz) could have been done through an unchanged version of the Jonestown story, however, it also risks not doing justice to actual survivors.
While people can argue it’s just as insensitive (or whatever else they want to say) that West would make a fictional story out of a tragedy which really happened, he really makes a great film and tells a rich story. By not making this the Jim Jones story, he also sheds some responsibilities – not only to the sub-genre of found footage film, but also to the real people who experienced Jonestown firsthand.
Bad taste? I don’t think so. Not by my watch. This is a great and powerful horror film for modern audiences. It satisfied me to no end. Having seen almost ever single piece of Ti West’s work as a director, I can honestly say his work gets better and better. I’m looking forward to seeing In a Valley of Violence. He’s a guy to keep your eye on.