(Quick note: Blogger does not have the option to label only a single post "adult content," and I refuse to put a warning label on my entire blog because there will, inevitably, be the occasional breast in the occasional screencap. There's a couple in here. You know what? Breasts happen. Because of, you know, half the human race having them. Deal.)
So to make up for the lack of illustrations in my last post, this will one will be all illustrations (with snarky commentary, of course). A copy of The Wizard of Gore -- um, magically appeared, totally legally -- at my house, so here it is. Apologies that some of the images are low-quality -- my, um, magical copy has some magical quality issues.
Sigh... such lovely credits. Such a mediocre movie.
The party scene, wherein Ed demonstrates that hipsters reach a certain threshold of self-important pompousness at which they not only can't have fun, but they begin to actually implode from the force of their own toolishness. "I dig their sound." Ed actually has that line. Seriously, any human being who has said those four words in that order since 1980? Is a neo maxi zoom dweebie in desperate need of something -- anything -- to fill that yawning chasm between his ears.
"Sit down, bitch -- you die tonight." Apparently the line was supposed to be "sit down, slut," but Glover changed it. Because he's Crispin Fucking Glover, bitch.
"Did you feel something? Anything?" Also: fairly good shot for illustrating that yes, the codpiece is sort of amazing, but also that the filmmakers completely overreacted to it when they were like "oh my god we can't make the movie if Crispin insists on the codpiece." They spend, no lie, at least ten minutes of the commentary talking about the codpiece. I, on the other hand, didn't even notice it the first time I watched the film. Sue me: I was looking at his face.
I simultaneously find Ed's apartment assy and pretentious and also kind of covet it. Oh, well.
The effects are really cool, actually, for a low budget movie -- because "realistic" is impossible on that budget, they go for "surreal" and are generally pretty successful. Dourif doing that thing Dourif does.
This is such a well-shot scene. It's not brilliantly edited; there's a couple of obvious continuity problems. But the wash of cool sunlight and the awesome location make me very happy.
I don't have a problem with taking inspiration from another actor's performance. What Kip Pardue does here, however, is actually outright theft. If it were consistent throughout -- but no, for some reason it's only in this scene that he simply cribs the Sweaty Nazi from Raiders of the Lost Ark. Does that guy have a name?
Enlightened comment on misogyny: you're doing it wrong.
Don't you just kind of hate these people on sight? Also, please to note Maggie's atrocious hair and godawful wardrobe. I think a high brow is a beautiful thing on many women; Christina Ricci is one of Hollywood's most gorgeous women. Bijou Phillips, though, just looks -- at least with this hairdo -- like she's going bald.
So one of the random trivia facts with which I impress my friends at parties is this: Joshua Miller here and Jason Patric starred in Near Dark and The Lost Boys, respectively -- the two big vampire movies made in 1987 and released within days of one another. As it happens, they're also half-brothers. They're the sons of Jason Miller, who was nominated for an Oscar for playing Father Karras in The Exorcist. In at least one of my numerous viewings of this movie, I decided that Josh turned out looking a lot more like his father than Jason Patric does (Jason Patric, as you will no doubt note if you watch the trailer for Downloading Nancy, now looks alarmingly like post-pudgification Vincent D'Onofrio.) Dude, look at that nose. That's a family nose, right there.
Cool images, cool transitions, beautiful production design, even some very nice shot composition: the cinematographer, Christopher Duddy, and the designer, John Pollard, did an amazing job on this picture. Again, the talent going to waste here just kills me.
Okay, here's one of the film's key problems, summed up in an image. This is actually a clue: Ed sees this and frowns. What we're supposed to get from that is that a pair of his shoes are missing. Do you get that from that image? No, of course not, because you don't know what the shoe rack looked like before. You just wonder why Ed is confused by his shoes. That's the problem I'm talking about: the filmmakers are playing a game of spot-the-difference with us without showing us the original. Even on repeat viewings, there's still no baseline: for all we know, Ed Bigelow does this every week. "It's like our lives started that night," Ed says. That's exactly the problem: unless you're playing Pirandello meta-games, characters ought to feel like they existed before we met them. So I guess the big question is, do the filmmakers know that meta and mindfuck are not necessarily the same thing?
Interesting note: the version that I -- um, that the magical movies fairies brought me is a slightly different cut than the one I saw originally. I'm assuming it's the R-rated version rather than the unrated, but I'd swear there are other differences, lines in one missing in the other that would have nothing to do with the rating. If I weren't a little bit tired of this one I'd get copies of both and compare them, but honestly I think I need to watch another movie for a while. I'm on a Crispin Glover kick; I may bump Willard to the top of the queue.
So the movie I wanted to post about shows no signs of magically appearing at my house. I probably ought to try actually buying it, or at least renting it, before I despair at that state of affairs. But I also ought to go ahead and post this wordy-as-hell review, sadly image-free. I'll embed the trailer at the end, anyway -- the quality is crap, which is a shame because the original looks surprisingly good for something so low-budget -- but it's something.
The Wizard of Gore. No, not that one. The 2007 remake of the Herschell Gordon Lewis classic (or "classic," if you prefer): directed by Jeremy Kasten of The Attic Expeditions, who wants very much to be horror's answer to John Waters. He's... not.
The film also stars Brad Dourif, Jeffrey Combs, Crispin Glover and former child actor Josh Miller (of Near Dark and River's Edge, making a return to the screen after many years' hiatus).
It seemed like a sure thing. And as the opening credits rolled, I started to warm up to that glow of cinematic satisfaction that I was expecting. Under the title, rich retro textures and some gorgeous music accompanied the printing of a newspaper on a manual press by a man drenched from head to foot in blood. Cue me and a bowl of popcorn planning to have a lovely night.
And then cue the "wah-wah"s of disappointment kick in as the actual movie starts, and the happy glow begins fading almost immediately.
It doesn't help that the film's second scene is set at a trying-too-hard L.A. underground Halloween party, which the lead character then ironically describes as trying too hard. It is the first, but not the last time that the whole thing is a little too on-the-nose, a little too self-congratulatory. Yes, movie, we see that you are too good for this kind of orchestrated anarchy. And yet, here you are, ogling the Suicide Girls. (Which... oh, I'll have to get to that later.)
But the thing that everyone talks about when they discuss this movie is the plot, which makes NO SENSE. Well, actually, when you watch the movie a second time, the plot holes you thought the movie was getting lost in seal themselves up, but a thousand little ones re-open in their wake (I'd almost suggest that the film's final magic-show setpiece was a clever allusion to that fact, but... it's not). And that may be even more irritating, because you find yourself wondering if the filmmakers didn't pick up on those, or just didn't care, and moreover you find yourself pausing every couple of minutes to talk to yourself to be sure that there couldn't be a way for what you just saw to actually hold together in any coherent narrative fashion.
Kip Pardue plays a dilettante journalist who is by his own admission simply a collection of retro aesthetics: in every sense, an empty suit. He's just another bored hipster spectator with too much money and no sense of self. He has a girlfriend to condescend to and an assy loft apartment with no post-1970 technology. One night, he decides to go to a magic show with the same aimlessness he seems to do everything, but the show changes him in ways he spends the next two hours unraveling.
The thing is, if they'd just gone ahead and let the narrative blow itself to hell and not tried to make it make sense, I think the movie would actually be better. But instead we have a deus-ex-Jeffrey Combs wedged in at the end like it's a Scooby Doo episode. Just let the movie get lost in psychedelia and weirdness, and what you've got is a movie that follows happily in the footsteps of the trippy sixties exploitation films that its parentage would imply. Try to turn it into a murder mystery, pretend that all the clues fit together, and instead what you've got is a desperately unsuccessful and vaguely pedestrian genre film.
And the squandered potential is what really gets me about this movie. Here's the thing: most of the individual scenes work okay. Well, no -- every scene where Kip Pardue has someone else to play off of or isn't central to the scene is internally good. But put together, the film falls completely apart.
Pardue is a serviceable leading man, but I think he lacks the depth or charisma to pull this part off. It's not entirely his fault: Ed Bigelow is a deeply unpleasant character, and I'm still on the fence about whether the creators realize how much so. On the commentary, somebody -- possibly the writer -- was characterizing Ed's shifts of identity, saying, "'I'm a modern primitive! I'm a retro asshole!'" So somebody gets it, that the character is an asshole. And the thing is, a fascinating asshole can make for a great central character, but it's really hard to pull off. In Kip Pardue's performance, I can't say there's anything fascinating.
And again, this is wasted potential, because he's surrounded by a cast so wonderful that I actually got all tingly when I first discovered the film on the IMDb.
Montag the Magnificent, the enigmatic magician with a killer sawing-the-lady-in-half routine, is played by Crispin Glover, who basically defines fascinating. Glover's inspiration is said to have been Siegfried and Roy, and... wow. Yeah, that's in there, and in the creepiest possible way. One of the reasons Montag is such a great character is because he's so utterly ridiculous -- you would laugh out loud at him and his campy patter if he weren't so malevolently terrifying. Oily, grotesque, and deeply unsettling, Montag works perfectly in the movie that this should be, and with a different (better) main character and narrative approach, would have been.
And then there's Brad Dourif, who apparently was doing so many movies he couldn't remember which script to use, intimidated the crap out of everyone on set, and wears truly spectacular facial hair. Honestly, he's doing his Brad Dourif schtick. I can't say it's unique here, but it's always, always entertaining.
Another familiar face is Joshua Miller as Ed's bored, jaded best friend; Miller is back in a movie for the first time in almost ten years here. I was a little worried that what he brought to Near Dark was as much a function of his youth as his actual talent -- that his Homer worked on the strength of his baby face and ancient eyes as much as the work he was doing. But I think my concern was probably unfounded. I would admit that he seems vaguely -- rusty? That may be just because of what I went into the film already knowing about his career. But there was still a bit of what I want to call immaturity in the performance. Nevertheless, he thoroughly overpowers Pardue in their scenes together, and so much the better. In fact, if it were up to me I'd probably do away with Ed and make Jinky the main character; the movie loses a lot of steam when he makes his exit.
Oh, I suppose I should talk about Bijou Phillips as the female lead, but... why bother? Maggie has absolutely no personality. For that I'm prepared to place equal blame on the creators, who seem to have no interest in her as anything but a plot device, and Phillips, who is unbelievably irritating. (She's also saddled with some truly unfortunate hair and makeup, but that's just icing on the cake of an utterly forgettable role.)
Jeffrey Combs -- I won't say anything about Combs in the movie, other than the fact that he is, of course, grand. His role has some surprises that I don't want to blow.
But let me go back to Maggie for a minute, because I do write about women in horror, and The Wizard of Gore is the textbook definition of "problematic" in this regard. The character is so slight that she basically disappears down one of the film's more gaping continuity rabbitholes: in brief, the only backstory offered for the character is completely impossible within the narrative sequence of events proposed. I could explain the whole thing, but suffice it to say, we're left knowing absolutely nothing about her that makes any sense. She is so irrelevant that what she might be or might have been independent of Ed simply evaporates.
And this is one of the subtler examples. Much like the first scene I described, the film revels in its own vapid misogyny, then pats itself on the back for calling itself out as misogynist. And the filmmakers do the same thing on the commentary, with the writer ribbing the director at one point, "Hey, I'm not the one who made the misogynist movie!" Guys, admitting that your movie is misogynist doesn't make it okay, it just opens the door for you to actually offer a comment on misogyny in movies, in horror, in society -- just SAY something. All you did is have Maggie say, hey, that guy Montag's routine is misogynistic, y'all. And then you let -- spoiler alert for those of you who've never seen a horror movie before -- both Montag and Ed brutally murder her. So now, Pretentious Filmmakers, you've made a misogynistic movie, and said that your film was misogynistic. And yet again, no one with a double-X chromosome has made it to the last reel. Am I supposed to be impressed?
And that's before we even get to the Suicide Girls. They apparently partly bankrolled the picture, and so a whole flock of them have bit parts, largely as victims. In this picture, their role has not changed much since Herschell Gordon Lewis -- or, indeed, since the pale dead maidens of pre-Raphaelite painting.
And obviously the Suicide Girls out in the real world are a troublesome but ambiguous symbol -- does their embrace of a retro aesthetic and various forms of decorative self-mutilation simply echo in gothy flavors the physical distortions of a mainstream fashion model? Or do they assert their autonomy and right to choice and self-determination by defying Western society's insistence on keeping women safe and clean and quiet? Does anybody care now that they've basically faded into cultural irrelevance? I don't know the answer to any of those questions, though I could probably generate a paper about it.
But in this context, pulled from coy online photos and inserted into an exploitation horror film, any pretext to autonomy or self-determination they might have is stripped away under Montag's drug-induced hypnosis. Stripped, tortured, and eventually murdered for the benefit of a paying audience, they are rendered, as Montag himself precisely notes, meat.
And yet: I recommend the film. It's worth seeing for a brilliant performance by Crispin Glover and the reappearance of Joshua Miller, and the general hotness of both of the above. At the very least, I recommend it to those who enjoy a gory romp for its own sake and revel in a psychedelic mindfuck even if it ultimately disappoints.
But I do think it's kind of ironic that the film actually isn't nearly as bloody or gory as the creators seem to think it is (I saw the unrated version, and I have a hard time picturing what didn't make it into the R-rated version); there's better splatter out there. I'd say it's probably exactly as bloody as fans of the Suicide Girls can stand.
Sigh... such lovely credits. Such a mediocre movie.
The party scene, wherein Ed demonstrates that hipsters reach a certain threshold of self-important pompousness at which they not only can't have fun, but they begin to actually implode from the force of their own toolishness. "I dig their sound." Ed actually has that line. Seriously, any human being who has said those four words in that order since 1980? Is a neo maxi zoom dweebie in desperate need of something -- anything -- to fill that yawning chasm between his ears.
"Sit down, bitch -- you die tonight." Apparently the line was supposed to be "sit down, slut," but Glover changed it. Because he's Crispin Fucking Glover, bitch.
"Did you feel something? Anything?" Also: fairly good shot for illustrating that yes, the codpiece is sort of amazing, but also that the filmmakers completely overreacted to it when they were like "oh my god we can't make the movie if Crispin insists on the codpiece." They spend, no lie, at least ten minutes of the commentary talking about the codpiece. I, on the other hand, didn't even notice it the first time I watched the film. Sue me: I was looking at his face.
I simultaneously find Ed's apartment assy and pretentious and also kind of covet it. Oh, well.
The effects are really cool, actually, for a low budget movie -- because "realistic" is impossible on that budget, they go for "surreal" and are generally pretty successful.
Dourif doing that thing Dourif does.
This is such a well-shot scene. It's not brilliantly edited; there's a couple of obvious continuity problems. But the wash of cool sunlight and the awesome location make me very happy.
I don't have a problem with taking inspiration from another actor's performance. What Kip Pardue does here, however, is actually outright theft. If it were consistent throughout -- but no, for some reason it's only in this scene that he simply cribs the Sweaty Nazi from Raiders of the Lost Ark. Does that guy have a name?
Enlightened comment on misogyny: you're doing it wrong.
Don't you just kind of hate these people on sight? Also, please to note Maggie's atrocious hair and godawful wardrobe. I think a high brow is a beautiful thing on many women; Christina Ricci is one of Hollywood's most gorgeous women. Bijou Phillips, though, just looks -- at least with this hairdo -- like she's going bald.
So one of the random trivia facts with which I impress my friends at parties is this: Joshua Miller here and Jason Patric starred in Near Dark and The Lost Boys, respectively -- the two big vampire movies made in 1987 and released within days of one another. As it happens, they're also half-brothers. They're the sons of Jason Miller, who was nominated for an Oscar for playing Father Karras in The Exorcist. In at least one of my numerous viewings of this movie, I decided that Josh turned out looking a lot more like his father than Jason Patric does (Jason Patric, as you will no doubt note if you watch the trailer for Downloading Nancy, now looks alarmingly like post-pudgification Vincent D'Onofrio.) Dude, look at that nose. That's a family nose, right there.
Cool images, cool transitions, beautiful production design, even some very nice shot composition: the cinematographer, Christopher Duddy, and the designer, John Pollard, did an amazing job on this picture. Again, the talent going to waste here just kills me.
Okay, here's one of the film's key problems, summed up in an image. This is actually a clue: Ed sees this and frowns. What we're supposed to get from that is that a pair of his shoes are missing. Do you get that from that image? No, of course not, because you don't know what the shoe rack looked like before. You just wonder why Ed is confused by his shoes. That's the problem I'm talking about: the filmmakers are playing a game of spot-the-difference with us without showing us the original. Even on repeat viewings, there's still no baseline: for all we know, Ed Bigelow does this every week. "It's like our lives started that night," Ed says. That's exactly the problem: unless you're playing Pirandello meta-games, characters ought to feel like they existed before we met them. So I guess the big question is, do the filmmakers know that meta and mindfuck are not necessarily the same thing?