Author Archives: Bob Evans

Odds and Ends

 

Here’s a potpourri of thoughts for this Wednesday morning.

1) I’m Bummed: I had been so looking forward to attending in person 2021’s Horrible Imaginings Film Festival but with Orange County’s COVID-19 positivity rate above 20%, the theater instituting a quite reasonable mask mandate, and my own somewhat compromised immune system due to arthritis medications it just doesn’t make sense to go in person. So just like last year I will be watching the films virtually.

2) The Face-Eating-Leopards that in the GOP Base is beyond control. It is both ironic and terrifying that the former guy himself, the Turd that stained our democracy and attempted to overthrow a fair and free election, was booed by his own crowd for suggesting that people get vaccinated. I am horrified that things are going to get worse before they get better.

3) I am now experimenting with greater post processing of the pictures I am taking with my DSLR. Here’s a color pushed and modified photo of a trip to the shore I took last year.

Share

Movie Review: The Night House

There are lots of different types of horror movies. Giant Kaiju monsters may stomp, fly, and smash their way through cities, aliens may menace earthbound and space travelers alike, demonic possession may turn a young girl in specter of degradation, the recently dead may stalk the land consuming the living, or masked and disfigured killer may stalk promiscuous teens, but my favorite form of a horror movie is the ghost story, like The Night House.

In the story Rebecca Hall’s character Beth struggles to accept the sudden and inexplicable suicide of her beloved and apparently devoted husband Owen. Attempting to power through her grief and refusing to recognize it Beth tries to carry own with her life, going to work as a public-school teacher, having drink with her co-workers, but alone in the lakeside house that she and Owen built, strange visitations and events intrude on her solitude. Investigating these strange occurrences leads Beth to discover that Owen had secrets and bring them to light reveals truths she is unwilling to confront.

The Night House is a slow-burn ambiguous ghost story of a horror film. This is not the type of horror movie that presents the audience with an elaborate special make-effects ‘kill’ every fifteen minutes but rather one that lives in the liminal spaces between what is clearly happening and what may be happening. Like Robert Wise’s The Haunting it is a film that can be interpreted as the work of malevolent spirits or the hallucinations of a troubled mind. For my money there is a single two shot sequence that lands the project on the it really happened interpretation, but your mileage may vary.

Rebecca Hall, who also acted as one of the final executive producers, carries the entire film. The story is told solely through her viewpoint with only a couple of sequences in the final moments breaking this convention to give as another characters view of the scene. I have been a fan of Hall’s performances since I first saw in in Christopher Nolan’s The Prestige and here as the center of The Night House she doesn’t disappoint. The direction by David Bruckner is solid and executed with a firm hand on the ambiguity needed for this production. Elisha Christian’s cinematography is lush shifting comfortably between daylight scenes of peaceful tranquility to the night’s deep and dark shadows filled with unseen dread. Screenwriting team Ben Collins and Luke Piotrowski have crafted a tale of grief and depression’s ability to drown us that utilizes horror as a method of exploration those themes. The Night House’s development of those themes of loss and what it does to us is reminiscent of 2014’s The Babadook without being derivative but rather so complimentary that the pair would make a most excellent double-feature.

The Night House is currently playing theatrically.

My SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

Share

The Baron of Arizona: A Disappointment Years in the Making

 

Some years ago, in the before time when streaming wasn’t a common way to locate and see film I chanced upon a fragment of a broadcast of 1950’s The Baron of Arizona, a western starring horror icon Vincent Price.

The film’s central plot, loosely adapted from a historical event, is how James Addison Reavis (Vincent Price) with forged documents nearly swindled the government of the United States out of almost all of the territory of Arizona.

That idea is so grand and so daring that I really wanted to see the film adaptation of it, particularly since it starred Vincent Price and was written and directed by Samuel Fuller. This month The Baron of Arizona is streaming on The Criterion Channel, and I have finally watched it.

It’s hard to remember an anticipated film that disappointed me more than this one. The film about a swindle of nearly unimaginable scale is told with dull plodding voice over and all the excitement of long boring day at work on a Monday. We follow Reavis as he takes the steps to work his forgery and swindle, a globe-trotting series of events that includes infiltrating a monastery to gain access to ancient Spanish records and manipulating a Roma Tribe to gain access to a noble’s library. After putting the grift into operation Reavis faces angry ranchers and locals who look less than kindly upon the man now calling himself their Baron and demanding rent for lands that thought they had own. but even when the plot escalates into action with hurled sticks of dynamite and federal government sending forgery experts to investigate the pace remains glacial and not even Price’s magnetic screen presence can make the movie interesting or compelling.

 

Share

A Few Thoughts on Afghanistan

 

What is transpiring in the graveyard of empire is a terrible crime against humanity that women, girls, LGBTQ, non-believers, and other will bear the horrid costs of.

That said going into Afghanistan on a nation building project was in all likelihood a fool’s errand. Before the invasion but following the attacks of 9/11, the United States gave the Taliban leadership of that country an option to avoid invasion, surrender the terrorists to us. They rejected that offer and we invaded to get those that had killed 3000 of our own. (And now one of own political institutions shares culpability in killing 200 hundred times as many Americans.)

Our goal should have been getting al-Qaeda and then leaving. But that is don and the past cannot be changed. What to do now?

We should get every translator and their kin out of the country that wants to leave. If you have no loyalty you have nothing.

This should not extend in any manner to senior Afghani politicians scooping money into their pockets. Those who used the occupation as an excuse to fleece the country we owe no loyalty to; I have no issues leaving them on their own and closing our doors in their faces.

Share

The GOP Do Over 2: Electric Boogaloo

 

18 years ago, following the dot-com implosion and rolling blackouts across the state cause my politics and not by infrastructure issues crippled California a Republican spearheaded recall election removed the Democratic governor, Gray Davis, from office. At the time and to this day I refer to this as the GOP do-over. In 2002 Davis ran and won re-election against Republican Bill Simon. It should be noted that the California GOP has last held the Governorship with Pete Wilson in the 1990 and after the anti-immigrant and arguably racist drive to pass Proposition 187 denying services to undocumented persons the Republicans have failed to win statewide offices. Simon was a particularly bad campaigner. The economic crisis of the dotcom bust, the horrid electrical supply failures, and a deeply unpopular increase in automobile registration fee gave the GOP the tools and leverage to initiate and succeed at a recall campaign. If they were unable to win a popular vote in a statewide campaign, they could possibly take the office with a mere plurality of votes in a special election. That’s exactly what happened, 55% of the voters who showed up voted for the recall, turning Davis out of office, but only 48.6% voted for the man who replaced him, Governor Arnold Schwarzenegger.

The GOP, having now even further right than before and without Arnold’s moderate stances and celebrity status they have been driven again from statewide offices, are using the COVID-19 pandemic as the crisis in their attempts to recall Governor Gavin Newsom. I have no deep well of affection for either Davis or Newsom and Newsom’s handed his political enemies numerous PR knives with which to stab him but he, nor Davis before him, has committed and abuse of office or malfeasance that warrants a recall from office. This is once again the Republicans, too far too the right to gain a majority of votes from the population, trying to secure an office that are unable to win in any general election. Reflecting the national GOP, California Republicans instead of moderating their policies and positions seek to ‘rule lawyer’ their way into power and damn the will of the people.

I urge everyone in this state to do as I am doing and voting ‘No’ on this recall.

Share

Movie Review: Free Guy

 

Free Guy is the story of how a background non-player character, Guy, played with able comic chops by Ryan Reynolds, in an open-world video game, with decidedly strong Grand Theft Auto vibes, becomes self-aware while learning that his world is nothing but a sandbox for sociopathic players unleashing carnage and cruelty.

Free Guy is also the story of two brilliant computer/software geniuses, Mille, played by Killing Eve’s award-winning actor Jodie Comer, and Keys, played by Stranger Things’ Joe Keery, as they struggle to prove that the original code for the massively successful and profitable game that acts as Guy’s world, was stolen from them by cartoonishly villain Antwan, played by the brilliant Kiwi Taika Waititi.

The twin plotlines intersect when Millie’s avatar in the game world, Molotov Girl, intersects with Guy hurtling them on a collision course that ultimately will decide everyone’s, virtual and otherwise, fate.

The trailers and promotion sell Free Guy as an action/comedy and they much is very true. The tone and style of the humor is very much in keeping with Ryan’s Deadpool, though here toned down for a PG-13 rating, and with the gags referencing other properties held off until the film’s final act when we are reminded that Disney owns everything.

But, beyond the gags, jabs, and cameos from the real world of on-line game and streaming, Free Guy also has a theme that we are the architects of our lives and routines can be non-living. The movie doesn’t descend into full ‘message’ mode, but neither is it particularly subtle with its theme, striking instead the right balance between the two poles.

There are plenty of great visual gag and surprisingly cameos. (Do not visit IMDB before seeing this, let the surprise arrive and please you.) While Free Guy will never be counted among the great films of cinema’s canon it is fun, entertaining, and full or unironic heart making it well worth seeing. If you are vaccinated and comfortable heading out into public do see this in a theater.

Final observation, I do not know if this was an effect from the pandemic but two of the trailers before the movie, The House of Gucci and The Last Duel were both directed by Ridley Scott and I don’t think I’ve ever seen the same director pop up twice, as director, in the same trailer block.

Also remember that my SF/Noir Vulcan’s Forge is available from Amazon and all booksellers. The novel is dark, cynical, and packed with movie references,

Share

Quick Hits

 

Just a few unrelated thoughts and observations this morning.

 

COVID-19: Well, this is fucked. We could have been well on the way to controlling the pandemic in the US and then turning our considerable resources to helping the rest of the world, but no, our fascist-adjacent party insists on throwing their tantrum modeled upon their orange god-king and screwing it up for everyone.

 

New Novel: I’ve started act break work on my new novel about alien ‘non-contact.’ I’m hoping within a week to have an outline and to be ready for actual scene writing.

 

Marvel’s What if …: the new series an anthology of animated alternate versions of MCU stories, the premier being what is Agent Carter got the super solider serum instead of Steve. It worked but I wasn’t blown away.

 

 

Share

What Happened to My Mask Tolerance?

 

Last year when it was recommended that everyone wear face masks when out in public, I adopted the habit straight away. While many people complained about the discomfort of wearing that cloth over your face, I never found it all that troublesome.

Oh, there were issues learning the correct placement to keep it from fogging the lenses of my eyewear but actual, ‘I can’t breathe’ or ‘This is stifling’ reactions I simply did not have. Not in the spring nor in the heat of the summer. And I went out a lot in those masks. I was one of the few people at my day job that remained an in-office worker carrying out essential tasks that could not be completed remotely. (My choice, management made it very clear if I wanted to work from home like the rest of my team I could. No pressure, no inducement. It was entirely up to me.)

This year, this summer, I have found that I have very little tolerance for my masks. Short trips in the summer heat to my car and from the car to the officer are barely tolerable, causing me to rip the thing off and get air blowing across my face as quickly as possible.

I still wear it. The Delta variant is dangerous and highly contagious so even with my vaccinated status I am taking every possible precaution. But still I wonder, where did my tolerance for masks go?

 

Share

The Cohen Brother Film

 

Sorry for no posting yesterday, eye exams and a general malaise robbed me of motivation. Good news is I have now fully recovered from my cataract surgery, and all is well with my eyes.

The brother Ethan and Joel Cohen have been responsible for some entertaining, irreverent, and darkly cynical films everything from the fable and silly The Hudsucker Proxy to the grim examination of the human condition in No Country for Old Men. What these films had in common was the team of Joel and Ethan a cinematic team that seems to have reached their end.

Ethan has of late been writing short stories, plays, and directing live theater and apparently have fallen in love with the live stage world. Joel is remaining in the cinematic arts and luckily, I have seen no reports that this spilt represents animosity between the brothers but solely a differencing of artistic desires.

The question is just how much like a Cohen Brothers film is there is only one present? Christopher and Jonathan Nolan often but not always work together and when Jonathan is part of the project the storylines turn darker and more cynical. It will be interesting to see what, if any, detectable tone shift arrives by the departure of Ethan. We shall have a chance soon. Later this year will see the release of Joel Cohen first truly solo direction feature film The Tragedy of Macbeth. (One thing I can say is that it seems Joel does not share superstitions about ‘the Scottish Play.’ An A24 release, a studio I have come to admire for its bold commitment to artistic films, and my favorites play by the Bard, there is no doubt that I am there for this feature.

Share

Movie Review: The Suicide Squad

 

In July 2018, the happy before times when we knew nothing about the coming pandemic, James Gunn having provoked the ire of Trump supporters was fired from his position as the director of the 3rd installment of the Guardians of the Galaxy franchise, the first two under his writing and direction had clear more than 1.5 billion at the box office, when Disney panicked over a faux twitter outrage generated by said Trump supporters fixated on Gunn’s years aged and already apologized for shock and bast taste humor on that platform.

Meanwhile Warner Brothers Studios licked their wounds from the critical disappointment that was their feature release Suicide Squada superhero film where the featured characters were in fact villains pressed into government service in a dangerous mission to save the world. Wb desperate for a win compared to the juggernaut that is Disney’s Marvel Cinematic Universe, a license to more money than many countries, they wasted no time and hired Gunn for the sequel to their villains turned heroes series and thus was born The Suicide Squad.

If you are expecting a clone of Guardians in tone, humor, or even needles drops, then you may be disappointed by The Suicide Squad. The humor is darker and more cynical, the action more violentand quite graphic compared to Marvel’s generally bloodless combat and the music ques trend to more modern selections in contrast to Guardians favor for classic rock.

With the exceptions of fan favorite Harley Quinn and Colonel Flag, Gunn, given a free hand by the studio, selected a new roster of villains to constitute his world saving anti-heroes, and that line-up to is too extensive to fully detail here but includes; Ratcatcher 2, who inherited tech to control rats from her father, Polka-Dot Man, who throws polka-dots of disintegrating energy, Bloodsport and Peacemaker a pair of high trained, testosterone-poisoned mercenary assassins and of course King Shark, a humanoid barely speech-capable walking super-strong and always hungry shark.

This assorted murderer’s row along with a number of other are dispatched of a fictional island nation of the coast of South America to destroy a facility and its secret project “Starfish” that has landed in unfriendly hands due to a recent coup. Things go wrong and a great deal of curing and violence erupts and the villains are faced with a threat that far outmatches them and one that no all of them will survive. After all it is titled The Suicide Squad.

I enjoyed but did not love this movie. It is fun, it revels in its R rating, and Gunn let the characters be themselves without bogging the pacing down with excessive set-ups. That said there were elements, usually style induced ones that kept rubbing against my suspension of disbelief. For example, instead of a simple title card or subtitle to inform us we were jumping back three day in the story to show us something vital Gunn would place the letters in the scene, such as in foam forming on a toilet seat, or in billowing flames and that was too self-ware for my own tastes.

That said I am glad I watched this in a theater where giant action set pieces played out far larger than life. So, my recommendation is see it, but be aware it doesn’t work for everyone.

Share