Author Archives: Bob Evans

Parsing Empowerment from Exploitation

 

I just saw a tweet extolling the cinematic excellence of the film Revengeand while I am not going to respond directly to that tweet, I have no interest in dumping on someone for something they enjoyed, the movie was one I found lacking and I wanted to quickly compare to a similar film that handled the subject matter so much better, American Mary.

Both movie, Revenge (2017, France) and American Mary (2012, Canada) are centered on attractive young women who are sexually assaulted by older powerful men and the consequences of those attacks.

Revenge is an exploitative movie, fond of the ‘ass cam’ where the lens of the camera follows the woman close and low reducing her to a body part without the benefit of being from a clear point of view. The film utilizes nudity heavily and while it doesn’t film the assault in a particularly titillating manner nor does to capture the character’s full sense of horror and objectification. Following the assault, the movie descends into a series of set pieces of attacks and escape as she takes her revenge all while maintaining minimal or even absent entirely of clothing.

 

 

 

 

American Mary never falls into the ‘ass cam’ mode of cinematography. Its star is equally as attractive as the star of Revenge, young leading ladies are rarely unattractive, but the filmmakers never reduce her to simply her secondary sexual characteristics. The assault also avoids titillation along with nudity and captures the horror, loss of control, and the character’s objectification bur her assault. Following the attack, the character also seeks and gains a measure of revenge but unlike Revenge this is not presented as a sequence of violent murders but something more methodical and more extreme while maintaining a focus on the character’s mental state and her disintegration emotionally. We see the continuing price she pays from the assault and the ultimate hollowness and emptiness of her revenge. American Mary is a more complex and subtle film that explores the lingering harm of trauma and not simply the gratification of vengeance.

Both films are streaming on Shudder. Watch them and make up your own minds on the difference between exploitation and empowerment.

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Crossing The Bridge

 

Last night my sweetie-wife and I finished the fourth and final season of the Swedish/Danish television series The Bridge.

As a season and as a series it reached a satisfying conclusion wrapping up the various threads of both the current multiple murder investigation that drove the season’s plot and the long running character arcs.

Looking back over all four seasons with the exception of a misstep in virology late in season two the series maintained an exceptional level of skill in story, character, and production. The MVP of the show remained from episode one through the final scene Sofia Helin’s portrayal of Swedish homicide detective Saga Noren. Helin’s skills as an actor are tremendous. She fully inhabits Saga and never misses when she’s required to communicate her character’s inner thoughts and doubts non-verbally. Her costars are all competent and talented actors, but it is always clear that Helin is the shows center and its star.

The concept of the series, cross border investigations driven in part by a transnational bridge proved too tempting not to be duplicated and the series spawned reinterpretations set along six national divides including the US and Mexico.

When my sweetie-wife first wanted to watch this series, it was not available on any of the streaming services, and she purchased the UK Blu-ray release as we own a region free Blu-ray player. Now the original series is available on Amazon prime and if you have even a passing interest in Nordic Noir, I can’t recommend the series enough.

 

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Character Wants, Needs, and Growth

 

In fiction writing it is often the case that a character has a want, something that the character is aware that they desire to obtain or achieve and a need which is a psychological element that the character is usually unaware of that they require to become their better self.

Here are a couple of examples to illustrate my point. In JawsChief Brody wants to make his community safe, in particular to stop the shark attacks. His need is to overcome his terror of the water. He doesn’t go around in the story saying or even acting like this is a goal, but it is the character growth and evolution that makes the story satisfying. In Back to the Future Marty wants to ensure his parents meet so that he and his siblings will exist, but his need is to gain the self-confidence for his own artistic pursuits. (A need that was ignored the sequels.) Achieving his wants allows him to meet his needs.

It is important to have needs and wants cleanly separate goals. In the musical/fantasy Xanadu Sonny’s need and his want are precisely the same thing. He wants to be inspired to create original art and it is his psychological need as well. In addition to the film’s numerous flaws, this means that there can be no arc, no character growth for Sonny. If a character’s need is the same as their want, there is no change to the character when they achieve it. A static unchanging character is ultimately unsatisfying it is why the final shot in The Hunt for Red October is critical, only by seeing Jack asleep on a plane, having fully met his need to overcome his fear of flying can we appreciate his character’s growth and change.

When you create character to drive your stories think about their wants, the plot, and their needs, the story, are distinct things for fuller richer tales.

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Quick Hits

 

Just a few random quick thoughts before I head out to my day-job.

 

Katla ended well. While one of the characters provided a scientific sounding explanation for the strange events and doppelgangers a few selected shots and sequences I think refute his theory. In my opinion the entire Netflix series is well worth watching.

 

The Republican Party continues its drift towards authoritarianism. I say drift because I believe that most elected pols are not choosing their direction but rather utterly terrified of their base and loses their positions are pushed by the currents that are generated by the most devoted bad actors. At this time nearly the entire party is comprised of invertebrates.

 

Next month is the Horrible Imaginings Film Festival which last year was entirely virtual and this year attendees can choose to be in person or online. I have my tickets and plan to be in person at the Frida Theater in Santa Ana California.

 

 

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Movie Review: The Green Knight

 

People who have heard me talk about story construction know the importance I place on endings. The end of the tale is where theme, plot, and story unify into a meaningful and satisfying whole. It is also where David Lowery’s The Green Knight fails in its quest to be great cinema.

The Green Knight a cinematic adaptation of the Arthurian legend of Sir Gawain and the Green Knight, starring Dev Patel as Gawain, nephew of the king, who I the script is never named, who longs for the honor and respect of a knight but who spends more time in brothers than at mass. During Christmas celebrations the mysterious Green Knight, played in perfect casting by Ralph Ineson, offers up a game to the king and his Round Table Knights. He shall let one of them strike any blow they wish and claim his war axe as their prize but in one year’s time they must seek him out and receive a blow from him equal to the one they delivered. Gawain, desperate for a tale worthy of retelling, steps forward and delivers what should have been a mortal blow but magic is at work and the Green Knight is not killed. Gifting the prize to Gawain the Green Knight departs leaving the young man with the quest to seek him out at the next Christmas and receive his mortal strike. The years passes quickly and at the next Yule Gawain departs to find his destiny with the majority of the film’s two hour run time devoted to his travels, encounters, and adventures under the growing shadow of his doom.

The Green Knight is a lyrical, symbolic, and metaphorical piece of cinema. The cinematography is lush, colorful, and mysterious with every frame a lovely painting of light, hue, and shadow. This is not a film shot to be clear but to be beautiful and in that goal is succeeds beyond measure. The performances, save Patel’s, are not meant as realistic human portrayals but rather expressions of the mythic folklore presented on the screen leaving on Gawain’s as the emotive naturalistic performance. The film takes place in a world of magic, monsters, and mystery but while special effects are utilized in the telling of the tale, they are not the drivers of the experience. The overall mood of the film is contemplative, and it seeks to burrow into the ultimate human condition, knowledge of our mortality, rather than distract with spectacle.

Where The Green Knight falls is in a rewriting not merely a reinterpretation of the legend’s conclusion and in doing so stripped away the myth’s meaning ending on a confusing, ambiguous conclusion that failed to satisfy. The more familiar you are with the original myth the more likely the ending is going to anger you. Subtle establishment of silent characters would lead someone familiar with the tale to expect the traditional end only to have it stripped away.

I enjoyed The Green Knight, but the altered ending spoiled what might have been a masterpiece of mythological cinema.

The Green Knight, released from A24 pictures, is currently playing in theaters.

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Facebook Memories

 

The thing that Facebook does where is previews for you posts you did one to several years prior on that date is really an odd trip for me.

There are quite a few posts about making progress on a writing project, nearly always unnamed, and as such I have no idea what stories or books these refer to. I am nearly always working at some level, on a project, usually oscillating between short stories and novels and they progress so quickly that without cues I simply can’t identify them.

This morning Facebook presented a memory from eight years ago that I had received a job offer following an interview and it took me a moment to work out which job offer that had been. Very close together I got two offers, both were temp jobs, both were with companies new to me, but I ended up working only at one.

Looking at the exact date I think I worked it out and it’s the anniversary of the offer to work at Kaiser as a temp. That turned out to be the very best job offer I ever received. Eight months later I transitioned from contract to regular full-time employee of KP and I have been there ever since.

I have never experienced a level of financial and job security like I have working for KP. In addition, I work with good people and generally can be proud that I am doing my best to working at a non-profit helping people access vital healthcare.

The financial security has led to emotional stability which enhances my creative work. All in all, this memory from eight years ago is a truly happy one.

 

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A Pair of Micro Reviews

Messiah of Evil

This is a 1973 independent horror movie that managed to scrap up enough money for a day or two’s work from Elisha Cook Jr but not enough to a competent screenplay. Marianna Hill plays Arletty a young woman who comes to a seaside community in search of her artist father who has gone silent. She teams up with a womanizer and his harem of two who also are seeking her father. A sinister force seems to inhabit the town and gruesome murders result. Despite a decent set-up the screenplay is clumsy, the cinematography is bland, and the acting uninspired stretching the film’s 90-minute run time into tedium. Messiah of Evilis currently streaming on Shudder.

Masters of the Universe: Revelations

Kevin’s Smith’s revisioning of the second-rate animated series that couldn’t bother to produce actual names for character but referred to them solely by the story function is smarter and had more emotional depth than it deserves. I have watched just the premier episode but already there have been surprising twists and honest emotional reactions from characters discovering that their most loved and trusted companions have been lying to them for years. A special call out needs to be given to Sarah Michell Geller’s vocal work as Teela who is shaping up to the be the series most important viewpoint character.

This is currently streaming on Netflix

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Movie Review: G. I. Joe: Snake Eyes

 

When the 80s animated television series G.I. Joe, in reality a 30-minute toy commercial masquerading as entertainment in a recently deregulated space, originally aired I was too old for its key demographic but young enough to enjoy the campy, winking-at-the-camera, fun the show presented. Stalwart heroes and arch-villains can be a hell of a lot of fun in the right context and mindset.

It’s really no surprise that in 2009 I went to and thoroughly enjoyed G.I. Joe: The Rise of Cobra, the first live action attempt to bring the franchise to the silvered screen. That film took liberties with the source material even losing The Baroness’, one of Cobra’s lead villains, delightfully euro-trash accent. That film’s sequel looked half-hearted, and I skipped it.

Now, twelve years later, studios are again interested in reviving the franchise and have started with an origin story for one of the show’s most popular characters, the ninja Snake Eyes.

Henry Golding, a talented and charismatic Malaysian actor, plays the titular character Snake Eyes. After being orphaned by the murder of his enigmatic father Golding’s Snake Eyes grows to
adulthood as an underground cage fighter until he is recruited by a mysterious patron who promises to deliver his father’s murderer in return for Snake Eyes services as a spy and combatant.

Snake Eyes becomes entangled in a deadly contest within an ancient ninja clan, the Arashikage and is soon torn between his thirst for revenge, his growing bond with the members of the clan, and the realization that forces far greater than his personal grudges are at play forcing him into irrevocable choices that will not only decide his fate but nearly everyone’s around him.

G.I. Joe: Snake Eyes is an enjoyable cartoon of a movie. It is not a film to be taken seriously, though the stakes and emotions are played straight, and the actors involved give the characters real emotional weight. As to be expected there are a lot of ‘set pieces’ or action and martial arts fighting which are marred by an editing that is a little too quick robbing the audiences of stunt performances that need to be fully seen to be fully enjoyed. The films greatest failure comes in the movie’s final act as we follow several groups of character though the near continuous fight for resolution. The fact that it is near continuous is not the issue with fights and the action but rather that each group doesn’t possess a clear goal defined to the audience. In Marvel’s Captain America: The Winter Solider we also follow different characters through a very action-packed final act, but for each set of characters we understand exactly what they are trying to achieve. The Falcon must get the chips into the right slots to realign that craft’s targeting system, Black Widow and Fury have to infiltrate and subvert to command level of SHIELD, now controlled by Hydra, and Captain America must not only get the chips to the right slots like same but must find a way to save his friend Bucky, now the Winter Solider, from Hydra’s brainwashing. BY know their goal the audience knows when the characters have wins that bring them closer and losses that set them back on their heels. In G.I. Joe: Snake Eyes most of the character groups do not have well defined goals so the fights carry less weight, and we are never sure how big any particular win or loss matters and as such are less invested in them.

That said if you enjoy action, martial arts, and stories of betrayal and redemption served with melted cheese then G.I. Joe: Snake Eyes may be a movie for you.

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Returning to Our Winter of Discontent

 

COVID 19 cases continue to rise alarmingly fast. The United States has sufficient quantities of vaccine to immunize every single adult in the country. The right’s base, following decades of anti-science and anti-expertise propaganda follow their orange god/king with the fever of fanatics foregoing vaccination even as their elite take the shot along with their followers money.

This is the current situation in America and though last week so half-hearted and weak attempts my ‘conservative’ elites to urges their base to get vaccinated those efforts has evaporated and case rates and death continue to rise.

This is summer. People are out and about in the open air lessening the spread and still the rates are climbing fast. When winter comes and people remain indoor sharing their breathing air over and over it may be very very bad.

“Break through’ infections, infection among the vaccinated, are happening but those who have been vaccinated even if they get COVID are not winding up in the hospital or the morgue. We will lose more people, a lot more people, all the flatter a thin-skinned lying narcissist about an election he lost.

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Movies Are Back

 

At least for me anyway.

 

With the release of Black Widow my sweetie-wife and I returned to the theaters for movie but before that I had gone back to see Cruella. This weekend I will be heading out for a bit of what I expect to be mostly mindless fun with Snake Eyes. (While I was too old to be in the actual target demographic for the 80s G.I. Joecartoon series, I did enjoy the campy fun it produced.)

Looking ahead I can see a number of films that I want to see, and I want to see them in a proper theater. I’m not going to bother mentioning the MCU entries, just consider them a given.

The Green Knight. This looks to be trippy and bizarre and interesting.

The Suicide Squad. Right Wing internet trolls may have delayed Guardians of the Galaxy 3 by getting writer/director James Gunn temporarily sacked but, in the end, Disney restored him and as a bonus we’re getting his unique take on this DC property.

Free Guy. Odds are this is not going to live up to expectations, but it might, and Ryan Reynolds is fun and I’m looking forward to Taika Waititi as the bad guy and more Jodie Comer is always good.

Speaking of Jodie Comer brings us to The Last Duel a rich and luscious period piece from master filmmaker Ridley Scott. Scott, given a good script makes masterpieces, and given a bad one makes films that look great. I am going to see The Last Duel and hope the script is great.

Venom: Let There be Carnage. Should be fun.

Dune. Yes. I want to see this so much.

No Time to Die, the last outing for my favorite Bond even is all his entries haven’t exactly been good.

Last Night in Soho. Edger Wright doing a multi-period ghost story of a horror film. I’m sold.

A couple of film that I do not know the release dates for that are certainly on my radar.

Lamb an atmospheric moody piece about an Icelandic couple that finds an infant that may be a changeling.

The Tragedy of Macbeth from A24 that has so far always given us interesting films that are not budget busting spectacles but thoughtful artistic films.

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