Thursday, August 17, 2017

100 Words on Alexandre Aja's The 9th Life of Louis Drax (2016)

By Thomas Puhr

Despite an unconvincing performance by Aiden Longworth as the titular character and a glaringly-obvious twist ending, Alexandre Aja’s The 9th Life of Louis Drax (2016) is still noteworthy as a phantasmagoric cocktail of genres (it mixes elements of feel-good family dramas, creature features, psychosexual thrillers, police procedurals, and [naturally] graphic horror-shows in its story of the mysterious circumstances surrounding Louis’ coma-inducing fall from a cliff during a family picnic) and as an opportunity for the director to display some genuinely-startling imagery; consider, for example, an extended, dreamlike hypnosis session, or the del Toro-esque monster that guides Louis through his subconscious.  

Thursday, August 10, 2017

100 Words on Jim Jarmusch's Paterson (2016)

By Thomas Puhr
Things repeated in Jim Jarmusch’s Paterson (2016): circles, symbols of repetition, painted on curtains; twins, both literal and figurative (the titular Paterson [Adam Driver], an aspiring poet, encounters a Japanese doppelganger at a crucial moment); the daily routines of Paterson and his wife, Laura (Golshifteh Farahani), the small variations of which feel like different drafts for the same, universal poem; word-filled pages replaced by empty pages, which must be filled again; and water, indicative of both life’s transience and endurance. Paterson, recognizing these cycles, continues his life’s work; to paraphrase his “twin,” an empty page sometimes presents the most possibilities.

Saturday, August 5, 2017

100 Words on Lorcan Finnegan's Without Name (2016)

By Thomas Puhr

As its title suggests, Lorcan Finnegan’s Without Name (2016) addresses nature’s inscrutability. Eric (Alan McKenna) and Olivia (Niamh Algar) are land surveyors working in a remote Irish forest: a setup that allows for some eerily-beautiful nature shots. In one scene, Eric vanishes in the forest; while Olivia frantically searches for him, Finnegan’s clever camerawork makes the surrounding trees appear to shift and warp her (our) perspective, like a naturally-occurring hall of mirrors. A stroboscopic sequence reminiscent of A Field in England (2013) adds to the visual experimentation.  “Communicate!” Eric shouts at a phantom-like figure roaming the forest. Nature remains silent.

Thursday, August 3, 2017

100 Words on Sean Byrne's The Devil's Candy (2015)

By Thomas Puhr
Sean Byrne upends the clich├ęd association between heavy metal music and Satanism in The Devil’s Candy (2015). Though shaggy-haired and covered with tattoos (a characteristic of many a villain/henchman), metalhead/artist Jesse (Ethan Embry) emerges as a sympathetic hero who resists the devilish presence threatening his family’s new, countryside home. Byrne largely favors suspense  over gore (a sequence in which Jesse’s daughter struggles to escape a killer’s bathroom is particularly nail-biting) and incorporates some vivid imagery, such as an arresting montage of Jesse’s frenzied painting with a killer’s frenzied cleaning of a murder scene. Who says heavy metal can’t be subtle?