Imagine a downbeat cross between historical romance, rape-revenge thriller and what’s become known as folk horror and you’ll have a pretty good idea of the overall mood of The Reckoning. Writer-director Neil Marshall, who made a splash as a genre director back in the early 2000s with Dog Soldiers (werewolves vs army men) and Sundance smash The Descent (CHUDs vs spelunkers), casts co-writer Charlotte Kirk as Grace Haverstock, a woman unjustly accused of witchcraft after the death of her husband during the English plague epidemic of 1665. After Grace rebuffs the advances of local squire, landlord and sex pest Pendleton (Steven Waddington), he helps convince the townspeople that she must be a witch, summoning Judge Moorcroft (Sean Pertwee, trying his best to crawl out from under Vincent Price’s indelible Witchfinder General performance) to elicit her confession of heresy.Continue reading
As Piercing opens, Reed (Christopher Abbott) is a man with murder on his mind. About 30, nondescript, slightly schlubby even, with a receding hairline, five-o-clock shadow, and a troubled, unsure demeanor, Reed is first seen hovering over his infant daughter with an ice pick in hand. He’s not making a cocktail. Riddled with anxiety and insomnia, Reed is a wreck. His work isn’t fulfilling him. His wife can’t calm him. And then at one point, as he gazes down into the dark pools that are his daughter’s eyes, the infant speaks to him: “You know what you have to do, right?” The moment is chilling, yet absurd. In a very dark way, it’s hilarious. And with that, Piercing is off to the races. Continue reading
There’s a tradition among purveyors of BDSM pornography to append a coda to their project in which the participants in various potentially alarming scenarios are finally glimpsed, all smiles, reveling in the afterglow of a clearly consensual exercise. I assume this practice has very practical benefits — for one thing, it might help stave off prosecution for obscenity or sex-trafficking. But it’s also a signal from the community making the videos to the community watching them that the performances are undertaken with high spirits, lest there’s any misunderstanding about the actual circumstances of their making. Despite any apparent unpleasantness, dear viewer, all involved (top and bottom, dominant and submissive) are working toward the ultimate goal of pleasure, not pain.
The Ghost Writer opens, appropriately enough given the film’s generally menacing tone, with the death of a ferry passenger. The man’s absence is discovered through the presence of an empty BMW on deck after all the passengers disembark. His body, bloated with liquor and decay, washes up on the beach. Did the poor bastard simply get soused and totter off a slippery deck? In a Roman Polanski movie? Not bloody likely.
There’s a tension in Errol Morris’ Standard Operating Procedure between the subject matter–the torture and humiliation of inmates at the Abu Ghraib prison outside Baghdad during the U.S. occupation of Iraq–and what Morris is really up to. Anyone who’s read his excellent “Zoom” blog for The New York Times, including his brilliant, three-part consideration of the pedigree of two different photographs taken by Roger Fenton during the Crimean War, knows that the director is concerned lately with the methodical, emotionless investigation of the circumstances surrounding a picture’s taking. He wants to know what a photo conceals in addition to what it reveals–what’s happening outside its spatial frame? Its temporal boundaries?
The best way to see Takashi Miike’s Audition might be to have it handed to you on an unmarked videotape by a friend who knows exactly what freaks you out. So you tabula-rasa types should check out of this review right now. For those of you still here, I’ll aver that Audition is the real deal–a masterful exercise in the manipulation of moods that gradually takes on the tonal quality and ambiguities of a nightmare.