In 2009 Tom Six released a film everyone knows, few have watched, and nobody wants to see. Human Centipede reminds us of the exploitation era of the seventies where films like Last House on the Left, Cannibal Holocaust and Salo were considered too shocking to watch. Unlike other modern Torture Porn movies like Hostel II or the Saw franchise, Human Centipede slows the pacing down thereby dancing on the razor’s edge between body horror and torture porn.
Is it sadistic or entertaining to watch? It is definitely entertaining. One can’t ignore the deliberate framing and composition of every shot. This isn’t a shaky cam running through a film makers sadistic imagination. From scenes of deep green’s and reds to warm amber tones, we view Tom Six painting with colors and always directing our visual focus. This even includes using paintings of bloody siamese twins. It’s pleasing when we can tell we’re moving to the next sequence simply due to a detailed shot composition.
The story focuses on Dr. Heiter, a sadistically evil doctor of Nazi proportions. Dieter Laser’s performance of Dr. Heiter is beyond extraordinary. His body language is so masterful there are times we can see rage boiling beneath his skin. One of the truly terrifying moments is when he is coaxing Ashley C. Williams’ character, Lindsay, out of her hiding place. His life is dedicated to realizing his fantasy of creating conjoined creatures, such as siamese twins or a Human Centipede, and that is the premise. A body horror premise that is so simple but it carries enough weight to gross out and scare people away from ever watching it. Yes, there is definitely a moment one may pause and wonder if it’s the Deep Throat for those with the scatological fetish. Maybe, it would be if it lacked the previously mentioned technical skill and the theme wasn’t about pain.
The theme is where we edge back against the torture porn. The genre isn’t about the actual infliction of pain and suffering. Rather, it’s about isolation and submission. Them not being able to fight back or has any power to stop their conjoined fate is terrifying. Then, when reality starts to settle in, we realize this self proclaimed doctor lacks the ability to successfully pull off this experiment. This is one of the most mature aspects of the writing. When we begin, we’re given an absurdist movie, there’s a shot of a guy mourning his three conjoined dogs, and we visit the lives of the two melodramatic girls. However, as the story progresses, we see the colors fade into a sterile white and the operation becomes more documentary style. There’s an unnerving scene of the doctor formally explaining their procedure while an unmic actor screams in the background giving it more of that “this could happen to you” tone.
Although our victims go to a point of no return, our catharsis is delivered because of Dr. Heiter’s ego. After he takes on godhood, we watch his ego stumble and become careless. One could easily imagine all the problems going wrong with this doctor’s conjunction and procurement of victims. However, there are no quick endings in this tale of madness, for not even a bullet to the head promises a quick death. In the end, the slower pacing made sure this movie never pushed to extreme shock, and the high production quality and great performances continue to make it a horror that shouldn’t be ignored.
The One About Friends
At the surface level, friends is a decade long sitcom about a group of friends. However, like many tv shows today, this series cleverly builds itself from a very long series of non-sequitur jokes. Although its plot and characters developed overtime, like Cheers, it still felt light hearted, like a sitcom. However, unlike a sitcom such as Home Improvement, the characters actually grew and progressed over the series. After a few seasons, this became a herculean feat. The entire series was based around the whole concept of how can the writers and cast keep a joke going for as long as humanly possible while concurrently developing and progressing the characters and the plot. Some of the punchlines are so ridiculous that some of the scenes could work just as well as skits on SNL. However, unlike SNL the creators have to commit to every ridiculous skit and make it canon. Consequently, this is why there were many awkward references to incest.
Regardless, that’s not to say that Friends doesn’t take on a serious tone. The infamous Ross and Rachel break-up was so soberingly realistic it plunged us into the Uncanny Valley, and it was so memorable that the show kept reminding the audience that the relationship only occurred during season 2. Yet, to this day the Rachel and Ross relationship is recalled as being one of the most prevalent themes. Some of you may be thinking, “wait a minute didn’t those two have a child together”? Yes, but the two hooking up was a one night stand which occurred off screen.
Now, this brings us to another interesting aspect of the show. It was admirable how the creators would often not show us plot points. Usually, the most important plot points would take from half to one full season to set up, but when we finally arrive at that critical moment it would cut to a commercial break and we would often be treated to the aftermath. It’s like watching a comedian spend a good portion of his time setting up a joke and then to be told we know what’s going to happen and just skipping over the punchline. In hindsight this is very ballsy for a series who built its entire show around non-sequiturs which end with the most improbable or insane outcomes. Yet, the staff wield these characters so incredibly well that the audience always feels their story is developing naturally, albeit sometimes schizophrenically. In fact, the only disagreeable part of the show would stem from the Joey character. LeBlanc’s character had several interesting subplots which could have shifted the status quo of the show. However, by the time we reach the series finale, Joey became a static character who didn’t progress or develop. So, it makes a lot of sense why his character would be chosen to go on to a short lived spinoff series. Also, by season ten, the show became a parody of itself and it was a smart idea to cap it off. It would have been dreadful to carry this show any further.
Thanks to the great ground work Friends has done, brilliant shows like 30 Rock, Parks & Rec, and It’s Always Sunny have adopted and refined the Friends formula for our continued enjoyment. It’s been ten years since the series concluded, and its comedy has held up remarkably well. This is due to the fact that Friends was the prototype for today’s Modern SitCom.
Powers: Pilot (2015)
The pilot for Powers is an immaculate, paint-by-numbers, antihero, melodrama. Being a fan of Bendis for a better part of my life, it has been exciting to know one of his creator owned property will be officially adapted. However, I am not sure this is the adaptation I’ve been waiting for.
First of all, the production design is a little too sterile looking. Even when the scene takes place in an abandoned and tagged warehouse, everything looks like it has been neatly decorated. There’s another scene which takes place at a squatter house which could easily be mistaken for a million dollar nightclub. This set design is accompanied by the overdone CGI of the powers scenes. However, the CGI clearly lacks the same budget and the production quality of Agents of SHIELD. Thus, they should have focused more on practical effects. Although Arrow reshoots its action sequences in the same warehouse district countless times, it still adds to the grounded realism which Powers so far lacks.
The acting is very well done by the entire cast. However, the dialogue and plot don’t compliment the acting. The lines are often mediocre that the well acted lines come off sounding melodramatic, which sadly distracts from the scene. The clearest example is when we meet Eddie Izzard’s Wolf character. Thankfully, Susan Heyward’s ability to shoot wit and sarcasm out of Deena Pilgrim’s mouth keeps the dialogue entertaining.
The plot itself is the same one we have all seen in any antihero cop show. This is completed with the hungover and half naked protagonist contemplating his inner demons while staring out the window. However, this time not only do we get the loss of a partner trope, but also we get the loss of superpowers. In fact, the writers just keep merrily skipping through each noir trope without skipping a beat. Yet, when we peel back that nonsense, we’re left with a plot which focuses on a protagonist, Christian Walker, who is suffering through identity loss and suicidal depression. That could be interesting when flavored with superpowers.
In the comicbook world, the reason why the subgenre which comprise of comics like Powers, Wanted, SEX, Kick Ass and many others is because their subject matter often deals with issues not commonly discussed in the superhero genre. With the proliferation of the Superhero genre in movies and tv, it seemed like a good time for Powers to come out. However, the only original aspect of this show is Walker gets his powers taken away, yet that is a very small part of this show.
Nevertheless, I am only referring to the freely available pilot. It could very well evolve and progress further with the characters and the story. But, there are already other superhero shows which are more widely available which have a firmer grasp on the superhero niche. So far, the only ones who will seek out Powers are comic geeks, like yours truly, or PS fanboys. Otherwise, it’s hard to see why one who only knows about superheros through Agents or Arrow to seek this title out.
LCBM: Seedy Holocaust
In this episode, we discuss the movie magic behind cult mockumentaries such as Blair Witch and Cannibal Holocaust.
SoD : Let There Be Aliens! (A Critical Review of Mass Hysteria)
Lately, the news headlines have actually been interesting. It is not the fact that satirist have finally drawn the line, or that we are oppressing them their artistic expression. but it’s the fact that other people or other organizations are actually attacking them, fatally attacking them in some cases. A lot of people seem to be wondering why people believe strongly in these fictional depictions of their deities, and why are they so mad?
It reminds me of when I was a child. One of the big scary topics that most people can relate to being terrifying is child abduction, and this was deathly hot topic when growing up. For me, I never feared those strangers in the trench coats and the black fedoras or whatever the propaganda depicted them to be.
I thought the most terrifying child abductors were alien abductors. I mean, while I was alone at night shivering under my blanket in my ninja turtle PJs, I how would seriously imagine that aliens were outside my window just staring at me waiting for their chance to take me. I believe these aliens had actually conquered space and time. They have evolved to a point that we humans no longer identified with them biologically. Their whole conquest, their whole soul purpose in their whole history of their very being in this universe was to become the most sophisticated advanced child predators. That was my conclusion.
I know. I was a very impressionable young lad and quite honestly that’s probably not the most bizarre thing I used to be terrified of while growing up. Nonetheless, hear me out before you place judgment. The reason why I had this terrifying belief was because of Steven Spielberg. the master storyteller himself. I blame Spielberg. Here’s why.
In 1977 Steven Spielberg chose to release a movie that was entitled Close Encounters of the Third Kind. There was actually a scene depicting a child abduction by aliens, so it wasn’t quite unfounded. Yes, I know that was a movie. How dare I compare reality to a movie?
What type of alien did you imagine, standing outside my window, staring at me, and waiting for the perfect opportunity to take me and utilize their anal probe technology? Were they short gray people with bug eyes, big black bug eyes with a big noggin? Most of western society would agree with you. That mass hypnosis was because of Steven Spielberg. He made that possible for us all in 1977 when he released Close Encounters of the Third Kind. This is the first time we ever saw an alien like that. Take a second and realize that our culture, our minds, our imagination is collectively conjuring up an alien creature which did not exist before 1977.
Now, here’s the preposterous thing. Here is the idea that makes one question reality. In the 1990s, there was a huge ordeal about this released film called the alien autopsy. Our culture tried to retcon our Alien continuity. A lot of people pitched this film not as a fictional depiction of aliens being dissected, rather this was being pitched as rediscovered film evidence of an alien that was recovered from the Roswell crash. Supposedly, this was a Roswell alien being dissected before our very eyes. Guess what? It was a little gray alien. To this day, although the film footage we all saw was faked, people say it was very closely based on a real film reel of an alien autopsy. This is unbelievable. Despite the cinematic evidence, despite the fact that these types of aliens completely do not exist in all the universe, we still for some reason hold on to this belief, this cultural belief that if we did have an alien autopsy film it would most definitely look like that.
Now, this is like saying we found uncovered photographic evidence of Mickey Mouse being dissected because Mickey Mouse, just like the aliens Spielberg created for his movie, is only an artist depiction of something fictional.
I find it amazing that storytellers can actually pull things like this off. This is the foundation of movie magic. There’s no way a young Steven Spielberg had the foresight to believe that his movies, Jaws and Close Encounters, were going to create a small form of mass hysteria which would last for generations.
So, I’d like to talk about Orson Welles because he also attributed to our mass hysteria towards aliens, and yes, I’m talking about his broadcast that happened on October 30, 1938. For those who don’t know, Orson Welles did a radio broadcast of War of the Worlds. In fact, it was so magnificently produced and enacted, there were people who actually believed that we were being invaded by Martians. It was done so well there are conspiracy theories dedicated to how the production was pulled off.
Before we start imagining farmers running outside with their shotguns looking into the starry night wondering where these Martians were, we have to understand the culture and mindset of the people during that time. The world had just experienced the first great war. At the time, The Great War itself achieved the highest body count and committed violent atrocities that were previously unfathomable. Then the western world sunk into the Great Depression. Now, that farmer we imagined running out all excited like. He’s more than likely getting his farm taken away, and his livelihood, his tradition of being a farmer was nearing its end. Unbeknownst to many was the only light at the end of the tunnel was that his unemployment would end by becoming a soldier for the second great war World War II. Many people like this farmer were about to go overseas and be put on the front line and undoubtedly face their own annihilation. When one is put into this very bleak and stressful situations, our mind has a tendency to be very malleable, very easy to manipulate. It becomes a sponge towards very well told stories which give our lives a little bit of wonder.
This belief system is something that humans never actually evolve past. This is something that still prevails today. People find themselves facing the lowest point of their lives. These day-to-day lives which are mediocre, repetitive, and monotonous. Most of the workforce in the “better” parts of the world consists of servitude and labor. Then life can throw a curve ball and your phone has a tragic message. Maybe it’s about infidelity, miscarriage, terminal illness, fatal accident or any number of everyday things. Then maybe you look up in the sky and you see an epic battle between angels and dragons, and all of a sudden fate handed you your chance to redeem your mundane existence. I am not saying this will happen. However, there are millions of people out there who believe Revelations is a possibility. It’s simply because most religious texts are righteously told stories.
Because my mind has an inclination towards all things SciFi, it makes me ponder. If it hadn’t been L Ron Hubbard who wrote those atrocious Battlefield Earth stories, instead SciFi religion sprung out of the minds of the master storytellers like George Lucas and Steven Spielberg, I have definitely been devoted. That’s how belief systems work. Whatever story can fool you into suspending your disbelief, that point where it starts merging with your cognition, that is where anything’s possible. In conclusion, all I am really trying to say is there should be caution taken when one is trying to satirize people’s beliefs and the stories that they treasure.
LCBM: Let There Be Aliens!| Seedy Review
LCBM: Let There Be Aliens!| Seedy Review.
This episode of LCBM explores how great storytellers, such as Welles and Spielberg, can help shape cultural beliefs for generations.
PPF 11/21 | Panels Pixels Frames
PPF 11/21 | Panels Pixels Frames.
This week, we talked about Big Hero 6, Geoff John’s Green Lantern, Whiplash, Far Cry, Assassin’s Creed Unity, and more!
Panels Pixels Frames 11/7
This week, we talk about Gamergate, Neil Gaiman’s Sandman, Grant Morrison’s Superman, Advance Warfare, Nightcrawler, Christopher Nolan, and more!
Horns (2014) Review
Alexander Aja, Joe Hill, and Keith Bunin pulled together to create a Gothic romance called Horns. Iggy, played by Daniel Radcliffe, is accused of murdering his childhood sweetheart and future fiancée, Merrin who is played by Juno Temple. One of the unique parts of this story is Iggy is developing devil horns which entices people to ask Iggy if they can act out their darkest desires. Although this ability creates some great laugh out loud moments, the story largely focuses on the mystery of who killed Merrin. The story follows a duel narrative structure. One takes place in the present and follows Iggy uncovering clues. Solving the murder will help prove Iggy’s innocence and create an opportunity for him to enact his revenge. As Iggy follows the trail of breadcrumbs we discover nobody believes Iggy is innocent. The horns, bringing out the worst in people, forces Iggy into many awkward confrontations, especially amongst his immediate family and friends. The second narrative interweaves in and out of the present. Although it’s a tonal shift from the present day, it’s justified because it focuses on the blossoming romance between Iggy and Merrin. The greatest part about Horns is how each flashback will give more information which will completely change the context of both the present and past. This Memento-esque style enhances the rewatchability. When it comes to directing, this is Alexander Aja’s best yet. Every shot and frame was beautiful. The camera work kept the viewer interested in every aspect of the action. Each scene was well paced and wouldn’t linger too long. Daniel Radcliffe’s performance ran the gamut and was believable every step of the way. Watching Radcliffe’s transformation from lover to devil felt genuine and enhanced the tragic tone of the story. Overall, this was a captivating story which showed what it would take to awaken the devil hidden inside all of us. However, the narrative never gets weighted down by becoming too lovesick or preachy. The pacing flows smoothly and naturally. This gothic horror also showcases Aja and Radcliffe’s range of talent as well as new comers Hill and Bunin’s ability to craft a fresh take on a familiar tale of tragic romance.
Found (2012)
Found began circulating the festivals in 2012, but it wasn’t until 2014 the October People decided it was time to unleash this brutal film upon the public. The film is an extreme horror adaptation of Todd Rigney’s book. It has the minimal set design and lighting of a low budget movie, but it’s able to still deliver the excess of blood and extreme carnal violence.
The story begins with a coming of age protagonist explaining his older brother is a serial killer. However, the story pulls back from the horror and the first half of the movie is about a boy being bullied while living in a suburban and abusive household. Despite the setup, one should not be fooled into thinking this is a tale about brotherly bonds. Instead, the simple theme of the movie is about oppressing others through physical violence. This is evident when the father abuses the boys, the racial hate crimes, and the extreme forms of rape. Why not? This theme offers an ample opportunity for the filmmakers to give us many sickening scenes of death.
Regardless of its low budget and student film quality, there are two scenes which were combined to create the most disturbing aspect of the film. While the young brother is having a sleepover, the two boys decided to raid the older brother’s room for horror movies. The one they prophetically choose is Headless. In a movie within a movie style, this is where the audience will see the most gruesome scenes of death and torture. Headless offers no plot. It’s just a compilation snuff film made by the killer. The camera never shies away or pulls back from the brutality. Instead, the filmmakers let our eyes soak in every last drop of sadistic brutality.
The movie’s end progresses towards an Oedipus Rex confrontation between the older brother and the parents. However, this time we watch this from the perspective of the little brother who is gaged and bound to his bed. Although the depiction of violence is mostly auditory, the screams, blood gurgles, and heavy thumping combined with what we saw in Headless forces the audience’s mind to imagine and thereby enact the scenes themselves. That, combined with the last shot of the little brother gets the movie to creep under your skin long past when the credits stop rolling.