Cannibal Holocaust

Cannibal Holocaust

Directed by Ruggero Deodato

95 minutes

Cannibal Holocaust (Ruggero Deodato 1980) is tainted a controversial film. A film I had avoided for some time due to its real footage of animal cruelty. The DVD is bombarded with, “Possibly the most disturbing film ever made” as much as I was told “good luck” when borrowing it from uni library. The warnings are correct. Cannibal Holocaust holds this status well and no doubt it’s hard to watch. Seeing a coatimundi (a mammal that looks like a Muscat), snake, spider, spider monkey and pig tortured, I did question if it’s necessary? However, as hard as it is to say so, this should not be deterrence. It’s an impressive film that uses real and staged footage, breaking of the fourth wall and is savvy. 

Cannibal Holocaust opens with a peaceful montage of the Amazon through a series of jump cuts. It then crosses to a high-rise consumer New York and later returned to at the end of the narrative when the main protagonist states, “I wonder who the real cannibals are”.  This was a tad obvious and cheesy but enjoyable nonetheless. Cannibal Holocaust is essentially about a group of ridiculously, unlikable characters who go deep into the jungle to make a documentary on a ‘notorious’ cannibal tribe. After causing general havoc, these characters indulge in savage acts. This is accompanied with the return of the tranquil music that softens and contrast’s the film’s blatant nastiness. Perhaps, this makes it easier to watch. Or as much, criticises our tolerance levels. It’s as if, were watching scenes from the news or a nature documentary and its graphic imagery becomes more accessible. The group lose their way in the jungle and gradually killed by the locals. While, the only likeable character Harold Monroe (Robert Kerman) finds the groups left over footage and takes it to the media. Unethical behaviour is also explored through the media who want to make the documentary more marketable. It is Harold who fights the media and his respect for the locals.

Deodato’s commentary is interesting. I like his ridged views on the media and how imagery can be distorted. Earlier in the narrative before understanding the real nastiness of the group, we are shown a very violent scene of a local penetrating a female character with a large rock. But our perspective changes once we see what the white community do to the local community who are in fact hostile. Presuming of course, you are following Deodato’s lead and looking at the group with distain and the locals as victims. Although, it has been speculated Deodato was unabashedly racist or as much, trying to comprehend the films use of animal cruelty given the fact that Deodato stated he’s an animal lover makes this hard to see the film outside these issues. Still, it’s impressive that Cannibal Holocaust maintains its shock value. If, it provided a nuanced argument, then it wouldn’t have the same effect. While its gritty documentary and found footage was popularized in The Blair Witch Project (Danick Myrick, Eduardo Sanchez) just take out Cannibal Holocaust’s actual realness and add Blair Witches clever marketing.

Cannibal Holocaust is an upsetting film. It’s depressing to sit and witness cruelties of humankind.  Although, these acts are pretty full blown, we can’t deny that sexual violence and cruelty doesn’t exist. At times I thought Cannibal Holocaust should be compulsory viewing, and then I thought, settle down it should be the person’s right to not wish to see a turtle’s head and shell hacked off. Then I remembered the news at 6.00pm already provides this sort of imagery to the public.

The Two Faces of January

The Two Faces of January

Directed by Hossein Amini

96 minutes

Screenwriter for such films as Drive (Nicholas Wilding Refn 2011), Snow White and the Huntsmen (Rupert Sanders 2012) and 47 Ronin (Carl Rinsch 2013), this time Hossein Amini makes his directorial debut in the Hitchcockian thriller The Two Faces of January. He does so with charm and style and as a result suffers from looking so good.

The Two Faces of January is located in Athens and Istanbul. Main protagonist Rydal (Oscar Isaac) lives in Greece as a tour guide. He makes his money out of scamming tourists and reciting poetry to his swooning fans. The narrative becomes mysterious when Rydal is drawn to a well groomed and elegantly dressed couple Chester (Viggo Mortenson) and Colette MacFarland (Kirsten Dunst). Rydal sees the couple again while on a date with Lauren (Daisy Bevan) and the couple notice him.  Collette and Rydal meet, they have a friendly conversation and reports on her interactions to Chester. The couple are intrigued with Rydal and go on a double date with him and Lauren.

All is happy until the MacFarland’s return back to their hotel room and have a mysterious visit from Paul (David Warshofsky), a man with a badly scarred face. Paul is armed and reveals Chester is involved in fraudulent activities in the stock market. He pulls out a gun but Chester is able to knock him out. The scene cuts back to Rydal and Lauren in the cab. Rydal finds Collette left her bracelet in the cab and goes to return it to the MacFarland’s.Both these sub scenes are beautiful stirring as they cross cut between characters. Chester is shown dragging Paul’s body into the foyer, and we know that at any time Rydal could interrupt the scene and find out the truth. Rydal does interrupt the scene and his fate is inevitable through his involvement with the MacFarland’s and the misfortune when they find out Paul is dead.

The Two Faces of January, concentrates on being a web of suspicion as the characters flee Athens together. There’s certainly no denying The Faces of January is thrilling and has a few unexpected moments. However, besides this and a potential for much more the film doesn’t deliver. I can mainly suggest this is from the sublime cinematography and legitimate 60s costuming that I found myself detached to the narrative. This was accompanied with an excessive Hitchcockian film’s score that had by no means allowed us to think outside the box. The acoustics prepared us for every twist and turn that unfortunately some scenes came as no shock.  Equally anxieties the characters had with each other is skimmed. It would have been interesting and perhaps beneficial to have delved deeper and given a justifiable reason for their tensions. Rather than relying on cliché’s like masculinities issues or a lack of a father figure. What’s more, it didn’t feel right to use a Hitchcockian trope like an ‘icy blonde’ and not make Collette part of the narrative or at least a femme fatale.  Collette came across as a highly motivated character like Phyllis (Barbara Stanwick) in Double Indemnity (Billy Wilder 1944), that a passive victim. This was a shame as Collette displayed potential, but portrayed as a sexualised character.

Besides the fact that I have look at The Two Faces of January on my exterior experience, there were some enjoyable moments enhanced through its general mood. It was unfortunate to witness a narrative and strong cast that could have been so much more, especially when it metaphorically used elements of a Greek tragedy, only it went astray.

Dawn of the Planet of the Apes

Dawn of the Planet of the Apes (2014)

Directed by Matt Reeves

130 minutes

Like Rise of the Planet of the Apes (Rupert Whatt 2011), Dawn of the Planet of the Apes (Matt Reeves 2014) is an immersive experience. If you haven’t already seen the previous film, you might be thrown in the deep end as the narrative lacks in exploring the subtext between the apes and humans, or why there is tension between the two. But if you’re seen the first, then you’ll be ok with the narrative jumping the gun.

Dawn of the Planet of the Apes begins in the apes new homeland lead by Caesar (Andy Serkis), who now has a wife, son and baby. When a brawl takes place with a bear and Caesar’s son, the apes come to his aid and demonstrate they are tight. Adjacent to this, is the humans, the clear ‘bad’ guys of the narrative.  Centering their narrative is an unclear, virus outbreak. Their aim is getting the town’s power supply rebooted which is situated in the ape’s terrain. But when the deliberately annoying character Craver (kirk Acevedo), and his posse shoot an ape, it dulls their chance of obtaining their objective.  The apes are outraged and threaten the humans to leave. The humans report back to the ever so comical tyrant Dreyfus (Gary Oldman) who insists on going to war, but it’s the film’s weightier character Malcolm (Jason Clarke), who adds warmth to the narrative and wants both parties to work together. Of course, this doesn’t occur when human hating ape Koba (Toby Kebbell), manipulates the apes into war and turning against Caesar reign.

Dawn of the Planet of the Apes is definitely a roller coaster experience. At times, it uses Jurassic Park (Spielberg, 1993) techniques like sub narratives between characters and situations that are returned to later, to heighten its tension. It is also visually an awe factor, watching apes in the natural habitat is quite breathtaking and remarkable to say the least. However, some of the battle scenes seemed a little Lord of the Rings, became the film’s weaker point. Watching Koba declare war whilst on a horse with two guns was pretty unbelievable but at the same time did make me laugh. I mean, how did he learn to use a gun so quickly and accurately? This seemed to dumb down the subtext of the narrative and is quite farcical when you compare Dawn of the Planet of the Apes to its previous instalment and its nuances.

Koba the previous imprisoned lab experiment definitely has anger issues, but it would have seemed strange to the viewer if they had not seen Rise of the Planet of the Apes and understood why he didn’t trust humans. But in this film, his anger needed to be toned down, or at least shown conflict by going against Caesar and allowing fellow apes to be killed. It was also hard watching the usually good Gary Oldman and justifying why Dreyfus is so pro war. His character was on the same level as a Disney villain, flat.  Except, maybe that one scene when he looks at a photo album of two boys and starts crying, presuming that are or where his sons? It does matter, Dreyfus closes the album and is mean, again.

If, at any point during Dawn of the Planet of the Apes you come out of its world, and start to compare it to Rise of the Planet of the Apes, you may have a problem. However, if you are so immersed, Dawn of the Planet of the Apes is an enjoyable and breathtaking experience.  If that’s all you want, then you’ll be fine.  

The Rover

The Rover (2014)

Directed by David Michod

103 minutes

After the successful Animal Kingdom (David Michod 2010), which landed fellow Australian Jackie Weaver nominated for an Oscar nomination and American roles since, director David Michod has intertwined Australian and American actors in his new western thriller The Rover. Filmed in South Australia’s Southern Flinders Rangers, the bleached cinematography conjures the essence of a dry environment and like the delights of the ozpolitation genre Wake in Fright (Ted Kotcheff 1971), the heat is a cause of aggravation to the film’s characters.

 The Rover is set in a futuristic post apocalyptic world. Eric (Guy Pearce) is the main protagonist and a very grizzled reminiscence of Clint Eastwood. He goes on the hunt to get his car back which was stolen by a trio after a fight breaks loose and a car collision. Now, as their car is stuck, they take the next available ride. Eric reacts by taking the trio’s car and gets the engine going. After Eric’s very persistent tailgating, he catches up with them, they fight and the gang escapes. Opening with this scenario, puts us in the deep end as we try to connect who’s who.  It is revealed one of the gang members Henry (Scoot McNairy) has a bullet injury and was in a fight with his brother Rey (Robert Patterson), presumed dead.  What we don’t know is why Eric is so insistent on getting his car back.

The narrative continues its fast pace when Eric drives through the town to gather information on his car. Eric’s lack of manners and threatening dialogue doesn’t gain him extra leads, he is ordered to buy something from a general store and asked politely what his name is, and he doesn’t seem to understand small talk.  Enlightenment however comes when Eric meets injured Rey. Eric kidnaps Rey and has his wounds healed to obtain a level of coherence regarding Henry’s whereabouts. Rey’s injury is treated by Dorothy (Susan Prior), a practising doctor, who, like most of the town asks questions armed. Dorothy is kind spirited and contrasts the town’s scavenging, she doesn’t charge and treats abandon dogs. But there a price Dorothy pays for in getting involved with Eric and Rey.

The rest of the journey comes as no surprise. Eric uses Rey to find his brother and take back his car and the film climaxes like a perfect western should.

The Rover is atmospheric, yet simple. We witness some oddities, animal cruelty and violence at times turning the western genre into horror.  The discipline and no ‘fuss’ structure is used effectively to serve the purpose of the narrative and illustrate an environment where every man is out for themselves. In much the same way dialogue is used sparingly.  Eric has lost meaning to humanity and gets straight to the point. However the film is nicely contrasted through Rey’s persona. Rey is a yokel but colourful person who finds it hard to communicate but likes to resolves his fears by talking and telling stories. This is demonstrated precisely through Pearce and Pattison who are contrasts but add subtlety. Their journey works as an awkward buddy relationship.

Although The Rover inevitable has a predictable outcome, the films challenges linearity through the fractured characters personalities that could change at even given time. Scene by scene we learn, and are withheld subtext to fill in the blanks. However, we understand clearly that Eric and Rey have their differences and it compliments their pathways.

 The Rover is most effective in inhibiting a bleak and primitive world that is minimal and explored beautifully. Equally it is can be a journey to embody melon collie and redemption.    

Dallas Buyers Club

Dallas Buyers Club (2013)

Directed by Jean- Marc Vallèe

117 minutes

It was different seeing Matthew McConaughey 38 pounds lighter. Trading his usual muscle clad body for one that barely fits in his vintage tapered jeans. But lately he has diversified from his once pigeon holed Rom -Com roles, to be nominated for best actor in this year’s Academy Awards. The film that enables this is Dallas Buyers Club a biopic drama, which relies on McConaughey embodying Ron Woodroof, a loud mouthed homophobe who tests positive to HIV.  

Dallas Buyers Club is set in the 1980s, an era when people like Woodroof believed the virus is a “faggot” disease.  Although it is speculated that the real Woodroof may have been bisexual and not a homophobe, Jean –Marc Vallèe presents a controversial figure in its normative heterosexual frame-work. Similarly Vallèe inserts a problematic view of the hospital system controlled by the villainous Dr. Sevard (Denis O ‘Hare), who looks a lot like Tony Abbot. Sevard diagnoses Woodroof with Aids and 30 days to live and endorses the drug AZT, which once illegally obtained, makes Woodroof progressively worse. Woodroof finds out that there are alternative drugs and vitamins available globally which had been proven to ease the pain and assist life but remain illegal in the USA. Obtaining the drugs he sells them to other HIV patients through his scheme called the Dallas Buyers Club, costing $400 per membership. Throughout this operation it is challenged by the FDA.

The transgression of Woodroof’s intentions of making a profit collapses as he becomes compassionate and his cause is moralistic. This is complimented with the believable Rayon portrayed by Jared Leto, a likeable and stereotypically clothed transvestite. Rayon is Woodroof’s business partner and helps him adapt to his new queer surroundings. Interestingly Leto’s character was added to the film’s adaptation of Woodroof’s story; it seems another avenue to make Woodroof and his transformation redeemable.

Dallas Buyers Club concentrates on using McConaughey as the main focus of the narrative, leveraging his underdog status. To a degree his costuming and weight-loss seemed to hide the potential for performance, or as much, where the film was willing to go. Whenever Woodroof breaks down, we are shown only a glimpse of a drawn out cry before the scene cuts. It was baffling to see these moments waisted. Dallas Buyers Club is certainly enjoyable and well acted. However it is more concerned with showing us a flawed system than progressing Woodroof’s true emotions or challenging the rigid stereotypes it presents.