Posts Tagged ‘Be careful what you wish for

29
Apr
17

The Love Witch (2016)

Dear friends, I’m out of practice. Like way, way out of practice. But a movie like Anna Biller’s The Love Witch is enough to get me hopping back into the game. I mean, a blog called schlockwave couldn’t in good conscience not write about this campy homage to sixties sexploitation.

Life can be a fairy tale, if you just give your Prince Charming everything he wants!

What do men want? Elaine, The Love Witch knows: “Just a pretty woman to love; to take care of them.”  Fresh off the loss of her husband Jerry (they couldn’t prove she killed him) she’s ready to explore the sea for bigger, better fish. Using sex magick she woos all sorts of men, only to discover they’re never as good as they seem. In fact, she dazzles them so much she turns them into whimpering crybabies – and Elaine has no time for crybabies!

This film is gorgeous. It’s shot on 35mm and the colors pop amazingly. I want to live in Elaine’s technicolor world. You spend 90% of the time immersed in the 1960’s – the props and clothes are spot on (not to mention to die for – my GOD I want every decanter in this film), until Elaine’s friend Trish pulls out a cell phone, or you see a modern Subaru next to a classic

Wiccans know how to party – naked, and in a circle.

car. The acting and pacing is also pretty-well perfectly matched to any classic sexploitation horror flick you can think of. It’s obvious Anna Biller has done her homework (and though I have not yet seen Viva it’s pretty darn high on my list now).

I admit when it was over, I knew that I’d enjoyed it – but I wasn’t sure if I loved it or not. It seemed strange to me that there were anachronisms like cell phones and new cars in this world that was obviously painstakingly made to look like another time and place. I’d also wondered exactly what it was trying to say – was there a coherent message?

After giving it some thought, I’ve at least interpreted it in a way that does make me love it, and makes me want to see it a second time. We’re never quite sure what Elaine’s real motivation is. Sure, we know

Congratulations?

it’s love but what does that mean, and why? We know that Elaine was berated by her husband, humiliated by her father, and schooled into the world of sex magick by a dude. A bunch of different dudes expecting different things out of a woman, and a woman feeling conflicted trying to fulfill all these different roles? Add to that the confusion and conflict between Elaine and Trish – each one wants to be like the other – until they realize they don’t. Think of how much easier it would be for these women to navigate social expectations if only they could support each-other instead of hide behind jealousy and lies? These problems are timeless and persistent, and perhaps those anachronisms are saying that though we feel modern, we’re still stuck in the same old world where women are subjugated rather than celebrated.

This movie is well worth a watch. It is beautiful, hilarious and even shocking at times. I am loving all these flicks paying tribute to the beauty (and idiocy) of exploitation horror. This, The Editor, The Strange Color of Your Body’s Tears – love them all. Keep them coming!

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14
Oct
15

Pet Sematary (1989)

Stephen King’s Pet Sematary is one of those flicks that was always on cable while I was growing up. How many times I’d seen it as a youngster either in full or in part I have no idea, but the only thing that really left an impression on me was the name Gage. Seriously, who names their kid Gage? Anyway, I remembered the film being in ‘good enough’ territory and worthy of a revisit as an adult, so we hit it up for this year’s 31 Days of Horror.

It's always nice wen King makes a special appearance.

It’s always nice when King makes a special appearance.

Louis and Rachel (Denise Crosby) Creed move to a new house in Maine, where Louis has gotten a job teaching medicine at the local university. Their young daughter Ellie and her cat Church look like prime horror targets, but maybe not so much as their toddler son Gage. It’s pretty clear within the first five minutes of this flick that someone is getting hit by a truck before this movie is over. See, the Creeds’ new home is situated on a road frequently traveled by speeding semis. Their friendly neighbor Jud Crandall (Fred Gwynne) politely warns them to keep an eye on their cat as a result.

Fred Gwynne is the one true highlight of this movie. Too bad he's underused!

Fred Gwynne is the one true highlight of this movie. Too bad he’s underused!

But fast trucks aren’t the only spooky thing about their new digs; just down the path in the backyard there’s a creepy-ass cemetery. Crandall explains that this cemetery was built by the kids who owned the countless pets that fell victim to speeding trucks on the road. Since this is podunk Maine, we can’t expect the kids to know how to spell, so the name of the place is actually Pet Sematary. Ok?

So a few short days after starting his new job, Louis is confronted with his first human victim of the speeding trucks, Victor Pascow. The kid somehow knows his name and spouts warnings about life and death or something, and then he dies. Shaken up and weirded out, Louis bids his family adieu as Rachel takes the kids to see her parents for Thanksgiving (her dad really hates Louis so he decides not to go). Of course this is a perfect time for Church to get killed by a truck, no? Crandall finds the cat’s corpse in his yard, and breaks the bad news to Louis. But, he says, there may be a way around having to be honest with your kid and telling her what a dumb shit you are for letting the cat run into the road…

Ancient burial grounds are pretty cool looking amirite?

Ancient burial grounds are pretty cool looking amirite?

That’s right. The same shit Pascow warned Louis about is what Crandall is about to show him right now: the real cemetery, some sacred-ass earth which is of course formerly a Native American burial ground. Word on the street is you bury something here, and it won’t stay dead. It comes back. Sure, it’s evil and might kill you and you’re seriously fucking with the balance of the universe, but that’s so much better than being honest with your kid, right?

I thought I wasn’t going to give the whole plot away, but maybe I am. So the cat comes back, and is mean and evil, and somewhere along the line we learn that Rachel had to deal with a sick sister as she was growing up and it made her afraid of confronting death or something. Which is exactly what she’s going to have to do when her kid gets nailed by a truck. Unless of course humans can be buried in the sacred ground and come back to life? Hmmm…

The story of Rachel's sister Zelda seems to be there just so we can have some scary shots of her being scary. At least the make-up is good?

The story of Rachel’s sister Zelda seems to be there just so we can have some scary shots of her being scary. At least the make-up is good?

Look, I haven’t read the book, or any King beyond a handful of short stories, so I can’t speak to how well this is adapted. But I can say that this movie is pretty much shit. I just have absolutely no empathy for any of the characters. The actor that plays Louis, Dale Midkiff, seems as though he is sleepwalking through the role. You’d think a guy whose entire family falls apart and watches some shit come back to life would have some real emotion to display, but no. This guy is like a tree trunk. It is seriously painful to watch.

And let’s talk about Rachel for a second. I think Denise Crosby does a fine job playing her, but she is made so unlikeable and unsympathetic, I really don’t give a shit that her family was basically abusive while she was growing up, or that she’s going through a lot of trauma with a dead kid of her own. She is written like an irritating, one-dimensional mother; you know, the kind of woman you might see at buybuyBABY shopping for the most expensive stroller, and being really, really loud about it.

Denise Crosby pretty much has this look for the whole movie. And whoever's responsible for her wardrobe should be forced to pay her damages.

Denise Crosby pretty much has this look for the whole movie. And whoever’s responsible for her wardrobe should be forced to pay her damages.

In terms of characters, Fred Gwynne’s Jud Crandall is the only saving grace, but even he isn’t given enough time to explain his motivations but for a two-minute indulgence in exposition. I guess a lot of people really take a shining to Victor Pascow, who I forgot to mention spends the rest of the movie as a ghost trying to guide these idiot characters into doing smart things instead of dumb things. Honestly, I kind of felt his presence was annoying. But, uh, the make-up looked good.

I can see some truly interesting things hiding in this movie, which leads me to believe the book probably has a shit-ton more to offer than the shit piled on the screen here. Then again, Stephen King does have the screenplay writing credit, so who knows. The movie obviously tries to tackle a family’s pain in dealing with loss, but either the actors or the writing, or maybe just the two of them together, can’t make it work. There are similar problems with Rachel’s death issues; obviously we are meant to feel bad for Rachel and the crap she dealt with as a child, and how difficult it is for her to come to terms with death as an adult. But the character in the film is so god damn shrill and annoying, I don’t give two shits about how difficult anything is for her. I just want her to shut up.

You know, sometimes I sit down and start writing about a movie I’ve watched, and it isn’t apparent to me just how much I disliked it until I’m done. And, wow, I guess I really hated Pet Sematary. There are a few redeeming factors, and some legitimately scary moments, but for the most part this movie is insufferable. There are far better King adaptations out there, some of which I’ll be writing up later on this month, so stay tuned!

13
Oct
15

The Invisible Man (1933)

invisiblemanposterWhile I would undoubtedly call myself a fan of horror films, I am by no means an expert. There are many, many holes in my horror knowledge, in part because I got started late, and in part because there is just so much stuff out there. The good news is, every year has an October, and October is just the perfect time to fill in some of those holes. When thinking about which movies to pick for 31 Days of Horror this year, James Whale’s The Invisible Man was one of the first to spring to mind.

Dr. Jack Griffin (Claude Rains) is a dedicated scientist working under Dr. Cranley’s tutelage. He and his colleague Dr. Arthur Kemp both have taken a shine to Cranley’s daughter, Flora. It seems as though Flora and Griffin have a thing going on, but even so, he can’t help but feel inadequate. Compared to Kemp, he is poor, and worries that he won’t be able to adequately provide for Flora should they ever marry. This is probably only part of Griffin’s motivation for perfecting a serum that turns him invisible, thereby giving him incredible power and the ability to take over the world!

Well, it's tough to eat through all those bandages.

Well, it’s tough to eat through all those bandages.

The only trouble with the serum? He can’t perfect the antidote. So he moseys on over to an inn during a snowstorm and demands a room. The crowd there is a little taken aback, and Jenny Hall (Una O’Connor) the lady of the establishment doesn’t quite know how to deal with his temper, or the fact that he’s covered in bandages. But they leave the man to his work for a few days. But he is soon behind on rent and still hasn’t figured out the antidote situation. Here, Griffin’s anger gets the best of him, and he storms out of the place leaving a few poor, injured souls behind.

So, he goes to the only place he can think of for help: Kemp’s home. But rather than being apologetic and asking for help, Griffin threatens Kemp if he doesn’t do as he says. Kemp tries his best to get Cranley and the police involved, but they are no match for a crazed, arrogant invisible man. Or are they?

Una O'Connor has no idea what to do with this invisible man!

Una O’Connor has no idea what to do with this invisible man!

This movie is so much fun. I should have known; everything else I’ve watched by Whale has had both a darkness and a sense of humor about it, and this film is no exception. Dr. Jack Griffin is only slightly sympathetic; only in the scenes with Flora where we see his vulnerability to we feel anything like pity towards the guy. The rest of the time he is incredibly bombastic and pompous, which leads to a lot of hilarious moments, frankly. But the best and funniest moments are those with Una O’Connor, who also delighted me in Bride of Frankenstein. While I guess you could call her performance a bit over-the-top, I think it definitely adds to the air of incredulity that’s already present in this film. I mean, how would you react if there was an invisible man running about?

But aside from all that stuff, what’s really impressive to me here is of course the special effects. Sure, you can see a wire here and there, but that’s not the point. Nor does it detract from the ultimate effect: it really looks like that bike is riding itself, for instance. I’m no expert in the evolution of movie effects, but I know that what these guys did here was really damn impressive for 1933. Hell, it’s impressive to me even

The Invisible Man taunts his victims!

The Invisible Man taunts his victims!

today. I could take a million stills from this movie that made me say “wow, that looks so cool!” Just knowing how hard the effects crew must have worked to make the film look this way leaves me super impressed with the final output.

So, yeah, The Invisible Man is funny, impressive and also quite scary, when you think about its implications. As I’m sure I’ve said before, sometimes old-timey flicks are a hard sell for me. I typically have difficulty getting into the brains of characters from older movies, especially the female characters. Sure enough, Flora the love interest is just about as damsel-in-distressy as you’d expect from a 1933 flick. Even so, the insertion of humor in this movie really helps alleviate some of those issues for me. The lightened tone is a good reminder that not everything is so darn serious, and doesn’t have to be read that way. If you’re a horror fan, I definitely recommend this. A great watch!

12
Oct
15

Puffball: The Devil’s Eyeball (2007)

Just a little over three years ago, I packed a bag and housesat in the middle-of-nowhere Montana for six weeks. With not much else to do, Q and I decided we’d watch at least a movie a day. Montana was also the catalyst for me to start blogging again; I’d actually started this blog a few years before that but let it languish, wilt and die. Anyway, we brought a giant binder of DVDs with us, and many DVDs went unwatched (like I said, giant binder). It occurred to us that October would be a fine time to pluck Nic Roeg’s Puffball: The Devil’s Eyeball from the binder and watch it.

Set in the Irish countryside, Puffball centers around Liffey, a young and successful architect who has taken on a project renovating an old, dilapidated cottage. She and her boyfriend Richard are eager to get started, when he unfortunately gets called away on business in New York. Luckily, they bone on an ancient rock (which is actually an altar to Odin, as explained by Donald Sutherland) before he heads out of town. Unluckily, the condom breaks. While Richard’s away, Liffey discovers she is pregnant, and she is not happy about it.

A slice of country heaven.

A slice of country heaven.

She has more than that to be unhappy about, though. Liffey’s closest neighbors are well-versed in ancient Druidic magic. Molly, the matriarch of the family, believes the baby Liffey is pregnant with was actually meant for her own daughter, Mabs (Miranda Richardson), who has been trying to get pregnant with a little boy for quite some time now, for reasons the film will cram down your throat. It’s not working out, and the local doctor refuses her fertility treatments saying she’s just too old to be a new mum. But Molly isn’t worried, she is fairly certain that her knowledge of magic, coupled with Mabs’ daughter Audrey’s natural powers can get the baby back to the right family. A little penis mushroom here, a little tainted alcohol there and voila! The baby will be in the right womb.

Nosy neighbors.

Nosy neighbors.

Well, unfortunately Molly and her witchy cohorts aren’t as in tune with Liffey’s pregnancy situation as they think. The lines get a little crossed, and their meddling causes some seriously bad mojo for everyone involved. Most of this is happening without Liffey even realizing it. But, in the end, Liffey decides to keep her baby, much to Mabs’ dismay, which leads to a very unsettling argument/labor situation that is DEFINITELY not something you want to watch if you are eight months pregnant!

Too old to breed.

Too old to breed.

I’m still not sure how I really feel about this movie. It definitely made me very uncomfortable, but how much of that has to do with my own pregnancy and imminent labor I can’t be sure. Certainly the idea that there are forces outside of us working to influence the outcome of a pregnancy is a terrifying one. What I for sure don’t like is the insatiable I-need-a-baby-now attitude that defines Miranda Richardson’s character. Sure, the film makes no bones about why Mabs feels this way, and I guess this was necessary to contrast Liffey’s I-definitely-don’t-want-a-baby-but-oops-accidentally-got-pregnant thing, but it really made me feel as though the filmmakers, or perhaps Fay Weldon, the author of the novel on which the film is based, think there are only two categories of women: those who wish to spawn, and those who don’t. That sort of dichotomy leaves a bad taste in my mouth.

Life-changing sonogram.

Life-changing sonogram.

I have other problems with the film as well, but I’m afraid they’re mostly due to the budget Roeg had to work with. The film is very cheaply shot and reminds me of a throw-away television production. Sometimes I’m able to overlook stuff like this, but here I found the cheapness distracting. I also felt a lot of the special effects, which were also distractingly cheap, were used in very heavy-handed ways. I am sure there are other ways to convey a fire from back in the day to a film’s audience than showing the present-day object with flames overlaid on top. Over and over again. Oy. We get it.

Somewhere deep inside Puffball there is a good movie. Maybe even a great movie. But as it is now, I am not sure I liked it very much at all. It is thought-provoking, which is of course a positive thing, but there are so many smaller problems with the film that they take away from my ultimate read of the thing. Also, don’t be too excited to see Donald Sutherland’s name in the credits; he is only in two short scenes and that made me sad, too. For the most part though, the other actors do a good job of pulling their weight; they just don’t have much to pull.

29
Aug
15

Fat Girl (2001)

Anaïs getting her banana split on, while she watches her sister Elena get her make-out on. Awkward...

Anaïs getting her banana split on, while she watches her sister Elena get her make-out on. Awkward…

Catherine Breillat’s Fat Girl is a difficult, unnerving, uncomfortable film. I’d never seen any of Breillat’s work previously, I’d only read that she was a “controversial” director. After watching Fat Girl it’s pretty obvious why the film community has slapped that label on her. This had been on the to-watch list for, oh, three years before we finally got around to it. It’s not exactly high up on the list for Saturday night entertainment, unless you’re in a particular mood to be challenged and made to feel totally gross.

The film is about two sisters. Elena is a freshly postpubescent beauty, ready to explore her sexuality, but only with someone she loves. Her younger sister Anaïs is anxious for a roll in the hay, too, but she thinks it’d be more ideal to lose her virginity to someone she didn’t really care about. Anaïs is also fat, certainly something Breillat is not about to let her audience forget: the film is peppered with scenes of Anaïs eating: a banana split while her sister makes out with an older boy at a local cafe, a huge plate of food at breakfast compared to everyone else’s more modest helpings, and my

There there sister, this piece of bread will make you feel better.

There there sister, this piece of bread will make you feel better.

favorite, a scene of Elena feeding her a piece of bread to make her feel better.

Their family is on a beach vacation. Ah, beach vacations during the coming-of-age times always result in such drama, don’t they? Elena “falls in love” with Fernando, the aforementioned older boy who sneaks into their cabin at night and convinces Elena to go much further sexually than she’s ready for – all while Anaïs is jealously watching. Elena’s affair strains her already contentious relationship with Anaïs; the two seem to routinely switch between hating each-other and desperately needing one-another. I think it’s fair to say they depend on one-another more than not, as it is clear through the family scenes Mom and Dad have better things to do than concern themselves with the lives of their daughters.

So much about this movie stings! I myself have never been a skinny beauty, so all those scenes of Anaïs eating her jealousy away really cut to the core. That’s not to say the film is made for any particular demographic; watching Elena in bed with Fernando is just as cutting and cringe-worthy. Even further, watching the two girls hurt each-other is hard to watch for anyone. Worst of all though, is the shocking ending that comes out of

Elena learning to navigate her feminine wiles.

Elena learning to navigate her feminine wiles.

nowhere. Yes, I’m going to bait you like that – of course I’m not going to tell you what happens. But, my god Catherine B, that is some cold-ass shit!

Even though it is painful, or perhaps because it is, I really liked this movie. What good is a movie if it doesn’t evoke some sort of strong emotion, right? I like how Breillat makes it a point to get into the heads of both of these girls, proving the world is no better a place for a young beauty than it is for a Fat Girl. We all have our struggles, and they’re all different, and that’s what makes it so damn hard to understand another person’s motivations, even if they’re family. Fat Girl is definitely not for the faint of heart, but if you’re up for a challenge, it is more than worth a watch; it is a very good film indeed.

27
Jun
15

The Guest (2014)

One of the best things I’ve done in recent memory is join the facebook group for the podcast The Gentlemen’s Guide to Midnite Cinema. Not only is it a group filled with folks who love my kinda movies, everyone is like, civil. So, in addition to sharing pics from your favorite flicks, or trying to get a handle on whether or not a particular movie is worth watching, the floor is open for some real, in-depth discussion of film instead of, you know, shit flinging. I strongly encourage you to listen to the podcast! Anyway, it is due to this fine group of Gents that I was first introduced to the film The Guest. Indeed, not a day went by for about a week or two when I didn’t see a post about it. Naturally, I had to check it out. I am so very glad I did.

Hello, David.

Hello, David.

Spencer and Laura (Sheila Kelly, whom I immediately recognized as Debbie with the earrings from SinglesPeterson are regrouping from the death of their son Caleb, a soldier who died in Afghanistan. Their two remaining kids, Luke and Anna (Maika Monroe, It Follows) are coping with it in their own strange ways as well. But things get a little spooky when a strange visitor stops by. David (Dan Stevens, apparently from Downton Abbey but I don’t watch that shit so… whatever) knocks on the door one morning, claiming to have known Caleb from Afghanistan. At first Laura is a little skeptical, but when she recognizes David from a picture of Caleb with some of his buddies, she’s rather excited to get the opportunity to know the guy. After all, what parent wouldn’t want the chance to learn about their son’s last days?

Maika Monroe ain't got no time for this David guy.

Maika Monroe ain’t got no time for this David guy.

Naturally, the other family members are pretty put off by David’s presence, but one by one they all seem to be taken with his charm. Dad finally shares some beers with David and gripes about the woes of working for a manager half his age; Luke learns how to beat the shit out of his bullies, and even Anna enjoys herself with him at a party. But soon, Anna starts to recognize some inconsistencies in David’s story, and starts to do some digging…

Dude, if my High School had a Halloween dance this hot, I'd never have left.

Dude, if my High School had a Halloween dance this hot, I’d never have left.

The Guest is one of those movies where it’s really best to go in knowing as little as possible. It packs some pretty big surprises and keeps you on the edge of your seat. Like, seriously, Q said he was so nervous not knowing what the expect next that it made him nauseous. Now that’s an achievement! You’re never quite sure which direction the movie will go, or the extent to which it will go there, and it unnerves the shit out of you. It is tremendous fun to watch, it looks gorgeous, and the fucking soundtrack is killer. After I watched this, I sent out a handful of text messages demanding friends seek it out immediately.

Of course, a movie like this is definitely not for everyone. If you like a cookie cutter action flick, or a predictable horror movie or whatever, this might not be your cup of tea. Seriously, the greatest joy this movie has to offer is how much it keeps you guessing. Its other joys though are pretty great as well. I can’t recommend this enough. Check it out dudes!

08
Feb
15

Kids in the Hall: Brain Candy (1996)

kithposterA truly great comedy film is a difficult thing to find. The odds of finding an acceptably entertaining comedy are only slightly higher than the likelihood that any given horror movie will actually scare you. But finding a comedy that makes you laugh throughout the whole film, for years and years after you’ve seen it the first time? And one that only seems smarter the more you see it? That’s like climbing Mt. Everest and, you know, surviving. I can’t tell you how many times I laughed and laughed during a first-time watch of a comedy, only to show it to someone and realize: holy shit, this movie sucks. So naturally, when I feel I’ve found that needle in the haystack, it shoots right up to the top tier of my favorite films. Kids in the Hall: Brain Candy is just such a film.

Look, I won’t deny growing up a relatively privileged kid. I had everything a kid could want or need, but perhaps more important than anything (except maybe a mother’s unconditional love), I had cable. Shit, I’ll do you one better: I had HBO. I was watching the Kids in the Hall sketch comedy show before I had any damn clue what their jokes were on about. For the uninitiated, at its core the Kids in the Hall are five Canadian guys who write and perform sketch comedy. They play most, if not all of the characters in their sketches, which naturally means half the time they’re in drag. Growing up with their quirky brand of comedy probably predisposes me to appreciating their film more than the average Joe would. I do have it on good authority though that folks who have never really ‘got’ the Kids‘ sketch comedy can (and some even do!) appreciate the film to the fullest.

God damn the pusher scientists!

God damn the pusher scientists!

The plot is simple: Roritor Pharmaceuticals’ research department is about to get gutted. After spending a great deal of time on top of the Big Pharma heap as the geniuses behind stummies, a prozac-like pill that you can pop like candy whenever you feel a bit down, they’re now facing the possibility of bankruptcy. Don Roritor, the ruthless madman behind the company, is personally interviewing each scientist about their research; not only is he out to separate the wheat from the chaff, but he is also on the lookout for a hot, new, marketable drug, like, yesterday. When they get to Chris Cooper, they find out that he and his team have discovered a drug that will cure depression. Though they’re still in the early stages of testing, Cooper is pushed into a corner: tell them the drug is ready, or he and his entire team get the axe. So naturally, he lies and says it’s ready to go.

Gleemonex, as the drug is soon dubbed by Roritor’s wacky marketing executive Cisco, works by latching onto a patient’s happiest memory. For instance, test subject Mrs. Hurdicure reminisces in the happiness of her last

Mrs. Hurdicure, a.k.a. patient 957, is reluctant to take the new drug.

Mrs. Hurdicure, a.k.a. patient 957, is reluctant to take the new drug.

Christmas, when her lovely family came to visit… for 30 seconds. She is the first of millions of Americans to “cure” their depression by reliving their happiest memories, which honestly folks, are all pretty damn pathetic. Sadly, it’s just a matter of time before the unfortunate side effects take hold…

I truly believe Kids in the Hall: Brain Candy to be one of the smartest, funniest comedies I’ve ever seen. I am quite honestly astounded that it’s not more highly rated on Rotten Tomatoes (38%?!) or IMDb (6.8). Not only are the laughs consistent, but as I said before, it really holds up over time. Almost 20 years on, the subject matter is still relevant; perhaps even more so now than ever, what with Big Pharma growing so ubiquitous we simply take it for granted. But the Kids’ take on Big Pharma is just a small slice of the biting commentary it has to offer on our fucked-up society, but I must admit it’s my favorite part.

Ah, the perks of corporate rulership.

Ah, the perks of corporate rulership.

For as long as I’ve watched Kids in the Hall, they’ve been mocking businessmen. From the sketch where a young boy brings home a Businessman to his mother hoping to keep it as a pet to the one where businessman-Bruce literally rips his heart out of his chest and pours coffee on it to keep it ticking, the subject is obviously one the Kids are quite familiar with, and frankly, very good at making jokes about. But with an hour and a half running time to work with, the Kids have a serious field day with it, not only mocking what an asshole corporate bigwigs tend to be (this one evidently resembling Lorne Michaels more than just a little bit), but exactly how dangerous and reckless it can be to keep one’s eye on nothing but the company’s bottom line.

The Kids of course don’t stop there, they have plenty to say about how pathetic all our lives are. The characters that inhabit the world of Brain Candy are naturally pretty miserable, but not outrageously so; most of them strongly resemble folks we know in real life. Our narrator, a nasty old curmudgeon who drives a taxi seems to be the only guy who really understands that you can’t have happiness without sadness. But all that makes it sound like the film is preachy; it isn’t. Sure it’s got something important to say, but I don’t think you can have good, lasting comedy without cultural commentary. The bottom line is, of course, whether or not the movie will make you laugh. The only way to know that is to watch it yourselves, I suppose, so get to it.




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