Monday, 19 April 2010

Buried Death


Soon my neighbourhood will be pulverised to atomic dust, as thousands of Sydney residents die screaming under gigatonnes of molten skyscraper wreckage. Even now, the bringers of our impending Doom prepare their campaign of annihilation from deep beneath the rain-slick streets of Tokyo. We are as ants before their mercilessly crushing onslaught.

Am I talking about a city-razing battle between Hedorah and Gojira? No, although the destructive force to which I allude could be compared to Hedorah: 48,000 tons of corrosive, poisonous SLUDGE!


The monstrosity of which I speak is Tokyo's dealers of death and doom - COFFINS. They've announced a whirlwind Aussie tour in September, and having had my face melted off by Osaka's Birushanah at Dirty Shirlows just a couple of months ago, I can't wait to witness more mayhem from Japan.

Get their 2008 album Buried Death. It's kaiju heavy.

Saturday, 10 April 2010

Biomechanoid



I stumbled on this little gem at Pink Tentacle yesterday and was suitably blown away. It would appear that in 1984/85 H.R. Giger quietly recycled some of his iconic production artwork for Alejandro Jodorowsky's unrealised Dune adaptation. Not for use in another movie, but a Japanese ad campaign for Pioneer's ZONE home entertainment system.

This brief glimpse of Giger's dark vision for planet Arrakis makes me lament the death of this project more than ever. The combination of Giger's nightmarish design and Jodorowsky's unconventional and surreal approach would surely have resulted in a cult SF film quite unlike anything we've ever seen.

As everyone knows, shortly after the collapse of Dune, Jodorowsky's core creative team of Dan O'Bannon, Giger, Chris Foss and Moebius all went on to contribute their talents to Alien; thus making O'Bannon's bastard child of Dark Star and Dune the closest we'll ever get to seeing What Could Have Been.


Of course this is all ancient history and common knowledge, but seeing these TV and print ads makes me wish anew that Giger's brilliance was further utilised at the height of his ability. I could watch an entire film - devoid of any actors, dialogue or story - of nothing but Giger's art, brought to life by '80s practical FX: sets, miniatures, models, animatronics, puppetry and matte paintings. A sort of biomechanical perversion of Koyaanisqatsi.







Surgical Prep


Dr. Josef Heiter MBBS, MChir, FRCS:

"...a Siamese triplet, connected via the gastric system...

...the Human Centipede...

...FIRST SEQUENCE.

We start with cutting the ligaments of the kneecaps..."




Friday, 2 April 2010

ギニーピッグ


Is there a moratorium on mentioning the Guinea Pig films, and if so, has it been lifted?

Eight or nine years ago the Japan Shock double feature of Mermaid in a Manhole/Android of Notre Dame and the lovingly produced Devil Pictures boxset were two of the most talked about and sought after horror DVD's around. I was on board that particular gore-hype express, and can remember the day that my Mermaid/Android DVD arrived in the mail. My excitement at finally seeing it was tinged with a delicious trepidation that I might be about to watch The Goriest Thing I Had Ever Seen (Mermaid delivered, Android did not). Cut to 2005, and by the time the series had it's US disc debut on Unearthed Films, I was already pretty sick of hearing about Za ginipiggu. My curiosity satisfied and my blood lust sated, I sold my German boxset (for a tidy profit, but I wish I'd kept that t-shirt!) and moved on to other, as yet unseen gorefests.

"You're next Charlie!"

The other day, for the first time in years, I revisited the only two entries in the series that ever really made an impression on me -
Mermaid and Flowers of Flesh and Blood, both directed by the venerable Hideshi Hino. Much to my surprise I found that I was enjoying them more than ever. There's something about the deliberate pacing and gloomy atmosphere of both films (but particularly Mermaid), that I find mesmerising. They play more like televised theatre than films, and although that's obviously a by-product of budgetary constraints, it really works in the films favour. It turns them into intimate little chamber pieces that draw the viewer into their claustrophobic confines, and once there, pummels them mercilessly with some of the most shockingly transgressive images ever filmed.

With their combination of poetic surrealism and hardcore gore, I think these two little films represent an unusual nexus of art and horror. Other art/gore films, like Karim Hussain's
Subconscious Cruelty, that try too hard to be arty, invariably come off as being pretentious. It feels to me as if Hussain is trying to legitimise his love of blood and guts by attempting to "elevate" it to the status of art. In the case of Flowers and Mermaid I think the opposite is true - Hideshi Hino (a genuinely eccentric artist) set out to make simple gore flicks with the sole intention of shattering taboos, but couldn't help infusing them with his bizarre artfulness. The result is a sort of unintentional performance art/kabuki/splatterfest.


I've never been tempted to delve into the dauntingly vast world of printed manga, but when I was recently introduced to the incredible work of Maruo Suehiro (and Guro art in general) at the
suffer for a world of silence blog, my interest was piqued. I started seeking out horror manga (an excellent blog for this is Flying Teapot), and in so doing stumbled on the printed works of Hideshi Hino (which in turn led me to revisit his two Guinea Pig entries). I was delighted to find in his manga all the obsessive imagery that is present in Mermaid in a Manhole. Sewers depicted as a fantasy underworld, discarded foetuses, living putrefaction, disease, creepy crawlies, pus oozing and spurting everywhere and above all, a gloomy feeling of social alienation and lonely despair.


Thursday, 1 April 2010

100% Medically Accurate!


This is the new one-sheet (thanks to CHUD) for Tom Six's The Human Centipede (First Sequence), one of my most anticipated 2010 movies. It's a perfectly designed horror poster - simultaneously repellent and luridly beautiful. I want to see this now.

Thursday, 25 March 2010

The Apocalypse According To Bouzikov


Andrei Bouzikov is a 31 year old painter and illustrator who emigrated to the US from his native Belarus in the mid '90s, eventually settling in San Francisco. I'd seen some of his eye-catching album covers around, but it wasn't until I stumbled on a link to his blog over at Illogical Contraption that I had a name to put to the artwork.

Using an eerie, ultra-lurid palette, he paints awesome cult SF/horror tableau's that sometimes remind me of classic Frazetta. There's also a kind of Death Rattle/Slow Death comic vibe to his work that I love (the ecological themes?). Comparisons aside though, Andrei manages to subvert all those old traditions a bit, and the result is something unsettling and uniquely his own.


The imagery is saturated with horror that for me recalls Bava, Fulci and Luigi Cozzi, but it's not all of the exploitation variety. The oppressive (and very real) spectres of tyranny, war and environmental destruction loom grimly over these apocalyptic vistas of bombed, burning cities and ravaged, poisonous landscapes. In other words, there's more going on here than meets the eye.

As well as doing amazing artwork for punk and metal bands/record labels the world over, Andrei plays bass in Oakland/SF hardcore band Deadfall. He's also a cool guy who had no problem with me posting his work here.

"Guts"


Nocturnal Graves/Hell Spirit split on Nuclear War Now! Productions


Lahar/Stolen Lives split on Insane Society/Phobia Records


Autopsy demo on Nuclear War Now! Productions


for a Peruvian psychedelic band


for Aussie pop-punk band The Decline


The Decline back


The Decline inner


Andrei's site and blog

Friday, 19 March 2010

Kicked!


Just an update to this post to say that the Popcorn Taxi screening of Kick-Ass was a lot of fun last night. The capacity crowd was probably the geekiest I've seen since going to Kraftwerk a few years ago, and the excitement in the lobby was palpable. It couldn't even be dampened by the overzealous security measures that saw everyone's phones confiscated at the door for the duration of the screening. Was that really necessary?

The movie mostly lived up to my expectations and the crowd ate it up, cheering raucously at the lethal bad-assery of Hit Girl and Big Daddy. Chloe Moretz really does steal the show, but Nic Cage is seriously back in "Sailor Ripley" form here and has by far the funniest moments in an already hilarious movie. It's good to have him back after 15 years of non-stop dreck, and I can't wait to see him devour scenery in Herzog's Bad Lieutenant. My one minor gripe was that it wasn't as gory as I'd anticipated, nowhere near the giddy heights of splatter seen in the comic. The film is very bloody but not overly visceral.

The Q&A afterwards was lively and Matthew Vaughn was affable and funny. He's excited about the prospect of a sequel, but hesitant to talk it up lest Kick-Ass gets it's ass kicked at the box office (It was almost completely independently financed - including mortgaging Vaughn's house - so there's a lot riding on its success). He did talk a little about the follow up comic series, and said that Millar and Romita are thinking of introducing a new (not so)superhero character named either Motherfucker or The Cunt. LOL.

He also talked enthusiastically about his use of almost entirely practical action in the movie, citing his hatred of modern action techniques such as shaky-cam, ADHD editing and an over-abundance of CG. Amusingly, they did switch to CG blood after just one day of shooting, because it was taking too long to clean the set and re-costume the actors after each take. I barely noticed it though, it's an effect that they are finally getting right (I'm looking at you Land Of The Dead!).

Having just screened The Wolfman and Daybreakers, Popcorn Taxi is being very friendly to genre fans so far this year. Next stop for the Taxi in April is Bad Lieutenant: Port Of Call New Orleans with Werner Herzog Q&A. Bring on the iguanas!

Wednesday, 17 March 2010

The Day The Universe Ceased


I am Providence

So reads the inscription on H.P. Lovecraft's modest tombstone at Swan Point Cemetery in Rhode Island. Nick Blinko also invokes these most heavy words at the end of the song The Only Child on Rudimentary Peni's 1987 HPL concept album Cacophony.

When I wrote my last post acknowledging David Cronenberg's birthday on March 15, I was unaware that the date also marks the death of Howard Phillips Lovecraft (thanks to the excellent Lovecraftian cinema blog, Unfilmable, for passing on this eldritch lore). That makes the day one of ominous portent for me as the two men are respectively my favourite horror director and writer.


This album freaked my friends and I out when it was released. We really just wanted another Death Church, so this weird assortment of in-jokes and occult ramblings was kind of baffling to us. At first I just latched onto the more rocking tracks like Architectonic and Dominant and Sunset for the Lords of Venus, but over the years I've come to love and appreciate the whole bizarre mess for the crazed genius that it is.

I know it's not very inspired of me to post Cacophony as a tribute to HPL, as it's probably the most obvious choice and has been posted on a hundred other blogs, but to hell with it - I love the Peni. Lovecraft baby!


Monday, 15 March 2010

Insect Politician


David Cronenberg is 67 today.

This is an appropriate time to mention my favourite auteur, as I can't think of a better expression of his idea of the New Flesh than the visceral processes of procreation and childbirth (Other examples that spring to mind are the changes wrought upon the body due to cancer, and the increasingly mundane use of body-modification to transform ourselves in ever more bizarre ways).

Birth (and rebirth) is present in so many of Cronenberg's films: Nola Carveth giving life to her inner rage through the miracle of Psychoplasmic therapy. Tom Stall's reemergence as a new man - a hybrid of his two formerly separate identities. Unfortunate Seth Brundle, enduring his agonising journey of death and renewal that could be said to be three distinct rebirths: first as super-human, then as something less than human and finally as something utterly non-human.

The twitchy president of CIVIC-TV and a pair of brilliant twin gynecologists - all of these characters and more have been put through the wringer by Mr. Cronenberg and have come out the other side... changed. They're all here tonight at David's party, looking haunted and traumatised. It's not a very happy gathering, but it is the most fascinating and exciting party in town. So whether your poison is bug powder, Mugwump jism or the black meat; raise your glass and drink:

LONG LIVE THE NEW FLESH! LONG LIVE DAVID CRONENBERG!

Sunday, 7 March 2010

Kick To Kill


11-year-old girls aren't allowed to call grown men cunts. Nor are they allowed to eviscerate, dismember or decapitate them, but that's exactly what cute little Mindy Macready does in her guise as the supremely lethal Hit-Girl.

I'm seeing an early screening of Matthew Vaughn's Kick-Ass at the ever-awesome Popcorn Taxi next week, followed by a Q&A with the 39-year-old English director. Having whetted my appetite for gory mayhem with Mark Millar and John Romita Jr.'s ultra-violent comic, I'm hoping that my bloodlust will be thoroughly slaked by the movie. To prepare yourself for the impending bloodbath head on over to Marvel and grab this supremely fun comic for yourself. Don't fuck with Hit-Girl.

Friday, 5 March 2010

Shadow From Mordor



Ash nazg durbatulûk, ash nazg gimbatul,

ash nazg thrakatulûk, agh burzum-ishi krimpatul

In the history of film is there any imagery more overtly Metal than PJ's nightmarish vision of the relentlessly advancing hordes of Mordor? Sauron's unstoppable War Machine razing all in it's path, spreading darkness, death and misery throughout Middle Earth. His servants, the Nazgul, ceaselessly overseeing the machinations of His desires... genocide, annihilation... Total War. The demonic fire and fury of Durin's Bane unleashed at the Bridge of Khazad-dûm. The poisonous shadowland and it's places of evil beyond the Black Gate at Udûn: Gorgoroth, Cirith Ungol, Minas Morgul, Barad-Dûr. The Dark Lord Himself, resplendent in his battle armour, laying waste to all unfortunate enough to stand before Him.


Mordor is Metal, and for me there's no better expression of that than the song "Shadow from Mordor" by Birmingham's crusty, thrashing doomsayers Sacrilege. The ferociously pounding drums and grimly unrelenting riffage bring to mind the inexorable progress of a huge, lumbering army, and perfectly evokes Sauron's coldblooded determination to conquer, subjugate, obliterate. Tam's vocals are the plaintive voice of the suffering, desperate peoples of Middle Earth held in thrall to His consuming darkness:

Like Durin's Bane, rising up from the deep
There is evil at work while the people do sleep
As they plunder the earth, still we sit back and watch
Their wrath consumes all that would stand in their path


In '86 or '87 this devastating six song 12" (with the Lovecraftian title of Behind The Realms Of Madness) was the record that jarred me out of my rigidly blinkered "hardcore rules, metal sucks" mindset. Motörhead followed, and I guess I've never looked back.

The runes below, written in the Black Tongue, are inscribed upon the foul helm of the Mouth of Sauron. They are evil. CLICK HERE PUNY HALFLING!


Saturday, 27 February 2010

Stuffed & Basted


It's been said before and I'll say it again: Grindhouse only really worked when seen in it's entirety, in a packed theatre with an appreciative crowd. I saw it twice that way and it was a blast. Taken out of context and in their longer cuts, Death Proof and Planet Terror are still a good time for lots of reasons (mostly for Kurt Russell in the one and rivers of gooey splatter in the other), but I just find them both to be a bit disappointing on their own. In the end it comes down to the fact that the four fake trailers in Grindhouse completely eclipsed the two movies. If Rodriguez and Tarantino had made a movie consisting of nothing but trailers, each one from a different guest director, it probably would have been an instant cult classic.

What I've got for you here is the unedited 7-minute "intermission" sequence (with the trailers by Rob Zombie, Edgar Wright and Eli Roth), ripped from the awesome (and expensive) 6-disc Japanese Grindhouse DVD. It's a really good quality 150MB .avi file and looks perfect. Please click on the roasted corpse.


Friday, 19 February 2010

Soundtrack: Phantom Of The Paradise


Three years before Suzy Bannion's enrollment at Mater Suspiriorum's Tanz Akademie in Freiburg, Jessica Harper endured a more terrifying menace than occult witchcraft... being mauled by Paul Williams.

I first saw Brian De Palma's Phantom Of The Paradise at an afternoon matinee in 1976. I was eight years old. Sitting in the dark, watching The Undead strut and slice their way through "Somebody Super Like You", was an intense and overwhelming experience for me. It was my first exposure to the power and energy of rock, and I loved it so much that my folks bought me the LP soon after. Hour after hour I'd sit alone in my room, endlessly playing that record on my crappy little plastic turntable. Sadly, that album ended up as landfill in the early '80s when I became embarrassed to have it seen amongst my newly amassed collection of punk and hardcore. Ah, the follies of youth.

I rediscovered Phantom about ten years ago and it's a pretty special movie for me now. There's a lot to like about it, from the lavish production design (set dressing courtesy of a pre-Carrie Sissy Spacek) to Jessica Harper's coolly charismatic singing as Phoenix, and of course, the Phantom's awesome costume and chrome teeth.

So, have a listen to the final release from the now defunct Death Records, Phantom Of The Paradise. Just don't be surprised if you find a piece of Winslow Leach's face pressed into the vinyl. HERE.


Tuesday, 16 February 2010

Three Great Movies That Don't Exist: Part II

In the first of this three part look at nascent dream-movies that I want to see, I talked about Guillermo del Toro's planned adaptation of H.P. Lovecraft's At The Mountains Of Madness. You can find that here. This time we leave the Antarctic wastes behind for the even colder and more hostile setting of interstellar space.


The Forever War

In 1967, having just completed a degree in physics and astronomy, a young man from Oklahoma named Joe was drafted into the U.S. Army. He was sent to the conflict in Vietnam, where he served from 1968-'69 as a combat engineer with the 4th Division. He saw action amongst the verdant hills of the central highlands, witnessed the atrocities of war first hand, and was ultimately severely wounded himself. That man was Joe Haldeman (pictured) and just a few years after returning home, his first novel - The Forever War - was awarded both the Hugo and Nebula awards for best SF novel of 1976.

The Forever War is one of my favourite novels. I've re-read it more than any other book and I know that I'll return to it again. It's unusual and special in the way that it rises above the limitations of it's genre (the space opera) to be a poignant anti-war story. For me The Forever War is the antithesis of Robert Heinlein's work of fascistic military propaganda, Starship Troopers. Heinlein's story of nationalistic duty and blood sacrifice (without which one isn't even granted the right of suffrage) is, unsurprisingly, the vision of a man who served as an officer in the Navy but never had any experience of combat (he served in peacetime). In stark contrast, Haldeman's novel, a heartbreaking and thoughtful expose of the real face of war, is the work of a veteran who had just lived through the terror and shameful waste of Vietnam.


In light of our current conflicts, Haldeman's story of a millennium-long war, started for dubious reasons and ruthlessly perpetuated regardless of the cost, is more relevant now than ever. In 2008, New York Times journalist Dexter Filkins even named his own non-fiction book about the wars in Afghanistan and Iraq The Forever War.

With the exception of Brian De Palma's flawed (but effective) Redacted, I've found all of the movies about this current war to be either jingoistic or toothless. The only other war film in recent years that has moved me is Waltz With Bashir. Where is the Apocalypse Now or Full Metal Jacket of the last decade? I think that, handled in the right way, Ridley Scott's in-development adaptation of The Forever War could be a great allegorical anti-war film for this generation.

Scott is an odd director, probably one of the most wildly uneven working today. With Alien and Blade Runner he created two of the most powerful works of art to ever grace the screen. Neither of those SF monoliths have lost an iota of their potency, and for me they just continue to grow in stature as time goes on. But then he's made movies like White Squall and A Good Year which are, you know, fucking awful. But despite his habit of choosing some horrible material, I think he's still a talented storyteller with a gifted eye for detail and the ability to create some very striking imagery. The Forever War is an epic and Ridley has proven that he can do epic in Gladiator. It's a visceral war story and he's impressed in that genre too with Black Hawk Down. That he can do hard SF better than anybody is indisputable.

At 73 Sir Ridley isn't a young director anymore, and he's notorious for juggling multiple projects, many of which never come to fruition. However, The Forever War is a genuine passion project for him, one for which he famously sought the rights for 25 years. So, hopefully, before the cigar-chugging Englishman shoots his last frames, we'll finally see his vision of "attack ships on fire" and "c-beams glittering in the dark" in his film of the tragic 1,000 year campaign of one Private William Mandella.

Friday, 5 February 2010

Hooded Menace


In addition to the soundtracks that I'm linking to here, I've decided to start contributing to your screaming tinnitus with some other music that I listen to. In keeping with my obsession it will all relate in some way to the films I watch. All links will be to bandcamp or youtube. As with the soundtracks, if you hear something you like I encourage you to support the artists and labels.

First up, Fulfill The Curse, the crushing 2008 debut by Finnish death-doom metal band Hooded Menace. Just looking at the cover art on all their releases, it's plain to see that guitarist/vocalist Lasse Pyykko has an impressively single-minded obsession with Amando de Ossorio's Blind Dead movies. As well as the obvious influence of Ossorio's mouldering Knights Templar, Fulfill The Curse also pays tribute to another Spanish horror icon - the recently departed Paul Naschy - in the track The Love Song Of Gotho, Hunchback Of The Morgue (a reference to Javier Aguirre's '73 flick The Hunchback Of The Rue Morgue). The album switches to Italian horror for it's conclusion, with a slightly disappointing reworking of Fabio Frizzi's Theme From Manhattan Baby.

Fulfill The Curse follows a 7" titled The Eyeless Horde, both released on vinyl by Czech label Doomentia Records (who also have a split 7" with Asphyx in the works). Hooded Menace have a new album out later this year on Profound Lore Records called Never Cross The Dead. It's being touted as one of the heaviest albums of the year. Beware the Eyeless Horde!

Tuesday, 2 February 2010

Three Great Movies That Don't Exist: Part I

Sorting through the mire of cinematic cellulite that the movie factories are preparing to force-feed us over the next few years, you can always find a few embryonic films that stand out as having the potential to be great. Here I'll rant about three such genre projects I'm excited about - all adaptations of beloved books, all in very early stages of development. Two are already attached to established heavy-weight directors and are passion projects for each one. The third seems to be floundering in development hell and I'm not sure who - if anyone - is attached to it at the moment. So, to our first:


At The Mountains Of Madness

There's a plethora of movies out there based on the works of Howard Phillips Lovecraft, and even more that have simply plundered his pulp SF/horror for it's rich ideas. Of the former, few have been very good at all, with the obvious exceptions of Stuart Gordon's films and a handful of others. It seems that the Lovecraftian rather than the adaptations have yielded better results, with great films like Carpenter's The Thing and In The Mouth Of Madness, Fulci's The Beyond, Frank Darabont's The Mist and Eric Valette's Malefique amongst them.

Adaptations of HPL's stories (e.g. the Gordon/Yuzna films & The Dunwich Horror), for all that I love them, have often followed a similar formula, i.e. low budgets with a tendency towards campiness, while taking huge liberties with the original storylines (not always the film-maker's fault, as Lovecraft's stories often have a skeletal plot fleshed out with an over-abundance of flowery prose). The one thing we've never seen is a serious take on the material with a budget big enough to fully realise Lovecraft's eldritch vision.

Enter Guillermo del Toro's long-mooted, big budget adaptation of At The Mountains Of Madness. Lovecraft's vivid mythology of alien dimensions encroaching on our own, and cosmic evil lurking at the threshold of our existence, is massive in scope and has never been done justice on the silver screen. Mountains lends itself perfectly to a BIG production with it's sweeping Antarctic landscapes, huge mountain-ranges, monolithic alien ruins and giant Shoggoths. GDT's intention is to stay true to the novella by making it a period-piece and taking it all deadly seriously, without making compromises like a romantic sub-plot or happy ending. The problem up until now has been getting a studio to fund his Yog Sothoth-sized nightmare epic, but perhaps after the inevitable success of the Hobbit films someone will throw a few hundred million his way.

Given that the first of the Hobbit movies isn't hitting for about three years, and that the jolly Mexican genius (seriously, at a Q&A for a screening of Hellboy II, I was freaked out by the intimidating depth of his intelligence) also has his Frankenstein in development, At The Mountains Of Madness probably won't shamble and slither it's way onto screens for another eight to ten years. Will we still even have movie theatres then? Maybe GDT will just beam it straight into our heads.

Wednesday, 27 January 2010

Argento At The Chauvel


Horror fans living in the Sydney area are in for a rare treat next month as the always genre-friendly Chauvel Cinema is hosting a season of double-bills comprised of Dario Argento's entire output from '75 to '85 (minus Inferno), each one followed by a choice pick from Romero, Hooper or Craven.

The season runs over four Fridays (February 26th to March 19th) and opens with a crushing double: Suspiria and Dawn Of The Dead. I saw a print of Dawn at the old Third Eye in Surry Hills years ago, but two of the reels were so damaged as to make it almost unwatchable (I still had a blast). A good print of Dawn would be great, but not as brain-meltingly awesome as seeing a decent print of Suspiria in a cinema. The other Argento movies are Tenebrae, Deep Red and Phenomena and I'm frothing at the mouth for all three. Sharing these doubles with the Italian maestro are Tobe Hooper's The Texas Chainsaw Massacre & Eaten Alive and Wes Craven's Last House On The Left. I can take or leave the Hooper flicks (having already seen a screening of Texas Chainsaw and not being overly fond of Eaten Alive), but it might be fun seeing a crowd squirm uncomfortably at the sleazy nihilism of Krug and company.

As ever, the big question is: ARE THEY UNCUT? I'll be finding out at the Chauvel, over four consecutive Fridays of mysterious killers, arcane witchcraft, flesh-eating corpses, inbred mayhem and bloody vengeance!

The Chauvel is the last vestige of real independent cinema left in Sydney (a disgraceful situation for a city of five million), and when they run programs like this it drives home the importance of supporting it, lest the Chauvel disappear along with the Valhalla and Third Eye. Details for all the screenings can be found at the cinema's website here.

Friday, 22 January 2010

Soundtrack: Martyrs



Here's another soundtrack, this time from the bludgeoning, nihilistic French shocker Martyrs, directed by Pascal Laugier with an original score by Seppuku Paradigm.

A brief search of the web is all it takes to get an idea of how divisive this movie is amongst horror fans. It sounds like a cliche, but Martyrs really is a film that seems to be almost universally loved or loathed, with not many people reacting with ambivalence. That it elicits such strong reactions in people is a testament to the film's devastating power.


A lot of fans of really violent movies were angered and offended by the violence in Martyrs because it's not entertaining or cathartic. The final act in particular is a grim, prolonged
and extremely unpleasant depiction of one of the main protagonists being tortured, humiliated and beaten, that is about as far away from "fun" violence as you can get. In this respect it succeeds at forcing the viewer to really feel empathy for the victim of this atrocity far more effectively than Michael Haneke's Funny Games, because it doesn't indulge in Haneke's childish manipulation and insulting condescension. I don't know if that was Pascal Laugier's intention when making Martyrs, but when a Toronto Film Fest attendee (at a post-screening Q&A) pompously asked him if he had seen Haneke's film(s) and then more or less called Laugier disgusting and morally bankrupt for making Martyrs, he responded by saying "I hate Michael Haneke, I hate Funny Games" and then went on to describe his film as the "Anti-Funny Games". He could go on to never make another good movie, and he'd still be heroic to me, just for saying that. I was intrigued by Games when it first came out, but on subsequent viewings have come to really resent it for the way in which Haneke presumes to indict all viewers for revelling in violence, without giving them any credit for being thoughtful or empathetic. A truly stupid and myopic generalisation. Honestly, who does he think he is?


Of course this is only one small aspect of what makes Martyrs the masterpiece that it is. The two central performances from Morjana Alaoui and Mylène Jampanoï are heartbreakingly good and it's obvious in every frame of their screen-time just how much they sacrificed of themselves for this little film. The cinematography and stark production design are excellent, as is Benoît Lestang's incredible and disturbing make-up FX (he was a great talent who tragically took his own life in 2008). A lot of people dislike the abrupt change at Martyrs' mid-point into kind of metaphysical SF, but for me it works perfectly, and the end (which Fangoria's Tony Timpone accurately described as "approaching Kubrickian transcendence") literally had my jaw agape and my eyes bugging.

The score, by Parisian experimental electronic/rock band Seppuku Paradigm (who had previously scored the low budget French SF movie Eden Log) is by turns somber, mournful, tense and haunting with a few good stings like At Night In The Dormitory. Once, in the track Crisis, it explodes into throbbing Goblin worship that makes a very powerful moment in the film even more potent. It's a great little track, but at under a minute long I really wish they'd expanded it for the soundtrack. Martyrs wraps-up with the languidly paced, dreamy-melancholy of Your Witness that is perfect over the end credits to allow you to just numbly stare at the screen and begin to recompose yourself after being pummelled into a state of twitchy shock.



Wednesday, 20 January 2010

The Body Horror Revival?


One of the films at the top of my to-see list for 2010 is Tom Six's controversial The Human Centipede (First Sequence). The story revolves around mad scientist Dr. Heiter's perverse experiment on a trio of captive victims to surgically graft them into a single organism with a common digestive system. To put it more bluntly, he sews them together, asshole to mouth.

Three brains. Twelve limbs. One twisted, nightmarish vision courtesy of Tom Six.

The film is apparently intelligent, blackly comic and squirm-inducingly grueling without relying on too much gore. The word is that Six consulted a surgeon to make sure that the medical procedures in the film were realistic in order to give the goings-on a pseudo-scientific veracity.

Festival-goers are raving about Dieter Laser's tour de force performance as the insane Dr. Heiter, and it earned him the
award for Best Actor at last year's Fantastic Fest (where the film also scored Best Feature). The cold-blooded, sadistic mad scientist is one of the most beloved archetypes in the SF/horror pantheon, and it's been too long since we've had a really memorable one chew up scenery on the big screen (the last great ones that spring to mind are from the '80s: Herbert West, Crawford Tillinghast, Dr. Logan, Brian O'Blivion, Dr. Hal Raglan et al). The performances of the three unfortunates who comprise the centipede are also supposed to be excellent, so I imagine it's genuine sympathy for their disgusting plight that makes this disturbing little horror movie work as well as the positive buzz suggests it does. I cannot wait to be assaulted by this flick (and it's in-development sequel The Human Centipede II (Full Sequence)!

So with the overt references to Cronenberg in last years SF masterpiece District 9
(the deterioration and subsequent metamorphosis of Wikus' body) and the "baby horror" of Inside and Grace, are we witnessing the birth of a fully-fledged body horror sub-genre? I really hope so.

Tuesday, 19 January 2010

"As he sat on his balcony eating the dog..."


Some exciting news emerged tonight (as reported by bloody disgusting) that Vincenzo Natali is still attached to his long-in-gestation adaptation of J.G. Ballard's seminal SF novel High-Rise. The project has been on his slate for several years now, but I've been wondering for a while if he might have abandoned it. I've always thought High-Rise suited Natali perfectly. It's thematically similar to Cube in that it's about ordinary people dropping their veneer of civility and resorting to violence in a desperate and claustrophobic situation. Another similarity to Cube is the central role that the architectural environment plays in the story, how it influences and defines the character's actions.

Our bizarrely evolving relationship to technology and the urban environment is a theme that runs through my favourite Ballard stories (Crash, Concrete Island & High-Rise) and I don't think that the ideas he postulated in those novels have dated at all. In fact I think they're more relevant now than when they were written, and show a real prescience to Ballard's vision of where we're headed as a society (it's not optimistic).

Having only just lost this great SF writer last April, it's heartening to know that one of his most beloved novels is in the capable hands of an intelligent, independent film-maker. Too many of Philip K. Dick's SF stories have been reduced to dumbed-down action fests, but with first Cronenberg's Crash and now Natali at the helm of High-Rise, Ballard's cinematic legacy may fare better.