Archives for posts with tag: basement

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

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Zombinator

The filming of a fashion documentary furnishes the pretext for a film crew to follow a group of college students around Youngstown, Ohio, on what turns out to be night the city is hit by a zombie plague. Unfortunately, those lured by the inviting sight of the zombie cyborg featured on the cover of The Zombinator are bound to be a bit disappointed, as no such creature actually appears in the film.

The title character (Joseph Aviel) is an Afghanistan veteran trying to save Youngstown and the United States from a military-industrial undead plot being executed on the ground by “war hero” the Colonel (Patrick Kilpatrick) and his team of greedy mercenaries. The young people, meanwhile, spend most of the movie whimpering, cowering, running, and trying not to get bitten.

The film crew’s presence in the story suggests a postmodern self-awareness on the part of The Zombinator‘s makers, but it also presents some puzzling questions. They seem to be an unusually caddish lot, even for movie industry professionals, considering that they continue to shoot with apparent indifference as their associates are attacked, neither lifting a finger to help during combat nor even alerting a group of sleeping girls as the zombies sneak up on them.

The Zombinator achieves an adequate level of suspense, even if the zombies and story are nothing new or particularly special; and occasionally bathetic humor offers a welcome break from the scenes of horror and mediocre action with CGI blood and fake gunfire. Shame on The Zombinator, though, for baiting the audience with the tasty prospect of a zombie-Terminator hybrid and instead delivering a regular old hungry carcass flick.

3 out of 5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that The Zombinator is:

9. Anti-tobacco. A cigarette is a “cancer stick”.

8. Racist! A horny black dude stupidly opens a door for some zombie sluts. Paranoid and self-absorbed congoids are apt to assume that even the basement of a Catholic school might be a secret hideout for the KKK. End credits feature a vicious ghetto zombie in a hoodie.

7. Anti-family. Marcus (Justin Brown) was abused by his father.

6. Class-conscious. The 1% gets name-dropped, as does the gentrification neighborhoods of Youngstown are said to be experiencing. “It’s more like civilized murder now.”

5. Anti-Christian. The Zombinator is generally irreverent toward Christianity. A rotten-faced rock singer wears a clerical collar; one Youngstowner recalls seeing a bullet hole in a church bathroom; and priests (one of whom smokes) are ineffective at thwarting zombies. God, meanwhile, is “the one who’s got the biggest dividends.”

4. Anti-Y. Generation Y appears as a wimpy, idiotic, and superficial lot, the Colonel’s suggestion that they are truly “the greatest generation” coming across as masked sarcasm.

3. Anti-cronyism/anti-Obama. “But what about change?” cries a stupid liberal on learning that she and her friends are guinea pigs in a government bio-terror scheme. “What about what everybody voted for, against big corporations?”

2. Antiwar. America’s rulers preside over an empire, not a progressive wonderland, and ignorant young people’s mindless mouthing of patriotic admiration for soldiers rings unmistakably hollow. Afghanistan is a testing ground for biological agents, with soldiers used for deadly experiments.

1. Anti-state and N.W.O.-alarmist, promoting those darned conspiracy theories. “This is government shit, dude,” suspects one of the filmmakers. “If the world doesn’t see this, this is gonna happen everywhere else, too.” Later, the Zombinator explains that, “They have a cure, but they will not use it until it gets so big, after Youngstown is gone, and then they’ll present it on the market and make billions . . . billions and billions on your corpses.” So forget that crap in Contagion (2011) and World War Z (2013) about the valiant public servants over at the CDC and the WHO. This is the real deal.

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