Archives for posts with tag: Joely Richardson

color

Nic Cage fans should get a kick out of this genuinely unnerving H.P. Lovecraft adaptation. Cage plays Nathan Gardner, a family man finally “living the dream” after moving his family out of “the big city” and onto a rural New England farmstead. The trouble starts when a stinky meteorite lands in his yard, after which strange transformations start to occur among Gardner’s family and in the wilderness around them. Devotees of crazy, freaked-out Cage moments will have a ball with his close-encounter-in-the-shower scene, driveway tantrum, and the sight of him blasting away at a mass of slimy mutant alpacas. Some of the outrageously grotesque situations and visuals are reminiscent of films like From Beyond (1986), The Curse (1987), and Society (1989), which ought to give prospective viewers a fair warning of what lies in store. Color Out of Space does, unfortunately, overstay its welcome by twenty minutes or so, particularly when it slips into all-encompassing CGI saturation mode; but, at its best, Color Out of Space is good, spooky, occasionally campy fun.

4 out of 5 stars. Ideological Content Analysis indicates that Color Out of Space is:

[WARNING: SPOILERS]

Drug-ambivalent. Tommy Chong plays a forest-dwelling hermit and weed aficionado. His chemical pastime is played for laughs, but his easygoing disposition also leaves him spacey, reckless, and incapable of perceiving the threat right under his feet (and in his cup).

Media-skeptical. When TV news does a story on the landing of the meteorite at Mr. Gardner’s farm, the interview is inaccurately captioned “UFO Sighting in Arkham?” and the reporter insinuates that Gardner is only a drunk.

Green, suggesting that politicians are insufficiently concerned with conservation and public health. Arkham’s corrupt mayor (Q’orianka Kilcher) proceeds with a profitable reservoir construction project despite being warned about the environmental hazards.

Wicca-ambivalent. Gardner’s daughter, Lavinia (Madeleine Arthur), practices witchcraft, casting spells to, for instance, keep her mother (Joely Richardson) free from cancer. She claims never to practice black magic, and is depicted as a more or less normal teenage girl. Her spells are ineffective at combating the titular menace, however, and viewers are left with the impression that Wicca is probably only a silly hobby. Interestingly, one of the talismans employed during one of her rituals is a swastika made from Barbie doll legs. This could, on the one hand, indicate her character’s immaturity; but it might also suggest elites’ anxiety over potentially negative, possibly nationalistic outcomes of young European-Americans’ abandonment of Abrahamic religion in favor of a return to paganism, however superficial (cf. Midsommar).

Urbanite. Lavinia is dismissive of country life, dislikes being made to eat “peasant food”, and, unlike her father, would have preferred to continue enjoying life in “the big city”. The family’s isolation and remoteness from civilization and help does contribute to their downfall in the end.

Pro-miscegenation. Lavinia has a crush on a “kinda cute” African-American hydrologist, Ward (Elliot Knight), who comes to survey the Miskatonic River for a hydroelectric company. H.P. Lovecraft, who advocated “the domination of English and kindred races over the lesser divisions of mankind”, would no doubt have been appalled. Fortunately, the color out of space culturally enriches Lavinia before the suitor of color can.

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

Maggie

Arnold Schwarzenegger gets a rare opportunity to show his range as an actor in Maggie, which casts him as a Midwestern everyman who goes looking for his daughter (Abigail Breslin) after a zombie outbreak plunges the country into chaos. Unfortunately, when he finds her, she is already one of the afflicted. They have some time before the infection causes her to turn, however, and so he brings her home from the hospital for a few last days of vainly attempted normalcy, which naturally leads to painful tensions and scares as Maggie’s stepmother (Joely Richardson) begins to be frightened for her life. This is not Arnold the action lead, but Arnold the life-size yet heroic victim of circumstance whose situation dictates his reconciliation with reality. Those expecting a frenzied zombie apocalypse outing along the lines of 28 Weeks Later (2007) or World War Z (2013) will be disappointed, as Maggie offers little in the way of undead pandemonium. This unusual movie is best described as a somber family drama that also happens to have horror elements.

4 out of 5 stars. Ideological Content Analysis indicates that Maggie is:

2. Anti-Christian. Arnie’s wife has resorted to prayer, but heard only silence in reply.

1. Anti-family and anti-white. It is difficult for this viewer to watch an intelligent zombie film without searching for its allegorical significance. In Maggie, the plague has spread from the cities across the rustic heartland, suggesting a cosmopolitan cultural rot has infected the unspoiled folk of the plains and particularly their young. Maggie presents itself as a movie about the importance of family ties, with a reassuringly positive and tender depiction of a father; but this is really a genocidal study of European man reconciling himself to a future of zero posterity. With unintentional comedy, the family’s wise old Jewish physician, Dr. Kaplan (Jodie Moore), advises Schwarzenegger to do the sensible thing and shoot his daughter before she goes cannibal on him. Devotion to kin, in the context of Maggie’s apocalyptic zombie plague, becomes a liability and a threat to public health and order.

Rainer Chlodwig von Kook

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