Archives for posts with tag: Nicholas Tucci

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Erik Bloomquist writes, directs, and stars in The Cobblestone Corridor as Allan Archer, hardworking editor of the elite Alfred Pierce Preparatory School’s newspaper, The Pierce Gazette. Archer is straight-laced and by-the-book – a young man who still believes in authority and the dignity of institutions – the sort of person one might expect to carry a picture of William F. Buckley in his wallet. He is also an amateur detective and has his inquisitiveness piqued when he learns that the circumstances of a teacher’s recent dismissal are more than a little fishy. Adding interest to the story is Lizzie Merriweather (Madeleine Dauer), whose simultaneous attraction and opposition of journalistic philosophy adds another layer of tension to the narrative.

The Cobblestone Corridor is a low-key comedy hybridizing genres from teen fare to mystery, and Mike Magilnick’s cinematography does a good job of compromising between tones, referencing noir while keeping things light enough for a chuckle. The film succeeds largely due to a cast of interesting faces, which include Bloomquist’s as well as that of Nicholas Tucci, whom viewers may remember from the outstanding slasher homage You’re Next (2011). An assortment of young women in school uniforms adds to the visuals. Finally, while something of a morsel at 25 minutes, there is a measure of substance to be detected down these halls.

4 out of 5 stars. Ideological Content Analysis indicates that The Cobblestone Corridor is:

5. Anti-drug. Archer is contemptuous toward stoners.

4. Green-ambivalent. When classmate Claire (Alex Sarrigeorgiou) says paper publishing “just wastes trees”, her professor (Tucci) replies that this is “an interesting environmental argument”; Archer, however, dismisses Claire’s opinions as “shortsighted and ignorant”.

3. Feminism-ambivalent. Archer reviles “sluts” and puts a stop to an all-girl fight club. Lizzie’s contribution to his development as a journalist suggests, however, that women can contribute as professionals, giving the lie to a threatening note she receives informing her “little girls don’t belong in the big leagues.”

2. Tobacco-ambivalent. Archer cock-blocks a quintessential film noir ritual when he stops Lizzie from smoking a cigarette in his office. She later discovers that he has lied about not being a smoker, however.

1. Media-ambivalent. The Cobblestone Corridor’s best scene – crisply written and delivered by Mr. Bloomquist – concerns the question of the continuing relevance of the print medium. Journalism instructor Mr. Brown (Tucci) asks his class, “Are newspapers still important in today’s society, or are they well on their way to fading into historical oblivion?” Claire assails print as irrelevant in the age of the instantaneous dissemination of information; but Archer, who hates “supermarket tabloid drivel” and does what he can to uphold traditional journalistic standards, holds forth as follows:

People who write for newspapers understand that a story is more than just a clickbait by-line. These message boards that Claire talks about aren’t avenues for intellectual discourse, they’re a mosh pit of pseudo-scholars trying to outsmart each other. It’s not about the news, it’s not about the facts, it’s about being the loudest [. . .] and if one day the servers crash and everything goes to Hell we’ll still have a thoughtful piece of analysis we can touch and feel. That sure as Hell beats a tweet by some self-important high school drop-out hiding behind a screen name.

At stake in this scene and for the remainder of the film is the credibility of “conspiracy theories” and the post-9/11 alternative media, the latter being personified by blogger Lizzie. Archer naively believes that the major newspapers’ reporters are as thoughtful and idealistic as he is, is impressed by the Fourth Estate’s centuries of superficial prestige, and disparages the internet. He suggests, furthermore, that the anonymity of the blogosphere is an invalidation of its credibility, failing to consider the fact that alternative journalism is not, in most cases, a living, and that these writers might be putting their employment in jeopardy by signing their real names under their controversial interpretations of events.

However, after Lizzie’s insights prove to have been valuable in solving the mystery of the dismissed teacher, Archer is moved to establish an online edition of The Pierce Gazette, the idea being that online and print news media can coexist and mutually strengthen each other, and that independent researchers’ contributions can make a difference. This, Archer effuses with idealism, heralds the “beginning of a renaissance for The Pierce Gazette” – a revolution by technology and turnover in personnel. Bloomquist, though, by setting his story in the innocuous world of a non-profit student newspaper, has avoided the fundamental corruption of commercial “news” by controlling financial interests. Archer, once he ventures into the Orwellian sphere of professional journalism, will find his masters reluctant to publish material that strays off-script.

[For full disclosure of this writer’s diet of news and infotainment, he will admit to getting the vast majority of it online – from sites ranging from fluff like Yahoo! to deeper-digging content like Global Research – but also subscribing to a fortnightly print newspaper, Willis Carto’s populist American Free Press.]

Rainer Chlodwig von Kook

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Inexplicably neglected since 2011, with no wide release until now, You’re Next is not only one of the finest film surprises of 2013, but one of the greatest slasher movies ever made. Affectionately versed in its 80s genre heritage, Adam Wingard’s film is a combination slasher and downbeat, darkly comedic family melodrama, almost as if Noah Baumbach had decided to direct a horror movie.

Middle-aged couple Paul (Rob Moran) and Aubrey (Barbara Crampton) are celebrating their wedding anniversary, for which occasion their grown children and their significant others are gathering for a celebration at their country house. Before very long, old sibling rivalries and resentments resurface, both to the family’s chagrin and the audience’s delight; but the funny display of dysfunction at dinner is disrupted when an arrow flies through a window, lodging itself in one guest’s head, and the group realizes that the house is being attacked by an unknown entity or entities. What follows is a Straw Dogs-style siege, a tour de force of storytelling, creative suspense, and invested work from an excellent cast led by Sharni Vinson as Australian heroine Erin.

You’re Next has clearly been crafted with love by people devoted to the genre, and nearly everything in the film is perfect. From delicious moments of tension to elegant use of slow motion, unexpected bits of humor, the obligatory final girl structure, and the reverent casting of genre favorite Barbara Crampton as Aubrey, this is a film by and for those who appreciate the 80s horror inheritance. The experience is further intensified by a supremely effective soundtrack of gothic noise and energizing and inhuman electronica courtesy of scorers Mads Heldtberg, Jasper Justice Lee, and Kyle McKinnon. Director Wingard and writer Simon Barrett are also collaborators on The Guest, a film presently in production, so one can only hope for more morbid magic from that one whenever it gets its release.

5 stars. Ideological Content Analysis indicates that You’re Next is a horror which, in the grand old slasher tradition, has a pronounced sense of morality, and also indicates that it is:

[WARNING: SPOILERS]

11. Anti-drug. Vicodin abuse is a sure invitation to victimhood in a slasher film.

10. Anti-police. A police officer, arriving on the scene of the horror too late, gets the wrong idea of the situation in the house and makes what the audience can only view as a fatally tragic error.

9. Anti-miscegenation and anti-Arab. One of the young women is involved with a quiet (or is that aloof? – and presumably somewhat pretentious) “underground” documentary filmmaker named Tariq (Ti West), whose name (“to reek”) suggests offending armpits. These miscegenators are among the first to die. It is worthy of note, however, that this minor character seems to have been designed so as to contradict stereotypical depictions of Arabs (cf. no. 7).

8. Anti-Christian. Paul and Aubrey’s faith is formal and superficial and not shared by the younger set, who give evidence of their contempt as prayer is said at dinner.

7. Immigration-ambivalent. Erin, of tough, self-reliant Australian stock, is the sort of immigrant that the country arguably needs. Tariq’s death is undignified and will not be mourned by the audience (cf. no. 9).

6. Anti-state. The resourceful Erin, the audience learns, was raised by an extremist survivalist father in the Australian outback. Though she is somewhat embarrassed by her past, her father’s doomsday scenario teachings definitely come in handy (see also nos. 3 and 10).

5. Anti-slut. In the film’s opening scene, a couple has what is obviously loveless sex. The shameless woman then gets up and goes to a window without even bothering to cover up her semi-nudity. Naturally, this wanton specimen is the first to die. Goth girl Zee (Wendy Glenn) is a far worse degenerate and demands to have sex next to her boyfriend’s mother’s corpse.

4. Anti-weenie. Generation X/Y men are worthless and incapable of defending themselves.  Drake (Joe Swanberg) is a spoiled brat and philistine, and one senses that devious brothers Felix (Nicholas Tucci) and Crispian (AJ Bowen), apart from being motivated by the fortune they stand to gain (see no. 2), are haunted by a sense of having been insufficiently nurtured as children. Both devoid of anything resembling a work ethic, neither man has the taste for doing his own dirty work. Crispian is a struggling writer who fails to meet with his father’s approval and has probably grown a beard partly to cover up his pudgy features, but also so as to seem to be more of a man, which may also explain his lame tattoo (cf. no. 1). The relativistic hypocrisy of the neutered liberal American male is also spotlighted when Crispian, after having his family slaughtered, actually claims to be a pacifist. (For more on Generation X/Y, see Creep Van)

3. Antiwar. Just as, in the years during and after the Vietnam war, movies exploited the phenomenon of psychologically scarred and dehumanized veterans taking the terror of foreign conflict back to the streets of America in Motor Psycho, Forced Entry, Rolling Thunder, First Blood, Combat Shock, and others in this vein, a wave of films including recent entries Savages, Jack Reacher, and You’re Next has emerged to continue this simultaneously salacious and critical tradition. In You’re Next, a team of coldblooded mercenaries, probably veterans of Iraq or Afghanistan, have been hired to exterminate most of the family for the father’s fortune. Mild-mannered “fascist” Paul, who acquired his wealth as a public relations shill for a defense contractor, has surely guaranteed for himself a painful demise in the unforgiving moral universe of You’re Next.

2. Anti-family/anti-marriage. A wedding anniversary is the occasion of a massacre. Parents Paul and Aubrey are self-absorbed, faintly distant, and perhaps inconsistently affectionate with their children. Felix, along with girlfriend Zee and brother Crispian, plot murder against their parents and brother Drake. The man murdered in the film’s opening scene has, it is later revealed, left his wife for a college girl.

1. Feminist. Erin is forced to lead the home defense and proves to be quite the adept at forging makeshift MacGyver-style weaponry. Of interest is that she uses kitchen wares, the trappings of traditional woman’s work, for violent self-assertion (cf. Vile). Also interesting, though, is that Erin makes a kitchen blunder that might, were she not the final girl, actually have cost her her life. Imagining she has flung boiling water on adversary Felix, she forgets that she earlier turned off the heat. “The water’s not even hot, you dumb bitch,” Felix tells her. Erin, however, quickly recovers and handily dispatches this sexist swine (with his insensitive expectation that women ought to know how to cook) with a triumph of poetic justice, taking advantage of a blender’s exposed mechanism to give him a gruesome homemade lobotomy. Zee, in a parallel characterization, is more ambitiously wicked and assertive in her villainy than wimpy co-conspirator Felix.

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