Archives for posts with tag: tramp

Men Women and Children

This ensemble film follows the interrelated lives of a set of high school students and their parents in the context of twenty-first century connectedness that paradoxically has resulted in a profound disconnect for them all. Jennifer Garner plays a paranoid mother obsessed with controlling and filtering her daughter’s online activities. The daughter, Kaitlyn Dever, strikes up a friendship-cum-romance with Ansel Elgort, a sensitive, gloomy boy who quits the school football team after realizing that sports are meaningless. Meanwhile Elgort’s gruff football enthusiast father, played by Breaking Bad’s Dean Norris, attempts to cope with his wife’s abandonment of the family. Norris thinks he may have found a new love with Judy Greer, whose trampy daughter, played by Olivia Crocicchia, aspires to become an actress and promotes herself online with risqué photographs. Adam Sandler, meanwhile, adds another “serious” role to his résumé as a dull accountant whose marriage to Rosemarie DeWitt has lost its magic, with both seeking sexual satisfaction on an extramarital basis.

On the whole, Men, Women and Children makes for an engrossing and mildly artsy Hollywood social commentary, but some threads of the story are definitely more rewarding than others. The insights about the debilitating effects of online pornography are welcome, and the portions of the film concerning young lovers Dever and Elgort are touching and nicely played; but the story about the straying spouses takes Men, Women and Children into regions of moral repugnancy too extreme to qualify as entertainment – a circumstance that militates against what otherwise might have been this critic’s unmitigated recommendation. The film does, however, have much to say about the consequences of living in a deracinated, nihilistic, high-tech society centered on empty civic nationalism and in which “football served as a common language for which they [i.e., father and son] had no substitute.”

4 out of 5 stars. Ideological Content Analysis indicates that Men, Women and Children is:

6. Anti-Christian. The actions of Jesus Christ mean “absolutely nothing”.

5. State-skeptical. Garner’s surveillance of her daughter’s devices, while attacking the “helicopter parent” phenomenon as a sort of irrational paranoia, also serves as an allegory about the post-9/11 regime of domestic spying as the norm. The flaw in the analogy, of course, is that it suggests domestic surveillance is motivated by a misguided maternal devotion rather than a hostile mania for control.

4. Anti-porn. Sandler’s imagination has been vitiated by the instant gratification of online pornography. His computer, as a result, is also riddled with malware. His son, played by Travis Tope, has been rendered sexually dysfunctional by his own pornography habit. “By age 15,” narrator Emma Thompson informs the viewer, “Chris found it difficult to achieve an erection without viewing a level of deviance that fell well outside societal norms.” Now only the idea of female sexual domination arouses him, and he is incapable of performing with an actual girl. One wonders if Hollywood’s anti-porn stance as articulated in this film and in Don Jon (2013) is motivated by genuine concern for the public health or by worry about online pornography’s competing share of its target audience’s disposable time and income.

3. Slut-ambivalent. Elena Kampouris plays a girl who gets pregnant and has a miscarriage after losing her virginity in a sordid episode in the home of a friend. The audience is invited to hold blonde “bitch” Crocicchia in contempt when she says, “It’s a new era for women, okay? Just because I’m comfortable with my body and enjoy hooking up doesn’t make me a slut.” The film’s anti-slut credentials are, however, undermined by its comparatively casual treatment of marital infidelity.

2. Anti-marriage, pro-miscegenation, and anti-white. Sleazebag Sandler seeks and finds sexual gratification with a prostitute while his shiksa wife, Rosemarie DeWitt, signs up for an account with the Jewish homewrecking site AshleyMadison.com and takes the Allstate congoid, Dennis Haysbert, for her lover. DeWitt is eventually embarrassed to be found out by Sandler when he catches the witch in a bar with still another man, so that the film ostensibly shows that cheating carries risks; but Sandler’s response is tolerance, and his wife evinces embarrassment rather than actual regret. She clearly enjoys what she is doing, and Men, Women and Children makes a great to-do of eroticizing her first encounter with Haysbert. “I’m excited,” she says as she straddles the hulking, gorilla-faced lothario. “I want it […] in my mouth. I want that big penis of yours. I want it. I want your dick. I want you to destroy me with your big fucking cock.” The film, furthermore, could be argued to constitute de facto product placement for AshleyMadison.com’s AIDS-procurement service, suggesting as it does that women of Rosemarie DeWitt’s level of physical attractiveness can actually be met through the site. The viewer is left to assume, too, that, had Sandler’s wife not been caught in her infidelities, she blithely would have continued enjoying her shameless escapades.

1. Luddite. Technology has profoundly complicated the human condition, disrupting male-female relations and isolating individuals in a lonely cacophony. Like the Voyager outer space probe featured more than once in the movie, humanity has now entered treacherous “uncharted territories” thanks to technology.

Rainer Chlodwig von Kook

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antisocial poster

A future film historian compiling a list of the most representative and sociologically reflective horror films of the present decade could do worse than to include Cody Calahan’s feature debut, Antisocial. Redolent of the contemporary fears of intrusive surveillance, vile conspiratorial plots, drones, martial law, cyber-bullying, terrorism, flash mobs, viral epidemics, internet addiction, and civilizational collapse, Antisocial is more than a mere splatter film.

A gaggle of vapid college coeds gather to throw a New Year’s Eve party, unaware that the sudden outbreak of a 28 Days Later-reminiscent rage plague will soon have them barricading themselves inside and suspecting themselves and each other of infection. And what role does ubiquitous website the Social Redroom play in the chaos? “If you’re not on Facebook,” some have suggested, “you’re probably a sociopath.” Antisocial, thankfully, begs to differ with this assessment.

The story wastes little time in getting to the action and suspense, which is fresh while also respectful of genre conventions and traditions, with the themes, scenario, and spare, electronic moments suggesting influences from George Romero, David Cronenberg, and John Carpenter. A guaranteed good time; recommended to horror fans.

4 out of 5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that Antisocial is:

6. Anti-Christian. Some respond to the epidemic by holding exorcisms, but the explanation for the plague turns out to be decidedly more sublunary. A newscaster’s wish of “Happy New Year, and may God be with you,” rings hollow given the situation on the ground.

5. Gun-ambivalent. The partiers are frightened by shots from outside, but it is unclear whether these are from the police or private citizens.

4. Pro-slut, pro-miscegenation, and anti-racist. Heroine Sam (Michelle Mylett) is pregnant with some guy’s bastard. Cheap tramp Kaitlin (Ana Alic) is an item with black dude Steve (Romaine Waite). As the two are making a sex video, one of the afflicted bursts in on their fun through a window. The fact that the attacker appears to have a skinhead haircut may be intended subtextually to suggest lingering racism and resentment among whites toward those who choose to mate outside the species.

3. Feminist. “Final girl” Sam, once forced to fend for herself at the end, has little difficulty adjusting to the role of the badass. A bandage she ties around her head gives her the martial appearance of an Apache warrior.

2. Media-critical and anti-corporate. Social Redroom executives have secretly implemented a subliminal pattern designed to induce addictive behavior in visitors. Characters are unsure whether to trust material coming out of the mainstream media and look, rather, to grassroots sources of information available online.

1. Luddite. The title, Antisocial, serves a dual purpose, referring both to the nasty behavior of the afflicted and to the film’s critical stance toward social media. The script is full of apprehensions about a world in which “private life is public knowledge”, cruelty is as easy as clicking a key, and lovers break up remotely, by way of handheld devices.

Appropriately, social media darling Kaitlin and her boyfriend are among the first to develop symptoms. Sam and Jed (Adam Christie), who have deleted their Social Redroom accounts, retain their sanity longer than others. “How do you keep in touch with people?” Kaitlin asks. “I see them in person,” Sam deadpans. Significantly, Sam later repurposes a laptop as a murder weapon.

The internet itself is not necessarily to blame, and an online video actually provides the means of overcoming the crisis. What worries Antisocial, however, is the addictive potential and hive mind pull of ubiquitous sites like Facebook. Fear of mass loss of privacy also looms large, and in one of Antisocial‘s more outrageous moments, Social Redroom users’ bodies function as organic surveillance devices.

 

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