Archives for posts with tag: vengeance

Scarehouse_poster

Sorority sisters, haunted houses, and nights of revenge are all typical slasher movie elements; but Killer Party this is decidedly not. A Canadian blast of cold gore porn, The Scarehouse is a story of two competing horrors: the tortures inflicted by its vindictive protagonists, on the one hand, and the vapid “21st century party monster” mentality of their bevy of victims on the other. As to which is more appalling, that is for each viewer to decide. Co-ed sadists Corey (Sarah Booth) and Elaina (Kimberly-Sue Murray) are out of prison and out for vengeance after taking the rap for a sorority prank that resulted in an involuntary manslaughter. Determined to torment their fellow sisters, the pair has designed a haunted house attraction to mask the actual torture laboratory within.

The lighting and atmosphere of the film should satisfy devotees of the genre, and genuinely homicidal psychos should also be entertained. The lead performances, particularly Booth’s, are strong; but The Scarehouse, like other torture-oriented horrors, suffers from lack of likable characters. The backstory explaining the night’s motivation is never sufficient emotional justification for the shocking degree of onscreen brutality, and serves only to ensure that even the screaming victims of the atrocities garner little audience sympathy. Occasionally humorous, The Scarehouse is more often disturbing, and this reviewer would much prefer to have seen a movie about these two characters not killing people.

2.5 stars. Ideological Content Analysis indicates that The Scarehouse is:

4. Homosexuality-ambivalent. From the perspective that there is no such thing as bad publicity, The Scarehouse is pro-gay for featuring homoerotic flirtation between young women; but the portrayal of the lesbian lead as a psychopath is hardly flattering.

3. Anti-Christian. Jesus freak Jaqueline (Katherine Barrell) stands for the film’s contempt for “fire and brimstone shit”. Other irreverence takes the form of the sadists’ appropriation of crucifixion symbolism: Corey has a cross tattoo on her back, while Elaina at the end can be seen wearing a crucifix.

2. Anti-drug. “You might want to stick to water.” Drinking, along with a rufie, results in the accidental death that sets the plot in motion, and drunks are also more susceptible to the torture porn treatment. One of the songs on the soundtrack also refers to alcohol poisoning.

1. Anti-feminist. Whatever The Scarehouse’s intentions, it shows something of a divided mind with regard to its array of targets. Elaina and Corey advertise no overt ideological motivation for their murder spree, but do demonstrate a distaste for traditionalism as it takes on grotesque, hypocritical forms. Jaqueline’s Christian good girl moral code is a lie, so she must be punished. Similarly, Katrina (Emily Alatalo), for “Frankensteining” herself in an exaggerated devotion to a male chauvinist’s hourglass figure ideal, must answer for her betrayal of her sorority oath to embrace woman’s “inner beauty”.

Corey and Elaina, if they are supposed to be radical feminist progressives, discredit their cause with their violent antics. The moon phases pictured on Corey’s tank top may mark her as merely a walking, talking, rampaging case of PMS. “Why does everyone think I’m a lesbian?” she wonders aloud, to which Elaina replies that “there is some truth in it”, the implication perhaps being that the political agenda of Corey and her type is motivated more by sexual frustrations than by reason or fairness. Elaina blunders through the sorts of clueless academic abstractions that cause social experimenters’ projects to fail. “You know I only have textbook theory,” she frets. “I built this place on a lot of theory, and this is a test run, so give me a frickin’ break on a few minor flaws.”

The fact that horny, drunken fraternity men appear as the gullible victims and not the perpetrators of murder and sex crimes undercuts the popular misandrist myth of an ubiquitous “rape culture” on college campuses. Women’s degradation and endangerment appears as their own doing in The Scarehouse. The sisters only degrade themselves by calling each other “cunt” and “bitch”. As women’s femininity has been eroded, their pedestal toppled by political empowerment, they no longer enjoy their previous freedom from violence and sexual mutilation at the movies. (“I am going to punch her in the box,” Corey threatens.) Just as a man can be kicked in the crotch with the utmost casualness, as has been the case for decades, “liberated” (i.e., dehumanized) women are now more apt to see their breasts removed or their eyelids ripped off on the big screen. A satirical indication of the degeneration wrought by the sexual revolution comes when the sight of the bloody and ravaged Katrina makes one character wonder if this is a “sex party”.

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purge-anarchy-poster

The Purge (2013) demonstrated that writer-director James DeMonaco is a gifted craftsman of suspense – and also a lefty retard who believes economic inequality and gun rights are the roots of all of America’s evil. The same can be said for DeMonaco’s follow-up, The Purge: Anarchy, which, like its predecessor, is a nicely constructed scare film informed by its creator’s contemptible ignorance.

In this installment, which takes up with an entirely new set of characters, a grieving father (Frank Grillo) takes advantage of America’s annual night of legalized bloodletting to go after the man responsible for his young son’s death. Along the way he crosses paths with a couple (Zach Gilford and Kiele Sanchez) whose car breaks down – oh shit! – just as the Purge commences and a mongrel mother (Carmen Ejogo) and daughter (Zoe Soul) who also find themselves on the unlucky end of the hunter-prey relationship.

The Purge: Anarchy introduces a few new elements into the franchise mythology, incorporating ideas from Richard Connell’s oft-filmed short story “The Most Dangerous Game”, with well-to-do Purgers hiring squads to go out and collect unfortunate specimens for them to hunt on private property. Another new feature, perhaps inspired by the subversive movement in the thematically similar Death Race 2000 (1975), is an underground revolutionary movement, led by the foulmouthed Carmelo (Michael K. Williams).

Grillo’s alpha male power maintains viewer interest in the lead character’s mission (the she-mutt charms on offer are less than entrancing, however), while Hala Bahmet’s costume design greatly enhances the spookiness, so to speak, of a gang of genuinely unsettling ghetto marauders. The Purge: Anarchy is a tightly wound, violent, electrified thriller that should satisfy fans of the original film and exasperate those who found it offensive.

Purge God

Whatever happened to Buckwheat?

[WARNING: POTENTIAL SPOILERS]

4.5 stars. Ideological Content Analysis indicates that The Purge: Anarchy is:

9. Anti-obesity. More than one mentally unbalanced chubby girl takes part in the Purge.

8. Anti-drug. The hero’s son was killed by a drunk driver (Brandon Keener) – another one of those damned stupid white men. Pills figure in one scene as a scary habit.

7. Anti-Christian. Religious language and concepts are used irreverently throughout. Purgers hold hands in a prayer circle before commencing mass murder, and so forth.

6. Pro-slut/pro-miscegenation. Eva (Ejogo) is that most admirable of American types: the minority single mother. She and her little hovel of high yellows or mestizos or whatever they are represent the racially indeterminate norm of America’s future.

5. Vigilante-ambivalent. Eva and her daughter implore Sergeant (Grillo) not to go through with his planned revenge. When the time comes to do the deed, he contents himself with giving his quarry a scare. Carmelo and his congoid army of avengers, however, appear to be fully justified in their activities. The lesson, then, would seem to be that personal vendettas and individually motivated murders are wrong but that violent mass actions of class conflict are validated by the demands of social justice. In one audience-pleasing scene, a Wall Street crook’s corpse is seen hanging over a sidewalk.

4. State-skeptical. The Purge: Anarchy is imbued with an uneasiness about the hyper-surveillance state, and it turns out that the “New Founding Fathers” who preside over the Purge are actually participating and using street cameras to track their prey. Typical of DeMonaco’s political idiocy is his paradoxical advocacy of gun control in conjunction with his distrust of authoritarian government. One can only assume that the “New Founding Fathers” of the Purge franchise are, to his mind, something like the Tea Party on steroids, and that a government sensitive to the people’s need for gun confiscation would be more trustworthy.

3. Anti-gun. The first Purge posits that guns are weapons of aggression and simply not an effective means of crime deterrence and home protection, as illustrated by a scene in which Ethan Hawke’s gun is used against him. The sequel, in which the Second Amendment becomes not only a license to kill, but an article of fanatical religious faith, suggests the same idea in a scene in which Eva’s pistol is in another room and out of reach when her home is invaded. The Purge: Anarchy, however, finds DeMonaco (who admits to being “terrified of guns“) going totally off the rails on a crazy train of convoluted reasoning according to which gun ownership represents such a threat to public safety that the poor masses must rise up with guns to combat gun owners. Black Marxists with guns is good and progressive. Rich white people with guns, on the other hand, is just another hateful Holocaust waiting to happen.

2. Egalitarian. The annual Purge exists partly to contain crime to a single night, but also for population control, with the poor and homeless being the ones who cannot afford to protect themselves. Carmelo rails against the “market mentality”. Eva puts in a good word for Obamacare by mentioning that she can hardly afford medical coverage for her family. The Purge: Anarchy furthermore asks viewers to understand that a gang of sick masked black thugs led by Keith Stanfield only participates because they need the money. Hear that, America? Flash mobs and polar bear hunters – the sort of African garbage documented by Paul Kersey and Colin Flaherty – do what they do only because they are socially marginalized and disadvantaged by structural inequality. Revolutionary death squads save the day. End credits feature money spattered with blood.

1. Anti-white. Surprisingly, The Purge: Anarchy is less single-mindedly anti-white than the first film, and features plenty of minority perpetrators, such as would-be rapist Diego (Noel Gugliemi) and the aforementioned masked street trash. Make no mistake as to this film’s principal target, however. In one of the dumbest sequences, Eva’s father (John Beasley) agrees, in exchange for monetary compensation to be paid to his daughter, to go to the home of a “posh” WASP family to allow himself to be butchered as a literal sacrificial Negro. “Change”, this movie informs its viewers through Carmelo, only comes with the spilled blood of the (white) rich. Climactic scenes include a machine-gun slaughter of wealthy WASPs, several blondes among them, by the black communists.

 

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Only God Forgives

Ryan Gosling, fresh off of a revelatory turn in the excellent Place Beyond the Pines, unfortunately chooses to squander his talent in Only God Forgives, playing Julian, an American expatriate in Thailand whose boxing club fronts for a narcotics ring. When his immoral brother Billy (Tom Burke) kills a girl and is murdered in turn, Julian’s disgusting mother (Kristin Scott Thomas) arrives from the States and insists that Julian seek revenge – even if this means eliminating a formidable police detective, Chang (Vithaya Pansringarm).

In a pretentious feat of style-over-substance showboating, director Nicolas Refn and his collaborators place so much emphasis on their ostentatious color schemes, self-conscious compositions, and generally gratuitous visual flourishes that they very nearly succeed in ruining what, in less limp-wristed hands, could have been a solidly gritty story of a family vendetta. Worst is that most of the actors in this nearly dialogueless drama appear to have been instructed to behave as robotically as possible, never smiling, as if every movement of every muscle is meant to convey existential angst, every second of every moment an endless Holocaust of the soul which, rather, screens as overly deliberate soullessness. The copious music of Cliff Martinez, a mixture of organic and synthesized sound, is both a blessing and a curse, as some lackluster scenes receive energy from these contributions, while others seem overly noisy where silence would be preferable.

The film does contain some very good scenes and in places achieves an adequate level of suspense. Those looking for action or for any kind of hero will be disappointed, however. An odd performance notwithstanding, the compulsively watchable presence of Ryan Gosling is, ultimately, at least half of what makes this idiosyncratic effort work to the modest extent that it does.

3.5 grudging stars. Ideological Content Analysis indicates that Only God Forgives is:

[WARNING: POTENTIAL SPOILERS]

6. Drug-ambivalent. The film passes no apparent judgment on the brothers’ drug trafficking. Different characters smoke in an indifferent manner, though Julian’s mother’s exhalations at a restaurant table would seem to be intended to parallel her disrespectful words.

5. Slut-ambivalent. While the film shows the physical danger that goes with a prostitute’s lifestyle, the representative whores are graceful and beautiful creatures who conduct themselves with elegant composure.

4. Pro-miscegenation. Julian engages in voyeurism and limited sexual contact with whores, not from any apparent apprehensions of disease, but out of a misplaced reverence for oriental pussy. His mother enjoys ogling Thai musclemen.

3. Pro-police. Chang, a karaoke singer, exemplifies the law enforcer as fetishized performance artist.

2. Anti-white/anti-racist (i.e., pro-yawn). Several scenes juxtapose white characters’ rudeness, vulgarity, and presumption with Asians’ dignity, good manners, or superior fighting ability. Americans and Europeans, from a sense of their own superiority and Asians’ expendability, go to Thailand to exploit its people, causing them to prostitute themselves or hire themselves out as killers. Making no secret of her feelings, Julian’s mother refers to a “yellow nigger”. The film’s perpetrators also give clear expression to their European inferiority complex and belief in the awesomeness of things Asian by giving the title and credits in Thai, with subtitle-style English credits in smaller type beneath, so that no belching American privileged to enjoy Only God Forgives will get the mistaken impression that his entertainment is any more important than some Thai guy’s.

1. Anti-family. Grotesque family relationships abound in Only God Forgives. Julian, his lascivious mother relates, was envious of her sexual relationship with his brother Billy, and lives in exile after having murdered his father at her behest. A Thai man prostitutes his daughters and may be more aggrieved by the loss of revenue than the loss of his child after one of them is killed. The sight of a retarded boy, meanwhile, reminds viewers of the potential perils of unchecked procreation. Chang appears to have a loving relationship with his daughter, but the brief screen time devoted to this is too little to counterbalance the overwhelming abundance of family dysfunction. Julian acquiesces in his mother’s call for revenge only reluctantly, and with good reason, as his acknowledgment of a pointless blood obligation precipitates his downfall.

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