Boy, oh boy, it’s been a little while since I’ve been to a big theatre to see a movie. Last I saw was Baby Driver (review: it’s great, go see it!) maybe a month ago. It’s been even longer since I’ve seen a horror flick on the silver screen, so considering the immense hype train (which I will admit I was happily riding) surrounding the new version of IT, you can bet your butt I’d be there.
IT (I’m going to refer to the story’s title in all caps to help avoid confusion) is an adaptation of the Stephen King novel of the same name, and somewhat of a remake of the 1990 TV mini-series. I haven’t seen the version from ’90, but a lot of people seem to love it, particularly Tim Curry’s unhinged performance throughout. I’ve read the beginning of the novel, but it’s snowblinded Stephen King (which I’ve mentioned before) that clocks in at over 1100 pages, so forgive me if I don’t finish it this decade.
IT takes place in Derry, Maine (duh), and follows the Losers Club, a group of kind of nerdy, kind of dweeby, kind of outcast kids who discover that an evil entity wakes up every 27 years to terrorize and devour the kids of the town. The de facto leader of the Losers Club, Bill is interested in investigating this evil force since the mysterious disappearance of his brother Georgie last summer. As the Losers try to piece together the mystery of Georgie and Derry’s other missing kids, they encounter the evil, which has taken the terrifying form of Pennywise The Dancing Clown, because coked out Stephen King that’s why.
Bartender, get me another Tarkovsky. Stronger, this time. For those of you sighing heavily, I promise I’ll get back to watching the trash Hellraiser sequels soon.
I gave my whole Tarkovsky spiel in my write up on his 1972 introspective sci-fi film, Solaris. After having missed Stalker at my local independent theater, I was disheartened that I wouldn’t get to see it, especially after one of my co-workers saw it and really enjoyed it. But alas, you can always count on the Criterion Collection to re-release old school art films for way too much money, and a couple weeks ago, they did just that. Talking about the value of films and how much they should cost is a debate for another day. Let’s just get to the Russian arthouse weirdness.
Stalker takes place in a strange world. Is it post-apocalyptic? Perhaps. Nothing grows in the non-specific country in which Stalker takes place. Buildings are ruined, and the earth is cracked beneath everyone’s feet. Is it a dystopian hyper-industrial future? There’s more evidence of this, with the militaristic police that seem to be patrolling every street corner and every back alley. Chemical factories and power plants make up the skyline. Whatever the case, the world of Stalker is a funereal one. Three men meet in a bar. We do not know their names, only their professions. The Professor, the Writer, and the Stalker, a man trained to bypass the military quarantine surrounding a mysterious area of lush greenery simply known as the Zone. These men are prepared to risk their lives for their mission into the Zone, as legend has it that within the Zone lies a room that can immediately grant the wishes of anyone who enters.
Editor’s Note: I started writing this while kind of blitzed (similar to my Bye Bye Man review, but with maybe half a dozen more bottles of Alpine in me), so bare with me here. I took a sober moment the next day to comb through this write up and clean it up to the usual amount of typos and grammatical errors.
I’m lucky enough to live in a town that has a local independent cinema, which screens a ton of newer indie releases as well as manages to show old prints of classic movies. Local arthouse and documentary films also get a home there, but the reason I’ve taken a new shine to the place is because they’ve been on a bit of an Andrei Tarkovsky kick recently. Last month they showed Stalker, arguably his most revered movie (honestly, among Tarkovsky fans, every single one of his films is up for being considered his best work) which I unfortunately wasn’t able to catch. I was kicking myself for that one, so when I found out that they’d be showing Tarkovsky’s philosophical sci-fi epic Solaris, I made sure I was able to make it out to catch it on the big screen.
For those of you who might not know (I was only introduced to Andrei Tarkovsky recently), Tarkovsky was the most famous Soviet era Russian filmmaker, and was able to produce art so expressive of his own feelings and thoughts his films were repeatedly banned, seized, and burned by the USSR until finally he was exiled from the union. Among the arthouse and independent film fans, Tarkovsky is usually held in the same echelon as Kubrick, Lynch, and Coppola. He’s apparently kind of a big deal. This film is the first I’ve ever seen of his, so we’ll see how he stacks up.
Tarkovsky’s 1972 offering Solaris is often considered as a Eastern European response to Kubrick’s 2001: A Space Odyssey. It’s a slow, heady sci-fi flick that uses its setting and creative choices to explore interesting and thought provoking themes and questions. Solaris is smaller in scale and a little more introspective than 2001, following a psychologist named Kelvin who is sent to a space station orbiting the eponymous ocean planet. Kelvin’s mission: to investigate the strange messages received from the station. Word is that most of the crew are dead and the survivors have since descended into madness. When he reaches the station, Kelvin is informed that there are “guests” on board: physical manifestations of the occupants’ memories, apparently conjured up by the alien planet below them. Before long he runs into what appears to be an amnesiac version of his wife, Khari. Kelvin is particularly distraught over this, considering Khari committed suicide a decade prior. Things then get weirder, and much more Russian.
Unbreakable is a thriller and drama that was written, produced, and directed my M. Night Shyamalan. Now, before you click away, I want you to look at the year this movie was released. This was hot on the heels of The Sixth Sense and naturally, Shyamalan wanted a more ambitious project to work on. He already killed it in the supernatural thriller genre once, and I guess he wanted to solidify himself as a thriller powerhouse while everybody’s eyes were still on him.
Unbreakable is the story of David Dunn (Bruce Willis), a family man and security guard who’s marriage is tumultuous at best. He’s just chugging along his dreary life until on his way back from a job interview in New York, he gets in a massive train accident. Hundreds are killed, and not only is he the only survivor, but he emerges completely unharmed. This garners the attention of Elijah Price (Samuel L. Jackson), a comic book obsessed art gallery owner, who believes that Dunn is completely impervious to harm. Dunn obviously doesn’t believe him at first, but after slowly learning more and more about himself and revealing and honing his natural abilities, he then has to try and reconcile the idea of having the potential to be a superhero while navigating his broken family life. (more…)
I’m going to preemptively defend myself here: I love trash films most of the time. I watched The Bye Bye Man, for Christ’s sake. It was atrocious, but honestly, I kind of love that I hate it so much. It’s a weird feeling. But you’re not here to read about my gross, icky feelings, you’re here to read about my gross, icky feelings about movies.
Hackers might just be the most ’90s movie I’ve ever seen. I cannot stress this enough: Hackers might just be steeped in it’s own decade more than any other movie in existence. Everything about the ’90s shows up in Hackers, and even the plot itself couldn’t have been conceived in any other decade.
Dade “Crash Override” Murphy (Jonny Lee Miller) has just moved to New York City with his mom and has enrolled in a new high school in his senior year. He’s excited, not just for a new start but because he’s been banned by law from interacting with any computers or touchtone phones since he was eleven years old, and now the ban has been lifted. How was young Dade banned from using computers? Well, he hacked with them. He hacked so good that he caused a stock market crash in 1988 and crashed over fifteen hundred computers. Dade makes friends with Kate “Acid Burn” Libby (Angelina Jolie!), Ramon “The Phantom Phreak” Sanchez, Emmanuel “Cereal Killer” Goldstein, and Paul “Lord Nikon” Cook, all young students who are also a part of the local hacking scene. Why the crazy alias, you might ask? Because on the internet you need a sick, radical username when you’re surfing the net and fighting the good fight, man. The the hacker gang gets framed by Eugene “The Plague” Belford (who always insists on being called by his online alias), another hacker who happens to work for the FBI and who is framing innocent hackers for a virus that is causing oil ships to capsize and pollute the ocean.
I want you to make sure you understand the gravity of the situation here. The bad guy has hacked a bunch of boats so hard they flipped over and caused an environmental crisis. Bogus! It’s up to our ragtag group of hackers to take down the man and clear their names once and for all so they can continue to do their illegal