Today marks a special day in Coffee and Illithids history. A while ago, I formally asked on my Facebook page (*cough* throw me a pity like *cough*) for recommendations and I got precisely one in reply. Being the wonderful human being I am, I kept procrastinating and putting off watching it until now. I’m a butt, sorry Anthony.
Don’t Look Now is a 1973 horror-drama from British director Nicolas Roeg, a man who has directed a bunch of movies I’ve never even heard of. It stars Donald Sutherland and Julie Christie as John and Laura Baxter, two architects who are grieving the recent loss of their daughter Christine who died by drowning in a pond by their cottage. The Baxters are commissioned by a Venetian priest to help restore an old church. While in Venice Laura meets a pair of women, one who is psychic, and John begins to have odd visions and flashbacks to his daughter. The psychic while at first is warm and welcoming, eventually warns Laura that John will be in danger if he stays in the city any longer and that he must leave immediately. Odd happenings continue to happen to John and Laura the longer they stay in Venice, until John’s odd visions clearly become something more supernatural and sinister.
There’s something about tense dinner scenes in movies that just get to me.
The Invitation is a psychological thriller film directed by Karyn Kusama’s feature length follow-up to her incredibly divisive horror flick, Jennifer’s Body. The Invitation follows Will (Logan Marshall-Green), a man invited to the house he and his ex-wife Eden (Tammy Blanchard) used to share for a dinner party with their old circle of friends whom they haven’t seen in years. Will is obviously very uncomfortable with being at a party held by his ex-wife, but things get a little stranger when the party guests begin noticing something is off with Eden and her new husband David (Michiel Huisman). The night slowly and slowly gets stranger and stranger as Eden and David behave more and more oddly, all while Will wrestles with the painful memories of his past that have begun resurfacing.
My last post here was about Jupiter Ascending, a movie with more movie per movie than any movie before it. There was so much stuff crammed into it, you’d think that the Wachowskis siphoned the plot out from another movie to feed their beast. Having just seen Only God Forgives, I think I found the movie they took from.
I don’t mean to say that Jupiter Ascending and Only God Forgives are similar in any way shape or form. They are both movies starring actors. That’s about where the similarities end. I meant that Only God Forgives seems to have so little going on in it, Jupiter Ascending must have stolen the essence of things happening right out of the movie. This metaphor worked a lot better in my head.
Only God Forgives is Nicolas Winding Refn’s (every pretentious first year film student’s favorite director) follow up to his critically acclaimed film Drive. When Ryan Gosling and Refn teamed up for Drive, they pretty much took the movie world over for a brief period of time, and when they announced they’d be working together again on another film, they hype train was rolling ahead at full speed.
Only God Forgives is an arthouse revenge thriller about Julian (Gosling), a man who owns a Muy Thai boxing club in Bangkok which acts as a front for his family’s drug operations. His brother, Billy has been recently murdered after raping and killing a teenage girl, and when the family’s mother and matriarch of the gang, Crystal, shows up she sends Julian out to find out who killed Billy and exact revenge upon them.
Not too long ago I dipped my toes into the New French Extremity movement by watching the home invasion gorefest, À L’interieur. Seeing how Shudder has given me access to the big three French Extremity films, I decided to check out one of the ones that blew the door wide open for films like À L’interieur and Martyrs to enter horror’s filmography, Alexandre Aja’s twisted slasher: Haute Tension.
Haute Tension (High Tension in English, and sometimes known as Switchblade Romance) is the second full length film by Alexandre Aja who is best known for directing the 2006 remake of The Hills Have Eyes. It stars a tomboyish Cécil de France and Maïwenn Le Besco as the punk rocker Marie and the preppy Alex, two college girls who are retreating to Alex’s family’s country home to study for their upcoming exams. Horror movie does and horror movies do, and their peaceful, quiet time away from civilization turns into a Hellish nightmare.
A mysterious man invades Alex’s family’s home, systematically slaughtering them before kidnapping Alex and driving off with her chained up in the back of his rusted truck. Marie stows away in the back of the vehicle and it’s up to her to figure out how to get her and her friend away from the killer and off to safety.
I’ve mentioned before how I work as a video store clerk, and any movie store worth it’s salt is sure to have a decently sized Criterion section. We’re lucky enough to have a sister section in our Criterion shelf dedicated to Arrow Video, a company that behaves like Criterion except they specialize in horror, sci-fi, exploitation, and cult films rather than pieces of high art. For example, films like Microwave Massacre, Society, and the entirety of Herschell Gordon Lewis’ catalogue of the macabre are available. Naturally, these films have flashy, explicit covers to grab your attention in any way possible, but out of all of them, I was drawn to a box set with a rather restrained and elegant cover. This turned out to be the Female Prisoner Scorpion Collection, a series of movies I knew nothing about at the time but after some quick Google-Fu, they shot right to the top of my to-watch list.
The Female Prisoner Scorpion films follow Nami Matsushima a.k.a Matsu the Scorpion (Meiko Kaji, later famous for Lady Snowblood), a convict in a Japanese all-women’s prison who was incarcerated for assaulting a police officer. Matsu fell in love with a narcotics officer named Sugimi who convinced her to work with him on a sting operation. Sugimi let the Yakuza catch Matsu, and let them have their way with her before using her rape as a distraction to help make his drug bust. Left bloodied, broken, and bruised, Matsu became hellbent on getting her revenge on Sugimi, and after a failed murder attempt against her former lover, she was locked away behind bars. Her hatred burns so deep however, that she’ll take any opportunity she can to escape prison, find Sugimi, and pay him back for the torture and pain she went through when he betrayed her.