In a Violent Nature: One Man’s Slash Is Another Man’s Pleasure

Jeremy BeckReviews
A scene from In a Violent Nature

A campfire tale soaked in bile and blood, In a Violent Nature is a deeply unpleasant experience. This, of course, is the point; written and directed by Chris Nash, the movie is designed to unsettle its audience and subvert our expectations. By this measure, I suppose you could call it a success. But when judged against more traditional metrics—e.g., character development, thematic meaning, entertainment value, being vaguely interesting, etc.—it’s a failure.

Not a poorly made one, though. Making his first feature, Nash adopts a distinctive and coherent visual style, which he implements with considerable (albeit clammy) rigor. Operating within a cramped aspect ratio, his camera moves with a slow, purposeful glide, stalking its victims with deadly purpose. He refuses to use a musical score, instead relying on immersive sound design in which off-screen conversations are barely heard, like whispers in the woods. His technique isn’t found-footage horror—it’s methodical rather than chaotic—but it does fabricate a queasy, you-are-there intimacy. The result is like a Dardenne Brothers movie from hell—a ground-level observation of a supernatural monstrosity. Read More

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Furiosa, a Mad Max Saga: Witness Glee

Jeremy BeckReviews
Anya Taylor-Joy in Furiosa

We often talk about directors playing around in a metaphorical sandbox, but George Miller uses the most actual sand. The Australian auteur has made an impressive variety of pictures—a sick-kid melodrama, an animated penguin musical, a mythological whatsit about a narratologist and her djinn—but he’ll forever be associated with the Mad Max films, those apocalyptic action epics where he wanders into the desert and smashes his million-dollar toys into bits. It isn’t quite that Miller keeps making the same movie over and over—more that he keeps finding new ways to reignite the simple, cathartic charge of vehicles speeding across the screen and bursting into flames. Furiosa represents his fifth such effort, and whether or not it’s his best (must our infernal culture always rank things?), it’s proof that he’s gotten awfully good at blowing things up.

In quantitative terms, Furiosa is a less herculean effort than its immediate precursor, Mad Max: Fury Road, which achieved cinematic immortality for its wall-to-wall (dune-to-dune?) automotive carnage. I remain a modest dissenter to Fury Road’s reception as a modern masterpiece—for all its brawny magnificence, it’s deficient in terms of theme and character—but I admire it for its bravura skill and relentless momentum; aside from a brief (and fairly dull) interlude by a desolate tree, it’s essentially one long, exhilarating car chase. Structurally, Furiosa is more conventional, using rip-roaring set pieces as exclamation points as it unspools a fraught, sprawling narrative. Yet conceptually, it’s far more ambitious—spanning decades instead of days, adopting a Tarantino-esque blueprint (five numbered chapters), and interrogating the ecstasy and futility of vengeance. Read More

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I Saw the TV Glow: Long Live the Screen

Jeremy BeckReviews
Justice Smith and Brigette Lundy-Paine in I Saw the TV Glow

The line that best encapsulates the knotty themes of I Saw the TV Glow isn’t spoken aloud; instead, it’s scrawled across the screen in pink font: “Isabel and Tara are like family to me.” The author of that statement is Maddy (Brigette Lundy-Paine), and the young women she’s referring to aren’t real people (or are they??) but the central characters in The Pink Opaque, her favorite episodic thriller. The notion that Maddy can cherish fictional figures akin to her actual relatives might strike you as ridiculous. For my part, I’ll cop to identifying with her sentiment in a peculiar way, given that 13 years ago on this very website, I celebrated Buffy the Vampire Slayer for its capacity to “make you feel as if you belong” and described watching an episode as the equivalent of “going home.” In other words, I get where she’s coming from.

Buffy, as it happens, is an obvious point of inspiration for The Pink Opaque, with its paranormal investigators, its monster-of-the-week structure, and its claim to a teenage audience in the ’90s (it airs on the “Young Adult Network”). But Jane Schoenbrun, I Saw the TV Glow’s writer and director, is after something more complicated than paying tribute to a childhood staple, even if they toss in a few tasty easter eggs. (One member of Buffy’s beloved Scooby Gang was named Tara; Amber Benson, the actress who played her, cameos here.) They’re more concerned with our relationship with the art that we consume—how it can shape us, bind us, even warp us. In High Fidelity, John Cusack surmised that shared interests are essential when connecting with friends and lovers: “What really matters is what you like, not what you are like.” But what if what you like alters who you are? Read More

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Kingdom of the Planet of the Apes: Monkey See, Monkey Coup

Jeremy BeckReviews
Owen Teague, Freya Allan, and Peter Macon in Kingdom of the Planet of the Apes

Whose side are you on? That was the key question posed by the most recent Planet of the Apes trilogy, which didn’t just chronicle an evolutionary shift where monkeys grew smarter as people got dumber; it framed humans as creatures of crudity and barbarism, thereby realigning our rooting interests to the hyperintelligent chimpanzees who warred against our own species. By the end of War for the Planet of the Apes, this battle appeared to be resolved; primates were now autonomous, while a devastating virus had crippled humans into a mute tribe of limited intellect. But in our era of IP churn, no franchise can remain dormant for long, and so now we have Kingdom of the Planet of the Apes, which takes place “many generations” after the events of War and which unfolds in a broadly post-human landscape. This means the issue is no longer whether we’re cheering for the monkeys or the men, but whether the simians selected as heroes can prevail versus foes who are also—in a biological sense—fellows.

This raises a more troubling question: Is Kingdom really a Planet of the Apes movie at all? On one level, the query is absurd; the troops of computer-generated monkeys clambering across the screen definitively establish that we’re located in the same cinematic universe where Charlton Heston screamed in anguish all those years ago (and, more recently, where Andy Serkis led an uprising on the Golden Gate Bridge). But despite some developmental tension—humans do in fact exist in this world, and while they’re generally regarded as inferior beings, some are less inferior than others—Kingdom is largely a portrait of intraspecies conflict, one that soberly violates the edict from the prior trilogy, “Ape not kill ape.” As a result, its story of tribal warfare and imperial conquest could mirror any number of historical pictures about rival clans. The warriors here just happen to be furrier than usual. Read More

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The Fall Guy: Putting the Action Stunt and Center

Jeremy BeckReviews
Ryan Gosling and Emily Blunt in The Fall Guy

My screening of The Fall Guy was preceded by one of those awkward “Thanks for coming to the theater!” inserts, in which its star (Ryan Gosling) and director (David Leitch) informed the audience that the picture we were about to watch was conceived as a valentine to the stunt community. This, like pretty much everything else in the movie, was an example of overkill, given that its opening scene is a quick-hitting montage of classic stunts (including, if my eyes can be trusted, a glimpse of Leitch’s own Atomic Blonde) while Colt Seavers (Gosling) narrates about stunt performers’ invisible, invaluable contributions to the motion-picture industry. You half-expect the film to pause after each elaborate action sequence so that the doubles can be identified by name and thanked for their service.

So, not subtle. But to a certain sect of nerdy cinephiles (who me?), the themes advanced by The Fall Guy are significant and noble. Much like the most recent Mission: Impossible entry, it mounts an impassioned and convincing argument in favor of tangible, handwoven artistry. The cockamamie plot may manufacture a number of human villains, but the most pernicious force on display here is the blue screen that looms in the background of the film-within-the-film climax. For all its winking modernism, this is essentially a classic movie about good and evil—one where the heroes insist on shooting everything with practical effects while the bad guys proclaim, “We can just fix it in post.” Read More

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