Tag Archives: 4.5 Star Movies

God Bless America (2011)

Despite a fairly small viewership, Bobcat Godtwait’s pitch-black comedy “God Bless America” has proved to be somewhat controversial since it’s release, which was no doubt what Goldtwait intended. Rumors abound about it’s ‘glorification of violence,’ ‘tasteless content,’ and so-called ‘Liberal agenda.’ So here I am to weigh in my two cents.

First of all, the allegation that the film is political propaganda is pure bollocks. Despite the mockery of extreme right-wingers and ‘Obama-as-Hitler’ ridiculousness, “God Bless America” proves to be, like it’s protagonist Frank, largely politically neutral.

By the beginning of the film, Frank (Joel Murray) is enraged and psychotically angry. Drinking and fantasizing about killing the inconsiderately loud next-door couple and their baby does little to quench his increasing blood lust.

To most people, Frank seems like a quiet, mild-mannered middle-aged man. But in his head Frank lives a much more violently intriguing life, as most of us do. Divorced, father to a bratty little child who cannot be bothered to spend time with him, Frank is fed up with what he perceived as the downfall of American society.

But it is not until he is diagnosed a inoperable brain tumor and loses his job that he finally snaps, cashing in his military service and targeting the b**chy star of a reality TV show, Chloe (Maddie Hasson) of “Chloe’s Sweet Sixteen.”

Joel Murray is outstanding as Frank, but Tara Lynn Barr is less impressive as Roxy, the sixteen-year-old girl who accompanies Frank on his killing spree. Roxy has feelings for Frank that are not reciprocated, and the platonic relationship between the two is one of the main points of the film. That and a whole lot of anger.

“God Bless America” has lots of satisfyingly bloodthirsty violence, a great soundtrack, and equally bloodthirsty satire as Frank and Roxy dissect modern American society. The fact that we sympathize and are to some extent compliant in the killings does not keep me from loving this movie, and is instead and interesting manipulation of audience loyalties.

Joel Murray proves he is every bit as good if not better than his brother Bill, and his rage and disgust is palpable. Roxy is a slightly annoying and overly sadistic sidekick, but some of her lines are funny and her presence is crucial to the plot.

So is Frank right? Have we become an ugly and cruel society? I would argue that the ugliness is intrinsic to human nature period, American or not. I think other countries have slightly higher standards when it comes to film and television programming, but I also think that the need to shock and degrade is in our genetic material, whether we live in the US or France or Timbuktu.

Nevertheless, I recommend this movie to people who enjoy the darker side of humanity presented in film. My dad argues that to like a movie like this, you must HAVE a dark side, which doesn’t say much to the fans of this movie. But one could also argue that some extent, your reaction to this kind of comedy shows what kind of person you are. For better for worse, I am a fan. That is all.

The Returned (Les Revenants)- Season 1 (2012)

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Attention, horror fans! The zombie genre has been revived. I have always found dramatic/’realistic’ zombie films and shows to be inferior to the funny ones (I do not find “The Walking Dead” or “28 Days Later” to be better than “Shaun of the Dead,” for instance.) Okay, I still don’t think this measures up to “Shaun of the Dead,” but “Les Revenants” is kind of invigorating the way the tosses the zombie genre on it’s head. Gone are the zombies that go ‘brains-brains’ and limp along on broken legs and out of sight are the brainless, running, ravenous creepers from “28 Days Later” and countless survival-horror video games.

THE HORDE

What’s special about “Les Revenants” is the way it strikes at the emotional heart of the matter. You are forced to feel for the ‘zombies,’ who do not know they are dead at first, and who are often greeted by the living with apprehension and horror. In a small French town surrounded by a mountainous region, the citizens are coming back from the dead, fresh, and seemingly alive and well. Young Camille (Yara Pillartz) arrives home from a bus wreck that put her schoolmates to permanent rest, only to find that years have passed and her twin sister is now grown.

Lonely lesbian Julie (Céline Sallette, ) single and a survivor of a sadistic attack, takes in a mysterious little boy (Swann Nambotin.) But how innocent is he?  Meanwhile, happily married Adele (Cotilde Hesme) is visited by her dead fiance (Pierre Perrier) and hefty bartender Toni (Grégory Gadebois) tries to keep his unhinged brother’s body count under check.

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The approach here is quite different- the show is more artsy and laid-back than the more frenetic tales of it’s kind, but if there’s one thing for sure, it’s never boring. Mysterious plot-lines abound; secrets lurk in the souls of the most open-hearted characters.  Some details are puzzling and other’s don’t make sense at all (akin to the twists and turns of “Lost”) and I hope the show doesn’t get overloaded in it’s second season.  There’s certainly flashes of brilliance in this script.

The acting in the show is very powerful, and reinforces the ‘real’ approach to the premise. This is not the show for you if you want muscle men blasting away zombies with uzis, but PATIENT viewers will find a lot to love as the plot slowly unfurls.  My favorite character died in the last episode, but I’m convinced he’s not gone for good, and that I will see him in the 2nd season.

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If you like your zombie stories serious and pensive, with an emphasis on creepiness and mystery rather than guts ‘n gore, “Les Revenants” should quench your thirst for an alternative zombie thriller.  This and”The Walking Dead” are both great, and I love them in different ways, but this wins for me- by a hair. I for one can’t wait until Sundance Channel broadcasts the second season. One to watch as soon as possible.

Wendy and Lucy (2008)

This movie is not for everyone. Curious art-indie buffs, you know who you are. Others, look elsewhere. “Wendy and Lucy” is ‘real’ in such a way that it will delight a certain audience and bore the pants off everyone else.

Drifter Wendy (Michelle Williams,) camping out in Oregon on her way to find work in Alaska, travels alone except for her beloved dog, Lucy. So when Lucy goes missing in a small podunk Oregon town, Wendy vows not to leave until she finds her best friend and traveling companion.

Invested in her plight is a kind, otherwise unnamed Security Guard (Wally Dalton) who doesn’t seem to do much work but instead gives her advice and comfort while she tries to find her dog. Wendy comes into contact with other people, some helpful, some detrimental, and in the end must make a painful and difficult choice.

Although the grainy imagery can be a little frustrating, “Wendy and Lucy” is a touching, and above all, real little tale. It’s the kind of film that doesn’t have a hook, but wins us over with it’s true-to-life characters and situations, and makes us wonder what’s going to happen.

Michelle Williams is extremely convincing as flawed protagonist Wendy, and Lucy is a very cute and charming canine. This is the kind of movie people will argue has no ‘point.’ Since when does a film have to have a lesson, a glossy twist ending, or an revelation at before the end credits?

Isn’t a depiction of real, believable people and honest plot developments enough to to keep the audience watching? Since when did we become a legion of people who need a robot, a superhero, farting animated animals, or a masked killer to keep us invested in a story? Maybe I sound pretentious. But I can’t help but wonder if peoples’ interest in the movies is regressing.

I’ve seen Michelle Williams in two movies recently. “Take This Waltz” had its moments, but was also often glib and sitcom-ish, despite a painfully effective ending. “Wendy and Lucy,” the more effective of the two films, was never unbelievable and never simplistic, a testament to the power of kitchen sink realism in film.

“Wendy and Lucy” also excels in the way that it portrays poverty without the morbid vision of filth and decay many movies strive for. Overall, it’s more “Winter’s Bone” than “Requiem for a Dream,” and delivers pathos and sympathy rather than cheap shocks.

Not that it doesn’t have tense moments, such as when Wendy sleeps in the woods and comes face to face with an unexpected intruder. It just doesn’t overplay its hand trying to be disgusting and gratuitous, and portraying Williams as a wretched drifting waif. I hope you see it.

Rating-
8.0/10

Temple Grandin (2010)

“Temple Grandin” is a really interesting movie about a fascinating woman that allows us an inside look at an unknown world. This is a must-see for people struggling to understand loved ones with autism or for AS people themselves, because close family members will understand autism better and people on the spectrum might see themselves in the intrepid but troubled Temple.

“Temple Grandin” is the real-life story of the eponymous character, who struggles with severe autism from an early age, then goes on to become a pioneer in the cattle industry. Temple suffers from an autistic condition which deprive her of a ordinary childhood, but give her an astonishing and intuitive mind and a unique way of looking at things.

As a young woman, Temple (Claire Danes) stays at her aunt’s farm, where she becomes familiar with the cattle who live there. When she witnesses a cow being calmed by a squeezing machine, Temple is inspired — when she leaves the farm and goes to college, she builds her own ‘hugging machine’ to dilute the tension that most people relieve by giving and receiving hugs.

However, Temple’s new classmates and teachers don’t understand the relief Temple gets from her machine (instead thinking it’s something perversely sexual,) and she must fight for her right to express herself, a fight that continues throughout her life.

The film, which premiered on HBO, is based on Temple Grandin’s non-fiction books ‘Emergence’ and ‘Thinking in Pictures.’ As you may have heard before, Claire Danes nails it as Temple. I watched Mrs. Grandin in interview on the special features of the DVD the first time I watched this, and… wow. Mrs. Danes really emulates Temple’s speech and mannerisms.

I just hope the actress nails my speech in the upcoming biopic of my life (ha, ha.) The rest of the cast is good too. The film features some well known actors such as Julia Ormond as Temple’s courageous mother, Catherine O’Hara as her aunt, and David Strathairn as her teacher, who passes on important lessons to her.

I like the way the film visualizes the intricate workings of Temple’s mind so that I can understand them better. “Temple Grandin” is frank in the way that it deals with the bullies Temple must deal with on the road to success. Just think about it this way… are these people heard of except as bullies in an HBO TV film? They’re not even a name. The way I see it, Temple got the last laugh in the end.

This film is definitely worth watching, and will keep you intrigued throughout its running time. It definitely makes you think in terms of the people who you slight because you assume they are mentally retarded and have nothing to offer you, but are they?

Everyone assumed Temple was either crazy or stupid. Even her childhood doctor blatantly stated that she should be institutionalized and kept from tormenting the masses. And she turned out to be one of the great minds of her time. Anyway, you just never know. Have a great day, and don’t forget to comment *wink*!

Extremely Loud & Incredibly Close (2011)

Gentle and bittersweet, “Extremely Loud & Incredibly Close” is the second movie adaptation of “Everything is Illuminated” author Jonathan Safron Foer’s novel. Although the movie is littered with stars such as Viola Davis, Tom Hanks, and Sandra Bullock, newcomer Thomas Horn steals the show in a flawless performance as Oskar Schell, a troubled eleven-year-old prodigy struggling with his dad (Hanks’) death in the 9/11 terrorist attacks.

Oskar could be rude, he could treat people sh**ty, but I immediately rooted for him. It helps that he reminded me of a friend of my brother’s I’m fond of. While Oskar’s dad was alive, he would send him on scavenger hunts. When Oskar rummages through his dad’s closet and finds a key with a word on it, Oskar believes his father wants him to find the lock the key belongs to.

Oskar probably has Asperger’s, and that becomes a factor as he travels through New York City battling anxiety, loud noises, and his own worst fears about Urban terrorism. Meanwhile, his well-meaning mother (Sandra Bullock) tries to get through to her angry loner son. I wasn’t sure about Sandra Bullock prior to this movie because I thought she was undeserving of the Oscar for “The Blind Side” but she was good here. You can’t help but feel for her when her son throws angry words in her direction.

Linda (the mom)’s unconditional love for her son touched me, as did her quiet grief, but Oskar and the otherwise unnamed ‘The Renter’ played by Max Von Sydow were my favorite characters. ‘The Renter,’ true to his title, rents a room from Oskar’s grandmother and accompanies Oskar on his perilous quest.

The only complaint I have with this movie is that the premise was very unrealistic. I mean, the word ‘Black’ that comes with the key could meet anything and Oskar is immediately on the right track. Not only that, but as Oskar looks for people with the last name ‘Black,’ he doesn’t even think that not only is ‘Black’ a ridiculously common name, but there’s no guarantee that if this ‘Black’ is a person, that they live in New York city!

I liked Oskar a lot. I liked his way of looking at things. Thomas Horn interpreted Oskar honestly and touchingly. This is one of the most underrated child performances of all time (probably because the movie wasn’t received well, for what reasons are mysterious to me.) I wanted him to be happy, and move beyond the tragedy of his dad’s death and the tragedy of 9/11 in general. Many lives were affected that day, and this movie offers sympathy to both the lives lost and those left behind.

To breach another subject, I thought the depiction of Asperger’s  was very good as someone diagnosed with the condition. The funny, idiosyncratic things Oskar said seemed very typical for someone with AS, while his social anxiety was easy to relate to. A lot of movies exaggerate AS symptoms for ‘Hollywood’ effect, making the hero some kind of head-banging, socially defective prodigy. I mean “Rain Man,” that was put out near the beginning of Autism research. But “Mozart and the Whale?” Seriously?

And let’s not forget how good the entire cast was throughout this movie. Tom Hanks, Sandra Bullock, Viola Davis, Max Von Sydow, Thomas Horn of course… they all played their roles wonderfully and were touching and likable. I’d say Von Sydow and Horn were the standouts among this amazing cast. Von Sydow as the silent renter had no spoken lines, but managed to convey emotion like a pro. I’m going to have to diverge from the critics and say this movie is absolutely worth seeing. It’s worth it.

Sister (2012)

Set primarily in Swiss ski resort and nominated for a foreign language Oscar, “Sister” is an emotional and mature work that is engaging from start to finish. All the actors are effective, but fifteen-year-old Kacey Mottet Klein steals the show as Simon, a youthful twelve-year-old dealing with responsibilities and problems way beyond his age level. Simon lives in a low-rent apartment with his immature older sister Louise (Léa Seydoux of “Blue is the Warmest Color.”You might remember her as one of the LaPadite sisters at the beginning of “Inglourious Basterds.)

While Simon makes money stealing equipment and luggage from a nearby ski resort and selling the philfered items, Louise shirks any kind of responsibility, mooching off the spoils of her brother’s thievery and having sex with different guys. Although Simon takes from tourists with a cold and calculated  efficiency, you can’t help but feel for the little guy as he does what he has to to survive.

There is definitely a weird incestuous subtext between Simon and Louise. You don’t feel that they are aware of this  or that they would even act on it, but their relationship is marked by an odd co-dependence and half-formed, burgeoning sexual interest on Simon’s part, and maybe even on Louise’s too. There’s a very strange scene partway through (which I love and I think speaks volumes about this pair of outcasts) where Simon pays the angry Louise over a hundred dollars to sleep next to her.

He craves human contact, but Louise is selfish and exploits his vulnerability in a weird way, and is only able to offer comfort in the most basic manner. The cinematography is great and in it’s own way, powerful, while the ending leaves you to draw your own conclusion. Scotsman Martin Compston (who caught my attention playing a sympathetic criminal in Ken Loach’s social realism drama “Sweet Sixteen) has a role as a employee at the resort who gets in on Simon’s thieving.

“Sister” is special in that it is pensive and character-based without being ever boring and it evokes deep emotions, yet is subjective and stays away from gooey sentimentality or blatant attempts at audience manipulation. There are no ‘villains,’ just despair and dead ends. Kacey Mottet Klein is just perfect as a kid who has many foils and has run into trouble trying to live a halfway normal life.

Don’t let the incestuous vibe I get from this picture deter you from watching a great foreign film. This is not a movie about pedophilia. It is a movie about secrets, responsibility, and what it means to be an adult. Léa Seydoux is practically his equal as a character you probably should hate, but you end up feeling kind of sorry for.

“Sister” proves that ‘art film’ doesn’t have to mean being bored out of your mind. If you don’t mind subtitles, you’ll surely find value in this fascinating film about a troubled girl and a little boy who is forced to take up responsibility for the two of them. I liked this almost but not quite as much as “The Intouchables,” the French submission for best foreign film of 2012. While “The Intouchables” is heartwarming and funny “Sister” is quieter, sadder, and maybe a little truer. Do. Not. Miss.

Broken (2012)

Apparently “Broken” is ‘inspired’ by Harper Lee’s much-loved classic “To Kill A Mockingbird,” but I find “Broken” to be a better story with more well-developed characters (yes, you have found the one person in the world who isn’t floored by “To Kill A Mockingbird”- don’t stare, please, it makes me nervous.) It’s certainly darker, as Lee’s redemptive tone is replaced with unrepentant bleakness. The racial issues have been traded in, but the themes of injustice and the destruction of innocence remain.

Spirited tween ‘Skunk’ (a powerful and expressive performance by newcomer Eloise Laurence) is stuck in that tricky transition between childhood and adulthood where matters of sexuality and maturity interest her, but are not quite within her grasp. Skunk’s father, Archie (This generation’s Atticus Finch,) (Tim Roth)  is an honorable man who loves his daughter with a fierce intensity but struggles to cope with her youthful antics.

When Skunk’s mentally challenged friend Rick (Robert Emms) is accused of rape and beaten by her redneck neighbor Mr. Oswald (Rory Kinnear,) Skunk is baffled just as much as Rick is- Rick has never laid a hand on Oswald’s tramp of a daughter, and treats the situation with confusion and astonishment. He is portrayed in a very fine performance by Emms (who I saw just days before as a gay superhero in “Kick-Ass 2”,) who resists the urge to overact and makes the character of Rick his own.

Tim Roth is one of my favorite actors, and he does a good job here, but the entire cast is equally worth mentioning. Eloise Laurence is adorable and charming, but also shows real acting chops as compassionate Skunk. Cillian Murphy (known for films like “Batman Begins” and “28 Days Later) plays Archie’s housekeeper’s love interest, who soon becomes the target of Oswald’s seething rage. He is flawed yet sympathetic, as are most of the characters.

I did think the myriad disasters piling up for Skunk and Rick’s families became a little bit melodramatic and hard to take. After a while it was like… really? Is there anything awful that’s NOT going to happen to these people? There also could have been more build-up in the beginning scenes, instead of revealing everything immediately.

I really liked the character of Skunk. I think the way she treats Rick says everything about her character. She acts totally like he’s a normal person and talks to him accordingly, and never thinks it’s weird that he’s a grown man and they’re friends. And her romance with local boy Dillon (George Sargeant) is appropriately chaste and really cute. She’s a sweet, strong, and hearty girl, with a keen mind and a big heart. I liked the character of Rick too. He’s a nice fellow, a little simple, and his fate saddens me.

“Broken” is a powerful film and I’m not ashamed to say I liked it better than “To Kill A Mockingbird.” So, it’s a classic. Sue me. I hope Eloise Laurence has a big career ahead of her, but she’s not the only rising star in this movie. Not many people can play the ‘mentally handicapped’ role without resorting to theatrics, and Rick is a profoundly sad and likable character. I recommend this film to drama lovers and people to like a sad, touching story.
Rating-
8.0/10

Set Me Free (Emporte-Moi) (1999)

I’ll go ahead and admit as a bad filmgoer and reviewer that I have never seen “Vivre Sa Vie” (“My Life to Live”) by Jean-Luc Godard, and I considered watching it to get some perspective before reviewing “Set Me Free.” “Set Me Free,” though not directly related to “Vivre Sa Vie” thematically, is the story of a frustrated young girl who becomes fascinated with the prostitute character, Nana, in Godard’s classic.

It’s also about growing up. And sexual awakening. And youthful confusion. And the moment as a child when you realize that you can’t save the grown-ups in your life; sometimes, you can only help them along while they choose to sink or swim, to fight against the current, or drown. It’s about the way movies influence young people, and how it’s often the one’s you wouldn’t expect that change their ideology, for better or worse.

Hanna (Katrine Vanasse) is a knowing yet naive 13-year-old who lives with her thief brother, Holocaust survivor father, and suicidally depressed mother in France. The year is 1963. Her father (Predrag Manjlovic) has a iron grip on the household. On the other hand her mother (Pascale Bussières) is as submissive and weak as her father is dominating. In an opening scene, Hanna gets her first period near her grandparent’s house, and shortly after goes back home to her parent’s.

While she was hardly happy at her grandma and grandad’s, things go from bad to worse at home. Her dad is a pretentious, lofty, and generally bad writer who fancies himself a great artist, and her mom is one twitch away from a complete nervous breakdown. Her brother Paul is a petty thief. In an opening act of general assholery, Hanna’s father spits at her mother that her’s is ‘mongoloid family’ because her brother (Hanna’s Uncle Martin) has Down Syndrome (I told myself that ‘Mongoloid’ was not such an offensive term back in the 60’s, but nah, it’s still not excusable.)

When Hanna goes to the theater and sees “Vivre Sa Vie” for the first time, she falls in love- with the movies, Anna Karina, and with Karina’s ‘glamorous’ character. From what I saw of the film within this film she is totally misreading the message of the movie, as her teacher tries to point out. But as a confused kid (sexually and in life) looking for a role model, it makes sense.

Boy, did the child actor knock it out of the park here! Hanna was a sweetheart. From what I understand, the child actress was sixteen when she did this movie, and in fact, she looks childlike in some shots and more womanly in others, probably a intentional decision on the part of the director. Hanna’s father insists on masculinizing his daughter, cropping her hair down to boy length (the hair-cutting scene reminds me of the one in “Ma Vie En Rose.”) As Dad cuts, a silent tear runs down Hanna’s cheek, and she gradually is made to feel a little more helpless.

Hanna propositions a man, maybe in hopes for a normal life or because it is the ‘thing to do’ as a girl, but exchanges intimate kisses with a female friend (Charlotte Christeler.) Does that mean she is bi, simply confused, or something else. Fed up with her family, Hanna runs away, but will a life on the streets be easier or harder than she was looking for?

The acting was fabulous, but I wished the ending had offered a little more. There seemed to be a real lack of realization, and everything get’s better quite abruptly. What was learned, except that being a ho’ isn’t all it’s cut out to be? It’s nice to have a happy ending for such a lovely character, but the story doesn’t seem to have the most logical conclusion.

“Set Me Free” is well made and most of all bittersweet and sad. It’s is based on the director Lea Pool’s life, so that makes it this much more authentic. I would love to know if filmmaker Lea Pool is gay, because that would shine a light to better understand the sexual elements of this movie. Note- You can watch this on Huluplus. Otherwise it is not available on DVD as far as I know. I hope you get the chance to watch this powerful film. Thank you.
                                                                             

Buddy Boy (1999)

Buddy Boy, Mark Hanlon’s debut, is a haunting and potent film about dead end lives that provokes more questions than answers but remains bizarrely interesting throughout.

The film provides a look into the surrealistic existence of emotionally stunted, stuttering misfit Francis (Aidan Gillen), who lives with his trollish invalid stepmother (actual amputee Susan Tyrrell), in a squalid apartment.

Suffering from overwhelming guilt concerning his sexuality, his religion, and himself, he goes to confession monthly, admitting every impure thought and indiscretion. The contrast between faith and the id is revealed in the opening, which presents the viewer with a montage of religious imagery followed by Francis, uh… pleasuring himself to a pair of voluptuous breasts in a magazine.

Like Kevin Spacey in American Beauty, this is the high point of his day, which soon descends into woeful monotony. He finds a new pasttime in spying on his attractive neighbor Gloria (Emmanuelle Seigner, controversial Polish director Roman Polanski’s wife) through a hole in his apartment.

Then they meet. Gloria is strangely attracted to Francis, which would be unfeasible if she weren’t clearly lonely and desperate too. She tells him she is a vegan, a word he doesn’t understand, but he catches on. According to her, she doesn’t care what he eats, but then she buys him a “Meat Is Murder” t-shirt, which is a mixed message if I ever saw one. This further accentuates the character’s conflicting beliefs and desires.

Gloria is pretty and nice, too nice, and Francis begins believing irrational things about her pastimes, focusing on her eating habits. Meanwhile he becomes increasingly psychotic (?) and has a falling out with God. Is Francis going insane? Or is meat back on the menu? Buddy Boy is an enigma — although declared a religious allegory by IMDB users it at times seems to be making a statement against Christianity.

In fact Francis spends so much time obsessing about his masturbating, sinning ways that the viewer wishes the poor guy would just snap out of it. The movie is a triumph of atmosphere — the bleakness and decay of Francis and Sal’s apartment is palpable, while Gloria’s big-windowed, pleasingly green abode seems to spell change for the troubled young man.

The problem, it seems, is the vast contrast in acting styles between Aidan Gillen (Francis) and Susan Tyrrell (his stepmom, Sal). Gillen, from the GLBTQ show Queer as Folk (which I haven’t seen), plays his character sensitively and gently, as a fundamentally benevolent albeit strange outcast damaged by trauma and psychosis. Susan Tyrrell plays his abusive stepmom more like a SNL skit. Maybe her broad performance is the fault of the material.

When an actress’ character is scripted to beat a plumber over the head with her artificial leg (one of the stranger scenes in this story), maybe there isn’t much room for subtlety. Buddy Boy, nevertheless, is an intriguing first feature and a fascinating story.

It walks a fine line between being campy and profound, which isn’t necessarily a bad thing. I like the humanization of Francis, a character who might be written off as a scummy voyeur, or worse, as white trash. It raises interesting questions, contains twists, and transports you, which is something films should accomplish, but rarely do.

Tony (2009)

“Tony” is the rare exception where the term ‘indie horror’ means smarter rather than just cheaper. On one level, it’s a pretty simple premise (man commits crimes, man goes unnoticed until…), but on another, it a phenomenal character study of a man to whom desperation is a constant companion, to whose hobbies others would find sickness and perversion. All that and a highly effective performance by unnoticed actor Peter Ferdinando, as the titular killer.

Tony is a lonely fellow who idles away his days watching low-grade 80’s action films. We see him desperately trying to make a connection with the uncaring world around him, but socialization is hard, especially if your second hobby is, well… killing people.

The murders are sporadic and not overly graphic. Tony just gets fed up with humanity. Don’t we all? Tony is unwashed, dirty, and unemployed. He lives off the U.K. welfare system without having done a real day’s work in his life. He’s haunted by memories of his abusive father. It’s hard not to feel bad for him as he navigates an apathetic London, and hard not to be repulsed as he cohabitants in his filthy apartment with the corpses of his victims.

First you might consider the place of Tony’s action films. Are the driving him to kill? Probably not, the movie suggests. People drive people to kill, the media is scapegoated. I am reminded of an eight-year-old boy who took a break from “Grand Theft Auto” long enough to shoot his elderly caretaker in the head.

All the things you can find obviously wrong with that family (guns unlocked, eight-year-old’s playing restricted games,) and the video game becomes the scapegoat. It’s easy. It’s too easy. Sorry for that tangent. Anyway, “Tony” is grim, and sometimes very gross, but don’t expect a “Human Centipede”-style torturefest.

An interesting fact Tom Six made “The Human Centipede II”‘s lead Laurence R. Harvey watch this movie for inspiration on his character, ‘Martin.’ A great performance inspiring another. “Tony” reminds me of what THC2 could have been if Six had concentrated on character development rather than cutting ligaments and pulling out teeth with pliers.

At the center of “Tony” is Peter Ferdinando’s fearless performance, playing a sick, sick character with a glimmer of empathy. The other actors back him up nicely, although in the end it’s solitary Tony, friendless, unchanging, and scrutinizing a world he can’t quite understand. And indulging in his second favorite hobby, of course.
Rating-
8.5/10