Gremlins

Tags

1980's, Dark Comedy, Frances Lee McCain, Gremlins, Horror, Hoyt Axton, Joe Dante, Phoebe Cates, Polly Holliday, Zach Galligan

Film Title

Gremlins

Director

Joe Dante

Starring

• Zach Galligan as Billy Peltzer
• Phoebe Cates as Kate Beringer
• Hoyt Axton as Rand Peltzer
• Frances Lee McCain as Lynn Peltzer
• Polly Holliday as Mrs. Deagle

A comic horror set at Christmas, Gremlins makes for deliriously entertaining and twisted viewing after all these years. Time has not diminished both the dark humour and shocks of this Yuletide movie that has a deliciously morbid way of subverting things. This movie is perfect for Christmas viewing with an edge and has lost none of the strange charm it had upon release.

Billy Peltzer is a young man working at a bank in his hometown of Kingston Falls. It’s a largely uneventful, suburban town that is about to become anything but peaceful as Christmas approaches. His inventor and travelling salesman father Rand returns from a trip bearing an unusual gift; a fluffy creature known as a Mogwai. Billy is entranced by this present that he names Gizmo and is very grateful, yet his father warns him that he must obey three rules to do with the new pet. He shouldn’t expose it to bright light, he mustn’t get it into contact with water and most important, don’t feed it after midnight. Billy is understandably thrilled with Gizmo and spends a lot of time with the guy. But through accidental carelessness, Billy violates the rules and after getting Gizmo wet, he spawns creatures that resemble him. At first these creatures appear to be just like the furry Gizmo, but they trick Billy into  feeding them after midnight which has dire consequences. The creatures go from cute and cuddly into scaly, greedy beasts known as Gremlins, whose only goal is full on chaos. Once more of the creatures have spawned, they lay siege to the town with murderous glee and maniacal destruction in mind. With the Gremlins running wild and terrorizing the sleepy town, it’s up to Billy and his girlfriend Kate(whose quick thinking comes in handy) to stop the maniacal creatures once and for all.

Joe Dante behind everything with his excellent direction of the shocking but wholly engrossing material. One can tell he is relishing the destruction of suburbia with unusual and twisted ways being employed by the title creatures. Dante has his tongue firmly in cheek for this outing and I’d all the better for it. Shots of black humour colour so much of Gremlins that you can’t imagine the movie without it there. Irony and juxtaposition play a significant role in making Gremlins so wildly watchable and full of mayhem. For instance, the fact that such nasty little critters spawn from one of the cutest things put on screen is deliciously arch. And the various filmic references( Snow White makes an appearance as the Gremlins take a break from their carnage to sing along with it) are very much in keeping with Dante’s pop culture nods that regularly appear in his movies. Plus, while the town of Kingston Falls looks lovely, some of the residents are far from pleasant. Billy’s neighbour is a xenophobic man, but worst of the bunch is the penny-pinching old bag Mrs. Deagle. These two people are ones that are targeted first by the Gremlins, in a sort of grim poetic justice. I mean who can forget what happens to Mrs. Deagle? It’s a movie I’ve seen a million times and yet I never tire of it. A lot of that is down to the tightrope being walked between tongue in cheek humour and outright shocking carnage being depicted. Not many movies can get both camps right, but Gremlins is a success on blending these two disparate things into a sinister yet hard to resist ride. A great example of both the humour and horror is the scene in the kitchen, where Billy’s mother demolishes a bunch of hungry Gremlins. Now until this point, we’ve seen Billy’s mother as mainly just a supportive homemaker. But when the attack starts, she goes to town on the beasts with ferocity that is hilarious and alarming. And it can’t be stated enough how memorable and iconic the move and especially Gizmo and the crazy Gremlins have become in film history. The effects used for Gizmo and the Gremlins is still excellent, ensuring that all of them have a semblance of personality in the grand scope of things. Jerry Goldsmith’s score is an extremely lively and creepy one, that gets across the maniacal mischief of the Gremlins and the shocking spectacle of a picturesque town under seasonal attack.

Zach Galligan makes for a likable hero as he is a regular guy who is trying to undo what he accidentally set in motion. He is relatable and the very ordinariness of him is a gift that Galligan uses to his advantage. Phoebe Cates is similarly excellent as his girlfriend, possessing a certain girl next door charm and smarts that is endearing. Both actors are ones that make you immediately like them, because they seem like regular people who you want to succeed in stopping the eponymous creatures from even more destruction than they’ve already caused. Hoyt Axton is delightfully sly and oblivious as the inventor father whose gadgets are not quite the best, while Frances Lee McCain comes into her own as the avenging mother who protects her house fiercely. Polly Holliday is nastiness incarnate as the horrible neighbour who ends up at the mercy of the Gremlins in a very satisfying sequence that is as shocking as it is grimly amusing.

Devilishly sinister and darkly hilarious in parts, Gremlins is Christmas movie making with a difference that is sure to entertain audiences the world over. If it’s one outrageous ride into scares and chuckles you need, Gremlins is the required cure. After watching and reviewing Gremlins, I think this is the time to wish everyone a very Merry Christmas.

The Opposite of Sex

Tags

1990's, Christina Ricci, Dark Comedy, Don Roos, Ivan Sergei, Johnny Galecki, Lisa Kudrow, Lyle Lovett, Martin Donovan, The Opposite of Sex

Film Title

The Opposite of Sex

Director

Don Roos

Starring

• Christina Ricci as Dedee Truitt
• Martin Donovan as Bill Truitt
• Lisa Kudrow as Lucia DeLury
• Ivan Sergei as Matt
• Johnny Galecki as Jason
• Lyle Lovett as Sheriff Carl

A jet-black comedy that is frequently shocking and covers themes that could be incendiary with caustic aplomb, The Opposite of Sex makes for an unconventional and oddball story, populated by strange yet winning characters and a sarcastic turn from Christina Ricci.

Dedee Truitt is a bitchy, trailer trash 16-year-old girl who runs away from her Louisiana home after burying her stepfather. She high tails it to Indiana where she arrives on the doorstep of her sensitive gay half-brother Bill, who is still mourning the loss of his partner to AIDS. He is currently in a relationship with the hunky but dumb Matt, though he still hasn’t faced the loss of his former flame properly. Dedee, who is secretly pregnant, slowly sets in motion a cunning plan to gain money from Bill, knowing that he has $10,000 in his safe deposit box. Seducing Matt and then pretending that the baby is his, she skips town with him along with the money and the ashes of Tom, in an urn that could fetch a tidy sum. Bill doesn’t know what to do about the situation, but Tom’s sister Lucia, who is highly strung and obviously has feelings for Bill, encourages him to find both of them. Things also heat up when Matt’s former boyfriend and Bill’s former student Jason threatens him with accusations that he made inappropriate advances towards him. As a missing person’s report has been filed by the spiteful Jason, local sheriff Carl, who has the hots for Lucia, has to become involved as Bill and Lucia search for Dedee and Matt. Dedee continues to manipulate everyone for her own gain as a cross-country madcap venture takes place, leading to many realizations and people confronting what they are holding back. Add to this chase murder, ransom, extortion and blackmail and its eventful days for all the people Dedee comes across and wreaks havoc on.

Don Roos made his directing debut with The Opposite of Sex, as well as penning the screenplay. And he does an extremely engaging and biting job at bringing these unusual characters and events to spirited and also darkly comic life. And yet while the film has a dark, rude and sarcastic heart, it surprisingly allows for oddly touching and moving moments to be gleaned. This comes with a definite irony as while Dedee ruins everyone’s lives, she inadvertently helps them come to terms with various issues and personal demons. The Opposite of Sex is ballsy material that takes aim at homophobia and bible-bashing zealots with rapier wit that it is clearly unapologetic for. And while some of the things the movie deals with won’t be to all tastes, it really knows the buttons to press and gets jaw-dropping gasps from you, whether you like it or not. A lot of this comes down to the acidic script, that churns out great one liners at a regular rate. The best example is the use of narration from Dedee, whose view on things is spiked with savage commentary and smart alec remarks. She’s the kind of narrator that is fun to listen too as she is no angel and her mordant assessment of events has to be heard to be believed. I mean, just listen to how she knows that the audience isn’t going to root for her or a withering offer her opinion on the people she ruins. This is a self-aware heroine who doesn’t give a damn, which suits the film down to the ground. Even when she isn’t on screen and it is just her voice, you can’t help but be intrigued and frequently flabbergasted by her thoughts. The pace is pretty quick and filled with sparks, only sometimes having the odd lull that can be forgiven owing to how incisive and scathing it all is. A strangely bouncy score belies the gleefully sardonic and vicious wit of the piece.

Front and centre of it all is Christina Ricci, who is acerbically vicious and seductive in equal measure as the sly Dedee. Ricci embodies the bitchy and sarcastic attitude to an extremely high degree, making you both shocked and strangely attracted to her, even though she’s vindictive. Though there are hints that Dedee may have some form of a heart, the spiky and cutting aspects of the part are what is so appealing, a strength to which Ricci plays to in devilishly vindictive mode. Blasé and snappy as Dedee is, Christina Ricci makes you unusually root for and be fascinated by this trashy jailbait vixen with a mind as sharp as an axe and a tongue like a viper. This is one of the best performances of Christina Ricci, which is no surprise considering how much she puts into the part and other roles too. The other players are also given lively and kooky characters to flesh out this darkly humorous experience. Martin Donovan is perfectly subdued as the mild-mannered Bill, who is too nice for his own good but slowly seeing that he can’t just sit back as all of this chaos ensues. Donovan gets probably the most relatable part in The Opposite of Sex, which he plays to the hilt and never rings false. Really having a blast is Lisa Kudrow as the opinionated and self-righteous Lucia, who finds the idea of sex repulsive but quietly yearns for companionship. She is amusingly passive-aggressive, high and mighty and ever so slightly sour, but Kudrow wisely ensures that she isn’t without sympathy. Ivan Sergei makes the most of his role of the not too intelligent Matt, who gets completely wrapped around the poisonous fingers of Dedee without quite realising it. Johnny Galecki has a ball as the mendacious accuser, while a homespun Lyle Lovett is just right as the sheriff drawn into this outrageous web.

Unapologetically snarky and definitely not adhering to political correctness, The Opposite of Sex couldn’t give a damn about that and comes off as a biting dark comedy that provides biting humour and curious insight into relationships and the complexity of them. Bolstered by a wickedly biting performance from Christina Ricci, this is a film that is best summed up by the tagline ‘You’ll laugh, you’ll cry, you’ll be offended’.

U Turn

Tags

1990's, Billy Bob Thornton, Claire Danes, Dark Comedy, Jennifer Lopez, Joaquin Phoenix, Jon Voight, Neo Noir, Nick Nolte, Oliver Stone, Powers Boothe, Sean Penn, U Turn

Film Title

U Turn

Director

Oliver Stone

Starring

• Sean Penn as Bobby Cooper
• Jennifer Lopez as Grace McKenna
• Nick Nolte as Jake McKenna
• Powers Boothe as Sheriff Virgil
• Billy Bob Thornton as Darrell
• Claire Danes as Jenny
• Joaquin Phoenix as Toby N. Tucker
• Jon Voight as Blind Indian

A movie that caused a mixed opinion on release, U Turn is actually a head-spinning mashup of noir and dark comedy, wrapped in the guise of a fever dream. This wont be every viewer’s cup of tea, but is inventively strange and overripe with a cast willing to surrender to the baffling weirdness present.

Bobby Cooper is a gambler and two-bit criminal who is driving down the highway to Las Vegas to pay off debts to the mob. Armed with the money, Bobby wants nothing more than to settle the deal and be on his way. His unlucky streak has other ideas as his car breaks down and he’s forced to enter the town of Superior, Arizona. Now to say that this place isn’t a dust bowl and populated by some of the strangest people on Earth is a lie, as Bobby discovers the strange and dark ways that these people live by and how he just wants to leave. The local mechanic Darrell takes delight in annoying him with his obnoxious and unscrupulous ways that test Bobby’s patience no end and his day just goes from bad to worse from then on. A robbery at the local convenience store deprives him of the money he needs to pay of gangsters and puts him in a deadly situation. It’s at this point that the darkness increases with the introduction of seductive Grace McKenna and her brutal, older husband Jake. Grace entrances Bobby with her teasing ways and gorgeous beauty. While Jake makes him an offer that is very tempting but could be tainted. Jake asks that Bobby kill his flirty wife and a lot of money could come his way. Now while Bobby is no saint when it comes to criminal acts, he is more than a little hesitant to commit murder. Yet in a dire situation, what is he supposed to do? Complicating this twisted web is Grace seducing Bobby and bringing him into her plot to have her husband killed and make off with his hidden millions. More encounters with the unusual residents( such as the ditzy nympho Jenny and her short fused psycho boyfriend Toby N. Tucker, as well as a sheriff that is always skulking about) of Superior unnerve and annoy Bobby as he attempts every conceivable way to leave, yet seems to be thwarted at every turn. In need of money quickly and desperate to get out of the creepy town in at least one piece, he is left with either the plan to kill Grace or kill Jake; both of which could get him the stashes of money he craves. Let’s just say that events will go south and very bloody for all involved in this dark neo noir/ black comedy that just brings new meaning to the word weird.

I must say I found U Turn refreshing as it showed me a different side to Oliver Stone’s film making. From what I’ve viewed of his work, he is adept at directing films that confront issues and politics in a very well done way. But I enjoyed seeing him let loose and revel in the darkness of the story and the hazy world of unusual individuals that Bobby finds himself in and tries to inexorably escape from. This isn’t one of Stone’s movies that is addressing any big ideas, but he gives the film a real stamp of his through demented events and weird happenings; all captured in a style highly reminiscent of an acid trip, complete with rapid fire editing, grainy styling and overlapping scenes. Stone is firing on all cylinders here, finding twisted comedy and lurid deceit in the neo noir story at play and obviously having fun with it. You see as much as U Turn is a crime film and noir, it is also something of a black comedy, and let me not forget that Stone tips his hat to the western genre in the setting and some of the tone. It isn’t funny is a way that many people will traditionally laugh at, instead finding humour in disquieting events of which many are so wildly over the top that you will gasp as it basks in perverse glory. Now while U Turn is an underrated surreal film, it’s not without flaws. The main one is the pace growing slightly stale in the middle stretch of the film and your interest could very well wander. The sheer abundance of visuals being thrown at us gets at times a bit bloated, yet there is hope as both flaws are rectified by an electric and twisting final part of the film that redeems whatever flaws came before it. A superlative score that skilfully crosses between the humour and brutality of the film is provided by the great Ennio Morricone, who shapes the score with unusual cues and melodies to further put us under the spell of the hypnotic and surreal events unfurling.

I really enjoyed watching the cast of great actors and actresses put into all these whacked out situations and give it their best shots, all making an impact in some way. Sean Penn is effective in the role of Bobby, who is something of our anti-hero in this strange odyssey. Penn rightfully does make Bobby a really likable guy, instead showcasing his arrogance and intolerance. Yet he imbues the character with a growing sympathy that is hard to forget as he endures the hardships of the crazy town and the murderous plans he is sucked into. Jennifer Lopez sizzles as the femme fatale Grace, lulling Bobby into her devious plans for money. Yet unlike some actresses that just make the temptress role just seductive and nothing else, Lopez excellently brings forth a damaged and saddened side to the character that makes it something different to the usual deadly lady. Granted she is still seductive and dangerous, but it was a bit refreshing to see another interpretation of the femme fatale role. The appropriate nastiness and sleaziness is brought to the table by Nick Nolte as the brutish Jake, who growls his way through life with violence never far away. Then there is Powers Boothe, who appears to be the one decent law-abiding citizen in town, but who may be far from it. A devilish and unrecognizable Billy Bob Thornton turns in a memorable performance as the disagreeable grease monkey that gets more testing to impatient Bobby as the film goes on. With his ragamuffin appearance and sneering smiles, Thornton just adds even more weirdness to the proceedings complete with grimy humour. Claire Danes and Joaquin Phoenix more than gamely play their roles of the floozy with a naive attitude and her petulant, man-child boyfriend. Both stars find ridiculousness and humour within both of the loopy characters. Jon Voight appears as a blind shaman, who talk philosophically to anyone that will listen and is actually pretty spot on about an upcoming carnage that will be brutal.

It does have its moments when it gets a bit much and the middle half drags, but taking all of that into account, U Turn represents an underrated film by Oliver Stone that puts weird into a whole other dimension with editing, good performances and the noir atmosphere tinged with black comedy.

Death Becomes Her

Tags

1990's, Bruce Willis, Dark Comedy, Death Becomes Her, Fantasy, Goldie Hawn, Isabella Rossellini, Meryl Streep, Robert Zemeckis

Film Title

Death Becomes Her

Director

Robert Zemeckis

Starring

• Meryl Streep as Madeline Ashton
• Goldie Hawn as Helen Sharp
• Bruce Willis as Ernest Menville
• Isabella Rossellini as Lisle

A savagely comedic and satiric look at vanity, bitter rivalry and revenge, Death Becomes Her is one heady bitches brew. Boasting eye-popping special effects and devilish work from the cast, it’s a dark comedy fantasy that is a hoot with the added mix of magic and bitchy one liners.

Madeline Ashton is a narcissistic, bitchy actress who is a real success. She has a rivalry with aspiring writer Helen Sharp and does anything she can to get one up on her. But Madeline crosses the line when she seduces Helen’s fiancée Ernest Menville, a prominent plastic surgeon to the stars and the two eventually marry. This causes Helen to completely break down and she is sectioned. Years later, Madeline and her demanding ways have driven Ernest to drink and he is now a mortician. Madeline is also something of a has been as she is getting older, and there is a demand for younger actresses. It is here that she bumps into Helen again, who is now a successful author and looking just as young as she did all those years before. What Madeline doesn’t know is that Helen has been planning revenge on her and plans to execute it soon. Shocked by Helen’s youthful appearance, Madeline soon finds an intriguing answer to her own age issues in the form of Lisle. Lisle is a wealthy socialite and possibly a sorceress, who has divined a potion that gives the person who drinks it eternal youth. Obsessed with looking young again, Madeline takes the potion. Yet the potion doesn’t just grant eternal youth but also immortality. Meanwhile, Helen puts her plan to get Ernest back into action and battles it out with Madeline, with poor Ernest stuck in the middle of it all. But the plotting Helen herself also took the potion years before and now as they commence in battle, it is getting harder to get one up on the other as both are in a sense indestructible and neither can die.

Robert Zemeckis directs this lively and darkly amusing film with a fast-paced panache, relishing all the biting lines that the script has to offer. He funnily satirizes society’s obsession with beauty and age with a cutting wit. Let’s just say, this guy knows how to keep a movie eventful and very entertaining as Madeline and Helen go to war. The special effects in Death Becomes Her deserve a huge mention as they really are very impressive in highlighting the immortality of both woman and the many injuries they inflict on each other, that only cause a bit of damage like a neck out-of-place or a bullet hole through the chest, that eventually spring back to normal. Some will say that the special effects take precedence over the story, but it actual fact they compliment it very well and lead to black comedy of the highest order. A dazzling, adventurous score provides the backdrop of darkness tinged with a morbid playfulness that is ever-present through Death Becomes Her and makes it a real treat.

What really gives Death Becomes Her that real snap and morbid humour is the performances from the splendid cast. Meryl Streep is utterly fabulous as the wicked bitch Madeline, constantly obsessed with being young again and finding that it has a price. She obviously savours the razor-sharp put downs that Madeline spews and gives the role a diva like persona of total star quality. Her acting alongside Goldie Hawn pays off successfully as they share a devilish chemistry with each other. Goldie Hawn is equally as good as Streep, playing Helen as downtrodden but deliciously scheming to the hilt. Taking a break from the macho action roles he is mostly known for, Bruce Willis shows his versatility as the much abused Ernest. Exuding a gawkiness and befuddled anxiety, he really shows what a talented actor he is. Adding wickedly sensual support is Isabella Rossellini as the magical woman with the potion that leads to eternal youth and more.

A wickedly gleeful comedy fantasy, brimming with verve and hysterical outrageousness, Death Becomes Her is a dark delight of a movie.

 

Drowning by Numbers

Tags

1980's, Bernard Hill, Dark Comedy, Drama, Drowning by Numbers, Jason Edwards, Joan Plowright, Joely Richardson, Juliet Stevenson, Peter Greenaway

Film Title

Drowning by Numbers

Director

Peter Greenaway

Starring

• Bernard Hill as Madgett
• Joan Plowright as Cissie Colpitts I
• Juliet Stevenson as Cissie Colpitts II
• Joely Richardson as Cissie Colpitts III
• Jason Edwards as Smut

Written and directed by Peter Greenaway, Drowning by Numbers is a baroque examination of sorority, murder and all things numerical laced with dark humour and morbid events. It won’t be for everyone’s taste, but as a black comedy drama with strange imagery and surreal repeating games, it is a sardonic and at times disturbing watch.

In a quiet and seemingly quaint Suffolk town by the seaside, strange events are occurring beneath the supposedly docile appearance. The film focuses on three generations of women who all share the name Cissie Colpitts. As the film progresses, each of the women successfully drown their philandering and useless spouses; the eldest Cissie drowns her husband in the bath, the second Cissie disposes of her spouse in the sea and the seductive youngest drowns her husband in the swimming pool. Their murderous tasks are covered up by the local coroner Madgett, who loves to play morbid games. Although he is promised a reward for his rulings on the suspicious deaths, the three women hold back and lead him on. Madgett’s teenage son Smut, is also obsessed with death and numerical games and his imagination is heightened after the sudden increase in drownings. Yet, soon the townsfolk grow suspicious of the supposed accidental deaths and believe that Madgett knows more than he is letting on. Strange, unsettling and embedded with a knife-edge humour, Drowning by Numbers emerges as an artistic rumination on morbidity, womanhood and sexuality.

As I mentioned earlier, Drowning by Numbers will not be for everyone but there are certain things that can’t help but be praised. The strikingly saturated hues of blue and red that cover Suffolk are exemplary and capture the various themes of aquatic death and underlying passion. A lot of the imagery is really hard to get out of your head. Greenaway clearly has fun placing numbers in the scenes in various ways, such as written, on clothing or sometimes something subliminal and repeating numerous phrases relating to them.  References to historical figure’s last words, morbid games played like ancient rites and a young girl reciting the names of stars in the night sky while skipping all add to the dark tone of the film and the skittish other side that often intertwine with one another to unnerving effect.

As the film continues, the audience is sucked into the twisted game and believe me it’s a strange but interesting experience that makes you sit up and take note. Greenaway depicts an iconoclastic England rarely depicted on cinema screens, cutting through the alleged respectability and manners with a mendacious glee to show a dark undercurrent akin to a really dark fairy tale at various points. Lurid images and the importance of sisterhood play a large part of the story, embodied excellently by the murdering trio at the heart of it. Michael Nyman’s unusual score perfectly compliments the dark humour that pervades Drowning by Numbers.

The cast inhabit their strange roles with charm and wit. Bernard Hill is suitably strange and slightly lecherous as the coroner cajoled into covering up the aquatic deaths but never getting his reward with any of the women. Joan Plowright, Juliet Stevenson and Joely Richardson make for a delightfully scheming and lethal sisterhood, filling the three Cissie’s with vivacity but also showing the hidden secrecy, unspoken camaraderie and manipulation that lies beneath their pretty exterior. Jason Edwards makes quite an impression as the unusual Smut, who collects bugs and is obsessed with anything related to death. Through his narration, we see the escalating morbid quality that his games begin to take on.

It may not be for everyone, but if you want an intelligent, strangely and darkly comic look at murder boasting unusual imagery, Drowning by Numbers may be what you are looking for.