The Flu Update

Nightstand.JPG

It seems like every time I get back on the writing horse, someone pours a Gatorade jug of bacteria on me.  In this case, it's a confirmed case of Type B Influenza.  This despite the fact that I got a flu vaccination back in November.

So I'm a little behind in my media reviews/updates.  On the movie front, I watched Sleepless Night, a French thriller that was either a refreshing return to a classic genre or a been there, done that cliche that offers nothing you haven't see before (i fall in the first camp).  I also re-watched Looper and The Fantatsic Mr. Fox, both of which were even better on second viewings.  The Fantastic Mr. Fox in particular was great due to seeing it with another couple and a few drinks down in the basement/theater room.

For books I dove into the Jim Butcher Dresden Files series, reading Fool Moon, the second book in the series as well as Jeffrey Eugenides' The Marriage Plot.  Fool Moon had a very specific purpose: I've come to grips that, despite not being a fan of the Urban Fantasy genre, the novel I'm trying to write has a lot in common with it, and with The Dresden Files in particular, so I want to see how Butcher worked the format.  The reason for reading The Marriage Plot was simple: Eugenides is a stunning writer, and both The Virgin Suicides and Middlesex had a profound impact on me.  The Marriage Plot doesn't quite hold the same power over me, but it was a fun book, and I hope to write both up while I'm laid up in the bedroom.

Right now it's almost 3:00am, and between the 13 pills I'm taking and the fever that seems to roll like waves, crashing into my body with chills and shaking only to fall away again leaving me exhausted and drenched in sweat, there's not a lot of sleep coming.  I'm under quarantine until Tuesday at the earliest, so it's time to dig in and make the best of the situation with some good movies and books.

Good night, Internet.

Oasis | Fiction

I didn't want to go too long without posting something, and since I'm still working on two films and a book review I thought I'd try something a little different. It started with two visuals: the first sentence and the last. They kept replaying in my head: shots from a dream inside the head of Sergio Leone by way of David Lynch. Out of that "Oasis" came to be.

I gave myself one rule: it had to be less than 1,000 words. In that place where fiction lives Frank's history stretches - back to a painful and messy birth, in a small cabin in the middle of a plot of land still struggling to understand the sensation of being settled. But I could never decide if Frank's time ended there in the desert, or if this was just another chapter in a life that would go on. Reading it again I still don't know, and there's strange comfort in that.

Frank's hand trembled again, a bead of sweat tracing the path of a blue, gnarled vein that disappeared into the cracked landscape of a knuckle. His fingers twitched in fitful rhythms against the parched leather of his holster, which in turn rested against the dusty, cracked leather of his chaps. His thumb intermittently flicked the hammer of his Colt, catching the sun in a Morse code of pinpricks. He doubted it would obey him now; he had stopped counting the days, and only knew it had been too long since he properly cleaned and oiled the revolver, let alone been in a place where the wind didn’t fill every crevice with the grains that were even now tearing at his exposed flesh. Every step forward was another step further away from recollection, and closer to forgetfulness.

And now even that had stopped. For how long he didn’t know – long enough that the tips of his boots were partially buried, the exposed tops looking for all the world like black pools of tar, rippling in the heat and giving the illusion of water where there was none. His last taste must have been a day or two before the horse gave in, eyes rolling up and collapsing with a human sigh into the dune he had been using as a shield. Frank kneeled next to the beast, the rise and fall of her ribcage diminishing with each labored breath.

There was no sound but the roar of the wind.

The skies were beginning to darken, so while he could still see he unslung the empty water bag from his shoulder and unsheathed his hunting knife. Holding the bag open as best he could and using his legs to prop the horse’s head in position, he cut the beast’s throat, catching what he could into the water bag. It was messy, and imprecise; less than a quarter filled. His hands were failing him. He stood up, took a deep breath, and brought the bag to his lips. He choked on the first gulp, almost vomiting, but his body’s demand for liquid, any liquid, was too great, and he kept it down.

But that was a day, maybe two days ago, lost in the endless horizon line. Now there was nothing but the sick sweat, beading on his fevered head at night, his body revolting on him, refusing to hold onto even that diseased moisture. In the blindness of the day there was nothing, not even a drop to sting as it traveled down his burned and blistered face.

He craned his head as far to the left as he could and, hands shielding his eyes, slowly panned to the right, taking in the world.

Empty.

Not even a mirage to buoy his hopes, beguile his mind into false respite. His end would come in the middle of a limitless sea, drowned in heat and sand. Frank dropped to his knees, his torso upright and swaying in a sort of penitent slouch. His hat traced tiny counter-clockwise circles as his fingers fumbled with the strap on his holster. The steel of the barrel scraped against the leather as the revolver came free, a slow-motion draw that ended with a thump as gravity pulled hand and gun to the earth. For a minute, two minutes, he didn’t move, his head bowed, his body sliding into the environment. The wind cried, began its ritual rising, but the old familiar stillness had overtaken him. Hand and fingers shifting, the Colt began to rise. Slowly at first, the actions so long ago built into muscle memory there was no hint of trembling now. In a fluid motion his forearm swiveled, tracing an arc with the barrel until it came to rest lightly against his right temple, the metallic click of the hammer being pulled back lost in the wind.

The contact between barrel and head was brief: a second, no more. Frank brought the gun around. He stared into the small circle of black, the period that had sentenced death to those that deserved it, and those that didn’t. For the first time since the robbery, since San Verde and Mara, since the crack in the window that cast a rainbow on the wall, a rainbow that witnessed a promise, and a lie, Frank smiled. He lowered the gun back to his holster, drew a long, slow breath, and rose.

“Draw.”

In a blink the machine he trained his arm to be whipped up, the Colt an extension, and accusing finger. Pointing at nothing but half-remembered ghosts he pulled the trigger.

A dry click, then nothing.

The smile remained. His arm, satisfied one final time, dropped as he did, kneeling once more on the ground. The barrel of the Colt pitched in the sand, angled as his hand held the grip, then fell as he let go. The winds immediately began their work of concealment. Frank reached into the desert in front of him, those hands pushing away the grains. The winds and lack of moisture made it hard, but he was used to hard, didn't know an other way, and after a few minutes he managed a small but noticeable indentation. It was enough. Cool, beautiful, he thrust his hands deep into his oasis.

He pulled his hands out and brought them, cupped, to his mouth.

Arching back, his hat falling, left to dangle by the cord tied around his neck he drank, long and deep.

If the vultures, flying overhead, could speak, they would have remarked on the man in the middle of the desert, grinning like a fiend as he swallowed mouthful after mouthful of the ever shifting sands.

John Dies at the End | David Wong

John Dies at the End.jpg

Remember those bygone days when you would actually have to spend a modicum of effort seeking out a cool book or movie you heard about? As opposed to now, where from the comfort of my bed on a late Sunday night when all the physical stores were closed I not only instantly accessed and watched a HD copy of Don Coscarelli's adaptation of David Wong's John Dies at the End, but also downloaded the book? Which also happened to have links taking me to the website for the book, the film, and a 50-page excerpt of the just released sequel?

Ah, technology. Spoon feeding our desires since 2006 with no end in sight (thank goodness).

Anyway, John Dies at the End was my first and most likely last time reversing my standard practice of always read the book first. Chalk it up to being sick and wanting a couple of hours to pass the time, as well as the fact I was still about 100 pages from finishing the book I was currently reading. So watch the film I did (it was great in that twisted, gleefully sick and ridiculous way that only Don Coscarelli can do), and then sat down just after the New Year to read the book.

Not a lot of self examination required in divining what drew me to the material: John Dies at the End (hilariously shortened to JDATE) is the story of two directionless best friends, John and David (as in David Wong, the author), caught up in an inter-dimensional invasion involving horrific Lovecraftian beasties, shadow men, ghostly jelly fish, and a ridiculous amount of dick jokes. It's up to John and David to save the world, but besides a dog named Molly who can seemingly drive a car and survive exploding into tiny dog chumps, their only real asset is the fact that they're able to ingest the mysterious black drug known as the Soy Sauce, an alien chemical granting strange visions and powers to those who survive its ingestion. Told from David's perspective, JDATE traces their initial exposure to the drug, the bizarre occurrences in their small Midwestern town of [Undisclosed], and the events that led to two losers saving the entire world.

Having watched the film right before starting the book, it's surprising how much of the book was transferred directly to the screen, and how much of it worked in both mediums. What the books really allows is for a closer look at David and John, and Wong the author shines at allowing his characters to look stupid, make bad decisions, and generally screw up in ways that make them more endearing and fully realized than they could ever be in a movie. What starts feeling fairly episodic (the book has 3 distinct story lines, 4 if you count the epilogue) slowly begins to build a rhythm until everything rushes together in a way that by the book's end not only are you surprised everything help together but that it held together well enough that it could continue in future books.

The hardest thing to pull off in horror, whether it's a film or a book is humor, and not the witty "oh isn't that clever" humor but actually belly laugh humor. So it's no surprise to learn that David Wong is actually the pen name of Jason Pargin, senior editor of Cracked.com. Having plenty of experience in figuring out what makes people laugh, he posted JDATE in chunks on his blog for free prior to getting a book deal, and that experience of fine tuning a joke works great here. John's ability to discuss the grandness of his penis at length (ha!) is so over the top it becomes endearing, and his friendship with the much more troubled Dave feels sincere without ever going overboard into schmaltz. It all balances nicely with the other-worldly horror, allows for some pointed criticisms at video games and teenage violence, and feels very much a book written for the horror fans of the 21st century, while at the same time providing enough meat for those of us who grew up before the time you could download every H.P. Lovecraft story on your phone in a matter of minutes.

Red Lights | 2012

red lights top.jpg

Red Lights, the follow-up film from Buried director Rodrigo Cortés, manages the singular task of bringing together a number of terrific actors - Cillian Murphy, Sigourney Weaver, Toby Jones, and Robert De Niro - all in the service of demonstrating a key truth in movies: all the acting in the world can't help a muddling mediocre film that seemingly exists only for the "twist" ending that does nothing to shed light on what came before or invite a second viewing.

Weaver and Murphy play Matheson and Buckley, a pair of scientists/professors out to debunk false psychics and paranormal events.  There's an easy chemistry between the two, and Sigourney Weaver in particular is great, playing her relationship with Murphy with just a hint of the playful, sexual tension that I suspect any woman would exhibit in the presence of...well, Murphy.  The majority of what enjoyment there is in Red Lights comes from the scenes where we see them in action: in the classroom demonstrating how to levitate a table and in a brisk, Ocean's 11 sequence where they investigate and expose a psychic/faith healer in the middle of his act.  Soon the White Whale of Weaver's Dr. Matheson arrives back on the scene:  Simon Silver (De Niro), a Yuri Geller-type returning to the public after 30 years of self-imposed exile stemming from the mysterious death of a skeptical reporter at one of his shows.  Dr. Matheseon refuses to investigate him due to their past history; Buckley is adamant they expose him for the fraud he believes Silver is.

From here Red Lights devolves into a series of tired beats as strange, unexplained phenomena plague Buckley as he becomes obsessed with debunking Silver.  Electronics explode around him, birds smash into windows, and spoons inexplicably bend in coffee cups.  Unfortunately, none of this serves the story except to say, "Hey!  Here's some weird-ass stuff that's only here to provide some spooky atmosphere!  Let's all watch De Niro act mysterious some more!"  This type of thing continues to escalate until the very end, where the veracity of Silver's claims are finally revealed, and we're left with the obligatory montage of prior scenes of wackiness that are supposed to reinforce the revelation but instead reinforce the fact that the entire movie doesn't hold up as a narrative at all, but simply an excuse to get to ending Cortés (who also wrote and edited Red Lights) probably came up with before anything else.  

red lights 2.jpg

As the kickoff film to my Year of Self Examination via My Consumed Media (YOSEvMCM) Red Lights isn't totally worthless.  It reinforced the maxim that movies with twist endings have to work as more than just an excuse to get to the ending - the litmus test is do you have any desire the see the film again once you know the ending (in Red Lights case, no)?  It's a shame because the premise of scientists debunking psychics is solid, and the cast is more than capable of running with this type of material.  My hope going into this was the type of Hitchcock tension Cortés displayed in Buried on a larger scale.  But after the third smashed bird and bent spoon I should have seen where this was going and dropped it.  Which brings up the interesting question of why continue to watch when you know it's going to end badly?  In this case I think it was very an excuse to verify that the film was indeed going in the direction I suspected, which really when there are so many thousands of other more worthwhile things to do out there doesn't seem like reason enough.  

I'll have to work on that.

The Movies of 2012 (sort of)

anatolia.jpg

Forget the debate as to whether 2012 marked the end of movies or not: on a personal front it was the absolute worst year in memory for getting out to see anything in the theater.  Watching at home wasn't much better - I've been trying to really think about why I'm deciding to watch something, and "because it's new and you should review it" is no longer something I have any interest in.  One major theme I want to explore in Stranded Below Nirvana is why I'm consuming the media I am.  If we're made up of our experiences, and the vast amount of what we experience (at least in my case, something I want to change) is passively consumed via books, music, and especially movies, then it begs a close examination.  When you go on a diet the first thing you do is take a good, hard look at what food you put in your body - why wouldn't you do the same thing with the visual stimuli you're zapping into your brain at 24 (or 48 if you happened to catch the HFR version of The Hobbit in theaters) fps?

I'm not going to say the films below were subjected to the rigorous examination I want to do in the future (nor, I suspect, will many of the things I will wind up watching in 2013, but let's cross that bridge when we come to it), nor should they in any way be taken as the best 2012 had to offer - I've seen far too few movies to have any authority on that.  Instead, please think of these selections as examples of things that left their mark on me long after the screen went black. In alphabetical order:

beasts.jpg

Beasts of the Southern WildBenh Zeitlin's polarizing debut film is a gorgeous slice of magical realism that presents the Louisiana Bayou community known as "The Bathtub" through the eyes of six year old Hushpuppy.  Constructing her own mythology in between the damage of the storms and the violent striving of her drunk and angry father, Wink, as he tries to build a life for the two of them in the Bathtub, Zeitlin accentuates every moment with a sledgehammer of bright visuals, sweeping music, and powerhouse acting by the two unknown actors (Quvenzhané Wallis and Dwight Henry as Hushpuppy and Wink).  Beasts may wear its heart on its sleeve, but its storytelling and visual feast was among the best of the year.

cabin.jpg

The Cabin in the Woods:  Yes, Marvel's the Avengers made more money than some nations at the box office this year, but The Cabin in the Woods was the Joss Whedon movie of the year.  Refusing to stoop to parody, Whedon and co-writer/director Drew Goddard instead turn the horror genre on its head, crafting a hilarious and horrifying homage to everything that scares us, inverting each trope and cliche while reminding us that horror can be fun without being dumb.

chronicle.jpg

Chronicle:  In a year where you couldn't go 30 seconds without bumping into massive budget superhero spectaculars, it's easy to overlook Chronicle, unfairly lumped into the glut of "found footage" dreck arriving in the wake of the Paranormal Activity series.  But for my money Chronicle was easily the superhero movie of the year, balancing coming of age drama with superpowers and epic battles. Writer Max Landis and director Josh Trank make sure to ground their characters in a very real and painful world while simultaneously amping up the spectacle to offer characters we come to believe in even as they engage in unbelievable things.  "With great power comes great responsibility," Uncle Ben famously told Peter Parker (inexplicably missing in this year's Amazing Spider-man reboot) and nowhere was that message better spelled out than here.

django.jpg

Django Unchained:  Spike Lee aside, Quentin Tarantino's "Southern" paints the horrors of slavery in bold, bloody strokes, creating a avenging angel here to correct the ills of a bastard society with a six gun in his hand.  Or something like that - it's possible Tarantino thought it primarily a good setting for the type of violent genre splicing that is his specialty.  That shouldn't diminish the work done here:  The performances across the board are fantastic, particularly Leonardo DiCaprio and Samuel L. Jackson as evil plantation owner Calvin Candie and his head of household Stephen.  The dialog is quintessential Tarantino and the film, beautifully shot by Robert Richardson, makes full use of the physical medium of film, utilizing different grains and lenses to get to the heart of each scene.  Provoking and controversial in the same way as previous film 
Inglourious Basterds, Tarantino is moving into the apex of his career.  The one weak spot?  He needs to stop casting himself in his films...immediately.

grey.jpg

The Grey:  See that image right there?  The one all the crappy marketing sold the movie on?  Liam Neeson fighting a wolf with broken liquor bottles?  That's NOT what this movie is, and not why you should see it.  You want to see The Grey because, like 
The Cabin in the Woods and Chronicle, it uses genre as a template only to rise above it.  Liam Neeson is heart wrenching in this, as a grieving man searching for a reason to live and finding it in a situation that will almost certainly lead to death.  Directed and co-written by Joe Carnahan, The Grey feels much of the time like a dark poem, much like the one that bookends the film itself, and less like the Iron John pablum many critics leveled at it.  

looper.jpg

Looper:  I know a lot of people that can't stand time travel movies because they get all caught up in the logistics of time travel rather than the movie itself.  Those people should calm down.  Looper uses the time travel conceit not only as a mechanism for a great crime thriller, but as a study how our past haunts us, and how our needs can destroy us.  Plus, Bruce Willis actually acts again in a movie.  What's not to love?

master.jpg

The Master:  When I left the theater I didn't get what I had just seen.  I still don't think I completely got it.  But over time more and more images and scenes from Paul Thomas Anderson's latest haunt me, and the characters of Freddie Quell (Joaquin Phoenix) and Lancaster Dodd (Philip Seymour Hoffman) refuse to be easily categorized as surrogates for Scientology.  The Master is not an easy film to watch, but perhaps more so than There Will Be Blood it is an essential one.

moonrise kingdom'.jpg

Moonrise Kingdom:  Wes Anderson finally makes a film that takes place in the time period all his other movies feel like they're in, and crafts his most heartfelt story about two troubled kids finding each other, and how that romance affects the adult world in surprising ways.  Once again we get a Bruce Willis performance that doesn't rely on tired mugging, a fantastic soundtrack and score courtesy of Alexandre Desplat (by way of Benjamin Britten), and that home-made dollhouse aesthetic that is a trademark of all of Anderson's films. 

anatolia 2.jpg

Once Upon a Time in Anatolia:  Over the course of one night a group of policeman, a doctor, and a pair of brothers search the Turkish countryside for the body of a man the brothers are suspected of murdering.  Even with Kenan, the primary suspect's help, it's a difficult search - he admits he was drinking heavily at the time they buried the body, and in the dark much of the countryside looks the same.  Not much of a plot, but the beauty in Nuri Bilge Ceylan's film lies in the way we learn about each character over the course of the night, and the beautiful way every scene is lit, and the small conversations that carry you through the story and into the lives of everyone out that night, looking for a reason as much as a body.  Long and deliberate in its pacing, this is a film to savor on as large a screen as possible to take in every nuance.

paranorman31.jpg

Paranorman:  Not enough people saw Paranorman, and that's a damn shame.  Of all the films here, this one affected me the most.  Lovingly crafted by the folks at Laika (who also did Coraline), Paranorman also plays with convention, taking the tried and true zombie invasion plot and turning it on its head, giving us a tender story about bullying, fear, and accepting others' differences.  Plus, you know...zombies.

Special Honorable Mention to Girl Walk//All Day, the music video/movie set to the great Girl Talk record which, while not released theatrically, still provided more pure exuberant joy than should be allowed and ranks among the best visual experiences I had all year.  Best of all?  It's available to watch for free right here: