Sigh. Let me get the dumb jokes out of the way so I can get to the review:
A horror movie named MEN in the year of our lord 2022 – too easy
I mean the film not the gender HURRRRRRR
Gotta talk about the low-hanging fruit HURRRRRR
It gave me all the Rory Kinnear I ever wanted and more – SO MUCH MORE
I’d scrumble Geoffrey’s apples (well, maybe not his)
There! I had more but I’m tired. Note: I might not be at the top of my game right now with this viewing and review – I might revisit the movie in a few months to see what occurs then.
Anyway -Let me clear something further up – I didn’t hate MEN. I enjoyed it! I will own it when it’s available for purchase! I’ll break down what it did right and wrong in full later, but what you should understand now is that I am NOT hating on MEN.
MEN’s ad campaign set high expectations: there were blurbs like ‘GAME CHANGER!’, high marks from the Onion AV Club and other respectable review sources. I was expecting the film to do for discussions about the patriarchy what Jordan Peele’s GET OUT did for discussions about racism. Instead, it avoided that discussion and settled for being stylish and posing more questions than it answered.
There’s room for film that provokes conversation; it is refreshing to talk through concepts with other filmgoers, thereby expanding an otherwise solitary enjoyment to a group one. A24 does this time and time again, making (pleasant, sane) discourse all but necessary for their works. But MEN pushed right past that and brushed perilously close to incoherence.
Years ago, I used to do horror movie reviews during the month of October. Each week was themed, like Hellraiser week, Old Mansion Week, Halloween and The Kitchen Sink Week, etc.
Hello Dear Reader! It’s been a minute!
I’m attempting to reignite my enjoyment for blogging. I thought I might do that by getting back into the swing with HORROR MOVIE MONTH. This also presents an opportunity to introduce new friends and readers to my work. So if you’re new here, welcome! And if you’ve been around a while, thanks for stopping in and checking up!
Years ago, I used to do horror movie reviews during the month of October. Each week was themed, like Hellraiser week, Old Mansion Week, Halloween and The Kitchen Sink Week, etc. I’ll be reblogging some of those old reviews here for the remainder of October, and I’ll start it off with – drumroll – WEREBEASTS WEEK!
Please enjoy these oldies but goodies about people who are hairy, scary, and usually unfairly judged:
In Theaters Now entries give insight on films currently in theaters. There is a brief review, followed by a deeper dive with SPOILERS behind the cut.
To paraphrase someone paraphrasing Freud, sometimes a cigar is just a cigar… unless it’s an 80 foot phallus symbolizing man’s hubristic attempt to navigate the tempestuous deeps of the sea and therefore also the human subconscious.
Let’s dive in!
The Lighthouse (2019) is a historical thriller/horror film by the writer/director team of Robert and Max Eggers, fresh off their success of 2016’s jolly lighthearted romp, The VVitch. If you haven’t seen The VVItch please know I just made a joke and with the exception of Black Phillip, it is neither lighthearted nor jolly. The Eggerses have already cemented their reputation as masters of subverting horror tropes with The VVitch, and The Lighthouse delivers more of the same, yet different. Magnificent costumes, an eerie score, and some soon-to-be legendary performances all combine to make an instant classic.
From the very opening scene, the film establishes itself with an aspect ratio of 1:19.1, which means the image is square. Filmed with a variety of cameras and lenses, including 35mm and some antique equipment dating back to 1918, the resultant effect is distinctive. There was even a little sign on the way into the theater stating, more or less, ‘Yes it is supposed to be that way please don’t tell us there’s something wrong with it.’ Between the peculiar aspect ratio, the black and white photography, stark compositions, and claustrophobic but vivid angles, it feels almost as if you’re watching some brilliant throwback from the dawn of cinema, the age where so many cinematic horror traditions were founded. Another reason I was reminded of that age was Pattinson’s performance, as his wide eyes and shaggy hair reminded me of Conrad Veidt in the immortal Cabinet of Dr. Caligari.
The story is fairly straightforward: Ephraim Winslow (Robert Pattinson, sporting a more than passing 19th century Maine accent) has found work for the United States Lighthouse Service and is being dropped off to join Tom Wake (Willem Dafoe, genetically engineered to play this role; if he doesn’t go full Hemingway in the next 10 years we will have failed as a civilization).
The Lighthouse stands on a godforsaken, storm-washed rock infested with stroppy seabirds. The remote environment has already claimed one life, as Winslow is replacing a young man who went mad, claiming mermaids were singing to him. From the moment he arrives, Wake rides Winslow to get to work, quickly establishing a nautically flavored pecking order. Winslow is soon given almost more work than he can humanly do, and resentment blooms between the two men. The sonorous blast of a foghorn, noticeable early on and which should be jarring, inures itself and becomes no more remarkable than gulls crying or waves crashing. Wake gives Winslow task after task and insists they be done to his exacting standard, but the one thing Winslow is forbidden from servicing is The Light.
As the story winds out, it challenges the audience to read between the obvious threads: Is Wake real? Is Winslow? What really happened to the previous employee? How much of Wake’s Old Salt routine is an act, if any? What the hell is up between him and The Light?
Although Winslow manages the punishing routine well enough during his month-long assignment, a bad storm strands him on the island and he, already starting to unravel, comes straight off the spool. But anyone who’s watched the trailer knows that; the real treat is seeing it happen, how, and why. Viewers quickly realize that mysteries abound within Winslow, too.
Fans of H.P. Lovecraft, Algernon Blackwood, Arthur Machen, and the other voices of early 20th century Weird fiction will find plenty to love, as well as the dialogue, which was inspired by both Shakespeare and Herman Mellville. I will say that when the film comes out for home release I will appreciate the subtitles, as I sometimes couldn’t understand the dialogue and certainly missed crucial plot info. Fans of season 1 of The Terror, would also greatly appreciate the film and its depiction of 19th century nautical life.
In Theaters Now entries give insight on films currently in theaters. There is a brief review, followed by a deeper dive WITH SPOILERS behind the cut.
As an experience, Scary Stories To Tell in the Dark is a delightfully creepy tale. Based on the legendary book series illustrated by someone who very probably hated children and wanted them to lose sleep, the film creates a narrative out of the otherwise disparate and well-loved stories. The Wendigo (my fave!), The Big Toe, and a few others I’ll refrain from mentioning are present. The story structure is simple: taking place in Halloween 1968, some kids who trespass into a local haunted house and steal a book of ghost stories that belonged to the local crazy lady must deal with the aftermath. The book’s stories, written in blood, almost always kill the protagonist, and there are both old stories and new ones that appear as events unfold. There are haunted houses, creepy music boxes, mental hospitals, a jerk bully, and all the classic fare.
I would recommend the film for fans of horror, the original book series, and people looking for a thrill. But I stress: just because it’s rated PG-13 doesn’t mean it’s appropriate for children. One family had a 4-year-old present, and while he was chattering away before the movie, I hope his lapse into silence was because he fell asleep and not into a state of paralytic horror. Bad Parenting Decision, Random Family.
Although the movie is a delightful and terrifying romp, it didn’t have the emotional depth I was hoping for. I mention this because when Guillermo Del Toro’s name is attached to something, I expect an emotional payoff. André Øvredal directed the film and I know he knows how to tell an emotional story because he made The Trollhunter. That isn’t to say the movie isn’t worth seeing, but if you’re looking for Deep Meaning Subtext as I did, you’ll leaving feeling a bit let down.
For more in-depth discussion involving spoilers, dive below the cut!
Welcome to Horror Movie Month here at Late to the Theater! Once a year we focus on one of our absolute favorite things, horror movies! For the entire month of October we’ll review at least two movies a week, some old, some new, and usually fitting into a weekly theme. So pop the corn, pour yourself a glass of whatever, and come along for the ride! I’ll do my best to avoid spoilers!
This week is Old-Fashioned Tech Horror Week, where we take a look at some classic films that jumpstarted the tech horror boom, as well as the trend of remaking Japanese horror movies for an American audience – Yes, I’m talking about that hair-raising* classic Ringu (1998) and its spiritual sister, PULSE (2001). So defrag your hard drive, check my sound cloud (bruh!) and run a McAfee scan on that possibly haunted PDF your shady cousin just sent you, because you can’t spell ‘execution’ without .exe*!
If you’re familiar with the American version (and the memes it has spawned) then you know the story – you watch a cursed videotape and then have seven days to solve the mystery before a long-haired girl crawls out of a TV and does a herky-jerky murder dance at you. Copying the tape and showing it to someone else breaks the curse. Since I was still getting chain letters from elderly relatives in the early 2000s, the idea of being killed by not passing on some nonsense was legit terrifying.