Under the Skin is a new film that will figuratively get under your skin with its nightmarishly surreal images and discomfiting plot. Simply put, it’s a slow-burning, almost dialogue free collection of bizarre images that possess a creepiness that leaves its evocative residue all over your mind well after the credits have rolled by. The film is careful to make sure that the weirdness is couched in ideas, specifically notions about perception and how we look at one another often from unfamiliar perspectives. Ultimately, the film feels as though it should have been fleshed out into something on an expanded scale with a more substantive engagement with its ideas. A perfect film, no. A must-see film, absolutely.
Under the Skin
Last year, the psychological thriller Prisoners was a break out hit for Canadian director Denis Villeneuve. With his follow-up film Enemy, once again starring Jake Gyllenhaal, the director embraces Hitchcockian style and atmosphere over formal plotting. Enemy is a kind of tone poem of dread and anxiety that I suspect will leave many a viewer grumpy and unsatisfied (more description would only spoil it). I for one enjoyed Villeneuve’s playful antics and commitment to the project over any kind responsibility to provide viewers with a conventional follow up. Fans will either love the Kafkaesque horror of the film or despise it for its provocative resistance to philistinism. You decide.
Writer Patricia Highsmith’s novels have been adapted for the big screen on more than one occasion. Clearly, directors from varied backgrounds have felt something motivating in her twisting tales of deception and murder. Her ominous story (The Talented Mr. Ripley) of a young American sent to Italy to return an expatriate, school chum to his father in San Francisco was the inspiration for French director Rene Clement’s (Forbidden Games) Purple Noon. This stylish, Hitchcockian adaptation was the coming out party for 1960’s French heartthrob Alain Delon as Tom Ripley, the cold and calculating con man who wants more than just a courier fee for the return of the glib, rich boy. German director Wim Wenders (Wings of Desire) took Highsmith’s Ripley’s Game and transformed it into The American Friend (1977), a beautifully shot thriller that burns slowly as a psychological portrait of desperation into one of unleashed madness, if not comically so. The late British director Anthony Minghella (The English Patient) made a patchy version of The Talented Mr. Ripley starring Jude Law, Phillip Seymour Hoffman and Matt Damon in 1999.
I Geek Action Movies and as you can guess love Jason Statham movies. I watched HomeFront this weekend and it delivered. It had fights, brawls, knives, pistols, mini guns, shot guns, explosions, and a cute little kitty cat. All the stuff I like to see in a movie. In HomeFront Jason Statham is a form DEA agent who after his wife dies moves to a small town to raise his daughter. Unfortunately Gator Bodine (James Franco) is running a major meth lab and he and Jason “have words”. Get this and many other movies at KPL.
I was afraid that the movie You’re Next was going to be just another slasher movie. Go for the gore, forget about the plot. But I was pleased with You’re Next. It did have the blood splashings and it did have a guy get shot in the head with a crossbow but it also had a guy get shot in back with a crossbow and a guy get his head caved in by a meat cleaver and a guy get his head chewed up by a blender. So yeah it had the gore. It also tried for the freaky suspense and the bad guys wore animal masks. Always creepy when can not see your attackers face and even creepier if he is wearing a mask. I gotta say it did enhance my movie experience to see a guy in a lambs head mask take a sledge hammer and use it like a golf club or maybe a crochet mallet to the head of one of their prey. It also had a bit of a mystery to it. Why are they being attacked. Mostly the suspense was what will happen next. Oh, and I did learn a few things, like if you take a board and drive nails through it, it makes a good deterrent for anyone sneaking in through your window, but it also makes them good and mad. If you are looking for a horror type movie but with humans in animal masks, try You’re Next available with many other titles at KPL.
As a new parent, my interest in stories of kidnapping and child abduction has suspiciously dwindled, and yet the stellar reviews for Denis Villeneuve’s recent film Prisoners compelled me to watch it. In it, Hugh Jackman plays Keller Dover, a survivalist father whose daughter goes missing along with her best friend. A suspicious camper is seen in the nearby area, and when the police attempt to question the driver, he behaves erratically and tries to flee. The suspect, Alex Jones (Paul Dano), is arrested, questioned, and his camper and home are combed over by a forensic crew. No evidence is discovered, and the police deem Jones to be mentally incapable of taking the children without a leaving a trace, so he is released. This incenses Dover, who believes the children are still out there, waiting to be rescued. When it’s clear that the lead detective, played by Jake Gyllenhaal, has moved on to other leads, Dover decides to take the matter into his own hands. He kidnaps Jones, holes him up in an abandoned building, and proceeds to torture the suspect in hopes that it will lead to the whereabouts of the girls.
Despite the bleak premise, Prisoners ends up sticking with you for all the right reasons. The film dares you to question how far you would go to rescue your own endangered child. At once you want Dover to push through the barriers created by a plodding police investigation, yet his vigilantism clearly veers out of control. We’ve seen Jones behave villainously, but by the time Dover has beaten him to an unrecognizable pulp, it’s hard not to feel reluctant sympathy. On top of this, Villeneuve does a great job getting the viewer to wonder whether or not Jones is guilty; in one great sequence, Dover believes he hears Jones say something incriminating under his breath that no one else around them catches, and smartly, the audio is too muffled to allow the audience to hear it either.
Prisoners succeeds in no small part because of its actors: Hugh Jackman gives a performance that in less-crowded years might have been considered for a Best Actor Academy Award nomination; Paul Dano is reliably creepy; Melissa Leo continues her streak of stellar turns; and Jake Gyllenhall brings the right level of world-weariness to the lead detective who seems to be hindered by an overwhelming bleakness that has beaten him down over the years.
When I first saw a preview for Prisoners I was put off by what seemed to be a very by-the-numbers revenge mystery. Thankfully, the film turned out to be so much more, and as I settle into this pre-Oscars period of assembling my favorite films of the past year, it’s looking more and more like this movie I cannot shake is going to make my top ten.