Titane & Lamb: Did I Just Fall in Love?

Short answer: Yes, why yes I did.

When it comes to 2021 and “horror” (yes the quotations are on purpose) there’s a couple of films that had, until the last two days, popped in my mind, but hadn’t yet quite arrived before my eyes. Now that I’ve been able to rectify that and was able to see each, I can happily say they’ve made it into my heart as well. This hasn’t exactly been the year for horror, but if it means highlighting these, I am all for it. Always.

To rewind, the reason I put that in quotations is that I’m not entirely sure either should be considered predominantly horror, at least not as a defining element, even if there are sequences that definitely relish the description. I found them both to be unexpectedly poignant, and touching at times, flooring me in different (and, similar) ways too. Days later, as I reflect back on Lamb and Titane, I’m reminded of that beautiful staying power of movies, even when they are -technically- by some definition’s bonkers as F. These are two of my favorites of 2021, and I’m absolutely full of bliss to try to explain why.

Lamb (Valdimar Jóhannsson)

source: A24

Mourning. This movie begins and ends with the feeling. There’s the undeniable sting of loss that permeates throughout the story, even when things get odd, or cute, or even horrific, there’s still the underlying sensation of being “without.” This is a powerful thing.

Ingvar (Hilmir Snær Guðnason) and Maria (Noomi Rapace) appear to maintain a content existence on their sheep farm in Iceland. One day, when delivering a lamb, they make an unexpected discovery, and it brings back old wounds, while giving them new -if not a strange kind of- hope.

While not overly gratifying, it aspires greatly, and that makes Lamb standout. Even more so, it’s imaginative, which is always a reason for a hearty, enthusiastic clap. I recognize what it’s attempting, even when it isn’t completely coherent in execution, and it kept me fully engaged. In large part, it was the characters, and by extension, their performances, which really captured their affection.

This weird tale is one that may ask a lot of its viewers, especially that of patience, but it never seems small or fleeting in its presence. If anything Lamb is potent. There’s a supernatural element, that isn’t ever truly ignored, but a more intimate and personal one ends up feeling most prominent, which is that of loss. The unyielding, unmatchable feeling of being without someone you love.

There’s a tender element of Lamb, that invokes the warmth and joy of family, making even the oddest moments. I found it to be beautiful; heartbreaking and warming in equal measure. Sometimes, all we can ask for is the briefest of the lot, and Lamb seems to relish in its joy, even if it wonders if it “should” be doing so at all. Who are we to judge joy?

The cinematography by Eli Arenson is gorgeous, making me want to relinquish myself to the beauty (and sometimes terror) of the great expanse of nature. Peculiar to the umpteenth degree, Lamb finds its sweet spot in the unnatural, yet, natural places that horror can often find home.

I’d say this: don’t expect to be terrified, but be welcomed to finding a film that delves deeper and still manages to be sweet. I really relished it, and found myself unpacking elements, still, even now. This is definitely one of those films that will hit or miss, making some frustrated by the end and others pondering it for days. Lamb doesn’t take the time to explain everything, nor should it really have to. I think that this is a film that benefits from the intangible. Either way, I felt it was a sincere look at human emotions through the guise of a fantastical lens.

titane (Julia Ducournau)

source: Neon
source: Neon

Very few movies lately have struck me as much as Titane has. Despite almost seeing it at TIFF this year (it wasn’t available in my area) and hearing so much discussion on the film, I still remained in the dark about what I was going to see when I entered into this one. I’m so very glad that I did because it manages to cohesively tie together feelings that all remain on its raw (not a ref to her previous work 😏) surface. And it was wonderful. I’ve had a few conversations since with those who have seen it, but I can say, while we all didn’t have my response, we all had a visceral one. I feel like everytime I want to just explode with emotion and love, even if I can’t always wrangle the words to do so. Words are so lovely, and sometimes they just don’t do justice. Let’s see if I can now…

Either way, one of my favorite and one of the best of 2021.

After an accident as a child leaves her with a piece of titanium in her head, Alexia (Agathe Rousselle) seems to now be disconnected from the world, except for when it comes to cars, and her sexual expression. Unhappy at home, and seemingly in any sort of relationship, Alexia finds purpose in other passions. Which, eventually, get her into trouble and on the run from the law. [Being purposely obtuse].

For the first half hour of the film, I was wondering if Titane would go too far, too fast. The thing is, there are some quite dazzling sequences in this time, but my favorite is really when the exclamation point is over and the film gives into its ellipsis. What happens after someone goes, truly, over the edge?

As a big fan of Raw I was excited to see where Julia Ducournau took us next. The writer/director has truly honed her craft here, creating a layered, extravaganza of emotion and style.

In some ways I consider the film split into two, (even if there’s intersecting elements and themes) with the “before” and “after” of Alexia and Adrien, as you will. There are some truly spectacularly choreographed moments of psychosis in part one (Ducournau is so good with musical choices/sequences) and in part two, there’s the real tender, heart-rending part. The one that makes you wonder deeper about the person you had been watching previously, committing heinous acts, and who has you considering the humanity in us all. Especially, the sensation of heartache and connection. Our stories mold us.

I don’t want to spoil too much, but even when it gets truly meaningful there is always this tenuous thread of oddity, sown into the fabric of Titane is the most wonderful of ways. This isn’t everyone’s film, but for us, weirdo’s out there, I can’t imagine a more satisfying dive.

So, let it take a hold of you, because it will push you- prod at you, and pull you into some far reaches of your psyche and body you don’t expect.

Part body horror, part emotional rollercoaster and part stylistic thriller, Titane is powerful because of its ability to weild multiple weapons at once.

The relationship between Alexia/ and Vincent (Vincent Lindon) is one of true wonder, moving and earnest, because -while- its birth is out of a place of distrust- its settlement is within a place of necessity and mutual healing. Both of these individuals need the other, they just didn’t know it until now. We’re all broken in ways, and sometimes we don’t know or expect who/what will be our healing grace.

There’s so much to absorb, I don’t know if I can express my love verbally enough. This is a film that moved me, shook me, shocked me, but ultimately made me yearn to be as meaningful as this medium can be.

It is one of the extraordinary reasons that I continue to keep film as my savior, my confidante, and most importantly: my joy. That unexpected twinge.

Titane is absolutely exactly as it has been sold. If by that you mean amazing, yes, it is one of the best of the year. Wholly original, I would suggest any who expects their cinema to inspire and upend to see.

I was really swept up by both of these movies, and I would suggest any cinephile experience them before 2021’s end.

Spooktober Day 25: A Dose of The Twilight Zone

For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.

Okay, so this isn’t film, it’s TV, but it’s damn good TV. Especially when it comes to early inspirations for horror. The Twilight Zone had some of the most creative uses of the genre that I had seen. It was intelligent, innovative, and damn creepy. Growing up, my family had the ritual of watching marathons that aired on the sci-fi channel on New Year and the 4th of July. No matter how many times I’ve seen these, they never lose their appeal, and often, as I get older, I find even more to appreciate. If my roots are horror, The Twilight Zone was a very influential seedling.

I was flying recently, looking out on the wing from my window, and like I have every time I’ve been in this position, a tiny part expects some beast to make an appearance. Am I disappointed when there isn’t? Perhaps.

There are so many that I can’t possibly begin to concentrate on them all, and while they aren’t all as good (how can there be when there are so many) it’s clear from any viewing how much of a genius Rod Serling and the creatives were, so here are just some of the ones that left the biggest impact. This was a show, that -for its time- pushed the envelope, questioned things many often ignored, and peered into the great expanse of fearful possibilities. It stared into the abyss, it got weird, and thus, has left quite the impression on us all.

I believe that when it comes to The Twilight Zone one should go in without knowing very much, so I’m going to leave this list as a jump start to your Zone-time, and hopefully, you’ll be creepily delighted, as you experience something integral to my weirdness.

A Stop at Willoughby” (Season 1, Episode 30)

“The After Hours” (Season 1, Episode 34)

“The Howling Man” (Season 2 Episode 5)

“Eye of the Beholder” (Season 2, Episode 6)

“Nick of Time” (Season 2, Episode 7)

It’s a Good Life” (Season 3, Episode 8)

The Dummy” (Season 3, Episode 33)

Stopover in a Quiet Town” (Season 5, Episode 30)

Do you have any favorites yourself? I’d love to know!

Malignant (2021): What the…What?

It isn’t news that James Wan is a notably formidable presence in the horror world. While I generally enjoy (most of) his work, I can’t say that I predicted what Malignant would end up being.

If you’re reading this than you must know me or have at least have an indication (from my site name alone) that I’m someone who enjoys being surprised in horror and in the weird. Well, I’m happy to say that all three of these words would come up in a thought bubble when referring to this film. This is a very weird, surprising, horror film.

source: Warner Bros. Pictures

After a horribly traumatic event Madison (Annabelle Wallis) begins seeing strange hallucinations, as if she is there, with people being murdered. The who and what of these visions is eventually explained, but it has her digging into her own past, and questioning reality.

Told in a narrative design that upends as much as it does stall for answers, Malignant takes its time with clarity and then explodes into what I can only describe as the right kind of outrageousness.

It’s a film that isn’t afraid to take risks and doesn’t mind getting encompassed by the strange. The third act is really where it comes to life in absurd wild fashion providing a twist that is really unexpected.

I found myself actually laughing at the first scene where the twist is revealed, both out of surprise and also entertainment. It’s wild in its delivery, but it’s honestly what saved the movie for me. I often wondered after if I wished I could have known early on, but it wouldn’t have been as shocking if I had.

source: Warner Bros. Pictures

Malignant takes on an often dream-like, nearly trippy quality, and plays out some pretty impressive visuals that cascade over even the least flattering parts of the script. Some of the dialogue and by extension, acting, seems a bit off, but one wonders if that was part of Wan‘s decision with the film, which feels at once retro and also new. Often times the film seems to be self-aware and making a remark on itself as much as horror movies in general. As you watch you feel like it’s formulaic, but then comes a heavy swing that has you seeing past the tropes first pitched to you.

Sometimes the pieces don’t completely fit. In fact, they’re tossed at you like discarded notes throughout, but once you tape it all together it -well- still looks whacky, but it at least makes you feel less confused, and giddily intrigued.

It’s memorable, it’s bonkers, it’s Wan but more unhinged than he’s been. And yes, he made Saw. There’s camp, there’s creepy, and there’s most certainly a dose of wait…what? The final act is frenzied, bloodied and unrelenting.

Undoubtedly, Malignant will be a film that doesn’t hit all audiences in the same way. As a movie that embraces its outrageousness with open arms, there’s a admirable quality that may often get looked at as too far reaching, but I dug it.

Malignant is current in theaters and on HBO Max until October 10th

A Taste Of Beetlehouse NYC

It’s been a couple of weeks now since I got to visit this lovely Tim Burton themed bar/restaurant, and I’m glad I’ve had time to reflect because it only confirms that the magic of the venue was real.

With locations in both NYC and LA, this features uniquely themed food and drinks, with a variety to tickle any fancy, and (depending on location) performers and adequate aesthetics to capture the Burton mood in us all.

I visited the one in Manhattan, NY, and while I hope to someday venture to the West Coast site, I can only confirm the experience here.

While Beetlehouse isn’t a large spot it packs a lot into its walls. Not long after arriving my group was set with drinks and and choices for the prefix menu, as well as a “Willy Wonka” impersonator who delighted us for most of the night.

One of the things most can appreciate about Tim Burton– fan or not- is his ability to create an atmosphere you won’t forget. Well, luckily, I can report that this inspired locale does as well.

As far as the menu, right now given the current circumstances we live in, there’s a set variety you can choose from. Yes, it’s limited, but there is still something to satisfy most: from fish, a couple non-meatless options (as well as vegan) and then the big burger: Edward Scissorhands. And yes, it comes with scissors in the top. This restaurant goes for full immersion.

With an appetizer, a dinner and a dessert (plus the drinks- oh the drinks!) it’s quite worth the price, but mostly, the experience. I loved the attention to detail from the Beetlejuice style tables to the many decorations and artwork. I took a stroll around the place and found myself reveling in all of the different pieces that, being the movie fan I am, I immediately registered. As a geek, I absolutely adored this aspect, and while I might have loved it for that either way, I am happy to report that this restaurant has the full package.

Satisfied with the inventive drinks, the tasty food, and the overall weird ambiance, I’d recommend any movie fan visit this fun, hip, and very fulfilling locale.

It’s Showtime. 🙂 Cheers

For more information (and to make a reservation) check out their website here: https://beetlehousenyc.com/

Wonderfully Weird: Freaked (1993)

Wonderfully Weird: Freaked (1993)

Wonderfully Weird is a column that asks, how weird is it? Does it pay off? And sometimes- what the hell just happened? The wonder of film revolves around its ability to vary in perspective from one person to the next. This column is all about the asking- and by extension me, answering with my take. What’s yours?

Occasionally, I have random memories of a film I saw when I was younger. It was odd, obnoxious, had Bobcat Goldthwait as a sock puppet. (If you haven’t seen it, this is real.)

Of course, I’m talking about the 1993 bonkers, Freaked, directed by Alex Winter and Tom Stern, and written by Tim Burns, Tom Stern, Alex Winter.

The Premise?

Celebrity Ricky Coogin (Alex Winter) is hired as a spokesperson for an obviously seedy company. When he’s traveling to South America for said organization, his friend Ernie (Michael Stoyanov) and newly met Julie (Megan Ward) stumble upon what, some might say, is the worst kind of “Freakshow” roadside attraction you can imagine.

Wonderfully Weird: Freaked (1993)
Freaked (1993)- source: 20th Century Fox

Headed by Randy Quaid, what they fall prey to is a place that tests this chemical on people, creating them into an assortment of body horror mixed with some interesting practical effects, which has an array of stars as different attractions. They are all prisoners in this fever dream of a film. There are a lot of cameos, including Keanu Reeves and Mr. T, all in their various characters.

There’s no easy way to describe Freaked. Part dark-comedy, part low-budget horror, part… *brain is having trouble with a word that can describe*- at times the film borders on so outrageous that it makes you wonder if it should have ever been made. Then, there are situations where the feature ventures on a level of incohesive-ness that’s actually fun, and you find yourself laughing out loud. Some of the makeup and practical effects are pretty impressive, and some of the humor (when it isn’t only odd for the sake of being so) is quite clever. 

Is it amazing? No. Is it weird? Ah… hell yeah. Alex Winter as the arrogant actor who ends up quite actually getting a taste of his own medicine is just the jumping-off point for the narrative that unfolds. There’s a lot within the story that is nonsense, but it is entertaining and zany for a reason. If you can get past the intense tonal injection, and just let it roll over you- you might just have a good time. 

Regardless of your final take, Freaked, (and this could be because of some nostalgia-glasses my child self is still wearing) is a movie that is most definitely hard to forget.