A few mates of mine have started up a supernatural found-footage vlog series in the style of shows like Marble Hornets. It’s a project I’m very excited about, and not just because I’ll be helping out in a month or two!
They’re only a couple episodes in, so pardon the slowness of the entries, but rest assured shit will be hitting the fan soon!
You can find their channel HERE
As some of you may know, I frequently attend anime conventions, spreading the Gospel of Geek Juice through the handful of panels I do. One of my more popular ones panels is “Japanese Horror: Anime vs Film” where, as the title suggests, I discuss horror anime, or the lack thereof, and the tropes and history of J-horror in general. Inevitably I’m asked questions about my thoughts on Movie A or if I’ve seen Movie B, but there’s one question in particular I love to get asked: “What are your thoughts on modern horror and the state of the industry?” It always provokes great discussion, but no matter the path that discussion takes the conclusion is usually “Indy horror is where it’s at.” However, if you asked me to name a handful of great Indy horror films from the last few years I’d be hard-pressed to think of many. It’s partially because I haven’t seen much, partially because the majority of what’s out there is low quality and derivative, and partially because I rarely even hear names of good horror movies thrown around for me to blindly recommend. In complete contrast to this, American Mary is a title I’ve heard about since its release, and many people I respect have called it an amazing film. Directed by the Soska sisters, American Mary shines brightly as a great example of what Indy horror can and should be, giving me hope for the future of horror.
American Mary‘s titular Mary Mason is a med student who is severely lacking in funds. In desperation she turns to stripping, but doesn’t even get the chance to do that before her would-be boss Billy whisks her off to save the life of a friend of theirs, of course compensating her $5,000 dollars. Beatress, a… shall we say “unique” individual obsessed with looking like Betty Boop, hears about Mary’s skills and commissions her to perform some body modification on a friend. From here on Mary finds herself teetering on the edge of the wild world of extreme body modification, but isn’t pushed in until she’s drugged and raped by her professor, Dr. Grant. Mary and her world are now forever changed as she sets out to be a successful surgeon in a drastically different way then she had planned.
Ignoring all eloquence on my part, let me simply put that American Mary just works. The premise works. The characters work. The film itself works. The Soskas clearly have an understanding of the technicals of cinema and use various techniques to create effective and unique scenes. At the beginning of the film when Mary saves the life of the criminal, she rushes home, pausing when she enters. After the chaos and fast editing of the surgery sequence, the Soskas give both Mary and the audience a second to take in everything that just happened and in that moment we understand every thought and emotion running through Mary’s head. They take the very weird surgeries that make up body modification and pull them into the realm of horror, not through gore as most would, but by concentrating on the violation done to a body in the process.
Mary herself is the crowning achievement of the film, easily being one of the finest horror protagonists I’ve ever seen. She’s not only more human than almost every character I see in horror films these days, but also far more likeable and realistic than most modern protagonists in Hollywood films. Katherine Isabella brilliantly brings Mary to life, but unfortunately she’s not in good company because while the other actors play their roles just fine, they lack the certain energy that Isabella/Mary have.
The film is fairly well paced, cutting off the fat and showing us the essentials of Mary’s descent. Like in a Scorsese film the scenes feel like episodes that all add up together to create a completed story. Unfortunately, American Mary doesn’t hold up its pacing forever and in its second half stumbles, leaving you with an anti-climatic ending. For some this would ruin the film, but if you keep in mind the Japanese philosophy (going back to the beginning) that the journey is more important than the destination, then you’ll most certainly find the rest of the film worth it.
One may want to push a feminist agenda onto this film due to the creators behind it and its content, but I never once thought about examining this film through that lens while I was watching it. Plot wise it feels like a standard, albeit improved, rape/revenge film and there are few scenes that provoke further analysis. There has been a notable lack of female directors in horror, but the solution to this problem is not to make feminist horror movies or prove that female directors are better. Rather, we need more movies like this one. Movies that prove nothing more then that the director, who happens to be a woman, can make a damn fine movie.
I may not have seen the largest number of Indy horror films, but I’d wager that American Mary stands out not just from all indy horror, but from all film. It’s cold without losing emotion, clinical without losing passion, and sophisticated without losing the rawness we expect from horror. There has come to be a large difference between the standards we judge modern Indy horror by and the horror classics by, but American Mary holds up against all standards. It’s one of the finest modern horror movies I’ve seen and one I’ll be returning to even when it’s considered a classic. It’s the kind of film I’m proud to bring up in discussion and I hope that inspires more directors to create films in its spirit, eventually leading us into a world where indy horror can stand tall and proclaim that it really is where good horror’s at.
What are your thoughts on American Mary or modern horror, Indy or otherwise? Sound off in the comments below!
This review and others like it can be found over at the ever amazing Geek Juice Media, for more movie and TV talk head on over to Buck On Stuff, and for more horror go to Hidden Horrors!
A couple of years ago (2012), when I knew very little about film outside having seen a lot of horror movies and watched some reviews online, I was on a podcast initially titled “The Forumcast.” I say initially because it was such a disaster that my co-hosts and I renamed it “Podwreck.” On an episode of that show we reviewed an indy 2010 film called “Rubber,” directed by Quentin Dupieux. I absolutely hated it for numerous reasons: its promising premise of a rampaging tire that was so poorly handled; its “no reason” philosophy that was used to explain away any plot holes and inconsistencies; its addressing of both Hollywood and the audience in such a “clever” manner. I couldn’t stand it and proclaimed it to be one of the most disappointing and pretentious films I’d ever seen. I was shocked to find out that not only did one of my co-hosts love it, but so did several of my classmates. It took me two years to force myself to re-examine this movie, and with an accumulated arsenal of critical and filmic knowledge behind me what are my conclusions? That “Rubber” is a rather ambitious, but ultimately mediocre film. Not exactly a drastic revelation worthy of a two year build-up.
The film has a “narrative” in the story of the killer tire and a “meta narrative” in the story of the audience and those staging the film. Through the first two-thirds of the movie the narrative part is simple enough. It’s the tale of a tire that for no reason becomes sentient and has “psycho-kinetic” powers. It roams the desert roads with little purpose except to blow up any creature it finds. There we have it. A truly interesting and unique premise that promises to not only be amusing, but also horrifying. While yes the tire’s antics do occasionally earn a chuckle, particularly in one scene where it watches NASCAR, it rarely is actually horrifying. If you’ve seen the head explosion from “Scanners” you’ve seen everything horrific about this film, and you’ve seen it eight times less than someone who has watched “Rubber.” The tire unfortunately has only one method of killing, and thus we are treated to the same sequence of events with every kill. The tire vibrates, the victim sits there, 5,4, 3, 2, 1, Boom! It’s the same thing every time and while yes the effects are fairly well done, it gets very boring after a while. It’s hard to build up tension when the audience knows exactly what’s going to happen.
Watching these events unfold is an audience. A literal one who through binoculars observe the movie the same way we do, except stranded in the desert and watching it in real time. They complain and speculate about the events unfolding over the course of a couple days, but ultimately succumb to the poisoned food planted by the “filmmakers” so that they can end the movie and go home. Unfortunately one wheelchair bound man remains, stubbornly refusing to stop watching, which puts a kink in the the omniscient sheriff’s plans and eventually leads to the meta-narrative completely taking over and becoming the narrative.
The sheriff’s opening monologue introduces the concept of “no reason” through several examples: why is the alien brown in “ET”; why do the characters fall in love in “Love Story”; and why do we never see the characters go to the bathroom in “The Texas Chainsaw Massacre”? The answer to these and questions like “Why can’t we see the air?” and “Why do only some people like sausages?” is NO REASON. While theoretically I should like this, the movie concentrates on too wide a variety of “no reason” examples xto really make clear what it’s talking about. Is it talking about poor writing? Is it talking about unexplained production decisions? Is it talking about the things the writers leave out because they aren’t relevant? Either way, the movie uses this as a launching point to turn “Rubber” into an absurdist film, which by all rights a sentient tire movie should be. The only problem is the film isn’t absurd enough. The plot makes sense, very rarely do things actually happen randomly, and once the world is established nothing abnormal happens that defies the rules. It’s actually an astonishingly straightforward movie, which is quite a shame.
While I may have put my theories of pretentiousness onto the film, interviews with the director show that this was truly a “no reason” movie. It’s a blank slate of “random” events that leave you asking questions and making theories. In this way it is a success, but the filmmakers ultimately fail at fulfilling the ambitions they had. It’s neither the “no reason” film it wished to be, nor an interesting sentient tire film, perhaps because it tried to do both at the same time. However, its blank slate nature also implies that I can’t possibly recommend nor condone this film, because each person will react to it differently, more so than with most other films. If we just examine its quality though, then it’s quite clear that “Rubber” is mediocre, unfulfilled, and not worth most people’s time.
What’s your take on Rubber? What are some other ridiculous film concepts have you enjoyed? Sound off in the comments below!
I went through all my posts and realized that this blog is 50% sub-par to mediocre reviews and 40% useless and redundant tumblr questions. The rest is random posts about things only I would understand or sappy romantic gushing. Why the hell would anyone read all this?
This has been a really bad week. Lots of rage and words that shouldn’t be expressed in a public forum.
It’s really hot and I wish I had AC but I know I technically can’t afford it, especially since I can technically live without it.
Why can’t I be creative. I’m so jealous of everyone and I want to be better but I haven’t had a usuable idea yet. I know I shouldn’t push it but I really would like to be creative for once.
Repeating “Green is not a creative color.” over and over probably isn’t healthy.
I almost wish I had someone to talk to about all this, but at the same time the chemistry isn’t quite right with anyone yet. It really sucks not being able to keep track of my thoughts because mood swings are a fucking thing. I know I’m not stable but that doesn’t mean I know what to do about it. I can still function so that’s all that matters. It’ll pass probably just keep popping pills. Wheeeee
I mean I like being a critic and all but it’d be nice to actually put something out that not only I can be proud of but people can like as well. But no I’ll probably just spend my life admiring others creativity. I’ll do my duty.
Green is not a creative color. Apparently walking around in a circle for 15 minutes with a knife in your hand doesn’t spur creativity either.
Random thoughts are random because pop culture reference.
It’ll pass probably. Plus I shouldn’t get too invested, I’ll just stop caring someday anyways. That’s apparently how that works. So many potentials, no possibilities. It’s most annoying.
Nice to be included, but I can’t be by myself as long for some reason.
Fuck you trying to sound smarter then you are.
and Fuck you for being dumb.
and Fuck you for not firing me yet, despite the fact I’m utterly useless to you.
I need a haircut.
Thanks for tuning in. This was your friendly reminder that this is a personal blog and I can’t possibly be professional all the time.
Green is not a creative color. All the boys love mandy lane. Mandy lane loves all the boys. Green does not love all the boys. Mandy lane is creative, but not me.
Pleasant nightmares everyone.