Latest Blog Posts

by Bill Gibron

23 Mar 2010

Wes Anderson should have been an author. Though he works in film, he remains a true man of letters at his core. There is a cinematic literacy to almost every movie he makes, an attention to detail that only the writer has the luxury to explore. From the quirky heist hedonism of Bottle Rocket to his recent reinvention of Raold Dahl’s kid classic, The Fantastic Mr. Fox (now available of DVD and Blu-ray from Fox), he’s invested his motion picture oeuvre with a depth and complexity of vision usually reserved for the vaunted print artform. He builds layers into his characters, universal truths topped with abject idiosyncrasies to create fictional individuals who are both wildly entertaining and aesthetically symbolic. By the time he’s done putting the finishing touches on a film, such flourishes mesh into a clever combination of old school storytelling and the Great American novel.

Perhaps most interestingly, his focus is almost always on family, be it the unintentional bond between bratty Max Fisher and substitute father figure, industrialist Herman Blume or the actual biology of the bumbling, brilliant Tenenbaums. Equally intriguing is how diverse and yet similar they all seem, dysfunctional on their surface (and occasionally, in situation) while warm, wise, and soulful inside. This is also true of the stop-motion members of the Fox clan - Father (voiced by George Clooney), Mother (Meryl Streep), son Ash (Jason Schwartzman) and interloping cousin Kristofferson (Eric Chase Anderson). Toss in the ancillary clans of badgers, rats, and the villainous farmers Boggis, Bunce, and Bean, and it seems everything centers around close interpersonal connections and the comedy/cruelty that can come from same.

by Bill Gibron

7 Mar 2010

There really no fun in it anymore. Long ago, before the seemingly continuous announcement of every PGA/WGA/DGA award in existence, before the creation of the SAGs, Oscar used to be a tad more unpredictable. Sure, when the Academy first started, studios could literally buy one of those coveted little gold statues. Even today, people argue that major studio politicking can take a given Best Picture player (Saving Private Ryan) and turn it into a surprise last minute also-ran (Shakespeare in Love). Still, thanks to the Internet, the onslaught of critics groups (and their complement of acknowledgements) and the seemingly tedious grind toward the red carpet, many of the winners are long predetermined.

So predicting is really no fun. Sure, you can sometimes sense an upset in the making (see Alan Arkin in 2007), or pray for some last minute left field finish (GO AVATAR!). But for the most part, every piece of the pre-Oscar puzzle leads one to an evening of anticlimaxes. Will we be pleased if some of the givens go home empty handed? Perhaps - it all depends on who or what exactly gets the bridesmaid vs. bride treatment. Will we scream if at least a couple of these certainties turn into Robin Williams/Marissa Tomeis? Damn straight, Skippy! While we will definitely be back to Monday morning quarterback the slick off these celluloid symbols, until then, enjoy these less than educated guesses. They won’t help you win the office pool, but they probably represent the best bet when it comes to figuring out the funny little movie muddle known as Hollywood, starting with the biggest one of all: 

by Bill Gibron

9 Feb 2010

In less than three days we will see what, if anything, new Oscar winning actor Benicio del Toro and replacement director Joe Johnston have to offer the whole ‘man into beast’ fright film formula. Ever since CG became a staple of scary movies, Hollywood has been trying to reinvent and reinvest in the werewolf film - The Wolfman being the result of such revisionist retro reach. Long a staple of schlock and serious filmmakers alike, this undoubtedly allegorical narrative (human’s channeling their inner creature) has been the basis for both straight forward storylines (as in Universal’s original classic with Lon Chaney Jr.) and oddball reinterpretations (Dr. Jekyll and Mr. Hyde, perhaps?).

It’s not a flawless formula. There have been some relatively rough examples of the ‘cad into cur’ saga that definitely try even the most obsessed fright fan’s patience. For every shoddy, schlocky attempt, however, there have been one or two wildly successful efforts. Avoiding all the ‘bat vs. wolf’ histrionics that make any Twilight at test of Underworld mantle, and stayting clear of the whole “old school, time lapse facial fur” ideal, SE&L suggests these ten titles. Each one illustrates how effective - and ethereal - the whole late night/lycanthrope subject can be.

by Bill Gibron

27 Oct 2009

Gather around neophyte fright fans, it’s time for a long overdue lesson in what is truly scary. Somewhere along the way, you’ve been misguided, believing that being startled equals a feeling of dread or a shorthand for suspense. For the record, both emotional responses are completely and utterly different. Shock is a sudden sensation, one that comes from the unexpected or the unanticipated. A car pulls out in front of you as you precede through an intersection; the cat jumps on your computer while you are cluelessly chatting with your Facebook pals; a door slams or a vehicle backfires while you weren’t paying attention - each one of these situations produces a considered response, one that can have a deleterious effect on your psyche. You’re jumpy. You’re afraid. But unlike being truly scared, such a feeling is merely temporary, a momentary lapse before rediscovering your fairly consistent everyday comfort zone.

No, fear is literally spine tingling and chilling. It seems under your skin and raises the fuzz on the nape of your neck. It brings about sleepless nights, eyes open as the darkness descends on your already anxious thoughts. Being scared is being constantly reminded of the reason for your fright, of being unsettled for no obvious reason except for the subject of said terror. A loud bang might bring about a couple of minutes (or hours) of unease, but the sensation soon goes away. Terror should be something that sticks to you like a leech, sucking away your resolve until you can no longer stand the stress. Being startled therefore is not the same thing, and as a result, any movie that functions as a series of jolts is nothing more than the cinematic version of a defibrillator. It may be startling, but it’s not also scary.

Last weekend, Paranormal Activity was the Number One film in the nation, raking in almost $22 million at the box office. Declared by some limited perspective websites as “the scariest movie of all time”, this $15K clunker is really nothing more than 90 minutes of meandering followed by five minutes of predictable “BOO!”. No attempt is made to deliver suspense, to take the viewer through a collection of connected scenes leading to an unholy feeling of trepidation. No, like those YouTube video where people tell you to look closely at the screen before a photoshopped version of Regan MacNeil’s devil face pops up and causes you to jump, director Oren Peli realizes he can’t get you with style or storytelling. So he sets up a video camera, cranks up the stillness, and then systematically showers the viewer with nothing more than anticipatory, formulaic surprise. Again, it’s startling, but it’s not scary.

A couple of years ago, another unlikely hit, The Strangers, followed a similar format. Though we did have the notion of blood and gore as a byproduct of the shocks, the entire movie was made up of two people responding to door knocks, window crashes, footfalls, and the sudden appearance of masked mugs. Again, there was no attempt to get the audience to identify with the plight of the people involved (not the failed relationship aspect - the being surrounded by psychos part) and after the initial jolt, director Bryan Bertino went right back to boring us to death. Indeed, the false scare has been a scary movie mandate since the beginning of the artform. Before complicated elements and psychological chills became part of the fright flick landscape, the carnival dark ride ideal was the main creative ploy used by artists and hacks alike.

Unfortunately, it’s not as easy to define scary. Being startled is almost universal. You have to be incredibly laid back or uber-cynical not to flinch when something comes unexpected flying at you (as in Paranormal Activity‘s finale). But fear is a lot more ambiguous. It’s like phobias - some people can’t stand heights, while others would hang out at the top of a tall skyscraper if they could. Others hate bugs or certain types of animals while others embrace these subjective fear factors. Going back to something said previously, being scared is about being disturbed, about worry that won’t go away, about dreading the next image or idea coming up on the screen (or into your brain). True, some can mistake the adrenaline rush of a probable shock as something akin to the scary experience, but true terror comes not only from what is seen - it’s the unknown element or concept that is waiting around the narrative corner, claws sharp and fangs caked with grue.

As mentioned before, The Exorcist is an example of one of the scariest movies of all time. It’s definitely shocking and highly upsetting, but there is more to it than crucifix masturbation and a Satan influenced potty-mouthed adolescent. William Friedkin used the unusual setting to discuss the growing generation gap between ‘70s youth and supposedly tuned-in parents, exploring divorce, separation, and selective parenting along the way. Author William Peter Blatty tapped directly into the lingering superstitions surrounding religion and its rituals while referencing a supposedly real life case of possession. The combination created a kind of perfect supernatural storm, the constant bombardment of evil and everyday explanations setting the stage for a finale so horrific it remains a genre classic.

Similarly, Dario Argento brought a Mediterranean view of macabre to his brilliant horror crime thriller Deep Red (Profondo Rosso). Using a standard whodunit set up (a famous psychic is killed, and a jazz musician tries to find out who…and why), the famed filmmaker takes us through a wicked whirlwind of childhood trauma, familial secrets, and one of the creepiest abandoned manors ever. All the while, blood sprays, gloved killers conspire, and a horrific atmosphere is manufacture out of pure visual wonder. Like The Exorcist, Argento’s movies (including Suspiria and Inferno) function as psychological stumbling blocks. They do not let you rest. You cannot easily forget them. And when the time comes to turn off the lights, to try and settle in for a little sleep, the visions created in both efforts lie right along with you, replaying in your tired, troubled mind over and over again.

Unless a tree limb falls on your roof overnight, memories of Paranormal Activity are not going to disturb your slumber. It’s like a rollercoaster or other amusement park thrill ride - a few moments of empty edge of the seat thrills followed by a slow fade into memory. Indeed, the embracing of this idea as scary seems indicative of the contemporary tread toward better-than-instant gratification. We want our pulse quickened and we want it now! No time for character development or careful plotting. Shock us, startle us, and then let us get back to our cellphones. If that’s all you want in a horror film, there are perfectly perfunctory examples of same currently showing. Once you’ve been jolted and jostled, why not give some real fear a try. Then you will hopefully know what truly is “the scariest of all time.”

by Bill Gibron

12 Oct 2009

With its fourth place finish at the box office this weekend, $7 million-plus haul, and continuing buzz about its scary movie status (or lack thereof), Paranormal Activity has once again spiked renewed interest in the oddball combo category known as Found Footage/Mock Documentary horror. Used sporadically since the inception of post-modern era, this experiment in attempted authenticity has been rather hit or miss. For every proposed blockbuster, there are an equal number of mere busts. In fact, with the advances in technology, more independent filmmakers are trying their hand at such a stunt-oriented style. More times than not, it doesn’t work (see the crappy Chronicles of an Exorcism for further proof).

In light of all the hype surrounding Oren Peli’s limp haunted house saga, SE&L has decided to recommend 10 films it feels does a much better job with the cinematically sticky format. Not all of these movies succeed - in fact, more than a couple are just as underwhelming as Paranormal‘s dull demon attack. But when given over to proclamations and unnecessary superlatives, it’s nice to get little added perspective on what you’re celebrating. If the movies mentioned here are any indication, the current cause celeb will have a long way to go before it matches the menace generated by its commercial cousins. Let’s begin with one of the original attempts at combining fact with fiction:

//Mixed media


"No Dollars in Duende": On Making Uncompromising, Spirited Music

// Sound Affects

"On the elusive yet clearly existential sadness that adds layers and textures to music.

READ the article