Film

Viewer Discretion Advised: 17 March, 2007

Going through the possible motion picture presentations every week, it's fascinating to see how the premium movie channels are expanding and diversifying. For example, Moveiplex (a division of Starz) has just announced the start-up of two new services – Indieplex and Retroplex. Each one addresses what the company sees as underserved cinematic categories – in this case, independent films and classics from the past – and each one is hoping that rabid film fans will agree. It's not an unusual move – Encore (another Starz subsidiary) has always divided up its content into mysteries, romance, westerns, etc. But as more and more outlets open up – channels devoted exclusively to foreign films, or horror – it becomes harder and harder to keep track of the options. With the big pay networks offering multiple feeds and On-Demand services as well, the choices are almost limitless. Thankfully, for the weekend beginning 17 March, one easily accessible feature clearly stands out:

Premiere Pick

Silent Hill

It's all about the creepy in this big screen adaptation of the popular videogame series. Thanks to the brilliant direction of Brotherhood of the Wolf's Christophe Ganz, and the spectacular set design and F/X work of his capable crew, what could have been your standard scary movie becomes a troubling look at an (after)world gone insane. Many of the more frightening moments have very little to do with the odd assortment of monsters and mayhem that actresses Rahda Mitchell and Laurie Holden must overcome. No, the real terror lies in not knowing the rules of this particular locale, and the consequences that occur whenever an eerie air raid siren sounds, signaling the return of 'the darkness'. It's hard to describe how vibrant and visceral this movie is, especially in an era which substitutes blood and brutality for genuine scares. In a year of many excellent fright fests, Silent Hill stands as one of the genre's best. (17 March, Starz, 9PM EST)

Additional Choices

Take the Lead

Antonio Banderas goes Mad Hot Ballroom on a group of troubled New York kids, arguing that there is no problem in life that cannot be overcome through dance. While it's territory that's been covered a hundred times before, something about the sight of Mr. Melanie Griffith shaking his moneymaker has an indescribable charm. If you can overcome the schmaltz, you might enjoy this feel good urban pulp. (17 March, HBO, 8PM EST)

The Family Stone

One of last year’s under the radar delights, former fashion executive Thomas Bezucha deconstructs the knotty connections between kinfolk with this fresh, occasionally formulaic comedy. Sarah Jessica Parker is the uptight, Type-A personality who finds herself awash in the title clan’s free-spirited spontaneity. Dermot Mulroney is her boyfriend, and the prodigal Stone. While there is much more drama here than humor, Bezucha keeps the revelations and the reactions honest. (17 March, Cinemax, 10PM EST)
.

The Devil's Rejects

Rob Zombie taps into the long lost exploitation zeitgeist to create this superior follow up to his 2003 film House of 1000 Corpses. Less stylized than said spook show debut, and featuring some amazing moments of disturbing viciousness, this shock cinema vérité is unbelievably accomplished. Sadly, this promising terror auteur seems to be going backwards with his upcoming Halloween remake. (17 March, Showtime, 10PM EST)

Indie Pick

Audition

Ten years ago, he was literally unknown to Western audiences. Then this startlingly original movie came along, and cinephiles everywhere stood up and took notice. Noted for his combination of the beautiful and the grotesque, and never sparring his audience the onscreen shivers that can come from both, the talented Takashi Miike has since gone on to become a certified cult icon. From Ichi the Killer to his banned Masters of Horror episode, Imprint, he has consistently pushed the envelope when it comes to blood and guts. That's clearly the case here, the story of a widower holding 'try outs' for a nonexistent film as part of a plan to choose a new bride. To say the tables are turned on this lonely lothario is an understatement. While there are many who believe Miike merely makes geek shows, there is a lot of artistry here as well. (20 March, Sundance, 12AM EST)

Additional Choices

Boogie Nights

After Hard Eight failed to deliver anything but major critical kudos, writer/director Paul Thomas Anderson decided to fully explore his Robert Altman-esque muse with this multi-layered, multi-character look at porn through the '70s and '80s. Featuring a star making turn for Mark Wahlberg, and a momentary career rebirth for Burt Reynolds, this impressive human dramedy remains one of the '90s great masterworks. (18 March, IFC, 9PM EST)

sex, lies and videotape

It was the film that announced the independent film renaissance, a stunning dissection of life and love between detached, alienated individuals. Introducing Stephen Soderbergh as a director to watch, and giving the brilliant James Spader the role of a lifetime, this Cannes Film Festival winner remains a powerful, personal statement. (19 March, IFC, 7:10PM EST)

Road to Guantanamo

It's an odd experiment in narrative assemblage – a part documentary, part fiction film revolving around the Tipton Three, a trio of British Muslims arrested and held in the infamous American military prison for two years – only to be released, uncharged. Thanks in part to the shocking recreations, based on the testimony of the men involved, we get a window into the way in which our current government manages the so-called 'war' on terror. (19 March, Sundance, 10:15PM EST)

Outsider Option

Spider Baby

It had a reputation of carnival barker proportions. Supposedly lost, then rumored to be too "shocking" for release, this low budget brain bender from writer producer Jack Hill still stands as an idiosyncratic eye-opener. Featuring Lon Chaney Jr. in one of his last roles, as well as the sensationally surreal sight of newcomer Sid Haig as the repugnant Ralph, this madcap macabre touches on murder, mayhem, and that tasty taboo of the post-modern world – cannibalism. Presented as part of Turner Classic Movie's new Underground series (though typical host Rob Zombie is AWOL thanks to present production commitments), you will not spend a better 81 schlock filled minutes in your fright fan lifetime. They just don't make 'em like this anymore – and once you've seen Spider Baby, you'll know why. This is one seriously screwed up horror comedy. (16 March, Turner Classic Movies, 2AM EST)

Additional Choices

The Hills Have Eyes (2006)

Taking on the classic (?!?) Wes Craven cannibal epic, French fright master Alexandre Aja (the wonderful Haute Tension) decided to explore the backstory of the horrifying mutants at the center of the scares. The result was one of the most startling last act confrontations in recent cinema, and a remake that surpasses the original freak show gratuity. The upcoming sequel will apparently offer more of the same. (19 March, ActionMax, 8PM EST)

Babette's Feast

Food is frequently used as a metaphor in film – as an extension of, reason for, or substitute to living. Here, Danish filmmaker Gabriel Axel uses the title repast as a way of bridging the gap between family, religion and the past. Winner of the 1988 Oscar for Best Foreign Film, it’s the kind of movie that whets your appetite as it simultaneously stimulates your emotional core. It's indeed a meal fit for a king. (19 March, Indieplex, 11:45PM EST)

The Long Goodbye

When approached about remaking the classic Raymond Chandler story, American auteur Robert Altman felt a little uneasy. The material, in his mind, needed to be modernized and filtered through a post-counterculture concept of cynicism and mistrust. In the end, he delivered one of the '70s defining films, a narrative perfectly in sync with the Watergate weakened resolve of a stunned society. (21 March, Retroplex, 8PM EST)

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image