Pathology (2008)

I do not dislike this 'movie' because it is 'sick' or 'disturbing' or anything else other viewers brand it with. I dislike it because it is unbelievably written, badly acted, and takes itself so seriously that you are hardly even able to laugh at the pure ridiculousness of the script. "Pathology" features poor performances from Milo Ventimiglia (who displays about four or five facial expressions, tops, but mostly gives us his broody face) and Michael Weston (who wins the honor of being the most unbelievable villain of the year.)

Drinking game time.

. Take a drink whenever a cadaver is shown or discussed.

. Take a drink whenever there is unnecessary sex scene.

. Take a drink whenever someone gives someone else a intense or significant look.

. Drink every time you snort at the pure idiocy of the script.

   Ted Grey (disgustingly transparent symbolism in name, check!) is a med student who leaves his girlfriend (Alyssa Milano) to study at a morgue. He is immediately ostracized by the other students. When he makes a 'deep' comment about the innate evil of humanity at a bar, he temporarily wins their respect and they let him in on their secret- they have formed a group where they kill an undesirable member of society and the others try to guess how the murder was committed, using their med school skills.

   The very beginning and the very end are... not bad, but the rest of the movie is so terrible you might have to pinch yourself to stay awake. "Pathology" is full of pseudo-profound comments about the darkness that abides within human beings that an emo eighth-grader could have written. The characters are singularly unlikable- it would be hard to find a more reprehensible bunch than featured in this movie, and I'm not letting Ted off the hook.

  The moral issues behind he killings of the undesirables, as immoral as some of them are, are never explored in any depth (remember, they 'deserve' it,) while some of the scenes are so silly that you'd have to be high on a gigantic amount of cannibus to find any value in them. Take for instance, the scene where Ted and femme fatale med student Juliette (Lauren Lee Smith) get intimate at the scene of the murder they have committed, having passionate sex across from the dead body. Are we supposed to take this shit seriously??

Ooh, better make this face throughout the flick so I look 'intense.'

   Which brings me to another subject, the acting. Ventimiglia can't act. Weston can't act as the main baddie, 'Jake.' Smith tries to play a sexy-but-dangerous stone cold killer, but tries so hard that the performance simply comes off as awkward and inexperienced. The movie continually tries to be as immoral and sleazy as possible, but what does it achieve? Nothing.

   "Pathology", quite simply, is bad. It is so bad, in fact, that I nearly didn't care that my mom's idiot dog was barking in my ear through the second half of the movie because it almost mercifully blocked out some of the awful dialogue. I hated this movie. It is terribly made in almost every respect, and I don't want to hear its title ever again.
                                               Rating-
                                                       2.5/10

Martyrs (2008)

 
 There are no words to describe how f**ked-up this movie is. I have not seen "A Serbian Film," which is supposed to make "Martyrs" look tame in comparison, but I truly do not know how it's going to top this. I've seen "Antichrist," "The Human Centipede II," "American Mary," but nothing like this. This movie is spirtually and physically sickening, which is exactly how the filmmaker,Pascal Laugier, intended it.

   Okay, I'm probably just riling up you gorehounds, so I'll cut to the chase. To say that this movie is nauseating is not to say it's bad. It's actually very well-made and well-acted from start to finish. Actress Mylène Jampanoï does a great job as the frightened victim turned infuriated perpetrator, and Morjana Alaoui is also terrific as her enamored friend.

   Although Anna (Alaoui) harbors a lesbian crush on Lucie (Jampanoï,) her sexuality isn't a huge part of the plot. Instead, the movie is about the giving and receiving of physical punishment (not the least bit pleasurable; sorry, BDSM enthusiasts,) and just how far the rich and selfish will go to secure their own peace of mind, with no regard to the people they hurt.

   Maybe comparing the premise of this movie with current class issues is a long shot, but damn it, it sounded smart to me at the time. Lucie is inexplicably held prisoner as a child and subjected to physical pain. Young Lucie (Jessie Pham, in a performance worthy of her grown-up counterpart,) runs away and ends up in an orphanage, where she meets Anna (played as a child by Erika Scott) and forges a close bond.

   Anna seems determined to help Lucie no matter what squirrels reside in her attic and continues to be a faithful friend and companion when Lucie grows up and, P.O.-ed and dangerous, takes a shotgun to a couple she believes participated in her torture and their teenaged children.

 

 This movie is super brutal and fairly realistic, and establishes itself as such in the home invasion scene. Unlike a American movie, Lucie runs out of shotgun shells and needs to reload, and the reaction of the family radiates terror, but perhaps, not surprise. The movie a sick (let me rephrase that- sicker) turn after Anna is captured by Lucie's tormenters.

   The ending is a 'What the Hell?' moment and will leave you thinking about what it all means. The cinematography is very professional and overall well-done. The scenes involving Anna's entrapment last a little too long, frankly. How many times can we watch a woman be smacked around and degraded when it doesn't advance the plot?

   The movie makes the decision to focus on young Lucie rather than her captors in the flashbacks, which is a good cinematic choice considering Lucie is traumatized by the experiences and initially doesn't remember her victimizers. In many of the later scenes with Anna, we see her abusers very clearly, constrasting with with the earlier scenes with Lucie.

   I thought this was a very well-made movie, but only watchable for people with very strong stomachs. It's not a popcorn movie, and neither does it intend to be. I liked it, but I don't think I could watch it again anytime soon.

                                Rating-
                                       7.5/10

American Mary (2012)

Moral depravity, sexual deviation, and extreme body modification are  all on gut-churning display here in "American Mary," a surprisingly polished indie horror film with a impressive performance by Katherine Isabelle.

   As someone who found "The Human Centipede II (Full Sequence)" too strident, I can say I found that "American Mary" had a well-needed (and unnerving) realism that adds a kick to the violent scenes, of which there are many. Oh, boy, you have no idea.

   Mary Mason (Isabelle) is a seemingly normal, attractive aspiring surgeon who is introduced to the world of Extreme Body Modifications. Want laces sewn through your back? 'Need' horns applied to  your head for a more demonic look? Mary is on the job.

The Human Centipede II (Full Sequence) (2011)

Is it nuts to expect more from a movie like "The Human Centipede II" (Full Sequence)? With a premise and set-up like this, what can you expect, except for a few good scares and a whole lotta gore? But with an intriguing killer like Martin, I was actually hopeful, and disappointed by the never-ending, and I suppose inevitable, stream of torture that followed.

   I guess I would have liked to have seen more Martin, less of the centipede. More scathing black humor, less of the gore? Crazy? Maybe. But my love of all things fuck-upedly psychological led me to wish for an entirely different movie.

   I'll be honest and straight-up and admit that I haven't seen Tom Six's controversial original (and at this point I don't think I'll bother.) But to those uninitiated few, I'll describe the original premise to the best of my abilities. Sensitive readers, stop right here. It only goes downhill from here.

Film Review: Pan's Labyrinth

Writer/Director: Guillermo del Toro

Year Released: 2006

My Rating: 5/5 Stars

Ofelia (Ivana Baquero) is a bookish, imaginative little girl trapped in a harsh world. She and her pregnant mother have come to live with her new stepfather, Captain Vidal (Sergi López), an officer in Franco's army. The Spanish Civil War recently ended, and Franco's fascist regime is battling tenacious groups of resistants taking refuge in the forest.

You might suspect that being one of Franco's generals is a role that would require a special penchant for brutality. But Captain Vidal goes above and beyond the call of duty.

Mum & Dad

The movie world is made up of four different kinds of families: the normal families (much less common than the latter varieties, and debatable, as no family is totally normal), offbeat families, and crazy families, for starters. Then there's the titular Mum & Dad clan, which brings us to the scariest and most dangerous variety, umpteen steps past crazy, and reveling in their own perversion.

   It's hard to even call them family, as such. Only one child, the severely brain-damaged Angela (Miciah Dring), is their own. The others are kidnapped additions brainwashed into adhering to the family's rules. These are vindictive Birdie (Ainsley Howard) and her silent "brother," Elby (Toby Alexander). It kind of reminds me of the 1970 horror film Girly, in which "new friends" are brought forcibly into a family of depraved Brits, If Girly were applied with the visceral brutality of a blunt hammer.

   The newest addition is quiet Polish immigrant Lena (Olga Fedori), who meets the loquacious Birdie at the airport where they both clean. Lena isn't stupid; she's just awfully polite -- too polite to follow her instincts. When Birdie and Elby "accidentally"  make Lena miss her bus, she goes home with them, against her own better judgment.

   Enter "Mum and Dad" (Dido Miles and Perry Benson). Mum is a manipulative, slick sexual deviant. Dad is also a deviant, who hits Lena over the head and rapes raw meat in front of his family (the camera then closes in on the cum in the meat *gags*). It's the kind of family relatively normal people stay away from, and Lena is not only determined to survive, but to escape.

   To remain free of all pretenses, I will just call a spade a spade -- this is a torture flick, competently executed, but mostly devoid of any higher purpose, deeper meaning, or pathos. It does sport, however, an intense and cleverly executed ending and decent acting (best from Dido Miles, who plays a soft-spoken psychopath so well). As a note to people who, like myself, can stomach graphic violence but have trouble with sexual assault, there are no rape scenes in this film, although sexual perversion is prevalent.

   Lena is a likable heroine, and although she certainly doesn't bring about fascination, the viewer will want to see her through. The film is primarily set in the home of the killers, with shots of airplanes soaring overhead, conveying a feeling of distance and one's desperate need of rescue going unnoticed. Now that I have called a spade a spade, I recommend Mum & Dad to extreme horror buffs and those with (very) strong stomachs.

Red, White, & Blue

If you have seen this director's previous U.S.-available effort, The Living & the Dead, you'll know the drill- everything that can go wrong does, and his films navigate the uncomfortable grey areas of the human psyche. Being a fan of Simon Rumley's The Living & the Dead, I decided to check it out, despite similarly mixed reviews and a nagging feeling in the back of my gut.

    Boy, this film is brutal. If Rumley meant to outdo the violence and nihilistic tone of his previous movie, he succeeded. All the main characters make uniformly bad and immoral decisions, and all of them suffer for it. The movie starts out with a sleazy feel, with promiscuous Erica (Amanda Fuller) getting into bed with random strangers at a nightclub.

     Then she meets Nate (Noah Taylor,) who got a honorable discharge from Iraq. Although he tips her off almost immediately that he has a history of torturing and killing animals, Erica is drawn to him, mostly because he is the first man in a long time who doesn't seem to be after sex.

   The film then puts a third character into the mix, Franki (Marc Senter), who is taking care of his sick mother Ellie (Sally Jackson. whose kind and sympathetic character reminds the viewer of Kate Fahy's Nancy in The Living and the Dead.) Franki has a rock band going with his various buds and hates his father. The family is thrilled when Ellie goes into remission, but tragedy lurks just around the corner, and Erica's crime has unexpected repercussions.

   Gandhi's advice, "An eye for an eye leaves the whole world blind," seems to apply here. Like Todd Field's In the Bedroom, revenge only hurts those who practice it, and no one seems to get much gratification out of it (except for one, who is basically a sociopath.) But even the sociopath is capable of compassion,, which makes the dynamic between the characters all the more puzzling.

   . I love Rumley's style, with his moral ambiguity, interesting cinematography, and tense situations. But Red, White, & Blue has scenes and gaps in storytelling that make it seem less professional. The music during the torture scenes, for instance, is discordant and not in a good way, like taking bad inspiration from Psycho. Some scenes open awkwardly in the middle of the action, and end just as uncomfortably. An example is when Erica is almost raped by a co-worker.

   The beginning shot of the scene takes place in the middle of the attack, and Nate lingers for a moment before hitting the attacker with a hammer off-screen. The next scene shows Nate approaching and sitting next to a teary Erica. But happened to the would-be rapist? Was he killed and his body disposed of? Arrested? Taken to the hospital? He disappeared without a trace. There are several scenes like that, which leave the viewer rather confused.

     Some of the dialogue is rather stiff and drawn out, and several lines sound alien from the way  anyone I know speaks. The acting is good, however, with unknown actors (Amanda Fuller, Marc Senter) turning in capable performances. Noah Taylor, who you may know as the teenage version of the pianist David Helfgott in the biopic "Shine," does creepy and brutal nicely. And the last scene of violence goes above and beyond over the top, amounting to one of the most disgusting things I've seen in a long time.

     Should you see it? Despite panning reviews, it's not "only an exploitation film." Although it is a bit rough at times. it has a sense of style and has Rumley's essential humanity, light amongst the darkness. Go see it if you have a strong stomach, and be sure to watch The Living and the Dead, which has a classy Gothic atmosphere and more involving, likable characters.