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The true story of teen surfer Bethany Hamilton, who lost her arm in a shark attack and courageously overcame all odds to become a champion again, through her sheer determination and unwavering faith. Soul Surfer 2011 review :
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A soldier-turned-high school teacher uses unusual methods to reach to a class of poor students, while dealing with a greedy entrepreneur and his gang of fighters as well as the government. Big Brother 2018 review :
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Title : Hostiles Hostiles genre : Drama, Western, History Hostiles crew : Francine Maisler, Kathy Driscoll, José Antonio García, Jonathan Fuh, Donald Graham Burt, Max Richter, Donald Stewart, Jo Edna Boldin, Scott Cooper, Scott Cooper Hostiles release date : 18 March 19 6 2 Hostiles runtime : 134 Minutes Hostiles Crew : Francine Maisler, Kathy Driscoll, José Antonio García, Jonathan Fuh, Donald Graham Burt, Max Richter, Donald Stewart, Jo Edna Boldin, Scott Cooper, Scott Cooper Hostiles cast : Christian Bale, Rosamund Pike, Wes Studi, Jesse Plemons, Adam Beach, Rory Cochrane, Ben Foster, Stephen Lang, Timothée Chalamet, Jonathan Majors ========================ஜ۩۞۩ஜ==========================
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A legendary Native American-hating Army captain nearing retirement in 1892 is given one last assignment: to escort a Cheyenne chief and his family through dangerous territory back to his Montana reservation. Hostiles 2017 review : RELEASED IN LATE 2017 and written & directed by Scott Cooper, “Hostiles” is a Western starring Christian Bale as a renowned Army captain who grudgingly agrees to escort a dying hated chief (Wes Studi) & his family from New Mexico to Cheyenne lands in Montana in 1892. Rosamund Pike plays a grieving settler that the detail picks up on the way. Rory Cochrane plays Sgt. Metz and Jonathan Majors Corp. Woodsen.
While the flick starts great and the Western "road movie" plot is full of potential, some elements are too contrived/unlikely (e.g. the whole fur trapper episode) or wannabe heavy (e.g. Sgt. Metz' apology in the rain) and the film just wallows in unrelenting glumness. Still, there is some good in it and you’ll discern a glimmer here or there. It's just that after the excellent set-up, I thought I was in for a great Western, but it wasn't to be. The script needed serious rewriting.
THE MOVIE RUNS 2 hours & 14 minutes and was shot in New Mexico/Arizona/Colorado. ADDITIONAL WRITER: Donald E. Stewart.
GRADE: C/C- (4.5/10) _Four Weddings and a Funeral Except the Weddings Were Actually Just Extra Funerals._
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._ I've killed everything that's walked or crawled. If you do it enough, you get used to it.
Hostiles is directed by Scott Cooper and Cooper adapts the screenplay from the story written by Donald E. Stewart. It stars Christian Bale, Rosamund Pike, Wes Studi, Rory Cochrane, John Benjamin Hickey, Jeremiah Wilks and Jesse Plemons. Music is by Max Richter and cinematography by Masanobu Takayanagi.
In 1892, legendary Capt. Joseph J. Blocker (Bale) reluctantly has to escort his old Cheyenne adversary Chief Yellow Hawk (Studi) and his family through dangerous territories. The aim is to get them to the Cheyenne tribal homelands of Montana so Yellow Hawk can get his wish to die in peace.
Where we at these days with the grand old bastion of American cinema, the Western? The only real constant is that thankfully for lovers of the form there are new directors willing to tackle the genre and bring something to the newer generations. Here we have Scott Cooper, who right from the off hasn’t hid the fact that Hostiles is his rallying call for a better world, or at least a better understanding of different cultures. What better way to cry out than to do it in a Western, using the Indian Wars as the backdrop. Perfect really.
Hostiles jumps right out of the blocks to grab you by the throat with soul shattering violence, with Cooper and his team initially facing charges of old by fronting up a one sided argument – but there is more. Quickly a switch ensures that both sides of this particular bloody coin have been tossed, scene set for what will follow. A meeting back at Fort Berringer where Captain Blocker receives the orders he simply doesn’t want to obey is in hushed tones, yet the words being spoken are brutally loud and to the point. And on to the journey, damaged souls unbound who not only have to fear hostiles from outside their group, but the hostiles within it and within themselves.
As the story moves through the journey undertaken by our protagonists, the makers have not cut corners with the characterisations, the emotional development of the principals is one of the film’s strengths (cast are superb, there’s a real authenticity to their respective performances). Also worthy is the pacing, it is deliberately unhurried and allows the characters to breathe, it also gives the jolts of action more potency, whilst simultaneously we can absorb the stunning landscapes (New Mexico/Arizona) and rejoice at the pleasures of an outdoor Western. While how nice it is to have a musical score that doesn’t blunderbuss the important sequences, rounding out what is a top technical production.
There’s some irritants here, though, so it’s not perfect, and this is before it is marked poorly by those not in sync with the messages of the piece. Ben Foster turns up as Philip Wills, a most edgy character that makes one wish there was far more of him in the pic, for as it is it ends up feeling a bit pointless since he only emphasises what we have learned about Blocker at the start. Then there’s a key turn of events for the story’s coup de grâce that leaves a frustrating taste in the mouth, not as a film killer or even close in fact, but it should have gone another way one feels. Especially given the two sides of the argument stance Cooper and co had began with.
Yet this is for Western fans a real treat, following in the footsteps of new era classics like Dances With Wolves and Unforgiven, Hostiles may have a new age sensibility in its narrative thrust, but traditionally old age adultness propels it forward. 9/10
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Title : Suspiria Suspiria genre : Horror, Fantasy Suspiria crew : Avy Kaufman, Dario Argento, Dario Argento, James Vanderbilt, Brad Fischer, David Kajganich, David Kajganich, Daria Nicolodi, Daria Nicolodi, Frank Kruse Suspiria release date : 22 April 19 6 7 Suspiria runtime : 152 Minutes Suspiria Crew : Avy Kaufman, Dario Argento, Dario Argento, James Vanderbilt, Brad Fischer, David Kajganich, David Kajganich, Daria Nicolodi, Daria Nicolodi, Frank Kruse Suspiria cast : Dakota Johnson, Tilda Swinton, Mia Goth, Angela Winkler, Ingrid Caven, Elena Fokina, Sylvie Testud, Renée Soutendijk, Christine Leboutte, Małgorzata Bela ========================ஜ۩۞۩ஜ==========================
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A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director, an ambitious young dancer and a grieving psychotherapist. Some will succumb to the nightmare, others will finally wake up. Suspiria 2018 review : Luca's "Suspiria" brought me no words.
The horror in this movie is not like anything else I've ever heard or seen. The sheer film in Luca's "Suspiria" is not like anything that is made by major movie studios such as Columbia, Paramount, 20th Century Fox, Disney, and the like. Director Luca Guadagnino transitioning from the LGBTQ+ drama adaptation "Call Me By Your Name" — transitioning to the avant-garde, psychological study in his version of famed director Dario Argento's 1977 "Suspiria".
Horror movies today don't scare me. Horror movies of the 21st century seem to be involved in so much gratuitous gore, typical plotlines, a roulette set of actors playing quasi-characterization, varying degress of quality. Luca's "Suspiria" — a horror movie from 2018 — did not scare me. Luca's "Suspiria" unnerved me. Luca's "Suspiria" built slowly in tension, but also captivated me with raw interest — "Suspiria" dealt its final blow, finishing with a nightmarish sixth act and an epilogue.
Argento's "Suspiria" is a movie out of time in its own way. Argento's "Suspiria", a film released in 1977, looks fresh and modern — Argento's "Suspiria"'s fixation on primary neon colors and gore — Argento's "Suspiria" with prog-rock, percussion score by the band Goblin. Director Dario Argento, however, does not like Luca's "Suspiria". Director Dario Argento claims it is without spirit, fear and music — Argento thinks the design is beautiful, so Guadagnino must have done something right.
Luca's "Suspiria" is a movie unlike anything out of sheer audacity to become its own. Luca's "Suspiria" in the way it handles narrative into six different, self-contained "acts" ending with an epilogue — Luca's "Suspiria" in its washed-out, bleak setting complementing queer, disenfranchised coloring and nonconforming visual narrative — Luca's "Suspiria" with its brooding realism, mysterious witchcraft and black magic — Luca's "Suspiria" with mesmerizing visuals; unexplained syntax; self-contained exposure; restraint. Horror in Luca's "Suspiria" is much more than simple disgusting imagery — Gore in Luca's "Suspiria" is far and in between, but is visceral and disgusting all the same — Nudity in Luca's "Suspiria" is all female, except one male.
Politics and dance in Luca's "Suspiria" are vital to understanding 2018 "Suspiria". Dance carries witchcraft and spells, and with it — uncompromising emotion, femininity, power, and rawness. The German Autumn of 1977, in which Luca's "Suspiria" is set in a time where Berlin is divided into East and West (and when Argento's "Suspiria" was released). The Lufthansa hijacking and the RAF faction. The mention of the Third Reich by Dr. Klemperer as a religion, and a delusion. What is and is not a delusion.
There's something dramatic about Luca's "Suspiria" itself. Dr. Lutz Klemperer in losing his beloved wife, Anke, in the Holocaust. Sara in losing her beloved friend, Patricia. Madame Blanc in beginning to love her newfound daughter, only to regret what she has done to her. The three girls in the ritual wishing for death, to be given a motherly kiss and then die. Klemperer's meek inability to stop what he has witnessed through psychotherapy; his helpless stature in the finale. His erased memory to absolve him of his guilt, and of what he had to witness.
Dakota Johnson; the one actress from the terrible, mainstream "Fifty Shades" film trilogy. Dakota Johnson becomes remarkably unnerving, feminine, sexual, motherly, and incomprehensible. Tilda Swinton — her counterpart, Lutz Ebersdorf. Tilda Swinton's role as a matriarch and founding mother of a coven; Lutz Ebersdorf's role as a skeptical psychotherapist; a grieving widow. Chloe Grace Moretz as a politically-troubled woman; unstable woman; paranoid woman. Everyone's performance as their roles felt utterly average — Everyone's average performance as their roles grounded reality to the movie.
Thom Yorke in the music department did a nice job. Thom Yorke's score for Luca's "Suspiria" evoked the mood of a 70s prog-rock band with a niche for ambient synthscapes, musique concrete moods and piano experimentation; if we're judging Thom Yorke's soundtrack, its a nice collection of songs that should have been a Radiohead double album than a soundtrack. Of course, Thom Yorke's score did not always fit Luca's "Suspiria"; Some scenes with Thom Yorke's pieces grated the scenes' moods to pieces, yet in a similar manner as Goblin's score for Argento's "Suspiria". * A movie that left me deeply unsettled, and scared in my subconscious. A movie that made me depressed when it was depressed. A multi-faceted piece, Luca's "Suspiria" is a rooted testament in femininity and matriarchy. Luca's "Suspiria" is a movie without words. **_Politically juvenile, with a troubling approach to the Feminine, but it's certainly convinced of its own profundity_**
> _It did not excite me, it betrayed the spirit of the original film: there is no fear, there is no music. The film has not satisfied me so much._
- Dario Argento's assessment of _Suspiria_; _Un Giorno da Pecora_ (January 18, 2019)
Released in 1977, Dario Argento's giallo classic _Suspiria_ (the first part of his _Tre madri_ [_Three Mothers_] trilogy) has a plot you could fit on a stamp – a young American dancer goes to the famous Tanz Dance Academy in Freiburg im Breisgau, Germany, only to find it's a front for a witches coven. That's it, and as the film barely leaves the confines of the Academy, there is no contextualising of the plot against any kind of socio-political background. By no means is it a good film, with terrible acting, a dire script, and laughable effects, but it's immensely enjoyable, partly because it's genuinely creepy in places, but mainly because it doesn't take itself too seriously; the filmmakers know it's nothing more than a surreal, gaudy, style-over-substance, shock-for-shock's sake, Grand Guignol head-trip, and they lean into that identity rather than trying to transcend it. Luca Guadagnino's remake (yes folks, it's a remake) is the polar opposite – it has an intricate plot covering all manner of themes and topics, featuring several new characters, and setting everything against a complex socio-political background; the acting and effects are excellent; it takes itself very, very seriously; and it continually tries to prove to the viewer that it is much more than a piece of kitsch horror. According to Guadagnino, his version of _Suspiria_ is a "_homage_" to the "_powerful emotions_" of the original (it's a remake), whilst actress Tilda Swinton calls it "_a cover version_" (it's a remake). The real question, however, is not how similar or dissimilar it is to Argento. The real question is whether the film is a beautifully mounted insightful exploration of female sexuality, a celebration of a self-contained matriarchy set against the destructive chaos of a failing patriarchy, and a psychoanalytical investigation of national trauma and World War II guilt, or is it an overlong, dull, self-important, incoherent mess, that in trying to be both feminist and feminine somehow ends up being both misogynist and misandrist? Working kind of like a hybrid of Nicholas Winding Refn's _The Neon Demon_ (2016) and Darren Aronofsky's _mother!_ (2017), the film is as far as you can get from Guadagnino's more recent work, specifically _A Bigger Splash_ (2015), and _Call Me By Your Name_ (2017); one can only imagine what people who expected more of the warm sun and delicate eroticism seen in those films must have felt after spending 152 minutes in an arid Berlin winter, witnessing bones pushing through skin, decapitations, night terrors, meat hooks being used in ways meat hooks were not intended to be used, Holocaust survivors, political terrorism, and witches trying to organise an election.
Set in "Divided Berlin" in October 1977, the film is divided into six acts ("1977", "Palaces of Tears", "Borrowing", "Taking", "In the Mütterhaus (All the Floors are Darkness)", and "Suspiriorum") and an epilogue ("A Sliced-Up Pear"). It begins with Patricia Hingle (Chloë Grace Moretz, who appears to be cornering the market in rubbish Hollywood remakes), a student at the prestigious Helena Markos Tanzgruppe [Helena Markos Dance Academy] arriving at the home of her psychoanalyst, the Carl Jung-in-all-but-name Dr. Josef Klemperer (Tilda Swinton, credited as Lutz Ebersdorf). Terrified and not making much sense, Hingle tells Klemperer she has discovered something sinister about the Academy and is now in fear for her life. Although Klemperer believes she is delusional, he is concerned for her well-being, but she flees, leaving behind her diary. Meanwhile, Susie Bannion (Dakota Johnson), a Mennonite from Ohio, arrives at the Academy hoping to audition. Impressed with her abilities, lead choreographer Madame Blanc (also Tilda Swinton, channelling Pina Bausch), admits her to the Academy. Becoming close with her roommate, Sara Simms (an excellent Mia Goth), Susie quickly finds herself dancing the lead in the Academy's upcoming piece, _Volk_. Meanwhile, in Hingle's diary, Klemperer reads that the academy is a front for a witches' coven, and learns of the "Three Mothers", a triumvirate of powerful witches who predate Christianity – Suspiriorum (Sighs), Tenebrarum (Darkness), and Lachrymarum (Tears). At the same time, he is trying to find out what happened to his wife, Anke (Jessica Harper, who played Susie in the original), who disappeared in 1944 after he tried to convince her it was safe to remain in Berlin. Meanwhile, the Academy's matrons hold an election to choose the coven's leader, with Blanc running against Helena Markos (also Tilda Swinton!), a vote which Markos narrowly wins. Unaware of any of this, as Susie becomes increasingly close to Blanc, Sara grows suspicious of the matrons and begins to investigate on Klemperer's behalf.
Guadagnino has been obsessed with Argento's original since he first saw it in 1984, and in 2007, he optioned the rights and hired David Gordon Green to write and direct a remake (there's that word again), something with which Argento himself was not especially pleased, believing the film didn't need to be remade. In 2013, Green revealed that legal issues had prevented the film from being made, and in 2014, he also cited the escalating budget. However, in 2015, Guadagnino announced that he himself was now directing a "_homage_" (it's a remake), from a script by David Kajganich (_The Invasion_; _True Story_) which focused on "_the uncompromising force of motherhood._" Guadagnino's _Suspiria_ is the kind of horror movie that goes for slow-burning psychological dread (there is literally not a single jump-scare), and from the time the project was announced, it has divided opinion, something which continued when it was released; it's that rarest of films whose Metacritic scores range from 0 (for example, Mike LaSalle's review for the _San Francisco Chronicle_) to 100 (for example, Joshua Rothkopf's review for _Time Out_).
As the plot outline should make clear, the film deals with a variety of weighty themes, one of which is the political turmoil of the era. Set in October 1977, the events of the _Deutscher Herbst_ [German Autumn] are constantly on the fringes of the narrative – the film opens with a street demo; radio reports speak of Ulrike Meinhof's death in police custody in May 1976, the imprisonment of Andreas Baader and Gudrun Ensslin, the activities of the far-left, anti-imperialistic terrorist group _Rote Armee Fraktion_ [Red Army Faction - RAF], the hijacking of _Lufthansa Flight 181_ by the Popular Front for the Liberation of Palestine, and the kidnapping of Hanns Martin Schleyer; the story the academy put out to explain Hingle's departure is that she has joined the RAF; a bomb explodes off-camera.
And it is in relation to politics where we encounter the first, and most certainly not the last, of the film's problems. Arguing that Germany's failure to process their Nazi past and confront their national shame is manifesting as political disenfranchisement, Guadagnino employs a pseudo-Jungian approach to show that the country's political turmoil runs parallel to the struggle for control of the coven. Emphasising that the world of witches was once harmonious under the rule of the Three Mothers, just like Germany, it has now devolved into factionalism, complete with backroom political manoeuvring, subterfuge within the ranks, and animosity bordering on aggression. Within this dynamic, the matrons are the privileged ruling elite, and the students are the uneducated and disenfranchised "_volk_".
But to what end does Guadagnino make this parallel? What is he trying to say? Rarely have I encountered a narrative which employs such blatant yet inconclusive and vague political contextualisation. Take the Berlin Wall as an example, which is literally right outside the Academy's door. Why is it there? Why are there so many shots of it? What purpose does it serve in the narrative? The answer is, none. It's purely ornamental, with Guadagnino seemingly hoping for meaning by association – people see the Wall, and immediately begin to attribute to it all manner of allegorical significance, when in fact the film itself suggests nothing of the kind. And none of the other political symbols amount to much more; they certainly don't inform any grand thematic statement or political thesis. Guadagnino bombards the viewer with empty historical and political themes which do nothing for the central storyline, functioning instead as decoration, utterly trivialising and completely disconnected.
Also important in relation to the film's politics is _Vergangenheitsbewältigung_ ["Overcoming the past"] – essentially, post-1945 Germany's attempt to come to terms with World War II and the Holocaust. This is primarily seen in Klemperer's search for his wife, which throws up another problem. Klemperer, who is not in Argento's original, is a surrogate for the audience. Nothing wrong with that, it's a standard screenwriting technique used to facilitate more organic exposition. However, Klemperer is an extremely distracting and painfully on-the-nose device to afford Guadagnino a vehicle for a political subplot, which is completely superfluous to what is happening in the coven. Every single reference to Anke could be removed from the film, leaving Klemperer as simply an amateur detective trying to find out what happened to Hingle, and the film would work just as well. In fact, it would work better. As his search for his wife becomes more prominent, and he becomes more central, all that is achieved is the waning of the central plot. In a story ostensibly about the Feminine, it's rather troubling that the emotional core of the film is male. The film's preferred point of view is his, with even the epilogue focusing on him. Klemperer is quite literally a man in a woman's world, but exactly why Guadagnino felt the need to shoehorn a man into a story about women is anybody's guess.
Which brings us to another theme; femininity (if not necessarily feminism). That the film is deeply interested in this is shown in a number of ways. For example, Susie is told by head matron Tanner (Angela Winkler) that the academy ensures the "_financial autonomy of our girls_"; speaking of Nazi Germany, Blanc says the regime wanted women to "_close their minds and keep their uteruses open_"; Susie is reminded that "_before the war, Germany had the strongest women_". Additionally, Klemperer is played by Swinton, meaning the film effectively has an all-female cast (the only other men with any lines are Glockner and Albrecht (played by Mikael Olsson and Fred Kelemen, respectively), two completely useless policemen whose main scene involves the witches hypnotising them and mocking the size of their genitalia). However, the film isn't interested in idealising female empowerment. Instead, it depicts a matriarchy beset by disruption and the chaos of a struggle for power. As Guadagnino tells Jezebel,
> _if we talk about the Great Mother, we cannot deny the terrible mother. True feminism is something that doesn't shy away from the complexity of the female identity._
But does the film imply that a powerful group of women is something to be inherently feared? Partly. Indeed, the very theme of witchcraft itself (perhaps the purest historical manifestation of the patriarchy's fear of female agency) carries an undercurrent of misogyny, which is not helped by the nudity and repeated violent objectification of the female body. There's a very thin line between condemning the male gaze, which is what Guadagnino claims to be doing, and recreating it, and it's a line which _Suspiria_ frequently crosses (for an excellent example of a film which recreates the male gaze for the purpose of satirising and ridiculing it, see Coralie Fargeat's superb _Revenge_). Maybe the problem here is simply that a story inherently about matriarchy, female empowerment, and the importance of motherhood, is a story a man can't tell very well. I'm reminded of Sofia Coppola's remake of _The Beguiled_ (2017), of which she argued,
> _this story had to be directed by a woman. The essence of it is feminine, it's seen from a female point of view._
_Suspiria_ also has a feminine essence, but it doesn't have a female point of view, and one can't help but wonder what a talented female director like Coppola, Mary Harron, Patty Jenkins, or the genius that is Lynne Ramsay would have made of this material.
However, even aside from these problems, there are a plethora of other issues. The character of Blanc, for example, is poorly written, and is stripped of agency towards the end of the film, so by the time of the _dénouement_, she anti-climatically does little in the direction of either outright evil or redemptive good; instead, she just kind of hangs around. As for the matrons, apart from Tanner, none receive an iota of characterisation; they are simply a jumble of non-individualised background extras. The same is true of the dancers. Indeed, there's an absolute dearth of subjectivity or interiority for anyone beyond Susie, Blanc, Klemperer, and, to a lesser extent, Sara and Tanner. There's a cliché-riddled scene showing Blanc telepathically channelling nightmares to Susie, full of images of skulls, worms, rotting flesh, etc. Nothing we haven't seen a hundred times before. Finally, the film is immensely silly in places. For example, the much-talked-about climax is presided over by what can only be described as a female Jabba the Hut wearing sunglasses. Another example is after Susie first dances at the academy, she confides to Blanc, "_it felt like what I think it must feel like to fuck._" "_Do you mean fuck a man?_" asks Blanc. "_No_," replies Susie, "_I was thinking of an animal._" Of course you were.
From an aesthetic point of view, however, there's a great deal to admire, as one would expect from Guadagnino, who is working with much of the same crew as from his last couple of films. Walter Fasano's editing is wonderfully disjointed, often cutting maniacally between inserts, barely affording the viewer time to register the images. The compositions and camera placement of cinematographer Sayombhu Mukdeeprom (_Uncle Boonmee Who Can Recall His Past Lives_) are also fascinating, often putting the camera in such a position as to purposely give a less than perfect view of a particular space. Combined, these two techniques are disorientating and frequently defamiliarising, rendering mundane geographical spaces such as offices, dorm rooms, and rehearsal studios as foreboding and unknowable, almost protean, never allowing the viewer to forget that something is not quite right in this _milieu_. Contributing to this sense is the blocking, particularly the recurring motif of staging conversations so that one character is off-screen, only visible to the audience via reflection. Especially noticeable is the film's colour, or lack thereof. Whereas Argento's original was awash in garish and exaggerated reds, purples, blues, greens, and yellows, Guadagnino's remake was conceived as "_winterish_", with as limited a use of primary colours as possible; grey, beige, and brown predominate. Giulia Piersanti's costumes are also superb, with Susie's wardrobe noticeably changing from conservative dresses and sweatpants to more revealing tank tops and shorts as she gains in confidence. Thom Yorke's Krautrock-style score is also excellent, as different from Goblin's prog-rock music from the original as you could possibly imagine.
The cumulative tension and dread are also reasonably well managed in the first half of the film, and there are individual scenes of great brilliance. At one point, Sara goes snooping around the Academy, finding something genuinely shocking, the reveal of which is masterfully staged by Guadagnino and Mukdeeprom. Easily the best scene in the film is the one that so traumatised audiences at CinemaCon 2018. As Susie performs an especially energetic dance for Blanc in one room, unbeknownst to her, she is psychically linked to a dancer in another, and every movement of her body is manifested violently in the other room, with the other dancer being flung about like a rag doll. The scene is horrifically gruesome, with bones piercing through flesh, blood and urine flowing copiously, and limbs contorting into truly disturbing positions. What really sells the scene, however, is the combination of Fasano's brilliant intercutting (maintaining continuity of movement from room to room cannot have been easy), Damien Jalet's superb choreography, and the disturbing sound design by Frank Kruse and Markus Stemler (_Cloud Atlas_; _In the Heart of the Sea_; _Assassin's Creed_) contrasting the sharp snapping of breaking bones with the wetter sounds of those bones penetrating flesh.
Self-indulgent like little else I can think of, _Suspiria_ is absolutely convinced of its own profundity. Far, far too long and far too self-serious, its themes and messages are poorly iterated, it's insanely dull for long periods, and it's badly unfocused. It's almost an hour longer than the original, and, honestly, it uses that hour to say precisely nothing of interest. The simple fact is that the slight story at the film's core (a coven of witches using a dance academy as a front) is unable to bear the massive weight of themes and narrative diversions heaped upon it; the vehicle just can't carry the message. Its politics are no more insightful than tabloid headlines, and serve only to detract from what is supposed to be the narrative's focus. Ultimately, it has little to say about femininity, feminism, political protest, the Holocaust, Cold War Germany, or World War II guilt, but it damn sure works hard to convince us it has a great deal to say about such topics. As cold as the Berlin winter it depicts, _Suspiria_ is equal parts emotionless, mechanical, and dull. I have never seen original Suspiria, but saw this remake and all I can say - it had very unique atmosphere. It was different from a mainstream horror movies. It's not for everyone. If you're fan of SAW with lots of gore or even Conjuring series with lots of makeup and effects, you might not like this movie. Here most important part plays music, dance, places & characters involved in witchcraft that together creates creepy atmosphere. Movie is quite long and if you watch it at night and especially alone, it will give you effect of a nightmare dream. It's one of those weird movies that only few people understand and love. This movie is an abomination. I truly wish this hadn’t been labelled a remake and had just been something new that was inspired by Suspiria or something. Imagine taking the most beautiful movie in the world and being like why don’t I make this ugly as hell. It’s also ridiculously long. One of my most hated movies.
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Title : Dragged Across Concrete Dragged Across Concrete genre : Crime, Action, Thriller Dragged Across Concrete crew : Mary Vernieu, Robert Jones, David Boulton, Lisa Love, Danny Nowak, Roger Dole, Ric Walkington, Marko A. Costanzo, Lauro Chartrand, Craig Kyllonen Dragged Across Concrete release date : 25 May 19 1 0 Dragged Across Concrete runtime : 158 Minutes Dragged Across Concrete Crew : Mary Vernieu, Robert Jones, David Boulton, Lisa Love, Danny Nowak, Roger Dole, Ric Walkington, Marko A. Costanzo, Lauro Chartrand, Craig Kyllonen Dragged Across Concrete movie cast : Mel Gibson, Vince Vaughn, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Fred Melamed, Udo Kier, Tattiawna Jones, Justine Warrington ========================ஜ۩۞۩ஜ==========================
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Two policemen, one an old-timer, the other his volatile younger partner, find themselves suspended when a video of their strong-arm tactics becomes the media's cause du jour. Low on cash and with no other options, these two embittered soldiers descend into the criminal underworld to gain their just due, but instead find far more than they wanted awaiting them in the shadows. Dragged Across Concrete 2019 review : With its moral ambiguity and explicit violence, ‘Dragged Across Concrete’ is ugly, bleak, brutal and vile in the best ways possible. The film’s true target audience, though, is patient connoisseurs of highbrow-lowbrow combo platters who are eager to watch a cast of bad men navigate a slow-motion descent into hell. Understandably, it’s not everybody’s cup of tea, but if you’re already a fan of S. Craig Zahler’s oeuvre, elaborate dialogue and exploding heads, you’re in for a treat. - Jake Watt
> **Tom Grater**: _The film has quite a complicated relationship with race, there are moments in it that make the viewer feel uncomfortable. Can you talk about that approach?_
> **S. Craig Zahler**: _I don't try to put out a socio-political message. I've publicly railed against 'message' movies, I think they're didactic. For me, it's about a bunch of people from different walks of lives who get pushed into certain corners. We have had plenty of films that say "war is bad", "racism is bad", "love is good". That's what blogging is_ _for. The effects of being a police officer, carrying prejudice within you, and the damage that can come with it - that's stuff I wanted to play with. I think there will be people who watch this movie and find the two cops repellent and people who find them relatable and sympathetic. That's by design._
- "Venice Q&A: _Dragged Across Concrete_ director S. Craig Zahler - "I don't think US cinema is in a good place"" (Tom Grater); _Screen Daily_ (September 7, 2018)
> **Nick Schager**: _Some critics consider your films conservative-oriented, and_ Dragged Across Concrete _has only reinforced that view. Do you agree with those assessments about your work's politics?_
> **S. Craig Zahler**: _I'm not politically driven; I'm not very politically interested. None of the stuff I write comes from the point of view that I want to push an agenda, or have a piece that is subservient to a single thesis statement that I hope will enlighten the world. I think_ Bone Tomahawk _and_ Dragged Across Concrete _have multiple characters and viewpoints, and I write all of my stuff from the viewpoint of the characters. If you watch_ Bone Tomahawk _and say, well, what the author really thinks is what Brooder (Matthew Fox) thinks, then you're going to come away with one point of view. If you think the author thinks what Arthur (Patrick Wilson) thinks, then clearly the author is Christian and pushing that forward - which is probably not the case with a Jew-turned-atheist such as myself. And that's something I've seen in a bunch of pieces, that it was a Christian movie._
> _This is a thing I do as a writer: I put what the characters are doing and thinking on the line and in the piece much more than me putting out a single idea or a philosophy for people to latch hold of. Now at this point in time, people are falling all over themselves to make sure they aren't labelled this or that, and I'm fine with whatever anyone wants to take away from my movies. I think with_ Dragged Across Concrete _and_ Bone Tomahawk_, it's pretty hard to step away and say there's this singular viewpoint from all these characters, and that all these scenes reflect it. In fact, I think it's impossible. I think one needs to ignore a lot of what certain characters do, and then say, well, what these characters are doing and saying, that's what the author really feels. So then what you're doing is bringing in your judgment of the author, and looking for evidence to support it, rather than looking at the material that's at hand._
> _In the case of_ Dragged Across Concrete_, I think it's a very complex world; there are a lot of differing viewpoints that show a lot of different people have different struggles. I understand why some people would say that my films are conservative - because there isn't a clear didactic, if not pedantic, agenda at the fore of these pictures. But I'm writing stuff that I find compelling, and I'm not going to stop writing a scene, or change a character's ethnicity, or remove a line of dialogue, because I think someone might interpret it in a certain way, or be offended by it. I'm writing what I find compelling, and I think in the case of the first and third movies, you really get a lot of different viewpoints._
- "The Hollywood Filmmaker Making Movies for the MAGA Crowd" (Nick Schager); _Daily Beast_ (March 18, 2019)
> _I'm not making movies and writing books and doing all these things to become popular or for people to like me. I hope people enjoy them, but I'm not going to make different creative choices so that more of them do. If you come into a movie and you're very focused on one thing - like you're very interested in how people of this ethnicity or people with this belief system or women or children or people from Canada are treated in this movie, that's your viewpoint, and you're entitled to it. If the most important thing for you to get out of the movie experience is to see a reflection of your personal beliefs, you probably won't get that with any of my movies because they don't even consistently line up with themselves._ [...] > _I am not looking for films to express values. That's getting dangerously closer to an 'agenda movie', which is a movie in support of its thesis statement. My characters drive my movies._
- S. Craig Zahler "The Director Who Doesn't Care What You Think of His Movies" (Scott Tobias); _The Ringer_ (March 22, 2019)
In writer/director S. Craig Zahler's superb feature debut, the horror-western _Bone Tomahawk_ (2015), a man is held upside-down, literally split down the middle with a machete, and his body pulled apart by his legs; another man has a hot metal flask pushed into a gaping wound in his stomach; and a group of pregnant women have their eyes gouged out and their four appendages removed (off-camera, thankfully). In his second film, the fatalistic but excellent prison drama _Brawl in Cell Block 99_ (2017), a man has his face dragged along a concrete floor, until the skin quite literally rips away from his skull. In his third film, the epic crime drama _Dragged Across Concrete_, a man has his innards pulled apart and examined in an effort to find something he has swallowed. I guess the fact that he's already dead when it happens represents a degree of artistic maturation on the part of Zahler.
Okay, so I'm being flippant. The fact is that I loved both of Zahler's previous films, so much so that I sought out a few of his novels. And I loved them too. Apart from the technical proficiency with which his films are made, I admire how they represent a throwback to true Grindhouse, embodying the phrase, "_they don't make 'em like that anymore_". Synthesising several disparate genres, and featuring sudden and extreme violence, both _Tomahawk_ and _Brawl_ have an air of self-seriousness bordering on narcissism, and methodically paced narratives (they each run 132 minutes). In _Dragged_, the gore has been toned down considerably (although not the violence), the nihilistic worldview is even more apparent (the fictional _milieu_ in which the film is set makes the Baltimore of _The Wire_ look like Beverly Hills), the genre mashup is more complex, and the pace is even more languorous, with the film running a whopping 159 minutes. Not so much about the horrific things that can happen to you on the street (although it is certainly partly about that), _Dragged_ is more concerned with the horrific things you have to do to survive, and how in such circumstances, you can rationalise and justify pretty much anything. And make no mistake; this is a morally repugnant piece of utter trash cinema, ugly and stoical in equal measure. However, it has also been made with extraordinary craft and a tacit disregard for prevailing taste. Sure, it's crude, exploitative, and demoralising, but it's also immensely enjoyable.
Set in the fictional city of Bulwark, the film begins with Henry Johns (an excellent Tory Kittles), recently released from prison, returning home to find his drug-addicted mother Jennifer (Vanessa Bell Calloway) turning tricks in her bedroom, whilst his wheel-chair-confined younger brother Ethan (Myles Truitt) is kept quiet with PlayStation videogames. Disgusted with the situation, Johns determines to get his family out of Bulwark, and asks his old friend Biscuit (Michael Jai White) if there is any work going, the kind that pays cash and doesn't ask questions. Meanwhile, Det. Brett Ridgeman (Mel Gibson) and Det. Anthony Lurasetti (Vince Vaughan) bust a Latino drug dealer, with Ridgeman standing on the man's head, unbeknownst that he is being filmed by a neighbour. Called before their boss, and Ridgeman's former partner, Chief Calvert (Don Johnson, still effortlessly cool), he has little choice but to suspend them without pay until the media lose interest in the story. However, this couldn't have come at a worse time for either man; Lurasetti is trying to save up money in preparation to propose to his girlfriend Denise (Tattiawna Jones), whilst Ridgeman wants to move his family out of the bad part of town in which they live, where his daughter Sara (Jordyn Ashley Olson) is being harassed by a local gang, and his wife Melanie (Laurie Holden), a former cop now suffering from MS, is miserable. In desperate need of money, and bitter about being suspended, Ridgeman contacts Friderich (Udo Kier), a criminal fixer, who puts him onto an upcoming score being run by Lorentz Vogelmann (Thomas Kretschmann). Telling Lurasetti he plans to rob the crew once they've carried out the job, Lurasetti says he's on-board. Meanwhile, Kelly Summer (a heart-breaking Jennifer Carpenter) is reluctantly returning to work after maternity leave. Suffering from severe separation anxiety, however, Summer's husband literally has to lock her out of their apartment to get her to leave. How these three storylines (Johns, Ridgeman/Lurasetti, and Summer) collide is what makes up the majority of the narrative.
In North America, _Dragged Across Concrete_ opened in only a few theatres on the same day it was made available for streaming, and with next-to-no advertising (it doesn't have an official website and its Facebook page has only a few posts), it earned a paltry $144,000 against a $15 million budget. Rumours at the time suggested that Lionsgate, who distributed the film theatrically through their Summit Entertainment subsidiary, had demanded Zahler cut the film to an "audience friendly" 130 minutes. As he had final cut, however, he refused, and they cancelled plans for a wide theatrical release (not entirely unlike what happened with _Snowpiercer_ (2013), when director Bong Joon-ho refused Harvey Weinstein's demands to cut the film by 20 minutes).
Narratively, although Dragged is easily Zahler's most densely plotted film thus far, much like his previous work, it's predicated on character rather than story. Spending considerable time on relatively inconsequential conversations that do little to advance the plot, but add layer upon layer of character information (think the "_royale with cheese_" scene from _Pulp Fiction_), Zahler takes this style directly from hardboiled crime fiction. Traditionally the first scenes to go after the assembly edit, it's an easy technique to misuse (just look at all the failed attempts to emulate Quentin Tarantino post-_Pulp Fiction_), but Zahler knows when and how to employ it, and he's in no rush to get from one scene to the next. One particular example depicts Lurasetti eating an egg salad sandwich in near real-time, as Ridgeman becomes more and more irritated by the noise of masticating, eventually growling, "_a single red ant could have eaten it faster_".
No spoilers, but one plot strand in particular benefits greatly from the accumulation of slowly-revealed background information, so when it erupts in sickening violence, the emotional impact is all the stronger, because we've gotten to know this person; think of the character of Breedan (Dennis Haysbert) in Michael Mann's _Heat_ (1995), think of how soul-destroying it is when we see his girlfriend Lillian (Kim Staunton) watch the news report about the score, a scene that works as well as it does because Mann spent time introducing us to the characters despite them seemingly having nothing to do with the rest of the film. Zahler takes it much further than Mann, however. If the Breedan subplot was a pseudo-novelistic detail, Zahler seems to have edited in something from another movie entirely, an altogether more surreal film where people are overly friendly to one another, completely at odds with the world inhabited by the rest of the cast. He drags these scenes out to the point where they almost become infuriating (almost) - but when he lets the hammer fall, its impact is earth-shattering, and probably the emotional highpoint of the film (and by highpoint, I do, of course, mean low-point; there are no highpoints in Zahler's films).
The script is also dynamite from start to finish, with some fantastic lines sounding like they were ripped directly from Michael Mann; Johns, for example, tells Biscuit, "_before I consider that kind of vocation, I need to get myself acclimated_", whilst he reminds Ethan, "_pops is a yesterday who ain't worth words_". This kind of highly expressive overly literal way of speaking is exactly the way the aforementioned Breedan speaks ("_there ain't a hard time been invented that I cannot handle_") or Frank (James Caan) in _Thief_ ("_I got some A-B-C type information for you, lady. I was state-raised, and this is a dead place. A child in eight-by-four green walls, after a while you tell the walls "my life is yours"._"). This kind of dialogue has two main functions; obviously, it keeps things lively (not easy to do when you have so many long dialogue scenes), but it also illuminates character; Lurasetti, for example, is easily the more laidback of the two cops, saying things like, "_it's bad like lasagne in a can_", which is not the kind of simile one would image Ridgeman coming up with.
Aesthetically, _Dragged_ is exceptionally accomplished. Working with his regular cinematographer, Benji Bakshi, Zahler stages most of the film either at night, or in shadows (or both), so much so that a central scene in a well-lit building in the middle of the day seems completely washed out and garish by comparison. Brian Davie's production design is also worth mentioning, with the characters' living spaces completely soulless, all muted neutralising colours and generic furnishings, like they've moved into a showroom and haven't bothered to bring their own stuff or repaint; the places that are supposed to be the most personal and intimate are instead completely anonymous (it's telling, for example, that Calvert's office gives off a warmer vibe that either the Ridgeman or the Johns apartments).
Wearing his influences very much on his sleeve (directors such as Jules Dassin, Don Siegel, Jean-Pierre Melville, Arthur Penn, Sidney Lumet, Michael Mann, and Quentin Tarantino; and novelists such as Charles Willeford, Elmore Leonard, Donald E. Westlake, and George V. Higgins), and given what his films say about masculinity, violence, revenge, and justice, it's no surprise that Zahler is often singled out as a quintessential right-wing filmmaker in a very left-leaning Hollywood. Although he claims he's not especially interested in politics, and asserts that he didn't vote for Donald Trump in 2016, nor does he plan to do so in 2020, the _Daily Beast_ still referred to him as "the Hollywood filmmaker making movies for the MAGA crowd", which is not only unhelpful and reductionist, it's not even accurate, as there is nothing in his films to suggest he subscribes to Trump's hateful and divisive rhetoric (it is possible, after all, for one to be a right-wing conservative without being an advocate of Trump's self-serving politics).
That said, with _Dragged_, if Zahler isn't explicitly engaging in socio-political commentary, then he is epically trolling the left and baiting outrage culture. This is a film partly about two racist cops who complain about political correctness, trial by social media, and metrosexuality (amongst other things), and who use (gun) violence to try to set their world to rights. And who plays these two cops but noted Hollywood conservatives Mel Gibson (still somewhat under the cloud of his 2006 anti-Semitic rant and his 2010 "raped by a pack of niggers" comment and domestic violence charge), and Vince Vaughan, who rather amusingly believes the way to tackle gun violence in the US, is to introduce more guns as "_deterrents_". This casting seems like provocation in and of itself (one assumes Clint Eastwood, James Woods, Roseanne Barr, Tim Allen, and Hulk Hogan were busy), and one can picture Zahler getting not inconsiderable satisfaction from watching SJWs losing their minds trying to parse the metatextuality of casting Mel Gibson, of all people, as a violent racist; as, probably by design, it's legitimately difficult to tell where Gibson ends and Ridgeman begins.
However, to be completely fair, it's in relation to this point where _Dragged_ is most open to divergent interpretations. Namely, does Zahler simply depict the characters' racist and misogynistic antics, or does he sympathise with and therefore condone their toxic mindset? Either the film confirms what Zahler's previous work only hinted at, that he's a far-right reactionary, or it demonstrates his satirical flair, ridiculing such accusations by leaning into and foregrounding the tropes of an ideologically to-the-right paradigm. Of course, many will have made their minds up on this issue without even seeing the film, especially given Gibson's involvement, whose casting is either a stroke of ironic genius or a tell-tale sign of an inherent retroactive conservatism.
Which brings us to the film's socio-political stance, or lack thereof. Despite Zahler's claims that it's not political in any way, it's hard to deny that some of the dialogue and events seem to have a political flavour (and, as some have argued, if Mel Gibson is playing a racist in your movie, then your movie, by default, cannot be apolitical). So, for example, racism is played for casual humour when Lurasetti proclaims, "_I'm not racist. Every Martin Luther King Day, I order a cup of dark roast_". Even more telling is Calvert's claim that
> _being branded a racist in today's public forum is like being accused of being a communist in the 50s, whether it's a possibly racist remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children. The entertainment industry, formerly known as the news, needs villains._
This comment will instantly call to mind Trump's never-ending refrain of "fake news", and it returns us to the question of Zahler's personal stance. True, he certainly doesn't outright condone Ridgeman and Lurasetti's behaviour and opinions, but neither does he outright condemn them. Neither man is presented as a hero, but neither is presented as a villain. Indeed, the case could credibly be made that this is Johns's story before it is Ridgeman or Lurasetti's, and were Kittles a bigger star, one assumes he would have had top billing. But this doesn't change the fact that the two are unapologetically cruel to non-Caucasians - seen most clearly when they throw a drug dealer's partially deaf girlfriend into a cold shower and refuse to give her a towel. In relation to the area in which the Ridgemans live, in an early scene, we are shown a gang of black youths cruelly hassling Sara, and later, Melanie says, "_I never thought I was a racist before living in this area_". That's a hell of a loaded statement in a film that's apparently not interested in issues such as race relations.
Moving away from racial issues, as Ridgeman and Lurasetti sit in a diner, Ridgeman is listening to the song on the radio, and they have this exchange;
>**BR**: _Is that a guy or a girl singing that song?_
>**AL**: _Can't tell._
>**BR**: _Not that there's much of a difference these days._
>**AL**: _I think that line was obliterated the day men started saying "we're pregnant" when their wives were._
And then there's this statement by Ridgeman to Calvert about the broken system in which they find themselves (a system to which Calvert has adapted, whereas Ridgeman has not);
>_for a lot of years I believed that the quality of my work, what we do together, what I did with my previous partners, would get me what I deserved. But I don't politic and I don't change with the times, and it turns out that shit's more important than good honest work. So yesterday, after we stop a massive amount of drugs from getting into the school system, we get suspended because we didn't do it politely._
It's hard not to hear Zahler himself behind an impassioned sentiment like this, someone who may believe (and may be correct) that PC culture has gotten to a point of unworkable absurdity. This, in turn, raises the most difficult interpretive conundrum of the film - does he endorse old-fashioned _Dirty Harry_-style anti-authoritarianism, where hatred for politicking is equalled only by the belief that guns are a necessary part of life? Does he lament the fact that the traditional patriarchal aggression of white conservative America finds itself at odds with the rest of the world, or does he just understand people who feel that way?
Running parallel to ambiguities concerning racism and political correctness is a perceived misogyny in his work. All three of his films depict relatively helpless women who must be saved from evil men by righteous men. However, what the female characters experience in _Dragged_ is much harsher than in his previous work; not only are they again presented as victims who need saving, they are brutalised and murdered without much of an afterthought. So again, is Zahler himself part of a patriarchy that thinks of women in this way, as inherent victims who require men's protection, or is he simply in a position to understand such a mindset? In relation to all three ambiguities (race, political correctness, misogyny), I don't have an answer, but the line between critical commentary and ideological endorsement is razor thin, and it's a line that Zahler walks throughout. Which is one of the things that makes the film so fascinating. The first film he's made that is more likely to alienate audiences because of its perceived ideology than its violence, Zahler takes risks that other filmmakers would never dream of, and whereas most artists would be falling all over themselves to ensure there's not a hint of racism or misogyny about their work, Zahler's "death-of-the-author"-style tactic and refusal to do so makes this his most politically interesting and ideologically complex film thus far.
Of course, there are a few formal problems. For starters, although this is ostensibly Johns's story, compared to either Ridgeman and Lurasetti, he receives a relatively light backstory. The two cops are simply better-written characters; their dialogue is sharper and more revealing, their arcs more thought-out and interesting, their motivations more complex and relatable. You could say that this is because of the strength of the actors; Gibson brings a brooding cynicism to Ridgeman - he never even hints at smiling – that's virtually metatextual, and Vaughan is all sarcasm and one-liners. Kittles, on the other hand, is essentially reprising his role as Laroy from _Sons of Anarchy_. But the fact is that Gibson and Vaughan have a lot better material with which to work - they're written as people, whereas Johns is written as an archetype, void of much in the way of interiority. Another problem is that because of the way the script is written, no one is ever put in a position of challenging Ridgeman and Lurasetti's prejudiced views; so there's never a scene, for example, where Johns calls them out on their casually racist language, forcing them to justify it. With their views unchallenged, and Johns not actually in possession of much of a worldview, there's a sizable imbalance in the film, an imbalance which doesn't equate with endorsement, but doesn't encourage criticism either.
That said, however, I thoroughly enjoyed _Dragged Across Concrete_, and much like _Bone Tomahawk_ and _Brawl in Cell Block 99_, the fact that I enjoyed it so much left me wanting to have a shower afterwards. It's not Zahler's best, but it is his most complex, and his most socio-politically interesting (and whether he likes it or not, his films are going to be read through a political lens). Easily dismissible as a right-wing manifesto, a championing of a bigoted worldview in which white men backed into a corner must use violence to reassert their dominance, there is much more going on in the film than such binary politics would suggest. It's certainly more to the right than the vast majority of Hollywood output, and there is a case to be made that Zahler is positioning himself as a conservative ideologue railing against cookie-cutter Hollywood political correctness. That doesn't necessarily mean, however, that he's avowing a white supremacist doctrine, or that the film is a hate-filled, alt-right diatribe, a paean to intolerance. Instead, both in terms of content and style, there's a lot more going on, which is exactly what makes it so fascinating and so engaging. It's not a message movie; it's a Grindhouse B-movie character piece, with terrific dialogue, a trio of strong central performances, and a rising sense of dread that gets into your bones. Is it self-indulgent? To an extent, yes. Is it unapologetically incendiary? Absolutely. Will you find it offensive? Possibly. You may see it as shining a not unwelcome light on a culture of inherent racial intolerance in law enforcement. You may see it as commenting on a world where women are expected to be mothers and full-time workers. You may find it appallingly racist itself. You may shake your head at its endemic misogyny. You may refuse to engage with it at all because of Gibson's presence. And that ambiguity, more than anything else, speaks to its quality as a provocative work of art.
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