In an incredible combination of splatter-humour, surrealism and shocking violence, Gregg Araki gives a thorough description of a generation attracted to filth and darkness. "The doom generation" as he names them, are aroused by violence, sexual deviance and anything that can further degrade them as human beings. The plot is simple, three teens on a roadtrip through their own perception of hell unintentionally end up on a killing spree. The characters all live entirely in their own world, and the dialogue shifts between consciously pretentious and Beavis&Butthead-stupidity. Gregg Araki is an excellent director, the film is packed with talented actors, and although it is obviously low-budget and the more technical things, like the sound, are often less than perfect, the movie has no problem distributing the blows when it needs to, and delivers a climax that sticks with you for weeks. So yes it certainly has more to offer intellectually than you might think. It's "Generation X" for those of us who can't identify with people doing nothing. These are people doing everything without giving a damn. Whatever.
Reviews
13 Reviews
Get on the Bus
(1996)
Black bonding
17 March 1999
Like most of Spike Lee's films, "Get on the bus" is first and foremost a refreshing alternative to the wave of black-on-black violence cinema started by "Boyz n the hood". While racial issues are present and highlighted, the focus is still human interaction and man's flocking nature. Spike Lee knows how to add depth to his characters, and as the film evolves, the lives and pasts of the central characters unravel piece by piece. Yet, as the many differences are revealed, so are the similarities, and ultimately, the need for companionship in the fight against racism is stronger than any prejudice. Other issues, like reverse racism and homophobia are added as extra spice, preventing the film from ever becoming boring. "Get on the bus" is a warm feel-good movie from the man who convinced me that Harlem would be a nice place to live.
Merlin
(1998)
The classic tale of a man and his talking horse
1 March 1999
'Merlin' is an impressive attempt at blending old-fashioned fairytaling with modern direction techniques and computer effects. Though some of the 3D modelled creatures are cartoony and reminiscent of horrible turkeys like 'Spawn', most of the time it works its magic, believably sculpting a classic world of adventure. At worst it's 'Hercules' or 'Xena', a good story made hip by cheesy acting and special effects. At best it's a cross between 'Snowwhite' and 'Masters of the universe', magical and beautiful, where it's clothing and makeup that represent the moral integrity of your intentions, not your actual actions.
Starship Troopers
(1997)
Futuristic fear propaganda
1 March 1999
After his recent flop, 'Showgirls', Paul Verhoeven proves that he's still an innovative director. In 'Starship Troopers' he abandons the erotica-genre completely, and succeeds in creating something completely unique. The entire film is directed as a twisted futuristic version of nazi propaganda, or of the communist-scare films Americans pumped out during the cold war. All the characters are square-jawed and handsome 90210'ers, and the feelings of pride and success are quelled to bittersweets by shots of the horrible and inhumane treatment of the POWs. By choosing an enemy that's unknown and traditionally considered dangerous, the film tricks us into accepting and even applauding the meaningless and sadistic scenes of violence, where essentially harmless aliens are being tortured and viciously murdered. I never got 'The wave'. I get 'Starship troopers'.
Phantoms
(1998)
Badly done Stephen King
1 March 1999
Not having read anything by Dean Koontz, I don't know if this is a compliment or not, but "Phantoms" could easily have been based on a Stephen King-novel. As with most King-films, it starts off scary and mysterious, and builds the tension to levels where the climax can't possibly follow. Having backed itself into a corner, instead of even trying to fulfill our expectations, the movie degenerates into simple and boring action a la "It". Now, I'll give Koontz the benefit of the doubt and agree that it's a story that would have worked better if it hadn't been squeezed into a 1 hour and 30 minute frame. The characters in "Phantoms" are never even introduced properly, they are just thrown into the action with nothing to support them but a two minute long conversation about boyfriends during the opening credits. This actually worked well in the first half of the film, as it seemed a refreshing exception to the rule, and since it added to the mystique that clouded the story to begin with. Still, "Phantoms" is otherwise infested with horror-cliches, and as the story unravels it would have benefitted from being based around characters we actually care for. As for actors, Liev Schreiber and Ben Affleck do well, but Rose McGowan stinks it up a little. Mainly it's due to bad casting, as she looks like a 25 year old disguised as a kid. So, it's a film with few surprises. You'll be scared, then you'll laugh at the cheap computer graphics, and finally you'll be disappointed. You decide if it's worth it.
Nice the Naughty and the Bad
(1997)
Grotesque smut
1 February 1999
Director Michael Zen has a knack for combining the absurd, and at times grotesque, with the beautifully erotic and exciting. In this film he shows Steven St. Croix steadily lose his mind as his wife and his lover(Jeanna Fine and Jill Kelly) suddenly exchange personalities. Although some scenes are too bright for their own good, the film is very well done, owing much to the total lack of any subtlety. Zen includes trivial, but disgusting things like closeups of St. Croix rubbing greasy chicken all over his face, bringing the sex to a primal and intuitive level. The contrasts between blissful orgasms and these stoneage carnalities are incredibly effective, and I dare anyone to stay unaffected through e.g. the incredible Jeanna Fine's otherworldly masturbation scene as she tries to reach out to her ice-cold husband.
Masseuse II
(1994 Video)
Intelligent smut
1 February 1999
Paul Thomas is one of the few commercial porno-directors who try to do something beyond just showing the sex and getting the cash, and in this little film he actually gives life to a plot that's both thoughtful and philosophical. The film studies self-hatred, guilt and the misguided attempt at reconciliation through meaningless and agressive sexual acts. The characters try to establish control by committing to non-satisfactory lovemaking, as they drape their real identities in technicalities or fancy names, and the pair, Asia Carrera and Ashlyn Gere, do their jobs with no less skill than actresses in conventional films. 'The masseuse 2' tells the story of two masseuses who struggle against themselves and the total degradation of their souls as they casually step onwards in their illusive lives and become straight-out hookers. This is good porn, although those who prefer their sex to be non-violent, clean and without any inner stimula should stear clear.
U Turn
(1997)
Red Rock improved
1 February 1999
Having enveloped himself with American history in 'Nixon', it's no surprise that Oliver Stone wanted something a little lighter for his next project. The plot and screenplay are adapted from John Ridley's novel by the author himself, and Oliver Stone uses his camera playfully over incredible acting by people like Sean Penn and Nick Nolte. Similarities can be drawn between this film and John Dahl's 'Red rock west', but that is strictly in the plot, and you shouldn't see this film for the story anyway. Watch it for another example of Oliver Stone's magnificent direction, to see how he uses the screen as a canvas with such distinction that I'd actually suggest coining the word 'stonesque'.
The Blackout
(1997)
Guilt trippin'
1 February 1999
No one can make guilt look as beautiful as Abel Ferrara. In 'The Blackout' he drags you down into a mud of obsession, self-loathing and substance-abuse, showing you that anxiety can be a trip in itself. The timeline is torn and bent out of shape, and it feels like half the movie is a flashback. Combine that with several layers of superimposed tripping and artistic handheld video footage of erotic dancers and you have something resembling 'The Blackout'. The acting is almost as excellent as the direction. Matthew Modine plays surprisingly well as the tortured Hollywood actor, and both Beatrice Dalle and Claudia Schiffer play their (albeit flat) characters flawlessly. I feel however that Dennis Hopper has started regurgitating what has become his only personality, and it wears thin. I usually love his performance, but in this film I could have done without him. Some will stress the need for a clearly defined plot, thereby completely dismissing efforts like this. A shame, since Ferrara is one of the few directors who can convincingly create a view into the depths of human depravation. The film is filled with great visuals, and carries a very recognizable Ferrara-look, feel and theme.
Lost Highway
(1997)
Lynch cinema
1 February 1999
David Lynch has become either a constant thrill or a total disappointment to the people who found beauty in his look at evil through a career of films like 'Blue velvet' and 'Wild at heart'. 'Lost Highway', written by Lynch and Barry Gifford(author of the novel 'Wild at heart'), makes an attempt at recreating cinema as well as David Lynch's place in it. The naive optimism and happiness that contrasted with the darkness in his earlier films is gone, and the focus is now solely on the weird and creepy. Lynch directs it like a set of music videos, and there are always songs or hissing drones and backward masked screaming in the air. As the film progresses, the plot twists and turns in all directions, and you're bound to feel stomped on when you've seen it all for the first time. It's not boring, however, and with repeated views an interpretation will form in your mind. 'Lost Highway' is like a cloud though, meaning that it'll look different with every move of the focal point. While most of the actors do their jobs well, I would have preferred a replacement for Patricia Arquette, whose performance has a tendency to slow everything down at some critical points in the picture.
Natural Born Killers
(1994)
MTV sports on ecstasy
1 February 1999
'Natural born killers' was the film that woke me up to the fact that Oliver Stone had become one of the greatest directors of all time. Different from his earlier films, it's a post-modern carusel of violent MTV-like buzzcuts, all shot with different lenses and different filters, and accompanied by the greatest soundtrack ever. The plot is written by Quentin Tarantino, but the film stretches far beyond anything he could ever dream of creating. It gives a profound and angst-ridden view of American pop-culture, where the couple Mickey and Mallory Knox decide to take things into their own hands and rebel against a society that can never understand their love. The film successfully blends the aestethics and the rush of hardboiled violence with a harshly satiricial view of the authorities, the media, and anyone with power. It also manages to go beyond the sometimes juvenile acts of random carnage in films like 'Reservoir dogs', and gives the impression of sincerity, of incredible insight, and of the appreciation that although it's fine to indulge in the beauty of blood and death, there are consequences that you have to accept.
The Crow
(1994)
Fairytale for the millennium
1 February 1999
Alex Proyas creates a stunning neo-gothic fairytale that both looks and feels like the offspring of a music video and a comic book. Proyas likes to dwell on romantic and majestic imagery, much like in a music video, and he loves to play with contrasts. Beautiful opera hums in the background as we see the outline of a large crow, silently traced by a burst of flames and flashing up against the black background. Although perhaps inspired by Tim Burton's adaption of the Batman-comic, Proyas has no problem defining his own style of direction. This is one of those must-see type things.
A Clockwork Orange
(1971)
Good book, good movie
1 February 1999
Stanley Kubrick has made a career out of doing novel-based movies that are later disavowed by their authors. His repertoire includes 'Lolita', 'The Shining', and Anthony Burgess' 'A clockwork orange'. As a catholic, Burgess could not accept the fact that this film is the clean adaption of what he himself wrote. That between his sugarcoated words he had hidden images of very brutal violence and terror. Still, for those of us who aren't inhibited by religion, this film sports the same weighty blow as the novel. It seamlessly transfers Burgess' experimental use of language to the big screen, and actor Malcolm McDowell is incredible as Alex, combining his hideously evil grin with the adolescent need for fun. Lovers of the novel will not be disappointed by Kubrick's adaption, as it goes just as far in the search for free will as Burgess did, and as it keeps the nuances that made the book so fantastic in the first place.
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