Hellraiser

Ever since I was a kid there was this particular image associated with the name Hellraiser. It might come to your mind as well; a man wearing tight black clothing and all over his chalk white face in a very geometric pattern are thin needles protruding out. Like a human albino cactus. I saw this image with nearly every visit to the local video store, slapped on countless VHS tapes of Hellraiser. It intrigued and scared me. Now over twenty years later, I’ve finally seen the movie that scared me with its box.

…And it kinda sucked. But hear me out! It’s not a complete loss. While I can’t say it’s a very good movie or that I really liked it, in the moment I honestly enjoyed and appreciated this sick, twisted, gross, creepy mess of a film.

Here’s what it’s about: Frank (Sean Chapman) and his family move back into this old house. It’s kinda run down and there’s evidence that someone has been squatting there. You see, Frank’s half brother, Larry (Andrew Robinson) has been  living in it, like a rat on an old mattress playing with a Rubik’s cube from hell that opened a weird portal to some kind of messed up sadomasochistic underworld. Fun, right? Oh, and Frank’s wife, Julia (Clare Higgins) had an affair with Larry and we get too many images of those two humping and moaning. Anyway, Larry’s dead until a little moving accident gets some blood on the floor and resurrects him as a disgusting zombie monster thing. He doesn’t have a body, so to regenerate himself more, he needs more blood spilt. So he gets Julia, who seems she’d rather screw corpsy Larry than Frank, to bring helpless victims to murder in the house so Larry can regenerate. Oh, and Frank has a teenage daughter (Ashley Laurence) who is always suspicious of Julia, discovers her undead uncle Larry and this Rubik’s cube portal to S&M hell where we finally meet that guy on the cover of the VHS box, Pinhead.

Yeah, the plot is a hot mess, but it is kind of fun in a dumb way. By the end of the movie I was enjoying how over-the-top some moments could be and I had some serious questions. Like who was that guy at the pet store and why did he turn into pterodactyl bones at the end? And why? Why, god why? But honestly, I don’t care, I was just happy to witness this weird, messed up wild ride.

I will warn readers that Hellraiser has a very hard R rating. Between the gore, depictions of violence and sex, it nearly got an X. The film is not for teens, ladies night or even the light horror fan. I watched this film alone in my living room holding a newborn baby in my arms and felt a little bad about exposing him to it, even though he’ll never remember it.

What this movie does best, and what I enjoyed most, are the over-the-top disgusting effects. As Larry is reincarnated in stages, each stage is wonderfully gross, from watching this gooey brain and spine come to life, to this weird skin snatching stage towards the end. While the make-up and practical effects may look cheesy to modern audiences who are used to the clean CGI of today, I was in awe of the detail and ingenuity put into them. The movie may be so bad it’s good, but the visual effects and make-up are horribly awesome.

“We have such sights to show you!”

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The Conjuring

From the very beginning, the filmmakers of The Conjuring want you to understand that what you’re about to watch is based on a true story. Maybe they know that makes this story all the more terrifying. With any movie, we expect some exaggerations and liberties to be taken for dramatic effect, but when deciding how much of this horrific tale is true, I’d be left aghast at any of these creepy occurrences being true. The Conjuring tells the story of a case Ed and Lorraine Warren (portrayed by Patrick Wilson and Vera Farmiga) took in the early 1970s. Supposedly, it’s so terrifying that they decided to keep it under wraps, until now.

When the Perron family move into an old farm house, they start noticing some creepy occurrences. As the family happily walks into their new home, the dog refuses to go in. They discover a cellar that’s been boarded up. And soon strange noises happen. The youngest child starts talking to an imaginary friend. Another starts sleepwalking, always bumping into an old wardrobe. Soon, doors start closing, the mother has unexplainable bruises and one daughter sees someone behind her bedroom door. This case has it all and the family call the Warrens for help.

Shit really starts hitting the fan when the Warrens and their crew arrive to investigate. Lorraine, who is a medium, senses a sinister presence has attached itself to this family. She also can sense that horrible events have happened in the home and one presence wants to make history repeat itself. To save this family, there will have to be an exorcism, but the priest is on hold and they’re running out of time.

The whole setting is designed to be so dark and foreboding. That dog had the right idea to not even step foot in that creepy house. The inside feels like a cave; hollow, deep and dark. The walls are a creepy texture of gray with a touch of green for a sickly color. The whole house looks like no happiness could ever occur within those walls. Only fear, pain and tragedy.

This film has all the classic haunted house creeps ticked off and uses them effectively. Plus there are some jump scares, but they’re not the main source of scares. The use of the blindfold-clap game creates amazing suspense. Best of all, there’s enough well crafted, true terror to make this horror fan to look away to avoid nightmares. Like any good horror film should, there are some creepy images that are left burned into your mind after the film: hands reaching out of that wardrobe, a reflection in a music box, blood being vomited over a white sheet during an exorcism. You can’t unsee that.

What I believe makes this film so truly scary is the careful storytelling. We see these events unfold so organically around this family that we can relate to so easily that we cannot help but be pulled in and feel a part of this terror. And when Lorraine explains the history behind these hauntings, the story gets a whole level deeper and thrills viewers even more. By the crazy-intense third act, we are hanging onto our seats and crucifixes for dear life.

I do have one main gripe: movie starts out with story about a creepy possessed doll, Annabelle. While it’s cool and creepy as fuck, that’s not what the story is about, but is used as just a segway to the Warrens. I guess that’s why the film had the working title The Warren Files. It’s interesting and no doubt sets up interest for its own movie, but I wanted the focus on this story, it’s surely so rich and powerful it doesn’t need any fillers. Also, keeping a doll you know is possessed in your home with a kid around is just asking for trouble, even if you’re a demonologist.

Overall, The Conjuring is a truly scary movie and one of the best horror films I’ve ever seen. The dark setting, the uneasy suspense and horrific third act all add up for a terrifying ride. Whether or not you choose to believe, the based on a true story bit can make it even more horrific. I watched this film at home, in the middle of a hot summer day with my newborn son. I’ll admit that at one point I jumped so hard while holding him that he woke up and was not happy with me. And I tried my best not to think about this movie during his late night feedings. Unless you’re really not scared of anything, keep the lights on and don’t do it alone.

“There’s a lady in a dirty nightgown that I see in my dreams. She’s standing in front of my mom’s bed.”

2001: A Space Odyssey

The first time I saw Stanley Kubrick’s 2001: A Space Odyssey was about ten years ago on a computer screen across the room. Though I was intrigued, it was late and collectively, my husband and I slept through half the movie. Disappointing, I know. However, a few weeks ago, my brother gave me a wonderful birthday gift: the chance to see this great film the best way possible, in 70 mm IMAX. It was a beautiful, immersive experience that blew me away and made me truly appreciate this amazing science fiction classic.

Sometimes even after seeing 2001: A Space Odyssey people have trouble putting into words what exactly this film is about. It’s not the sort of film that focuses on a tangible story, but more of a medication of linking images that connect to show the human race advancing thanks to some help from mysterious beings across the universe. That’s how I interpret it anyway, but let me try to plot out a plot.

The film starts with ancient man still as primitive apes, in such detailed ape costumes that should make Planet of the Apes jealous. A mysterious black monolith appears, catches the ape men’s attention and I believe gives them an evolutionary push to begin using tools. A bone is tossed into the air and suddenly we see a space transport. It’s now 2001 and humans have invented space travel and evolved pretty much as far as they can with their tools. Then a second monolith is discovered buried on the moon. It’s connecting to a signal out around Jupiter. Then we’re on a mission to Jupiter, with a crew of five humans and one super computer, HAL 9000. Any real film fan knows HAL causes trouble and the crew’s lone survivor, Dave (Keir Dullea) travels beyond the infinite.

By the end of the film, we’re left more questions than answers. Who brought the monoliths to Earth and the moon? Why does it make such an ear-piercing noise? Does HAL want to prevent humans from reaching the next monolith? Where exactly did Dave go? What’s up with the space baby? I don’t know if there are any concrete answers, and that’s fine by me. I feel that this film is supposed to make us feel a bit uneasy, question our existence and what’s beyond everything we know.

What makes this film so amazing is the spectacular visuals. The Earth, moon and Sun align with the triumphantly iconic opening music. An ape smashes sun bleached bones that fly into a dazzling blue sky. The bone white spaceships move gracefully along a background of stars. We see huge, spinning space stations and spacecraft moving together in a mesmerizing cosmic ballet. Inside the spacecrafts, people move in precise, gravity defying ways that boggle the mind. HAL’s menacing red eye is ever-watching. Traveling beyond the infinite is a technicolor ride that I had me holding onto my seat in Indiana’s largest IMAX theater.

There’s never been such a beautiful blend of mystery, technology, triumph and wonder like 2001: A Space Odyssey and I doubt there ever could be again. The images Kubrick captured could never feel as authentic in today’s CGI film world and a film that contains so little dialogue would be hard for a 21st century audience to connect with. It’s hard to believe the only Oscar this film won was for best special effects (obviously). But much like Kubrick, this film was so ambitious it can be too much for some to appreciate. To each their own. It was such a pleasure to enjoy this film during its 50th anniversary run in IMAX; the large format is incredibly immersive and moving.

“Just what do you think you’re doing, Dave?”

Incredibles 2

It’s been fourteen years since we first met Pixar’s family of superheroes, yet their story picks up from the moment the first film ended. It opens with the Parr family springing into action to stop The Underminer, while they juggle babysitting Jack Jack, and it ensures us that this film will be full of fun, family focused, fast paced action.

However, the day does does not end well for the Parrs, as superheroes are still illegal. The agent who has been helping them stay undercover for years can only offer them two weeks in a motel before they’re on their own. So when a wealthy, nostalgic benefactor hoping to make supers legal again offers Elastigirl a job, complete with a swanky high tech house for the family, the Parrs take it. Soon a new villain rises, targeting Elastigirl and could jeopardize the plan to legalize supers.

While Helen (Elastigirl voice by Holly Hunter) is off doing superhero work, Bob (Mr. Incredible voiced by Craig T. Nelson)  is holding down the fort taking care of the kids. His challenges add some engaging comedy to this family movie. In his first day he has to deal with his Violet’s first date, Dash’s math homework and a baby who won’t stay in his crib on top of being envious of his wife’s work. It only gets worse as Bob discovers Jack-Jack’s powers.

One of the funniest scenes shows Jack-Jack fighting his first enemy: a raccoon in the yard. Many of his powers are revealed as Jack-Jack moves through the glass door, morphs into his monster-baby form, bursts into flames throwing lawn chairs and splits into multiple clones, chasing off the hilariously bewildered raccoon. And when Bob finds him, the excitement about his baby’s new powers is soon met with the insurmountable task of keeping him safe. Thankfully, Edna is willing to help, in her own fabulous way.

This is a rare superhero movie that is family friendly and still satisfies all ages. I loved the way Elastigirl was allowed to shine on her own, as well as a few new female supers. My kid enjoyed the Jack-Jack scenes. And while my husband enjoyed it, he of course found flaws in how similar the plots of both the original and this sequel are, but I won’t spill any spoilers on that. And honestly, I didn’t mind, the stories themselves are unique enough.

One thing I want to warn viewers about is the fact that the film uses a visual effect similar to a strobe light in multiple parts of the film. For those sensitive to such visuals, beware or wait to watch the film at home. It was pretty intense in a dark, crowded theater.

Through all the action and excitement, the heart of the film is the story of the Parr family. While their powers are super, their problems are wonderfully relatable for many modern families. The combination of stress and support between Bob and Helen when they switch household roles is something many families understand and the results are engaging and entertaining for all ages. And as always, these supers are stronger together. Everyone can leave this film seeing the supers within their own home.

“Done properly, parenting is a heroic act… done properly.”

Upgrade to Mom 2.0

Hello readers, sorry it’s been a while. As of the last post here, I was uncomfortably 31 weeks pregnant with kid number 2. Since then, I swelled up to the point that I could barely walk and gave birth to a nearly 9 lb baby. My son was born on July 4th, so we’ll be watching Yankee Doodle Dandy and Born on the Fourth of July at some point when he’s older. Between diapers, late night feedings, postpartum recovery, and taking my 4 year old to preschool, there has been little time for film fun.

However, I do plan to get a few new adventures and posts out soon. My review of Incredibles 2 was forgotten and put on the back burner but is ready for daylight. I’m also getting ready for October by watching horror movies with my newborn before they scare him. And my brother and I are planning to see 2001: A Space Odyssey in 70mm IMAX next month. We’re so excited!

Oh, and don’t get me started about those changes coming to Oscar night. A Popular Film category is just a way to pander to the masses. Sad to see The Academy selling out.

Tully

Mother’s Day is here and just like a hot latte and clean yoga pants Tully is here just in time to help us celebrate with a thoughtful, smart and brutally honest story of modern motherhood. However, if you’re looking for a cute, uplifting, Bad Moms style barrel of laughs, Tully might not be for you

Written by Diablo Cody and directed by Jason Reitman, Tully continues their collaborative work telling stories of strong women facing some tough times. Here, Marlo (Charlize Theron) is a mother stretched thin and stressed over all that motherhood has handed her. Her kindergarten aged son is “quirky” and having trouble in school, her eight year old girl is growing up fast and her husband seems to only be present for a few hours in the evenings. As Marlo prepares to give birth to her third child, her brother offers her a big gift: a night-nanny to help with the newborn. Anyone who’s ever cared for a brand new baby knows it’s a lonely, 24 hour job, especially for a breastfeeding mom, but Marlo is hesitant to let someone besides herself care for her new baby.

Then Tully (Mackenzie Davis) arrives, like a breath of fresh air for Marlo. She’s young, cool, confident and seems to just get Marlo like no one else. Marlo’s world seems so much brighter and easier with Tully in it and her whole family seems to benefit. That’s the rule right, happy wife, happy life? But things aren’t as rosy as they appear and sadly most people don’t realize how much help a new mom needs until she reaches a breaking point.

As I sat in the theater on a rare kid free afternoon with my 31 week fetus kicking away, I laughed, empathized and connected with the harsh realities and parenting imbalances in Marlo’s life. Honestly, if you can’t laugh at it, you’ll cry. Night after night she’s the only one waking up with the new baby, feeding it, changing it, pumping milk. And by day she’s dealing with her kids, their school, the baby and the never-ending housework. Her husband, Drew (Ron Livingston), sleeps at night, goes to work, helps with the kids in the evenings and then plays video games on a damn headset before bed. The shot of him asleep in the middle of the day at the hospital, while Marlo entertains guests after giving birth infuriated me. Honestly, Drew’s not a bad guy, but he would get a swift punch in the nuts if he were my husband.

The little honest details sprinkled throughout the film are made for moms who clearly remember those newborn days. The anxiety of cutting a squirmy baby’s fingernails came back with one swift image. When that fresh bag of breast milk spills over, it cuts like a knife. When she bumps the baby’s car seat-carrier against the door, we feel the guilt. When her daughter asks, “Mom, what’s wrong with your body?” I laughed and looked down at my bulging belly. Been there, done that, got the mesh undies and I’m crazy enough to do it all again.

Charlize Theron lets her character be portrayed in all her raw, postpartum glory. It’s refreshing for those of us who’ve lived this chapter of life. She constantly looks exhausted, physically and emotionally, not a flowery image of motherhood we’re used to seeing. We get a shot of her in that ugly hospital gown with the mesh underwear and huge pad on, an image that might bewilder most men in their 20s. We see chapped nipples and how she’s hooked up to the breast pump. And I swear, my mother owned the exact same robe. Other films seem obligated to sell motherhood; make us marvel at some glowing dolled-up goddess of fertility, laugh at the absurdity of the pain and pretend it’s sexy. But Tully tells it like it is in all its raw, primal, painful glory and I for one am all for it.

Tully leaves the audience with several messages. Spouses and family: take care of that new mom you love. Step it up and take care of that baby, even if you don’t have the breasts to feed it. Moms: take care of yourself and don’t be afraid to ask for help. It can be hard after years of spit-up, sleepless nights and mom jeans, but don’t forget who you used to be. The younger, hopeful, less stretched out you would be proud. And most importantly love yourself for who you are now.

“You’re convinced that you’re this failure, but you actually made your biggest dream come true.”

John Williams in Indianapolis

A few weeks ago, I was lucky enough to have a once in a lifetime experience that any film fan or music nerd would kill for. I got to see John Williams conducting some of his most iconic film music, live with my hometown orchestra, the Indianapolis Symphony Orchestra. I don’t want to exaggerate, but I rank it up there with some of the best experiences of my life.

Not a bad view of the orchestra.

For those who do not know who John Williams is (but who reading my film-nerd blog wouldn’t?), he has composed some of the most iconic film music in the last fifty years. You know his work even if you think you don’t. Music from Star Wars, Jurassic Park and Jaws are staples in our culture. You can’t even watch the Olympics without his music being played every commercial break. He has been nominated for over fifty Academy Awards and has won five. You can only imagine how much I geeked out when I actually got tickets, and believe me, it was a longshot actually getting them. It sold out in minutes.

The night of the concert, I was nineteen weeks pregnant, proudly sporting my baby bump as I waddled downtown in my fanciest pair of comfy shoes and a new Star Wars scarf. Outside the Hilbert Theater, we were greeted by men dressed as rebel pilots from Star Wars. Inside, the place was a buzz, filled with people for the sold out show. Along the lobby were movie posters of the various films Williams’ music is featured. All around, were other people in costumes, and lucky patrons decked out and taking pictures with them. I was able to snag a selfie with Boba Fett and a few others. Darth Vader and R2D2 were very popular.

As time came for the concert to start, you could feel the anticipation in the air. When John Williams came out, the whole audience burst into applause and stood. We were all so incredibly honored that he chose our city, our orchestra for this wonderful event. All the money made from the evening would go right back to the Indianapolis Symphony Orchestra.

Photo taken by my wonderful husband.

Then, finally, came the music. I had heard some of these pieces a thousand times, but hearing them live, coming straight from Williams’ direction was amazing. The music felt so alive, organic and thriving more than it does in a theater or out of speakers. And without the film’s images to distract, you’re able to focus on subtle nuances. I think Williams is a fan of bringing out the lower brass section out, or perhaps there was a very enthusiastic trombonist. I can’t blame him. And the way Williams would sometimes cut the orchestra off with a slow dip of his hand until the music seemed to just fade away was magical.

One piece that blew me away like never before was his selections from Close Encounters of the Third Kind. I have loved this film since I was a kid, but the first time I saw it and heard this music was probably over an old, scratchy VHS borrowed from the library. To hear this music live, it felt so much more powerful. It was raw and almost primal in a way that I did not expect and it was one of the most beautiful things I had ever heard (second only to my son’s first laugh). I soaked up every note and silently wept the entire song. I should’ve known to bring tissues.

In between songs, Williams would often tell us a little story about working with Spielberg or how the music came to be. One of my favorites came as he introduced the music from the Indiana Jones movies. He was about do a piece from Indiana Jones and the Last Crusade entitled Scherzo for Motorcycle. Williams explained that he only named the piece after seeing the completed film. He said he was so proud of this fun piece he wrote to go with the scene where Indy and his father are being chased by Nazi’s on motorcycles, but when he saw it completed, there were all these loud motorcycle sound effects over his music and he felt like the joke was on him. Scherzo means joke, so Joke for Motorcycle. It was nice to hear the music without rumbling engines and explosions.

Selfie with Boba Fett!

Knowing his audience so well, Williams saved all the music he chose from the Star Wars films until the very end. Before he began, he enjoyed telling us how much he enjoyed writing music for Daisy Ridley’s character in The Force Awakens. When he introduced Rey’s Theme, he gushed on about how much he loved raising her up in the film. He said that before he agreed to write the music for The Last Jedi, he made sure Daisy would be in the film again. It was so sweet to see how much he loves his work and working with certain actors and characters.

As the last song was wrapping up, Throne Room and Finale from Star Wars, I clung to every note and wished it wouldn’t end. When it finished, the audience gave a loud, long standing ovation. None of us were ready to go home, we ached for more. And Williams delivered! He came out and performed Han and the Princess and then ended the night with The Imperial March, which ended in another standing ovation. We still wouldn’t sit. He graciously came back to bow over and over, he received flowers, waved to us as long as he could. And finally, as we just wouldn’t stop clapping for him, he put his hands together, leaned to the side and mimed that he needed to sleep. We laughed as we cheered. We were so thankful that he gave us such a fantastic evening.

When Mr. Williams visited my hometown, he had just celebrated his 86th birthday. Understandably, there were times as he stepped up and down from the podium that he seemed a little unsteady. I think the whole audience was praying he wouldn’t fall at one point. But as he conducted, his whole body moving with the music, he was ageless. Saying he was like a duck in water is too simple, but it works. It was such an honor to see him, to see him work in such a lovely environment and I’m sure most of us will never see it again. To see him conduct some of his latest Oscar nominated music was a truly rare treat, one that I’ve proudly told my son about already. If I’m lucky, one day I can tell my grand kids about it. And they can roll their eyes and call me an old nerd. I don’t mind. It was amazing.