How is The Human Centipede (First Sequence) not among the most transgressive and repulsive movies ever made? For those not familiar with the premise of writer/director Tom Six’s feature, there’s no reason to be coy about it. The Internet Movie Database plot summary of The Human Centipede reads: “A mad scientist kidnaps and mutilates a trio of tourists in order to ‘reassemble’ them into a new ‘pet’ – a human centipede, created by stitching their mouths to each others’ rectums.”
2005’s ‘Stay’ is too aggressively off, fostering sensitivity to its head game rather than engagement in the story. Gosling holds it together
Aussie crime thriller ‘The Square’ is poised to explore guilt in a handful of characters but instead becomes a ridiculous, contrived tragedy
Against its Swede forebear, ‘Let Me In’ accumulates minor changes that make it too insistent. Fidelity is a pleasant surprise but not enough
“Happy New Year, first of all,” Jimi Hendrix says to the Fillmore East crowd at the dawn of 1970. “We hope you have about a million or two million more of them – if we can get over this summer.” He pauses and follows that with a “heh heh heh” that suggests a hint of self-loathing. In hindsight, it might be the saddest recorded laugh in history, as Hendrix didn’t survive the summer, dying at age 27 on September 18. Of course, it would be stupid to read anything into Hendrix’s audience banter beyond the irony of his imminent passing. He was simply acknowledging the lameness of his quip, and he moves on, dedicating the next song to urban warriors and quickly appending: “Oh yes, and all the soldiers fighting in Vietnam.”
For whatever reason, I’ve steadfastly avoided most of the Coen brothers’ sillier movies. But a friend’s earnest e-mail (titled “Urgent Coen Brothers symbolism inquiry”) pushed me to watch Raising Arizona, which in the context of a discussion of nihilism and No Country for Old Men led me back to Miller’s Crossing, which for the hell of it got me (for the first time) to see The Big Lebowski. (Understand that I do not put Miller’s Crossing among “the Coen brothers’ sillier movies.”) Watching the three together was instructive.
Atom Egoyan has been on some kind of losing streak. Since his breakthrough masterpiece The Sweet Hereafter in 1997, his fiction features have gone from dense and compelling if awkward psychological dramas. With the caveats that it’s a remake and not written by Egoyan, Chloe seems to chart a new path for the filmmaker, even though it collapses in a fit of silliness just as it threatens to become probingly nasty.
Sadly, M. Night Shyamalan’s Unbreakable hasn’t held up well, suffering from an inability to transcend its conceit.
Dizzyingly fragmented, Welles’ ‘F for Fake’ builds layers of credible story exploring authenticity. ‘This is true, you know.’ No, you don’t.
In my hastily keyboarded notes after seeing Inception last weekend, I spent much time faulting Jim Emerson for his dismissal of Christopher Nolan and of the movie. Emerson made sweeping, unsupported generalizations in the service of his obvious dislike of Nolan’s movies. His pieces (and his responses in the comments sections) represented an attack rather than an argument. It’s only fair, then, to praise Emerson for his essay yesterday, which restates his problems with the film but does so much more cogently and generously.
