RAW (2017)
Director: Julia
Ducournau
Notable Cast: Garance
Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss
The fascinating thing about Raw is that with all of its exploitative content (cannibalism, gore, sexuality) that it never treats itself like an exploitation film. It uses all of those elements to simply convey some of the themes of its story in heavy handed, but wholly cinematic ways. Themes about feminism, familial influence, coming-of-age youth pieces, communication, and the strange stresses that can break down students new to college are all seemingly fitted into a plot about a young woman who succumbs to cannibalistic urges, more or less. The balance and artfulness of how those themes congeal though is impressive to say the least. Raw is artfully done and it is the kind of horror film that will resonate much longer than many of its peers thanks to its layered and robust writing/execution that allows for lengthy cinephile analysis. In many ways, the film is much akin to early Cronenberg, albeit without the rough edges and fiesty 'be all, end all' energy, and for that I give it much praise.
My one issue with Raw is that in all of its artful
approaches, vague builds, and mysterious motivations for characters, the film
does haphazardly feel like it never has an end game in mind. That the
interpretation of its events IS the
purpose of the story. It’s an artistic approach to the material, one that
director Julia Ducournau handles with finesse. For some, this is a great thing.
For me, it occasionally felt like it would feel unfocused as it went about its
narrative presenting the material as a “slice of life.” It's a small issue, but
one that has stuck with me since finishing it. Nonetheless, for horror fans and
cinephiles, this is definitely a gem of the year and one worth seeing. Raw has phenomenal performances, fantastic
thematic undertones, and truly engaging characters that interact with the concepts
well. Still one of the best the best horror films of the year.
1922 (2017)
Director: Zak Hilditch
Notable Cast: Thomas
Jane, Dylan Schmid, Molly Parker, Neal McDonough, Kaitlyn Bernard, Brian d’Arcy
James
While the new version of It
provides the jump scares, humor, and epic plotting of the usual Stephen King
novel and Gerald's Game provides a
thematic and heavy look into stylized nuance of Stephen King's work, 1922 provides a third facet: the
stripped back uneasiness of character driven core structures and thoughtful
examination of an evil act through that lens. Not a traditional horror film in
almost any way, 1922 is a bleak and
unnerving drama (with some supernatural horror elements that provide parallels
more than scares) where a brilliant performance by Tom Jane anchors the film
and its concept. This is a film where the plot, style, and hook come second to
the Jane powered narrative that grinds a robust and layered character study. New
viewers need to be prepared for that much of the film.
At times 1922 can
seemingly drag on as director Hilditch embeds serious detailing into the film
to engross the audience in the world of Jane's simple and proud farmer,
including an entire subplot that features his son and the neighbor girl’s
romantic flight, but most of it feels to have meaning to the overall story and
character driven concept. It meanders at times in doing so, undermining the general
stripped back feel of how it starts. It’s obvious that this is not a film meant
to be entertaining. This is a film where the narrative comes first and if that
requires the time and effort of its audience to endure its sense of building
dread, layered plotting, or even symbolic rat visions then so be it.
Honestly, it's quite refreshing. 1922 comes highly recommended.
JACKALS (2017)
Director: Kevin
Greutert
Notable Cast: Stephen
Dorff, Jonathon Schaech, Deborah Kara Unger, Ben Sullivan, Chelsea Ricketts,
Nick Roux, Cassie Hernandez, Alex Castillo, Carol Abney, Alex Kingi, Jason
Scott Jenkins, Alyssa Julya Smith
After editing The
Strangers, I guess director Kevin Greutert wanted to make his own
version...which came out to be Jackals.
While this film is not nearly as atmospherically drenched and horrifyingly
simple as the former film, Jackals
does succeed on many levels as a slasher/home invasion flick. Namely, it's well
paced and well directed. Enough so that it creates some of those intense and
menacing moments as one would expect with vague masked cult members who are
surrounding an isolated cabin filled with family members. The violence can be
shockingly effective and there is a solid twist at the end of the first act
that nimbly takes the audience out of just following the usual blueprint.
The problem with Jackals
is that some of the character choices and overall motivation for the film, an
intense kidnapping and de-brainwashing of a son - who anchors the film with his
impressive performance, are weak and glazed over. There’s plenty of character motivation,
even some solid arcs for them, but once the film starts moving it feels as
though there are pieces where they make rash decisions for the sake of plot
progression. Also, the third act feels rushed in many regards and it's left
with a very, very open ending that will drive some viewers completely up the
wall (and one of those viewers is me.) Despite some solid atmosphere, intense
sequences, and a great idea, Jackals
is more of a mixed effort than one would have hoped. Recommended for fans of The Strangers or You're Next, but it’s not nearly on the level as either of
those.
Written By Matt Reifschneider
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