Conan The Barbarian (1982) | Directed by John Milius | Reviewed by Jason Lépine Conan the Barbarian (1982) Score by Basil Poledouris is an absolute epic and the pinnacle of Fantasy film scores. Every section of the score, from the rousing percussive introduction of "Anvil of Crom", which sets the pace of the violent horror of this harsh world, to the revelatory calm and stirring emotion of "Atlantean Sword" which perfectly captures the prophetic moment that connects Conan to his blade. The sweeping emotional conundrum of "The Search" as Conan forgoes his newly found love and happiness to reclaim the blood debt that has motivated him up until this point. Conan, a stoic figure, seemingly void of emotions, yet every ounce of his pain is felt during “The Funeral Pyre” through the score. The mix of playful setup and exciting build-up of the “Battle of the Mounds” braces us for the penultimate encounter. Every track is as fundamental to the film as the action on screen. The score elevates an already remarkable film to a classic, legendary, status. There is no overlap in these works of art; each section of the score is unique, yet wholly feels a part of the collective. The score will follow you long after the screen fades to black. The Wild Robot (2024) | Directed by Chris Sanders | Reviewed by Jowy Moss In my opinion, The Wild Robot (Chris Sanders, 2024) features the most memorable and emotional soundtrack of the year. Not only has the film's story lingered with me since my very first, very tearful viewing, but the score has also left a lasting impact. Whenever I see a frame from the film, I immediately hear Kris Bowers’ score echoing in my head. The score uses methodical, mechanical beats to connect to the main character, a robot named Roz. But as she learns from her experiences in the wild, and from raising a young gosling named Brightbill, the score opens up into soaring and lyrical melodies. The most impactful use of this incredible score comes in the song “I Could Use A Boost.” In the scene where this track plays, Brightbill has to leave Roz his mother behind to migrate for the winter. The theme expertly blends his excited nervousness of leaving with her bittersweet goodbye. The song swells in intensity as Roz helps Brightbill take off, finally building into a surprising pause as she reflects on Brightbill flying away. Suddenly the melody comes back, building once more as Roz runs after him, to see him one last time for a silent “goodbye.” Just like that, he’s gone abruptly taking the soaring theme with him and leaving Roz with the slow, lone piano as she contemplates the bittersweet reality of raising a child; to eventually let them go off into the world on their own. From that scene onwards, anytime I see anything related to The Wild Robot, I remember this moment and get all teary-eyed. It has connected with me on an emotional level which I will never forget. Such a memorable, and beautiful score is truly something special. Kris Bowers definitely deserves this year's Best Score Oscar nomination and hopefully, the Academy Award itself! Challengers (2024) | Directed by Luca Guadagnino | Reviewed by Lucy Schwindt In lieu of the Oscars nominees being released, and Challengers not receiving a nomination for score, I felt like I had to write on this film. The Challengers score is nothing less than monumental to me. In a movie that already utilizes tension (sexual and otherwise) to create an engaging story, the score enhances the tone perfectly. Using a score that is almost exclusively composed of electronic dance music, the beats of the tennis matches are transformed from simply a sport that is a point of conflict, into an arena where movement and competition take a whole new meaning. Tennis is transformed from a competition into a dance between Art and Patrick that holds the same kind of sexual tension that is emulated by two people dancing at a club. The energy becomes electric, and suddenly a movie that is almost entirely about relationships that are a metaphor for tennis, takes the actual act of playing tennis and makes it about the only other subject on the characters minds, sex. Trent Reznor & Atticus Ross absolutely killed it with this score, and in my heart took home the Oscar for best original score this year. Lord of the Rings: Return of the King (2003) | Directed by Peter Jackson | Reviewed by Arvin Farahbakhsh 2003 was the year I was born and it also happens to be the year that one of my favourite films ever released, that film of course being Peter Jackson's third Lord of the Rings film. Return of the King is a film that's been talked to death by virtually everyone so I don't think I need to elaborate much on just how impactful it's been to our cultural landscape, however, its score is something that I often see kinda forgotten in the grand scheme of things with this magnificent piece of art. Howard Shore composed the scores for all three films in this trilogy and while his scores in both the other films do stand out as groundbreaking and larger than life, his Return of the King score in particular stays with me far more. The way that Shore manages to capture this perfect blend of the maximalist spectacle of 2000s blockbusters while also keeping the same softness and sentimentality that the earlier scores in the trilogy possess is a remarkable level of genius that I don't think many other composers are capable of. I will be frank, if it wasn't for Shore's score, I highly doubt that this film would be as big of a moment in our cultural lexicon. The way the beautiful strings soar over the lighting of the beacons, the way the choirs announce the ride of the Rohirrim and even Pippin's song intercut beautifully with the barely hidden pain of Denothor and Faramir's strained relationship. These kinds of moments are as memorable as they are not in spite of the score, but because of it. That's honestly what I look for in scores as at the end of the day, the most powerful scores are the ones that can speak a language of their own. Scores that are completely un-divorceable from their origin and come to mind almost instantly when thinking of a specific moment in a film. That for me is what it's all about. Oppenheimer (2023) | Directed by Christopher Nolan | Reviewed by Hunter Demers Even though its a relatively recent film, when I think of incredible soundtracks in film, I think of Ludwig Goransson's score for Oppenheimer. The score adds so much to the intensity and pacing of the film, elevating it from the typical biopic seen often in modern filmmaking. 'Can You Hear the Music,' for example, underscores the feeling of early wonder in Oppenheimer's curiosity of the sciences and studying the details of world around him. This is shockingly important as one of the first pieces of score used in the film as it works alongside Christopher Nolan's direction and Cillian Murphy's character work to set the stage of where we find Oppenheimer at the beginning of the film. The score then becomes increasingly ominous and intense as the film continues, following Oppenheimer's increasing development of the nuclear bomb and increasing dissuasion he has towards his work. Such an interesting musical accompaniment to the film and one of my personal favourite film scores in recent memory! Freddy Got Fingered (2001) | Directed by Tom Green | Reviewed by Ali Zakreski Freddy Got Fingered (2001) turns “trolling” into an art form. It’s not a movie it’s a giant middle finger to the studio that sunk $14 million into its production. It defied the expectations of audiences and critics who thought Green would just give them a feature-length version of The Tom Green Show (1994-2000). All great artists defy expectations or risk stagnation, and this movie is just as bold as Bob Dylan going electric. Freddy Got Fingered is an absurd parody of the cliché and cheesy films about struggling artists. The soundtrack brilliantly contributes to its satirical intent. The movie opens with the protagonist, Gord, driving to Los Angeles to pursue his dream of becoming an animator. As Gord nears his big dream, Garry Numan’s Cars (1979) plays in the background. It’s the most cliché song that a director can use for that moment, and that’s why it’s brilliant. The song not only serves Green’s parody intent; he uses it to lull his audience into thinking this is just another conventional movie. The tone changes when Gord sees a stud farm, the music going from a licenced song to a jaunty instrumental score. He sees a horse being masturbated and blurts he “wants to try the horsey.” Gord proudly proclaims, “Look at me, Daddy, I’m a farmer!” as let’s just say he makes friends with the horsey. Gord is a character that reacts to every situation on pure impulse, no intrusive thought goes unacted upon. Green directed the film with the same ethos, acting on every creative impulse. The soundtrack matches the chaotic energy of Gord and the man who created him. Marie Antoinette (2006) | Directed by Sofia Coppola | Reviewed by Hazel Cochrane Marie Antoinette recreates my own junior high mp3 player listening patterns (which happened to be quite influenced by one particular Sofia Coppola soundtrack CD, Lost In Translation): danceable post-punk songs in the morning, and dreamy, sad indie songs all night. Coppola shapes the experience of her teen protagonist through the emotional realism of a dominating and evocative soundtrack. Marie Antoinette is portrayed as this wild, reckless, nihilstic, inspired girl, these traits complimented by tracks from Adam and the Ants and Bow Wow Wow. For her and her young royal friends, important life changes occur too suddenly and work with intensity on their emotional states: so of course Antoinette’s life soundtrack is dominated by New Order, The Radio Department, The Strokes, and Vampire Weekend. Everything she feels overwhelms her, and she’s stuck in her own privileged world despite the situation outside: but the viewer becomes stuck, too, in a fantasy-world of first loves and sweet sad music.
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36.15 Code Père Noël (1989)36.15 Code Père Noël | directed by René Manzer | 1989 | 92 minutes Editor's note: This was meant to be published in December, however, the site was down all month. Put this film on your list for next Christmas (or, consider that it's a lot less lame to celebrate Christmas in January than in November...) and make sure to check back for the next ATTIC OF ABSURDITY review! Welcome once again to the Attic of Absurdity. Christmas is right around the corner and I’ve got a treat for you. In 1989, french director René Manzer created one of the wildest Christmas films ever made, so wild, there’s multiple titles for the film. The original french title to the film is, 36.15 Code Père Noël, which in English was translated to Dial Code Santa Claus. The film is also oddly known by: Deadly Games, Game Over, and my personal favourite, Hide and Freak. The film follows Thomas de Frémont, an energetic kid who loves action films and creating high tech gadgets. He’s super smart and this year plans on catching Santa Claus to prove he’s real. The only problem is the man inside his house…isn’t the real Santa Claus, and now it's a game of life or death survival for him and his ill grandfather.
This film predates Chris Colombus’ film Home Alone (1990) and follows a very similar plot but takes it up a notch. Manzer was inspired by films like Die Hard (1988) and the Rambo series and wanted to show them through a child’s perspective. Unlike in Home Alone, the traps are more deadly, the damage is shown, the threat is tense and the house is INSANE. This film has easily the coolest and craziest house ever put to film. There’s so many twists and turns here with such elaborate rooms. You have no clue what or who is around each corner. Going in blind, you’ll be baffled when the film’s true plot kicks in. It's such a 180 from the rest of the film and truly kicks off the action packed thrill ride this film is. The second half is outrageously bold and emotional. The film was a huge success in France in 1989 but only ever got its North American premier in 2018 at the Fantastic Fest in Austin. Audiences have since been blown away by the immense creativity and exhilarating nature of Thomas and his antics. Dial Code Santa Claus blurs many lines, such as family film, horror film and high paced action epic. The score composed by Jean- Felix Lalanne can put modern action films to shame. It’s big, it’s grand, it’s pulsating. Each scene is given such weight to it which makes the entire film vastly entertaining from start to finish. It may not be the best written film, nor does it have much consistent logic or continuity, but it’s insanely over-the-top entertaining and charming. Critic Peter Martin writes, “I was utterly bowled over with happiness. Sure, it's your standard clever kid vs Santa Claus home invasion tale…but it's exceptionally smart, funny and kinda fiendish too. It's a great family action movie for families who hate the holidays." If you’re looking for an absurd and different kind of Christmas film this year, I’d highly recommend 36.15 code Père Noël. You’ll be amazed at just how charming and odd this film really is. There’s something here for everyone to like and you’ll definitely not be able to predict where this film goes. It’s a maze of constant entertainment and childlike wonder for the holidays. 1917 (2019) | Directed by Sam Mendes | Reviewed by Aiden Beatty When I used to work at a movie theatre, I was extremely excited to get free tickets. After my first shift, I took a look at what we were showing and decided to go see 1917. I didn’t really know what it was but there was the fun. I ended up enjoying it so much that I went and saw it again the next day, after I had such an emotional reaction to the film that I hadn’t expected the first time. 1917 deploys a false “one-take” style of cinematography and editing which creates fantastic immersion like no other war film I’ve seen. We follow two soldiers during World War I sent on a mission to deliver a message across enemy occupied territory, in order to stop their allies from walking into a deadly trap. The film is constantly keeping you on the edge of your seat and is equally fun and thrilling. The score is magical and sticks with you once the film is over. 1917 remains one of my favourite war films and has such a memorable theatre experience I will never forget. The Zone of Interest (2023) | Directed by Jonathan Glazer | Reviewed by Lucy Schwindt I remember going to see The Zone of Interest in the theatres and being absolutely devastated and feeling hollow by the time I left. There is no other way to describe it. Despite the fact that you see very little of the horrors of the German concentration camps, the ever looming presence it has over the lives of Glazer’s characters is crushing. This movie feels less like a study of the intricacies of war and leans towards a study of evil. A study of how cruelty infects an individual/population and their behaviour. Glazer puts the viewer into the shoes of the Hoss family. Isolated and relatively ignorant (by choice or not) to the horror happening behind the wall. The blissful and simple scene is simply disturbing. You can’t help but become conflicted between the anger of internal values and the emotions one experiences while being shown a scene that feels nostalgic for many individuals. The Zone of Interest is a study of tension and the darkest sides of the human experience, and gives a unique perspective on the minds behind war. 1917 (2019) | Directed by Sam Mendes | Reviewed by Cooper Hartlen 1917 is a war film that excels in how fully it transports you into the perspective of a soldier. Like All Quiet on the Western Front, the movie primarily uses the perspective of a singular soldier to show the exact mindset of being in a war and how the gruesome events you see affect your psyche. We feel every moment of danger as protagonist Will Schofield navigates through no man’s land. We feel the impact of being shot and waking up alive, next to the corpse of another man who nearly ended your life, rather than the reality of what act you committed in self defence. But whereas All Quiet on the Western Front showed as much gruesome violence as possible to show the horrors of war, 1917 uses a constant tracking shot throughout the movie to have every second experienced be felt by the viewer. The focus on cinematography giving more of the story than the dialogue is an excellent artistic choice, when showing an event where emotions were concealed. The visual horror of feeling the claustrophobia of the trenches and the impending horror of seeing a plane crash right next to you can only be shown with their full impact visually. Starship Troopers (1997) | Directed by Paul Verhoven | Reviewed by Lucy Schwindt I will never get sick of this movie. It is so nostalgic to me. It was one of the first movies that sent me down the rabbit hole of loving film, and more specifically my interest in war films (despite it not being the same kind of genre as say, Saving Private Ryan). Starship Troopers is not only a clear analogy of anti-facist ideals, but it is a great critique of war propaganda and the absurdity of war mentality.
Verhoven has this uncanny ability to create playful and textured worlds that leave the viewer filled with this sort of heavy whimsy. As strange as that combination may sound. Starship Troopers is a great example of this though. The characters are exaggerated and enthusiastic, and have this certain charm that makes this movie just such an enjoyable watch. And even with the lightheartedness, Verhoven still leaves room for his viewers to stop and think about what is being said. I truly believe this movie has a little something for everyone. Plus, who doesn’t love epic spaceship fights and crazy alien creatures? I truly cannot recommend this movie enough. A master of Soviet animationHedgehog in the Fog | Directed by Yuri Norstein | 1975 | 10 minutes By Lucy Schwindt Hedgehog in the Fog (1975) is a Russian short film directed by Yuri Norstein. This film, made mid cold-war, is a short film that speaks to the censorship and fear of daily life during the late 20th century. The focus of the film is oriented around the main character, Hedgehog (as voiced by Maria Vinogradova), and his travels through a dense fog. Hedgehog desperately tries to find his friend Bear (voiced by Vyacheslav Nevinny), but along the way encounters seemingly dangerous and terrifying situations. Using beautiful layered visuals, made from intricate cutout animation, Norstein tells a charming, yet thoughtful, tale with his skillful use of paper.
Something particularly interesting about this work is Norstein’s direct commentary of the Cold War and the preceding events which led to it. Illustrating the clear conscience of the general Russian population before the war, just as Hedgehog’s journey starts out clear of fog. However as time went on, just as the fog clouds Hedgehog’s way, the ever intensifying conflicting goals, propaganda, and tension began to clutter the mind of the people. Norstein's particularly efficient in his use of the metaphor of the fog, in a time of confusion and fear, the fog takes similar effect on the characters of his story. Its goal is to conceal the truth and keep the population afraid. This is a direct parallel to the dangers that hedgehog seems to endure on the journey, though nothing ever truly hurts him, he is left to find a way to keep going, often without support. Something this film speaks to very well is interpersonal relationships of Soviet Russia. There is an undeniable emotion of comradery, and support among strangers. In the storm of propaganda many found solace with others, and took on the role of an anchor. Although the horse stands as an eerie symbol of something heavier over the tone of the film. The meticulous nature of this animation has a quiet and sort of haunting presence. On the technical side, the cinematography and animation style chosen by Norstein speaks to an era of censorship. The film is composed of cutout paper, which is stop motion animated. This is to add a childlike perception to the film. Young children’s media was not very heavily restricted and regulated in the Soviet Union, so by adding that sense of a storybook for a toddler, Norstein is able to have a more direct outlet to share his views. The cutouts are highly alluring, as many look nearly real and others perfectly stylized to fit the theme of the film. The main character, Hedgehog, is especially wonderfully done. Hedgehog’s design truly speaks to the love put into this work, as every frame had to be hand drawn and cut perfectly. This labour intensive production would be nothing short of gruelling to complete. The atmosphere is perfectly created, the shadowy figures in the mist create fear and doubt within us, only to have that fear quelled by the reveal of mystical glowing insects. However this moment is quite quick, as the fog quickly rolls back in to diminish our hopes and create doubts within our minds, it is a moment of catharsis and hope for the viewer. Every part of this story is taken to a level of perfection which is rarely seen, the story is moving and we fear for the character and all the while you can relish in the beautiful moments that quickly evaporate as though they never existed. This complete mix of fear and beauty is something which often is done incorrectly or completely ignored. Norstein is able to take each aspect given, and provide it with new life. As the film comes to an end, the viewer, much like Hedgehog, is left wondering and contemplating the events that Hedgehog just experienced. Hedgehog in the Fog is a skillful demonstration of the power film, as well as animation, as an art form can hold. It is an important show of what influence our voices hold, and the creativity that is achievable when trying to state a point. Saint Maud (Rose Glass, 2019) follows the story of Maud (as played by Morfydd Clark), as she assumes the role of caretaker for Amanda (Jennifer Ehle) who is afflicted by a chronic illness and the tensions created between their lifestyle differences. Saint Maud is a complex and layered psychological horror that speaks on themes of religion, obsession, and the effects of internalized homophobia with these strong outer influences bearing down on Maud’s consciousness. Saint Maud is not only one of only two feature length films Rose Glass has made to date, but it is also her first. And she knocks it out of the park right off the bat, as she definitely does not disappoint. Glass thrives in creating intimate and thrilling movies that tackle taboo subjects of society, and she guides her audience through processing these complexities of life. She has a very distinct style and likes to play with powerful visual effects, colors, and vivid visual horror. Making it hard to look away from the freaky and truly unsettling kind of possession Maud undergoes as she dives deeper into a lifestyle guided by religious enlightenment and the path of god. All of this creates the perfect choice for horror enjoyers to end the month of October off on! Each Halloween season, I find myself returning to Richard Kelly’s Donnie Darko. Though not particularly scary on the surface, the film’s eerie atmosphere comes from it being a psychological drama rooted in reality. Situated in a suburban area of Virginia throughout October 1988, we follow Donnie (Jake Gyllenhaal), a distraught and troubled teenager led by the presence of a foreboding rabbit and his own cloudy judgment. There’s something quite unsettling about Donnie’s helplessness - brought on by what originally seems to be just a psychosis but quickly spirals into something more complex. The film manages to be somewhat literary, posing questions relating to destiny and the influence we have on the lives of those around us. Through the introspective and strangely philosophical nature of the plot, Donnie Darko is able to subvert common tropes of many genres, allowing the film to be a fresh take on a Halloween-themed movie. The Wailing is an intense, thought-provoking, and genuinely scary horror movie. If you're looking for a film that will keep you on edge, making you think and feel along with the main protagonist, this is it. The way the characters interact feels real and are very rational, and the scares are not the cheap jump scares we’ve grown used to. This movie will actually creep you out and stick with you long after it's over. When I first watched it with my buddy, we were in shock and awe throughout, and left absolutely speechless at the end, just reflecting on the masterpiece we had witnessed. The story is amazingly written, and the actors truly display the raw emotions of their characters. This movie is a must-watch for horror fans who want something different from the usual Western horror experience. It’s March 2020. As we see the damned weave tapestries, there is a growing realization that nobody will watch our vlogs, crying out the worthless dribble of “justice”, of eyes to see beyond It. To sue… to go to the papers. To want to be heard… to prevent our being marked “abandoned” by the world. This is what we find in [REC]: a black patch to Science, a rotten xenomystical terror churling inside an aseptic holo-sphere, within which an apartment building rapidly sinks into the Earth’s co-error. All ties are severed. They die, by the eye. The politick of human warmth and comfort becomes the irrelevant vector of disease. “Nobody will save us… open your eyes.” It is a movie filmed inside a nuclear bomb. “Turn on the light!!!!!!! Turn on the light, please!!!!!!” The final scene: a jangling, putrid “Old Believer” baroque tome-trinket museum of Natural Evil fit for the nation that birthed Palmarian Catholicism. “Don’t move— I’m turning on the night-vision.” Willard Huyck — a contemporary of George Lucas and co-writer of Indiana Jones — directed two films. The first was Messiah of Evil, an independent horror film released amidst the New Hollywood; the second was Howard the Duck. I defy you to name a better career. The story is simple. Artley (Marianna Hill) is searching for her father, an estranged artist who went missing following a fit of paranoia. She returns to the coastal town of Point Dume, where she meets a series of peculiar residents — groupies, aristocrats, cult members — all connected through the titular “Messiah of Evil.” As the sun sets and the sky turns red, Artley is hit with the same paranoia that struck her father. The seedy underbelly of Point Dume is revealed. Ultimately, Messiah of Evil’s plot is second base to the vibe. The film operates on nightmare logic, a poisonous stream of consciousness. That feeling of “something is wrong, but I can’t tell you what” is entirely enhanced by shots of empty space, inexplicable fog, and flat, Colville-esque portraits of figures in black. It is a horror film focused less on gore and jumpscares and more on primal unease. It should come as no surprise that art director Jack Fisk would become David Lynch's go-to hire, inspiring the looks of Eraserhead, Twin Peaks, and Mulholland Drive. Howard the Duck is also scary, but like, unintentionally so. Clever horror tactics meet genuine and seemingly prophetic motives in David Cronenberg’s The Brood. It’s charmingly weird and unsettling, and very well could be one of the most obviously Canadian horror films ever, but manages to climb its way out of the bottomless pit of fun low-budget horror films with its doomful, depressed characters and their struggle with the blood ties which bind them. Frank must fight between his duties as a loving father, and his absolute fear of his emotionless young daughter and her mother who is kept in a strange mental hospital but willing to do anything to claim custody of her daughter. As well as mental illness and alternative psychological practices, The Brood is an intellectual commentary on divorce and the right to one’s own child. And, it’s got creepy humanoid children and breathtaking body horror! Let it work your fears, and laugh at the absurdity of this classic horror film as you keep Cronenberg’s own divorce in mind as the context in which the film was made. Leave a comment about an all-time or recent favourite Halloween-y (horror, gothic, etc.) movie, and stay updated for more collaborative lists in the future, to have your own short review published! HAPPY HALLOWEEN!
A Super-indie, Grrrl-style, Revolutionary Rom-com |
Hundreds of Beavers | Directed by Mike Cheslik | 2022 | 108 minutes by Aidan Beatty Welcome to the Attic of Absurdity: the potential start to a series in which I will be shedding light on, reviewing and discussing absurdist cinema and or odd films I feel are worth talking about. To start off the series, let’s talk about Hundreds of Beavers (2022). This film recently got its Calgary debut presented at the Globe by The Calgary Cinematheque. It was a rather successful event having garnered a large crowd of engaged film-goers. This film almost never had a dull moment and the theatre was packed full of continuous gut wrenching laughter. It’s been a long while since I’ve seen an audience laugh that hard and consistently. This is definitely a film meant for a big audience or group. With a budget of around 150,000$ (10,000$ being spent on Beaver costumes alone), Mike Cheslik wrote, directed and edited his debut feature over the course of four years. The film was shot in Wisconsin during twelve total weeks of winter, between 2019 and 2020. Cheslik took two years completing over 1,500 visual effects shots himself using Adobe After Effects, and even had his father compose the score to the film. This attention to handcrafted independent detail is what makes the film feel so special. This lovely warmth is present throughout the film and it’s very apparent as to all the love that went into this production. Every shot has this magic to it that feels lost with most modern Hollywood films. Hundreds of Beavers is presented as a black and white silent slapstick comedy. While it’s an homage and pastiche towards the films of the 20’s, it also acts as a modern day presentation of the genre by utilizing newer technology and acknowledging some of the down sides from that era. The influences are very apparent throughout the film even down to certain scenes being fairly identical from Modern Times (1936). Charlie Chaplin and Buster Keaton aren’t the only influences present, while they certainly are at the forefront of the action, a lot of the film feels and looks influenced by video games. This video game aesthetic they craft is extremely impressive. The film creates a game-like world better than any video game adaptation ever put to film. This world is consistently inconsistent in the most pleasant way. As the film goes on, what’s possible changes radically but never feels out of the ordinary. It’s simply the absurdist charm. It also gives the film a great flow and sense of pacing… for the most part. This is definitely a long film and can get slow, but usually it’ll throw in some gag to keep you entertained. I had a lot of fun with this film, both as a viewer and an aspiring filmmaker. The way it leans into the low-budget nature truly captures some wonderful moments. There’s many layers to the bits present within the film that can be identified differently from person to person. The physical humour is often always the highlight, taking some draw from America’s Funniest Home Videos. A lot of the laughs can also come from how un-scripted some of the trips, falls and such are presented. There’s no doubt a lot of it was an actual accident but they chose to keep rolling and it's very charming. The whole film is centered around this charmful wonder. I’m in awe at just how complex this film can be while also being so simple as well. It’s very effective as a comedy and a lesson in how to do physical and visual humour. I'd highly recommend this as it is already proving to be a modern day classic. You can purchase it digitally or be patient enough to get the physical release coming later this year, either way, this film will certainly surprise you with how much you’ll enjoy it… knock on wood. |
Brought to you by the U of C Film Society!
Welcome to the fourth annual Crash/Cut film awards — voted by YOU! 2023 was a fantastic year for cinema, and after weeks of nominations and voting, the results are in! Keep reading to check out the winners.
A massive thanks to all the wonderful members that participated. Here's to another year of great movies!
A massive thanks to all the wonderful members that participated. Here's to another year of great movies!
MUSIC AWARDS
Best Original SongCamp Isn't Home Theatre Camp Other Nominees: Here to Stay - Tim Hecker (Infinity Pool) I'm Just Ken - Ryan Gosling (Barbie) What Was I Made For? - Billie Eilish (Barbie) | Best Original ScorePast Lives Christopher Bear and Daniel Rossen Other Nominees: BlackBerry (Jay McCarrol) Oppenheimer (Ludwig Göransson) Poor Things (Jerskin Fendrix) |
TECHNICAL AWARDS
Best CinematographyPoor Things Robbie Ryan Other Nominees: Asteroid City (Robert Yeoman) Saltburn (Linus Sandgren) Best SoundPriscilla Nelson Ferreira Other Nominees: Oppenheimer (Richard King) | Best EditingAnatomy of a Fall Lauren Sénéchal Other Nominees: BlackBerry (Curtis Lobb) Oppenheimer (Jennifer Lame) Best Visual EffectsOppenheimer Other Nominees: Asteroid City |
WRITING AWARDS
Best Original ScreenplayMay December Screenplay by Samy Burch and Alex Mechanik Other Nominees: Past Lives (Celine Song) | Best Adapted ScreenplayPoor Things Written by Tony McNamara Based on the novel Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer (1992) by Alasdair Gray Other Nominees: Oppenheimer (Christopher Nolan, Kai Bird, Martin J. Sherwin) BlackBerry (Matt Johnson, Matthew Miller, Jacquie McNish, Sean Silcoff) |
PERFORMANCE AWARDS
Best Actor in a Leading RoleCillian Murphy Oppenheimer Other Nominees: Andrew Scott (All of Us Strangers) Glenn Howerton (BlackBerry) Paul Giamatti (The Holdovers) | Best Actress in a Leading RoleLily Gladstone Killers of the Flower Moon Other Nominees: Emma Stone (Poor Things) Greta Lee (Past Lives) Sandra Hüller (Anatomy of a Fall) |
Best Actor in a Supporting RoleCharles Melton May December Other Nominees: Mark Ruffalo (Poor Things) Paul Mescal (All of Us Strangers) Swann Arlaud (Anatomy of a Fall) | Best Actress in a Supporting RoleDa'Vine Joy Randolph The Holdovers Other Nominees: Danielle Brooks (The Color Purple) Ayo Edebiri (The Sweet East) Rosamund Pike (Saltburn) |
Best Ensemble
Bottoms
Other Nominees:
Barbie
Saltburn
Theatre Camp
Other Nominees:
Barbie
Saltburn
Theatre Camp
BEST SHORTS
Best Live Action Short Film
The Wonderful Story of Henry Sugar
Wes Anderson
Other Nominees:
The Breakthrough (Daniel Sinclair)
The Swan (Wes Anderson)
Wes Anderson
Other Nominees:
The Breakthrough (Daniel Sinclair)
The Swan (Wes Anderson)
Best Animated Short Film
TIE:
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Best Documentary Short Film
TIE:
The ABCs of Book Banning (Trish Adlesic, Sheila Nevins, and Nazenet Habtezghi)
The Barber of Little Rock (John Hoffman and Christine Turner)
The ABCs of Book Banning (Trish Adlesic, Sheila Nevins, and Nazenet Habtezghi)
The Barber of Little Rock (John Hoffman and Christine Turner)
BEST PICTURES
Best Documentary Feature Film
TIE:
Apolonia, Apolonia (Lea Glob)
Chasing Chasing Amy (Sav Rodgers)
Apolonia, Apolonia (Lea Glob)
Chasing Chasing Amy (Sav Rodgers)
Best Animated Feature Film | Best International Feature Film |
The Boy and the Heron Hayao Miyazaki Other Nominees: Spider-Man: Across the Spider-Verse (Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson) Toopy and Binoo: The Movie (Raymond Lebrun and Dominique Jolin) | Perfect Days Wim Wenders Other Nominees: Fallen Leaves (Aki Kaurismäki) Monster (Hirokazu Koreeda) Passages (Ira Sachs) |
Best Motion Picture of the Year
Anatomy of a Fall
Justine Triet
Other Nominees:
Past Lives (Celine Song)
Poor Things (Yorgos Lanthimos)
May December (Todd Haynes)
Justine Triet
Other Nominees:
Past Lives (Celine Song)
Poor Things (Yorgos Lanthimos)
May December (Todd Haynes)
Best Director
Celine Song
Past Lives
Other Nominees:
Justine Triet (Anatomy of a Fall)
Sofia Coppola (Priscilla)
Yorgos Lanthimos (Poor Things)
Past Lives
Other Nominees:
Justine Triet (Anatomy of a Fall)
Sofia Coppola (Priscilla)
Yorgos Lanthimos (Poor Things)
Rosemary's Sweeney
by Aidan Beatty
2024 continues to be Sydney Sweeney’s year. Having three films come out in only two months, her big-screen presence proves to be one to stay. Her latest film, which she not only acts in but also produces, Immaculate (2024), hits theatres this month. I had the lucky chance to see an early screening and will present my honest opinions on the film.
From the cold open, we are brought into the claustrophobic world of the film. Space is utilized very well in conveying its horror. From locking characters in confined spaces, or crammed hallways, this film creates a tense atmosphere. Accompanied by its ruthless sound design, no place ever truly feels safe. There’s always this eerie feeling even when nothing sinister is truly on display. At times, the film can utilize the quiet then loud jump-scare too much, but some scares come from no build up and those are the most effective. There are also some details within the set design that give off an odd vibe, a few of which I was expecting the film to adapt upon, but they don’t. They just lingered in my mind and made the film more creepy when not addressed.
The first time we see Sydney Sweeney as Sister Cecila, we are made aware of her role in this society. We see how she is viewed and perceived. As said in the Bible, women bare the original sin of conception. The film is centered on this idea of life and death and being reborn. Her character is pure and she is tested. We as the audience are also tested with morality. What is right of the wrongness in others? The third act of the film is harrowing and much stronger than its slower first two. The ending lingers on this shot that starts unnerving, but does descend a tad comical. It does prove my theory that Sweeney could become a modern day scream queen. As the film picks up pace, so does she. By the final moment of the film, the audience had such a visceral reaction and one of the audience members even said, “Let me just sit with this for a moment before we leave.” another also said, “She totally girl-bossed that,” which was a response for sure.
A big issue with this film for me is its characters. Most of them are not given enough time to flesh out and we are left with mostly slots and archetypes rather than compelling people. Cecilia [Sweeney] is the only one we truly get to know, as those around her don’t interact much with her and when they do it’s only to talk about herself. Characters attempt to give off this mysterious backstory, but it comes across more as lazy than interesting. They follow structured horror film beats and never give us much to see in them so that when they're gone, we don’t miss them. Or if something happens to them, we aren’t inclined to feel bad, we’re more focused on the effects instead. The effects are entertaining, but do vary from effective and fun to sometimes B-level goofy.
Immaculate does proudly display its influences, but sadly, it reminds me of better films with similar themes and ideas. The likes of Rosemary's Baby (1969) and Killer Nun (1979) come to mind. I feel as though they use their respective themes better as they’re able to center in on them. This film takes too much of its time trying to figure out what it really wants to say that by its improved third act, they’ve left some of its original ideas behind. We are given more questions than answers and normally I enjoy that, but here the questions are more of plot holes rather than intriguing ones. The cold open was great and this lingering force of hooded red figures was tense, but we aren’t fulfilled with connections enough to link them all together.
While not a film I would rewatch, it was still entertaining and provided a few good gore moments that I did see myself enjoying. The music and sound design create a great bit of uneasiness to some scenes and the set design is wonderful. Sydney Sweeney proves herself to be a good candidate for an upcoming scream queen and I want more. The ending leaves you with such an impact that it's hard not to appreciate the film for where it went.
From the cold open, we are brought into the claustrophobic world of the film. Space is utilized very well in conveying its horror. From locking characters in confined spaces, or crammed hallways, this film creates a tense atmosphere. Accompanied by its ruthless sound design, no place ever truly feels safe. There’s always this eerie feeling even when nothing sinister is truly on display. At times, the film can utilize the quiet then loud jump-scare too much, but some scares come from no build up and those are the most effective. There are also some details within the set design that give off an odd vibe, a few of which I was expecting the film to adapt upon, but they don’t. They just lingered in my mind and made the film more creepy when not addressed.
The first time we see Sydney Sweeney as Sister Cecila, we are made aware of her role in this society. We see how she is viewed and perceived. As said in the Bible, women bare the original sin of conception. The film is centered on this idea of life and death and being reborn. Her character is pure and she is tested. We as the audience are also tested with morality. What is right of the wrongness in others? The third act of the film is harrowing and much stronger than its slower first two. The ending lingers on this shot that starts unnerving, but does descend a tad comical. It does prove my theory that Sweeney could become a modern day scream queen. As the film picks up pace, so does she. By the final moment of the film, the audience had such a visceral reaction and one of the audience members even said, “Let me just sit with this for a moment before we leave.” another also said, “She totally girl-bossed that,” which was a response for sure.
A big issue with this film for me is its characters. Most of them are not given enough time to flesh out and we are left with mostly slots and archetypes rather than compelling people. Cecilia [Sweeney] is the only one we truly get to know, as those around her don’t interact much with her and when they do it’s only to talk about herself. Characters attempt to give off this mysterious backstory, but it comes across more as lazy than interesting. They follow structured horror film beats and never give us much to see in them so that when they're gone, we don’t miss them. Or if something happens to them, we aren’t inclined to feel bad, we’re more focused on the effects instead. The effects are entertaining, but do vary from effective and fun to sometimes B-level goofy.
Immaculate does proudly display its influences, but sadly, it reminds me of better films with similar themes and ideas. The likes of Rosemary's Baby (1969) and Killer Nun (1979) come to mind. I feel as though they use their respective themes better as they’re able to center in on them. This film takes too much of its time trying to figure out what it really wants to say that by its improved third act, they’ve left some of its original ideas behind. We are given more questions than answers and normally I enjoy that, but here the questions are more of plot holes rather than intriguing ones. The cold open was great and this lingering force of hooded red figures was tense, but we aren’t fulfilled with connections enough to link them all together.
While not a film I would rewatch, it was still entertaining and provided a few good gore moments that I did see myself enjoying. The music and sound design create a great bit of uneasiness to some scenes and the set design is wonderful. Sydney Sweeney proves herself to be a good candidate for an upcoming scream queen and I want more. The ending leaves you with such an impact that it's hard not to appreciate the film for where it went.
by Catherine McDonald
What is indie sleaze? Why does it matter?
A genre defined by characteristics of "dirtbag teenagers," often troubled teens who have been left behind, misfits trying to find themselves in a fucked up world that has treated them mean. Think of kids who listen to: Nirvana, Hole, MGMT, and a bunch of other alternative bands that you shouldn't know about because they're too underground. Aesthetically, it can be defined by late 90s/early to mid-2010s indie alternative style, such as grunge y2k clothing styled with indulgence and rebellion. It also is meant to be an affordable style of dressing as a response to hard economic times throughout the 2000s. A lifestyle that often, unfortunately, consists of drug use, drinking, late-night parties, and bad mistakes. For example, the TV show Skins (2007-2013) is a perfect example of "indie sleaze." It was an indie piece of media that portrayed young teens in a sleazy way that was relatable to teens. Smudged eyeliner, partying and sex all night, and depicted mental illness and abuse in a raw and edgy way. It was criticized for being too graphic and adult, and despite being an indie production, it soon became famous for being so unabashedly indie sleaze.
Indie sleaze has made a resurgence on social media with Gen Z for a few reasons. The visual aesthetics have become trendy again for that “y2k” look, but I believe this genre and style has become popular again for what it represents. Indie sleaze media often portrays young people struggling, having become a messy product of the way the world has treated them. Is it not relatable to watch something like Skins in today’s climate with what young people are going through, to not want to project ourselves onto these characters? They’ve been treated the same and want to rebel in response.
Besides being an affordable fashion trend in today’s economy, true indie sleaze represents the misfits and the forgotten of today’s youth. To rebel against convention and, unfortunately, experience the pain of self-indulgence and representation of raw struggles such as mental illness and abuse. It represents that inner, angry teenager in us and wants to remind you. Yes, show off your anger with that tongue piercing. Numb the pain by committing some crime. Maybe romanticize it a little and experience a messy first love.
Here are 3 essential indie sleaze films to watch that have all been criticized and praised for the same reasons.
Indie sleaze has made a resurgence on social media with Gen Z for a few reasons. The visual aesthetics have become trendy again for that “y2k” look, but I believe this genre and style has become popular again for what it represents. Indie sleaze media often portrays young people struggling, having become a messy product of the way the world has treated them. Is it not relatable to watch something like Skins in today’s climate with what young people are going through, to not want to project ourselves onto these characters? They’ve been treated the same and want to rebel in response.
Besides being an affordable fashion trend in today’s economy, true indie sleaze represents the misfits and the forgotten of today’s youth. To rebel against convention and, unfortunately, experience the pain of self-indulgence and representation of raw struggles such as mental illness and abuse. It represents that inner, angry teenager in us and wants to remind you. Yes, show off your anger with that tongue piercing. Numb the pain by committing some crime. Maybe romanticize it a little and experience a messy first love.
Here are 3 essential indie sleaze films to watch that have all been criticized and praised for the same reasons.
1. Thirteen (2003) directed by Catherine Hardwicke
Thirteen truly represents the consequences of being thirteen and dumb and living in a rough world through the lens of that indie sleaze lifestyle. Tracy lives in a working-class family and feels estranged from her mother and ex-father. Feeling she has to grow up to cope with peer pressure and her changing world, she turns to Evie, who introduces her to stealing, drugs, sex, lying, and how to dress provocatively. She’s introduced to this world in a romanticized way, full of sleaze and eyeliner, with consequences that are all too real, portrayed in a very authentic and visually stunning way.
The fashion and romanticization of the lifestyle in Thirteen is also trendy on social media now. Is it because it’s chic? Does it tell society, “fuck you, mom?” Either way, this film and its craft in expressing girlhood are appealing and enticing to future audiences on many levels.
This film is an unapologetically raw portrayal of coming of age as a vulnerable girl who wants to grow up too fast and is taken advantage of by the wrong friends. An unconventional coming-of-age story that is, in fact, a reality for many young girls, Catherine Hardwicke, shows us the nuances and very complicated feelings of being pressured to grow up, with a heart-breaking conclusion that makes this story a mother-daughter love story. The blurry, low-frame cinematography lit by harsh, slimy fluorescent blue and green lighting captures that grunge, sleaze club aesthetic. It makes Tracie’s world disorientating and frightening, yet simultaneously, a chic and enticing blur.
The fashion and romanticization of the lifestyle in Thirteen is also trendy on social media now. Is it because it’s chic? Does it tell society, “fuck you, mom?” Either way, this film and its craft in expressing girlhood are appealing and enticing to future audiences on many levels.
This film is an unapologetically raw portrayal of coming of age as a vulnerable girl who wants to grow up too fast and is taken advantage of by the wrong friends. An unconventional coming-of-age story that is, in fact, a reality for many young girls, Catherine Hardwicke, shows us the nuances and very complicated feelings of being pressured to grow up, with a heart-breaking conclusion that makes this story a mother-daughter love story. The blurry, low-frame cinematography lit by harsh, slimy fluorescent blue and green lighting captures that grunge, sleaze club aesthetic. It makes Tracie’s world disorientating and frightening, yet simultaneously, a chic and enticing blur.
2. Mysterious Skin (2004) directed by Gregg Araki
content warning: this film is about child SA and includes depictions and scenes of graphic SA
Gregg Araki is considered to be an icon in the rise of indie queer cinema in the 90s and is mainly known for his grunge, coming-of-age, indie sleaze style. His most famous films depict American society's curiosity, rage, and degenerate downfall. Mysterious Skin is one of those films, and indie sleaze represents being stuck in the fucked up society of America and being trapped in the abuse and systems that promote our suffering.
Mysterious Skin is an extremely raw film. It’s a film that deals with child SA and what happens to two boys as they deal with the trauma. Neil grows up into that typical “dirtbag” teenager who causes trouble, dresses classically indie sleaze, and has a rowdy group of friends who also make trouble. All while he makes money being a prostitute and enjoying it. Brian grows up to believe he was abducted by aliens and searches for the truth.
Gregg Araki’s representation of his queer characters deserves to be put into the public eye. He writes these kids for who they really are. Messy, bad, unapologetic, grunge, in love, angry, and slightly hopeful. These are his characters, but these are also real people who are queer as well and deserve to see themselves in the raw, unapologetic films of Gregg Araki.
The subject matter of this film specifically is something that needs to be discussed and seen on a societal level and should be seen by future audiences to bring awareness and discussion to this kind of abuse and the trauma that follows. Gregg Araki portrays this subject matter with no reserve and shows how society and many people in their world have failed these characters, who represent very real people. He does, though, represent these young people with a slight glimmer of hope in their friendships and their bold 90s fashion that is now trendy again. He describes genuine teenagers who are lost and want to find themselves. Through wacky accessories and funky hair. In the relationships that build in the film, the love these misfits have for each other, and how they express themselves.
They’re all outcasts in some way, and through their unique outfits and connections with each other, Gregg shows that despite that it all, they’re still saying “fuck you” to the world and doing it in a beautiful, self-expressive way. His film continues to encourage so-called “outcasts” today to keep doing what they do.
Mysterious Skin is an extremely raw film. It’s a film that deals with child SA and what happens to two boys as they deal with the trauma. Neil grows up into that typical “dirtbag” teenager who causes trouble, dresses classically indie sleaze, and has a rowdy group of friends who also make trouble. All while he makes money being a prostitute and enjoying it. Brian grows up to believe he was abducted by aliens and searches for the truth.
Gregg Araki’s representation of his queer characters deserves to be put into the public eye. He writes these kids for who they really are. Messy, bad, unapologetic, grunge, in love, angry, and slightly hopeful. These are his characters, but these are also real people who are queer as well and deserve to see themselves in the raw, unapologetic films of Gregg Araki.
The subject matter of this film specifically is something that needs to be discussed and seen on a societal level and should be seen by future audiences to bring awareness and discussion to this kind of abuse and the trauma that follows. Gregg Araki portrays this subject matter with no reserve and shows how society and many people in their world have failed these characters, who represent very real people. He does, though, represent these young people with a slight glimmer of hope in their friendships and their bold 90s fashion that is now trendy again. He describes genuine teenagers who are lost and want to find themselves. Through wacky accessories and funky hair. In the relationships that build in the film, the love these misfits have for each other, and how they express themselves.
They’re all outcasts in some way, and through their unique outfits and connections with each other, Gregg shows that despite that it all, they’re still saying “fuck you” to the world and doing it in a beautiful, self-expressive way. His film continues to encourage so-called “outcasts” today to keep doing what they do.
3. The Bling Ring (2013) directed by Sofia Coppola
It is based on actual events and, at the same time, a commentary on American consumerism and celebrity obsession. A more modern take, The Bling Ring represents a late 2010s version of indie sleaze, a more glamorous version and a closer representation of what indie sleaze looks like today in the age of social media.
Again, indie sleaze often represents the unforgiving world we live in and reflects it through the fashion and attitudes of its characters. The Bling Ring is no different and is very similar in style and content to Skins. These teenagers are bored, horny, wild, and poor, and they want to be celebrities they see and will go to any lengths to achieve that.
They want to be better than they are.
The characters are obsessed with celebrity fashion icons like Lindsay Lohan, Megan Fox and Paris Hilton. Indie sleaze, in their world, is defined by stealing to replicate this rich, party, celebrity lifestyle. They want to fulfill their fascination, be praised, and be the “it” girls at the club. They party, get drunk, and dress up, and it’s a world of Chanel, lip gloss, guns, the black market, and Myspace. Sofia Coppola accurately represents the lifestyle of modern-day consumerism influenced by peers and social media. She presents this in a cinematography style that’s fast and eye-catching. Low lighting, crazy club shots, and Myspace digital photo montages. The characters are dressed in Prada, giant sunglasses, smeared eyeliner, and shiny lip gloss. It is very representative of the late 2010s sleaze club scene, historically the last years that were considered truly indie sleaze.
Again, indie sleaze often represents the unforgiving world we live in and reflects it through the fashion and attitudes of its characters. The Bling Ring is no different and is very similar in style and content to Skins. These teenagers are bored, horny, wild, and poor, and they want to be celebrities they see and will go to any lengths to achieve that.
They want to be better than they are.
The characters are obsessed with celebrity fashion icons like Lindsay Lohan, Megan Fox and Paris Hilton. Indie sleaze, in their world, is defined by stealing to replicate this rich, party, celebrity lifestyle. They want to fulfill their fascination, be praised, and be the “it” girls at the club. They party, get drunk, and dress up, and it’s a world of Chanel, lip gloss, guns, the black market, and Myspace. Sofia Coppola accurately represents the lifestyle of modern-day consumerism influenced by peers and social media. She presents this in a cinematography style that’s fast and eye-catching. Low lighting, crazy club shots, and Myspace digital photo montages. The characters are dressed in Prada, giant sunglasses, smeared eyeliner, and shiny lip gloss. It is very representative of the late 2010s sleaze club scene, historically the last years that were considered truly indie sleaze.
Indie sleaze is back and is being led by young people, young queer people, young women, who know that the world is a bit shit and are ready to rebel. They are prepared to party to forget, have fun, make mistakes, and see people who are just like them. Indie sleaze represents an essential part of the past and what’s in store for the future. The three very different but real stories of Thirteen, Mysterious Skin, and The Bling Ring are all crazy and weird and haunting in their own ways that future audiences will see themselves in. They may also want to replicate some exciting fashion and fun partying.
Either way, indie sleaze represents so much about the world and the young people surviving through it all, and it deserves to be resurrected onto the big screens again and seen.
Either way, indie sleaze represents so much about the world and the young people surviving through it all, and it deserves to be resurrected onto the big screens again and seen.