Tag Archives: Australian

CAPSULE: GIRL ASLEEP (2015)

Recommended

DIRECTED BY: Rosemary Myers

FEATURING: , Harrison Feldman, Matthew Whittet, Amber McMahon, Imogen Archer, Eamon Farren, Maiah Stewardson

PLOT: A socially awkward girl falls asleep at her disastrous and unwanted 15th birthday party and enters a fantasy world.

Still from Girl Asleep (2016)

WHY IT WON’T MAKE THE LIST: Content to dawdle pleasantly through a merely quirky opening, Girl Asleep doesn’t make a mad dash for the weird until its midpoint. It’s an eccentric and worthy entry in the feminine coming-of-age subgenre, but not strange enough for the List.

COMMENTS: Girl Asleep is like what might result if you put Labyrinth, Napoleon Dynamite, and a random movie in a blender. Other critics have been quick to pick up on the last two influences, but not so much on the first one, which is crucial to us. Girl takes a radical turn at the midpoint, when Greta enters a blatantly allegorical dream world, which takes it in a direction Anderson probably would never have gone. ( might have, but he would not have kept it so sweet).

But let’s back up a bit. Girl starts off simply enough, with soon-to-be 15-year old Greta at a new school on the first day. (The fact that “new school: first day” is written on a basketball being thrown up in the air is our tip-off that this film will have a spry and offbeat sense of humor—look out for objects with informational titles spread throughout  the film). Queue Elliot, the movie’s indefatigably upbeat friendly nerd, who’s the first to strike up a friendship with the newcomer. Second to approach her are Jade, Sapphire and Amber, the school’s bitchy-cool girls, who “take a shine” to her like a team of Australian Heathers. Dad wears short-shorts and Mom wears denim pantsuits—this is the Seventies, after all, as the home’s gold-and-avocado color scheme should inform you. Older sis is aloof, but her smooth boyfriend’s plunging neckline and aquamarine party van stir some instincts inside of Greta. After a string of ordinary teenage humiliations, things get really embarrassing when Mom plans a fifteenth birthday bash for the wallflower so she can meet the neighbors in the most awkward way possible. A magical realist album cover from chain-smoking heart-throb Benoit Tremet and spontaneous disco numbers keep a weirder-than-average vibe going through the first forty minutes.

Fleeing to her bedroom mid-party, an electric shock from a nostalgic music box sends Greta into a dark Gothic woods seeking to retrieve her symbolic innocence from a bird puppet and a mucousy swamp thing with a porn stache. It never gets uncomfortably weird, but there are lots of strange sights in the woods, which persist when the girl returns to her party. The easy-to-grasp analogies between Greta’s real life and her dream world, strengthened by the fact that the same actors portray characters in the fantasy, will remind experienced travelers of familiar psychic terrains (from Mirrormask and the aforementioned Labyrinth). The simplified sub-Freudian symbolism is appropriate for the target age group, just frightening enough to hint at the challenges of adulthood without tossing Greta into the terrifying orgies of Valerie and Her Week of Wonders. The plot’s zigs and offbeat jokes keep us on our toes, and despite the mild absurdism the kids are as likable, flawed and realistic as any John Hughes cast. Overall, it’s a fun movie that will serve a fine escalation of the possibilities of fantastic cinema for adolescents, while the quirky setting amuses adults.

Matthew Whittet, who also plays the dad, adapted Girl Asleep from his own play. Rosemary Myers directs. Although Whittet has an established career as an actor (appearing in Moulin Rogue! and The Great Gatsby), this is his first published screenplay. Girl is the first credit of any kind for Myers. Both have promising futures, as do  Bethany Whitmore and Harrison Feldman, the film’s two young leads.

WHAT THE CRITICS SAY:

“…plays like the love child of Jane Campion and Guy Maddin, an otherworldly quinceañera that celebrates female rites of passage and the hallucinatory power of film.”–Serena Donadoni, The Village Voice (contemporaneous)

CAPSULE: OBSERVANCE (2015)

DIRECTED BY: Joseph Sims-Dennett

FEATURING: Lindsay Farris, Stephanie King

PLOT: A man takes a job spying on a beautiful woman, for reasons unstated by his anonymous employer, from an abandoned building across from her apartment; it turns out All Is Not What It Seems.

Still from Observance (2015)

WHY IT WON’T MAKE THE LIST: It’s obvious that a lot of skill and love went into Observance‘s production, but it’s too slow at the start, and too confusing and emotionally inconclusive at the end, to merit inclusion among the best weird films of all time.

COMMENTS: The title is a clue that there’s more to Observance than a simple voyeuristic thriller—although what exactly the “more” is isn’t clear even by the end. It starts out like Rear Window, with an man spying on a woman’s life in which he is helpless to intervene, but slowly moves into The Shining territory as observer Parker’s sanity comes into question. Nothing of consequence happens on Day 1 of the observation—the target makes lasagna, Parker makes his bed—which should, perhaps, be a warning sign to the viewer. As the film progresses, things get weirder and spookier, but in small increments. The slow burn technique can be effective; I wish this one had started burning faster, though.

The dream sequences, which relate to the sort of generic family tragedy that always haunt the backstories of psychological horror protagonists, are the best parts, invoking symbols like a pricked finger dripping blood, dead rodents, and black bile (all features which recur in Parker’s squalid lodgings). Meanwhile, things get stranger in reality, too: the observer is viciously scalded by his shower, grows sickly, hallucinates… By the time the movie is halfway over, however, you’re still not sure whether it’s going to turn truly weird, or whether the script will pull out a perfectly logical (if supernatural) explanation for these events. Lovers of the weird need fear not; the ending plunges down a rabbit hole, never to resurface.

The technical aspects—cinematography and sound design—are excellent. The opening black-and-white shots of a churning tide pool underneath a craggy outcropping are like something an Australian Ansel Adams might have come up with, setting an appropriately ominous and lonesome mood. The acting is in the competent-to-good range: if anything, the script doesn’t give the actors enough to do to show off their talents. Observance comes close to being a very good movie; as it is, the dream sequences work in isolation as pieces of abstract art, but don’t inform the thin narrative, or make us care overly about the eventual fate of the characters.

WHAT THE CRITICS SAY:

“… the picture draws on everyone from Cronenberg and early Polanski to Shane Carruth in the construction of its existential mystery. While in the end many viewers will find that mystery frustratingly unresolved, many will be moved enough to talk about it…”–John DeFore, Hollywood Reporter (festival screening)

CAPSULE: THE FEAR OF DARKNESS (2014)

DIRECTED BY: Christopher Fitchett

FEATURING: Penelope Mitchell, Maeve Dermody, Aaron Pederson

PLOT: A young psychologist treats the suspect in a bizarre murder case and confronts a dark supernatural force in the girl’s unconscious.

Still from The Fear of Darkness (2014)

WHY IT WON’T MAKE THE LIST: The only weird aspect of this horror film is the supernatural force of darkness. Otherwise this follows the naturalist form of the crime psychological thriller.

COMMENTS: If you believe in string theory, then in some parallel universe this film got all of its elements right and rose above the mediocre offering here. It probably even won an Oscar. First off, the alternate universe screenwriters would have researched the particulars of psychology rather than the Googled armchair-shrink efforts on display here—especially the vague experimental practices employed by Dr. Sarah Faithful to elicit trauma and screaming from murder suspect Skye Williams. Faithful’s Dr./cop friend defends these practices to unnerved observers with a dismissive “I trust her, she knows what she’s doing”.

Secondly, the producers would’ve hired a competent director who doesn’t pander to the hackneyed jump-scares that we’ve all seen a million times before, and who has a vision for the film beyond perfunctory soap opera camera set-ups and dark corners where special effects lurk. The kind of director who would have lifted the performances of seemingly credible actors, and who doesn’t make a genuine talent like Aaron Pederson look like he’s a year out of acting school. Again, screenwriters who deliver non-perfunctory dialogue would have assisted everyone in this department.

Through this combination of clever screenwriting and solid direction, tension would have been built and the audience would care about either Faithful or William’s fates, so that the M. Night Shyamalan-like twist ending of invented identity would hit home and register as deeply in the minds of the audience as the darkness is said to exist in Skye’s mind. Sadly we have no way of viewing that phenomenal parallel universe version of The Fear of Darkness, we only have the sad, wholly unremarkable version that exists in ours. Save yourself from the theoretical angst of “what could have been” and seek genuine scares in films like The Exorcist or The Haunting in Connecticut, films that succeed on their own terms rather than relying on the necessity of an infinite multiverse.

WHAT THE CRITICS SAY:

“…as sinister and surreal concepts earn increasingly frequent mentions, reminding audiences that all is not as it appears, the film relishes its foreseeable twists as much as it does its formulaic conventions.”–Sarah Ward, ArtsHub (contemporaneous)

CAPSULE: THE SUICIDE THEORY (2014)

DIRECTED BY: Dru Brown

FEATURING: Steve Mouzakis, Leon Cain

PLOT: A suicidal man hires a hitman to off him, but there’s a catch: the intended victim claims he’s under a curse and can’t be killed, and he miraculously survives every attempt on his life.

Still from The Suicide Theory (2014)

WHY IT WON’T MAKE THE LIST: The Suicide Theory is a psychological thriller with an intriguing Twilight Zone-ish premise, but it’s not weird enough by a long shot.

COMMENTS: A hitman who can’t kill and a suicidal man who can’t die star in a psychological thriller that can’t… wait, we’ll cut that gibe short, because although The Suicide Theory doesn’t ultimately hit the mark it aims at, there is enough here to count as an interesting attempt. First, there is the macabre scenario, which offers opportunities for moments both chilling and blackly comic. Even more beneficial are the performances by the two leads, who forge a bond that is both sick and touching. Steve Mouzakis’ troubled assassin come off like a seedy, psychotic . Leon Cain’s role is less demonstrative, but the desperate resignation he shows as a suicidal immortal provides the appropriate counterpoint to Mouzakis’ fury.

That said, The Suicide Theory has a script whose ambitions exceed its ability to meet them. Although plot strands meet up at the end, they are more crammed into place than flowing together naturally. The resolution works, in one sense, but it doesn’t wholly satisfy, either on a literal level or a metaphorical level. Potential plot holes come to mind. If Steven were truly as ruthless as portrayed, it seems like there are at least a couple of more severe, less avoidable options for disposing of Percy that come to mind: decapitation, for example, or dissolving his body in acid. An arbitrary rule (Percy’s “theory”) requires Steven to spend time getting to know his victim; a useful contrivance from a dramatic standpoint, but it’s not successfully sold to us as a necessity. The story also arguably goes one twist to far at the end, and ultimately, the lattice of guilt the film proposes can’t support the weight of the premise. A great setup, and well-acted, but it runs out of steam at the end; it doesn’t slay, but call it a near-miss.

WHAT THE CRITICS SAY:

“…a contrived but weirdly compelling thriller…[l]arded with bizarre twists…”–Justin Chang, Variety (contemporaneous)

(This movie was nominated for review by “michael.” Suggest a weird movie of your own here.)

CAPSULE: BABE: PIG IN THE CITY (1998)

DIRECTED BY:

FEATURING: E.G. Daily (voice), Magda Szubanski, Mickey Rooney, James Cromwell

PLOT: After the porcine Babe accidentally injures Farmer Hoggett, Mrs. Hoggett (Szubanski) takes over the family farm, which immediately begins losing money. Desperate, she takes Babe to the big city for another shepherding contest (like the one that ended the first film), but the duo find more than they bargained for, including an elaborate hotel populated almost exclusively by animals.

Still from Babe: Pig in the City (1998)
WHY IT WON’T MAKE THE LIST: While it’s definitely louder and more chaotic than the gentle original, this enjoyable sequel certainly doesn’t deserve its reputation as a bizarre miscalculation. If this website were about the 366 weirdest family films, Babe 2 might get on that list.

COMMENTS: Unlike the beloved, Oscar-nominated Babe, Babe: Pig in the City was a gigantic box-office flop, at least in the U.S. Reviews were mixed to negative (mostly negative), with the notable exception of Siskel and Ebert, who both lavished the production with praise. Audiences stayed home in droves, as they say, and the picture was D.O.A. from the first weekend. Everyone seemed to feel that the movie was too dark and sinister, and, watching the film now, one is struck by the fact that director George “Mad Max” Miller  does indeed direct the action as if he were still doing The Road Warrior, with plenty of looming close-ups shot with a fish-eyed lens and a frenetic, restless camera. There are lots of weirdness-for-the-sake-of-weirdness touches, like the way that Mickey Rooney (who never speaks) always looks as if he was interrupted in the middle of dinner and forgot to wipe his mouth. The “big city” is positively fanciful, featuring the Statue of Liberty, the Eiffel Tower and the Sydney Opera House all in one town; it’s an overload of visual invention, unlike the placid, bucolic setting of the original Babe. And James Cromwell is almost MIA, showing up at only the beginning and the end.

But Babe: Pig in the City is hardly the nightmare that it’s been made out to be. Doesn’t anyone remember the frights in The Wizard of Oz, Willy Wonka, or most of the Disney classics? In the original Babe there is a scene where Farmer Hoggett aims a gun right into the pig’s face, intending to turn him into bacon; it’s still rather startling, so the more jarring moments in the sequel, as when Babe is chased by a snarling dog, shouldn’t be that surprising. And this is one sequel, that, unlike so many others, tries to do something entirely different from the original.

WHAT THE CRITICS SAY:

“…scattered reports of the sequel taking on a Fellini-esque quality that wouldn’t translate to the masses proved utterly groundless… Miller and his army of technicians and animal specialists invent crazy quilt contraptions that spin off in weird trajectories when set in motion.”–Leonard Klady, Variety (contemporaneous)

THE BABADOOK (2014)

After watching Babadook (2014), I am thoroughly convinced that, from here on out, producers need to consign direction of horror films to the girls. They are so much better at it than those dullard boys. Written and directed by Jennifer Kent,The Babadook is too good for genre fanboys, whose diet is commonly relegated to sophomoric cravings for trite-tasting tawdry titillation. Kent’s Babadook is for far more refined palates.

In the early days of cinema, when German Expressionism’s shadow still influenced Hollywood, the quality of horror films was such that when a studio assigned a director a horror film, it often meant his status had just been elevated several notches. Unfortunately, the boatload of hacks had their say over the years, dragging the genre to that proverbial barrel bottom. With few exceptions, horror has never recovered, and its wretched reputation today is wholly deserved. Mechanical plots, cardboard characters, blatant misogyny, moronic humor, and deafening assaults pass for imagination to a growing horror audience that has largely forgotten how to even watch a film.

The genre bucks forged an unspoken patriarchal set of genre rules, and it did not take long for the rot of banality to set in. For a brief period, it seemed as if it was on the shoulders of independent filmmakers to offer an alternative tonic. Within mere decades, however, the indies had largely succumbed to imitating the well-cashed trash of the studios, which begs the question: “What then is the point of independent film?” Why settle for a low-budget, generic product that offers the same ingredients as the name brand that preceded it? At least the name brand has a better-looking box and doesn’t cost any more than an indie festival ticket. Given the status and quality of independent filmmaking, Robert Downey Jr.’s recent dismissals and criticisms appear justified.

Yet, in her directorial debut, independent Australian filmmaker Jennifer Kent evokes the childhood of cinema, via and ‘s 1926 cut-out animation The Adventures of Prince Achmed. In these films Kent locates a springboard with no preexisting rules of film and genre.

Still from The BabadookAmelia (Essie Davis) is a single mother, widowed when her husband was killed in a traffic accident while taking his wife—in labor—to the hospital. Amelia’s son, Samuel (Noah Wiseman), fancies himself a magician straight out of a Melies film. He is also a perennial misfit, and quite the handful. Samuel happens upon a pop-up book featuring the Babadook; a dark, shadowy figure in top hat. Through deliberate pacing, Kent routes us through the pulse of fundamental, pubescent fears. As children, many of us experienced fears such as the one Samuel finds in a simple pop-up book. Yet, The Babadook hardly stops there. This fear leaves the page and acquaints us (or reacquaints us) with a menagerie of psychological horrors.

Instead of the flash-and-trash 20-frames-per-second pacing often found in 21st century film, Kent and her actress Davis purposefully take us to a tender part of Amelia, still encased in grief and loss. The psychological pacing parallels this. With intelligent intent, the film’s mise en scène informs us as to the character’s psyches. In her dimly lit, cluttered home, Amelia’s journey of trauma grounds us in the experience of what its like losing a partner, and of the fear of a child coming up against the supernatural or inexplicable.

The elaborate sets enhance the visceral eeriness of loss; thinking yourself safe, when suddenly, via divorce or death, you find yourself alone at night in a large house that formerly offered security. A sanctuary morphs into a mausoleum, like an insomniac child imagines a dresser morphing into a monster. The muted scare tactics of Babadook are authentically frightening because the horror is relatable. For a millisecond, your imagination dances with unconscious archetypal fears.

The film abounds with deliberateness: articles of clothing look like the Babadook, the feminine is portrayed in pinks and blacks and, as the horror, unravels, the visual tones darken and engulf. Even Amelia’s sweater blackens in the middle of the night.

Redemption is found in the gift of endurance and feminine pragmatism. Rather than attempting to dispatch a monolithic demon, simply feed it, pacify it, put it in the basement and hope for the best.

*This review was done in collaboration with Aja Eaker.

CAPSULE: PREDESTINATION (2014)

Recommended

DIRECTED BY: The Spierig Brothers (Micheal Spierig, Peter Spierig)

FEATURING: Ethan Hawke, Sarah Snook

PLOT: While posing as a bartender on a mission to stop a mad bomber, a “Temporal Agent” who travels to the past to stop crimes before they happen meets a man who promises to tell him the strangest story he’s ever heard.

Still from Predestination (2014)
WHY IT WON’T MAKE THE LIST: Predestination is a fine, twisty-plotted mindbender, but not really any weirder than Looper, Timecrimes, Primer, or other movies that depend entirely on time travel paradoxes for their uncanny effect.

COMMENTS: Predestination is one of those movies that is so dependent on its twists for its effect that it becomes hard to review. Certainly, I would like, if nothing else, to praise Sarah Snook’s star-making performance here; but it’s difficult to discuss what’s so impressive about it without giving away the secret (I will say she shows great range). Nominal protagonist Ethan Hawke is serviceable as the time-weary agent who’s been doing this way too long, but despite being top billed he is essentially the frame for Snook’s bizarrely tragic story. There is not much money here for spectacular visuals—they blow most of the FX budget on a single virtual reality simulator in the movie’s first thirty minutes—but not much is needed to tell the story correctly. Predestination also dances around some big ideas without really addressing them directly. There’s the title conundrum, and a testing of the limits of pragmatism—sure, most everyone agrees it’s ethical to kill one man now to save the lives of one hundred innocents later, but what about killing one guilty party and nine harmless civilians to save one hundred people later? Those ruminations aside, the pleasures here are almost entirely of the unraveling-the-tangled-plot-skeins variety, with Snook’s impressively sympathetic performance as a noteworthy bonus.

When you feel embargoed from discussing the plot at all for fear of mentioning spoilers, a movie becomes hard to discuss; although that very reluctance is also a good sign, since you are implying that there is some pleasure to be spoiled. I will make an observation that it is neat how the Spierig’s script keeps some elements from Robert Heinlein’s original 1958 short story (titled “All You Zombies”) to create an alternate version of the past (specifically, Heinlein imagined a 1960s world where women were barred from becoming astronauts, but allowed to go into space as state-sponsored courtesans!) If Temporal Agents were really running around changing the past, surely they’d be messing up little sociological tidbits like that by accident. More of those sorts of details would have helped kick the film up another notch and added to the feeling of disorientation. Still, Predestination is a solid time travel movie of impeccable lineage, one that is not too difficult to follow despite its complexity. What in another movie might appear to be a plot hole here seems like a rigorous exploration of an alternate understanding of causality. Well done.

WHAT THE CRITICS SAY:

“Like all time-travel stories, this inevitably trips on its own causal illogic – but not before it’s offered you a taste of something genuinely rich and strange, and probably toxic.”–Peter Bradshaw, The Guardian (contemporaneous)

(This movie was nominated for review by “ jeandeaux” who argued that it “explores, in its own weird way, the ultimate concerns of human existence: meaning, loneliness, freedom, and mortality.” Suggest a weird movie of your own here.)

CAPSULE: THE CARS THAT ATE PARIS (1974)

AKA The Cars That Eat People

DIRECTED BY:

FEATURING: Terry Camilleri, John Meillon

PLOT: Mild-mannered Arthur survives a car crash that kills his brother and finds himself stranded in the insular, automobile obsessed town of Paris, Australia.

Still from The Cars That Ate Paris (1974)
WHY IT WON’T MAKE THE LIST: Like its director’s last name, this one falls just a little short of “weird.”  Park The Cars That Ate Paris in the oddity yard.

COMMENTS: You could look at The Cars That Ate Paris as a psychological horror, or a semi-surreal black comedy about a fish out of water, or as a satire of Australian car culture, or even as a dramatic character study of a broken, phobic orphan desperate for acceptance. The movie even starts, rather inexplicably, with what appears to be a cigarette commercial, for further confusion. Without revealing too much, the plot revolves around the town of Paris, New South Wales, an isolated burg with a junkyard barter economy based on salvaged car parts, and Arthur, an annoyingly meek wreck survivor with an automobile phobia who finds himself stranded in a community that insists on taking him in and teaching him their way of life. There are also out-of-control teenagers in roving automobile gangs and a hospital that, given the out-of-the-way hamlet’s low population, is surprisingly stocked with brain-damaged “veggies” (of the full, half and quarter varieties).

Cars zooms back and forth between understated comedy and looming horror, constantly grinding its gears. Scenes like the one where the town’s psychiatrist/surgeon slips disturbing photos into Arthur’s Rorschach-type test have a dark-alley-of-the-mind quality to them. At other times, the movie jaunts off in a different direction, suddenly rolling into a Sergio Leone parody. The ending, quite naturally, is a violent demolition derby, complete with growling cars, wherein the entire town is trashed while costumed loonies wander the street. Cars offers a bumpy ride, and goes pretty much nowhere, but the scenery out the window can be astonishing.

Understandably, The Cars That Ate Paris was a hard movie to market. In the VHS era, it was housed in the “horror” section (sometimes under the misleading alternate title The Cars That Eat People) with a box cover that stressed the cool spikemobile and copy that suggested it was something like an Australian version of Death Race 2000. The movie got bad word-of-mouth through this mismarketing when legions of teenagers rented it expecting a fast-paced horror movie about killer cars and instead getting a thoughtful, weird little arthouse drama. Its reputation changed for the better after the Criterion Collection picked up the film, repositioning it as a cult classic.

WHAT THE CRITICS SAY:

“Effortlessly employing surrealist and fantasy tropes in a story that is, ultimately, never very far from the possible, Weir steers us on a dizzying journey through autophilia, survivalist politics, and the darker side of human nature.”–Jennie Kermode, Eye for Film (DVD)

(This movie was nominated for review by the Awful Dr. Orloff, who believed it to be “much, much weirder” than Picnic at Hanging Rock. Suggest a weird movie of your own here.)

RECOMMENDED AS WEIRD: SLEEPING BEAUTY (2011)

DIRECTED BY:  Julia Leigh

FEATURING, Rachael Blake, Ewen Leslie

PLOT:  A quiet but reprobate student blindly contracts for unconventional assignments with an enigmatic madam to cater to the peculiar perversions of the ultra-rich.

Still from Sleeping Beauty (2011)
WHY IT SHOULD MAKE THE LISTSleeping Beauty is not a sex-movie, but rather a tense, eerie multiple character study. The focused, unadorned manner in which it is shot, without a musical score, combines with the bizarre nature of its story to set an unusual mood which demands that we take it seriously. This atmosphere, and the choices the writer and director made in deciding what elements of its story to show us, to make Sleeping Beauty a weird and unusual viewing experience.

(Ignore the website and DVD jacket descriptions of this slick Aussie thriller; because US distributors don’t know how to present unusual efforts to a general audience, the synopses grossly mischaracterize this effort as some sort of racy potboiler. Sleeping Beauty is not a sex piece, even though Emily Browning looks just like a Real Doll sex doll in the trailer. Sleeping Beauty is not another Eyes Wide Shut. It is not designed to be racy or titillating. Nor is it a murky, confusing David Lynch-style movie, although fans of Lynch’s works will surely love it. Sleeping Beauty is in no way what I expected. It is unpredictable and although it declines to utilize a demented twist ending, I assure the reader he will never guess where it is heading).

For additional fun, be sure to look for an appearance by actor Hugh Keays-Byrne, who played the crazed “Toecutter” in 1979’s Mad Max.

COMMENTS: Wow! What a gem! I was hoping for something different and creepy from the trailer. I was not disappointed! Yet I was surprised. I was expecting something sci-fi or horror, about turning girls into living sex dolls. Sleeping Beauty turns out to be so much more unsettling, sophisticated and subtle. From its opening frames, the somber cinematography and unabashed, close-in concentration on its characters makes it clear that you are watching a serious, high-quality effort crafted by a writer and director who know exactly what to do. There’s a controlling sensation that your impressions are being skillfully manipulated by the filmmakers. Continue reading RECOMMENDED AS WEIRD: SLEEPING BEAUTY (2011)