Archive for Guardians of the Galaxy

Scratch Film

Posted in Comics, FILM with tags , , , , , , , , , , , , , on May 13, 2015 by dcairns

vlcsnap-2015-05-13-11h32m36s101

THE FLESH EATERS seemed like the best film for me to write about for the Film Preservation Blogathon, whose theme this year is science fiction. Obviously METROPOLIS, that ever-lengthening classic, would make a lot of sense too, but somebody’s probably already thought of that. But THE FLESH EATERS is an obscure monster movie in which the monster is played by neg scratches. Put it on a double feature with DECASIA, in which a man engages in a boxing match with an all-consuming blob of nitrate decomposition. But the silvery, wriggling scratch-monsters here are much too tough to punch out with a padded glove — they go boring into people’s legs in gory insert shots that are genuinely disturbing, despite the seemingly primitive nature of the effects work. I mean, OUCH.

vlcsnap-2015-05-13-11h28m19s92

vlcsnap-2015-05-13-11h26m29s40

The movie gains huge cult credibility by starring Martin Kosleck, the man who sculpted Rondo Hatton in HOUSE OF HORROR and the screen’s silkiest Dr.. Goebbels. By this time, he seems to have had a little eye tuck which accentuates his feline/feminine qualities and adds even more unsettling ambiguity to his persona.

The movie, unusually well covered for a B-picture (mostly shooting in the open air must have made the filming go quick) is dynamically edited by Radley Metzger, the favourite pornographer of all right-thinking cinephiles (Russ Meyer being more of a cartoonist than an eroticist).

Speaking of cartoons, the script, which trafficks in soapy stereotypes and jut-jawed confrontations, is by Arnold Drake, comic book writer and creator of The Doom Patrol (in their Grant Morrison incarnation, my favourite funnybook thing ever). The Doom Patrol were freakish superheroes who were all multiply-disabled as much as they were hyper-powered, which suggests a slightly wacky and agreeable perspective, and that off-kilter feeling prevails here too. He also created Deadman, the funniest/stupidest name for a superhero ever, and the original Guardians of the Galaxy. Drake also seems to have storyboarded this flick, so that one-shot director Jack Curtis, otherwise best known as a voice actor, consistently delivers exciting and punchy compositions far more dynamic that anything usually seen in Z-list B-pictures from bottom-feeding indie production companies.

vlcsnap-2015-05-13-11h22m28s196

Opening shot is a succulent flesh feast, a lithe bikini girl laid out like a banquet, in combination with the title seemingly inviting the audience to consider cannibalism. She’s soon skeletonized along with her obnoxious boyfriend, washing up later as a fully articulated set of science lab bones clutching a bikini top (the movie is totally silly but somehow preserves its own strange dignity).

Soap opera: a broke pilot takes a job flying a drunken movie star and her nurse/PA, unwisely trying to dodge a tropical storm — they wind up on an island inhabited only by nasty Kosleck and his weird man-eating sea-spawn, the results of a Nazi experiment he uncovered after the war. Rather refreshingly, Kosleck isn’t himself a Nazi — he’s a German-American employed by the US to investigate Nazi science — having found the ultimate weapon, he now hopes to make his fortune selling the blighters to the highest bidder.

vlcsnap-2015-05-13-11h29m07s55

Barbara Wilkins’ balconette bra is the film’s strongest supporting player.

The bickering crew are eventually joined by another character, Omar the beatnik on his raft, a yammering chowderhead whose role is to delight us by dieing horribly, eaten alive from the inside out. Kosleck feeding him flesh eaters seems to anticipates Michael Fassbender’s entirely unmotivated poisoning of a crewmember in PROMETHEUS, while a guy who rides to the rescue on a speedboat only to immediately get his face eaten reminds me of Scatman Crothers abortive mercy mission in THE SHINING.

vlcsnap-2015-05-13-11h33m03s127

The effects work is consistently ambitious and inventive. The most epic shot tries to suggest that the whole sea is glittering with the silvery worms, which it does simply by filming sunlight reflecting on the water’s surface. Not so much a special effect as an attempt at brainwashing, telling us that the commonplace sight we see is something else — Raul Ruiz would be proud of that. Landscape as bricolage. When Kosleck electrocutes the ocean as part of his crazy masterplan, we get one giant monster, the least satisfying thing in the film because obviously it has to be a Cormaneqsque monster costume, waving an action figure in its left tendril. But there’s one further insane flourish: to kill the thingy, stalwart Byron Sanders injects human blood into its eye, and Curtis films this action from INSIDE THE EYE.

vlcsnap-2015-05-13-11h33m35s193

Blob-monster puppets inspire affectionate nostalgia rather than terror. But those scratches… those can really fuck you up, especially if you’re a film lover.

This is my first entry for the Film Preservation Blogathon, hosted initially at Ferdy on Film. Click the button below to read all about it and then donate.

GortButton01A

Advertisements

Avengers Disassemble

Posted in FILM with tags , , , , , , , , , , on April 27, 2015 by dcairns

age-of-ultron

It’s an enjoyable thing. There’s too much of it, too much bloodless property damage and quips, as before. I miss Loki, I miss the smirking face of evil — when all your baddies are faceless robots, it starves the film a bit, even if James Spader is doing the faceless robot voice. And all the fights seemed to involve everybody, all the time — some smaller skirmishes would have helped a lot. My main memory of the action is a blur of flame and debris and one very funny bit of a giant Iron Man punching the Hulk in the face a hundred times very fast.

ageofu

Writer-director Joss Whedon works hard to make Thor likable and interesting, which previously looked like a challenge. There still aren’t enough female characters and the movie is missing some of the highly paid actresses from various branches of the mega-franchise so it feels like for the first time there are some things Marvel can’t afford to do — they can’t afford to have Natalie Portman and Gwyneth Paltrow turn up at a party scene to tend bar.

There’s nothing as wonderful as Harry Dean Stanton popping up in the first movie for no reason other than that the cinematographer was making a documentary about him.

Oh, about the cinematography. Film 1 was shot by Seamus McGarvey, who did, for instance, the ruthlessly colour-planned WE NEED TO TALK ABOUT KEVIN. This one is shot by Ben Davis who did the psychedelically garish but still coordinated GUARDIANS OF THE GALAXY. So I don’t know what it is — it’s competently shot but the palette is just screamingly LOUD. I guess all those spandex costumes and shiny armours and green skin just won’t BLEND. That poster up top is literally what the film looks like.

But there’s a nice love story, unexpected if you haven’t read the spoilers, and Chris Evans can still be heartbreaking, and there are some eerie quieter moments amid the bombast of Danny Elfman and his back-up orchestra (as near as I can work out, even Elfman at full blast wasn’t loud enough, so they had Brian Tyler provide a whole different score at the same time. I’m pretty sure that’s what they did.) I liked The Vision. Joss Whedon has worked hard to humanize these immortals, even Thor who literally is a god is portrayed as just a nice Aussie bloke, so it’s nice to meet The Vision who is basically an actual god. Not one of us, as Mrs. Thatcher would say.

Space Punch-Up: The Movie

Posted in Comics, FILM with tags , , , , , , , , , , on August 14, 2014 by dcairns

guardians-of-the-galaxy-hed-2014

This piece has multiple beginnings and no ending, which makes it the opposite of most blockbuster movies.

“The summer had crashed,” is a very good sentence in Patrick Hamilton’s Hangover Square and it came true as a hot July switched to a thundery, rainy, windy, cold August. God, who for a fictional construct can be a total dick, had decided to flip the dial to “November” to keep us on our toes, and Robin Williams killed himself. The guy who played Patch Adams committed suicide. I can’t even think of an analogy for that.

So we went to see GUARDIANS OF THE GALAXY because a movie, even an indifferent one, kind of rapts you out of yourself — a friend who worked on it recommended it. I wasn’t sure I would like it but I figured either I would feel worse, and thus drive a car over my own head, or better. Instead I feel about the same, but the actual movie was OK.

What made me wary of it, apart from it being a mainstream release dated after 1980, was the reports that it has no story and everyone in it is an asshole. In fact, it has as much story as any of these things — a bunch of characters who want different things run around while stuff explodes — that’s the whole history of western literature right there, according to Stan Lee — there is an orb everybody wants, but it might as well have been a cube — and the characters’ obnoxious tendencies are actually explained/redeemed a bit as it goes on. And Groot, the walking tree is a kind of positive guy — source of the only moments of visual poetry, if you can call it that — though he has no drives of his own and seems to exist only to help the others. He’s a dendritic Magic Negro — or Magic Tree-Gro.

guardians-galaxy-movie-preview

Oh, the other thing that made me wary of it was that the director, James Gunn, made SUPER, which I hated. God. Just remembering it. How anything with the delightful Ellen Page could be so horrible to watch I can’t think. Kind of makes me want to drive a car over my head, just remembering it. And I can’t even drive.

He’s basically redeemed himself — GUARDIANS OF THE GALAXY easily surpasses the low expectations I had. It has Henry Portrait (which is what we have to call actor Michael Rooker) painted blue, with a screw foe a tooth and what looks like a headlight emerging through his scalp. It has a planet called Morag. It has a soundtrack structured around an 80s mixtape of super sounds of the seventies. It has Zoe Saldana (so versatile — first she was blue, now she’s green!) pronouncing the word “doom” as “dume” for no reason. It has a mining colony inside the severed head of a god. It has John C. Reilly. Mainly, it has decided what it thinks of its characters, which is that they’re “not 100% dicks.” And that saves it from being SUPER.

I generally try to see some contemporary relevance in these things — this one seems to be an American fantasy vision of Israel as a sort of Epcot Center world, besieged by vari-hued genocidal barbarians and protecting itself with a sophisticated aerial defense system. Unfortunate timing, then, but nobody seems to mind.