2019 Blindspot Pick #3: Dancer in the Dark (2000)

Tags

Drama, Musical

(Today’s NaPoWriMo prompt was for a list poem, so, based on this film, I wrote a list of things that make my heart ache. Try singing it to the tune of “My Favorite Things,” which was used in the movie.)

Signs that the world is a heinous taskmaster,
Questions with answers unfair to the asker,
Innocence tainted by lack of concern:
These are the lessons it pains me to learn.

Optimists dashed and brought low for their dreaming,
Bitterness tinged by a sweetness redeeming,
Love too naïve to be wary of hate,
Promises broken or kept far too late,

When the dog dies,
When the tale ends,
When I need to grieve,
My broken heart summons the tears as it mends,
For they never truly leave.
_____________________

MPAA rating: R (more for intensity, what’s shown is closer to PG-13)

Due to his reputation for controversy, I’ve never been eager to watch the films of Lars von Trier. Yet I’ve been long curious about Dancer in the Dark, and my Blindspot series seemed like a prime chance to find out how a musical could also be considered among the most depressing movies of all time. I have a finicky regard for unapologetic downers. I love Grave of the Fireflies and The Elephant Man dearly, yet I can’t stand something like Seize the Day or The Hours. It depends on the film and the person whether it has the desired effect, and Dancer in the Dark hit me harder than I was expecting.

I only knew of Icelandic singer Bjork for her strange style of singing, but she proves to be perfect for the role of a Czech immigrant mother struggling to provide her son with a better life. Having settled in Washington State in the 1960s, Selma Jezkova works hard in a factory with her friend Kathy (Catherine Deneuve), rents a trailer from a kind couple (David Morse, Cara Seymour), practices for a small stage production of The Sound of Music, and is slowly going blind. She’s been saving up for an operation so that her son need not bear the same affliction, which begins to impede her daily life.

Throughout the first half, the film gives every reason to love these characters, everyone sympathetic and helpful to Selma, including a would-be suitor she rebuffs (Peter Stormare). I could relate to Selma’s love of musicals and admired her commitment to her son, even if her stubbornness got in the way sometimes. Then, by believable but heartbreaking measures, one character’s selfishness and self-loathing become destructive and ruin everything that Selma has built.

Dancer in the Dark is not the kind of film I would expect to like, choppily edited and shot with a grainy, hand-held camera in a style that is apparently part of a semi-genre/movement called Dogme 95, which von Trier helped to establish. It’s an odd mixture when this style focused on realism suddenly shifts into the magical realism of Selma’s daydreams, musical segments where the sounds she hears become rhythmic as the colors brighten and friends and bystanders break into choreography.

It’s not shot like a typical musical, nor are the songs instantly catchy like something from Broadway. Bjork’s singing is even distracting at times, making the lyrics hard to understand. Yet it’s more about the feelings the songs create, and they strike deep. One revels in Selma’s love of musicals, even as it betrays her. After a horrific event, one song plays out the way Selma surely wishes it could go under better circumstances. Again, it’s a strange juxtaposition, but it works, in a way I can only compare to how humor was mixed with tragedy in Life Is Beautiful.

The leadup to the tragic climax is probably strung out too much, but Dancer in the Dark left me haunted as few films do, and while some critics have dismissed it as shameless melodrama, it earns its heartbreak in my book. While it’s not a perfect comparison, since Selma actually commits a crime, the way the world turns on her brought to my mind the trial and suffering of Christ, a parallel strengthened by Selma’s line about her son’s operation, that it would be known “that he was paid for.”

With strong supporting work from Deneuve, Morse, and Siobhan Fallon (even a cameo from Joel Grey), Dancer in the Dark proved to be an acting powerhouse thanks to Bjork herself, who staggeringly was passed over for an Oscar nomination despite winning Best Actress at Cannes. She and the film itself may be an acquired taste and a bitter one at that, but their power is undeniable.

Best line:  (Bill Houston) “I love the movies. I just love the musicals.”
(Selma) “But isn’t it annoying when they do the last song in the films?”
(Bill) “Why?”
(Selma) “Because you just know when it goes really big… and the camera goes like out of the roof… and you just know it’s going to end. I hate that. I would leave just after the next to last song… and the film would just go on forever.”

 

Rank: List-Worthy

 

© 2019 S.G. Liput
621 Followers and Counting

 

Advertisements

2019 Blindspot Pick #2: Selma (2014)

Tags

Drama, History

Down the street, there marched a throng,
Arm in arm to right the wrong
Of rights unequal for so long.

Their very presence was a cause
Of hate for some, for some applause,
But hate had hold upon the laws.

These laws to justice were opposed,
And so they marched and re-exposed
The rights the Founders first proposed.

Change is born from word and deed,
From marching feet and wounds that bleed,
And truth we may not want but need.
____________________________

MPAA rating: PG-13 (for street violence and language)

I had wanted to review Selma in February in honor of Black History Month, but as usual this year, I’m a little late. At least now I’m on track with the whole one-Blindspot-per-month schedule. As I expected when I chose it as a Blindspot, Selma turned out to be an ideal choice for Black History Month, covering an important period of the civil rights movement and offering a compelling portrayal of the man behind so much of it, Dr. Martin Luther King, Jr.

David Oyelowo plays Dr. King, and I’m still shocked that he wasn’t even nominated for a Best Actor Oscar that year. It’s a career-defining performance that reminded me of Gary Oldman’s turn as Winston Churchill in Darkest Hour, in that it presented a great man and what made him great while depicting his low moments and acknowledging his imperfections. Oyelowo especially excels in the reenactments of King’s impassioned and eloquent speeches, and the supporting cast is equally stellar, from Carmen Ejogo as his long-suffering wife to Tom Wilkinson as a grudgingly helpful President Johnson. The whole ensemble contributes to an engagingly personal history lesson, from established actors like Tim Roth and Oprah to then-newcomers who have become more well-known in the years since, such as Lakeith Stanfield and Tessa Thompson.

My VC thought Selma had the slight feel of a TV movie, and some critics have nitpicked its historical accuracy, but more often than not, Selma felt to me like watching real, immediate history, which is the best compliment that can be offered to a historical drama. It presents uncomfortable truths tastefully, such as the doubts surrounding King’s potential adultery, and shows the horrors of hate and prejudice in ways that are powerful but not graphic. While King certainly preaches, the film doesn’t too much, letting its story develop its themes, such as non-violence; for example, King’s assertions that their efforts need to be noticed by white America are fulfilled when the Selma march is joined by white religious leaders and supporters from across the country, lending greater numbers and prominence to the event.

I don’t know why it took so long for me to watch Selma, but I’m glad I did, even if I’m left annoyed that it didn’t get more Oscar love that year. (It did win Best Original Song for “Glory,” which ironically was the one thing I didn’t care for, not being a fan of rap.) The only criticism I have is that it might be hard to keep track of all the characters if you’re unfamiliar with the history. Nevertheless, this feels like an essential film for not just black history but American history. With its laudable lead performance and rousing conclusion, Selma deserves to be ranked among the greatest historical films.

Best line: (Dr. King) “Our lives are not fully lived if we’re not willing to die for those we love, for what we believe.”

 

Rank: List-Worthy

 

© 2019 S.G. Liput
608 Followers and Counting

 

2019 Blindspot Pick #1: Monty Python and the Holy Grail (1974)

Tags

Classics, Comedy

 

King Arthur and his band of knights
Were questing for the Holy Grail.
(We only know the big highlights
Or else ‘twould be a boring tale.)

Their names in legend often show,
Like Galahad and Lancelot,
Though some had names we’ll never know
Because they liked to dance a lot.

They fought with dragons, rabbits, lust,
And knights called green ere green was cool.
So yes, they quested, as discussed,
Don’t read it; watch the film, you fool!
_____________________

MPAA rating: PG (should definitely be PG-13)

Well, I’ve gotten 2019 off to a slow start as far as this blog. I’m already behind on my Blindspots, but it’s time to get started.

So why did I select Monty Python and the Holy Grail as a Blindspot pick this year? I thought it was about time that I see the source of lines like “It’s only a flesh wound,” which has creeped into the everyday speech of even those of us who haven’t seen this classic comedy. Honestly, there are so many well-known scenes from this irreverent British farce that I just wanted to see whatever connected them. (Note that the Killer Rabbit of Caerbannog made it onto my Top Twelve Rabbits in Movies even before I’d watched the full movie.) Plus, I came to realize, although I’ve seen the likes of John Cleese and Michael Palin, I’ve never seen the whole Monty Python troupe together as they are in their first film, each of them playing multiple varied roles.

While I was a little disappointed that there wasn’t much connective tissue between the individual memorable scenes apart from King Arthur’s quest for the Grail, there were plenty of chuckles to go around. Sometimes it was random meta moments like escaping from an animated creature because the animator keeled over or even more random gags that became funnier with repetition. Some of the jokes do go on too long, losing their humor in the process, but even this weakness often becomes another chance for the film to poke fun at itself. (“Get on with it!”) I also got to recognize moments that have been borrowed in other media, like the way the Knights’ Trojan Rabbit is heard being constructed in the woods.

The hilarity wasn’t constant, but Monty Python and the Holy Grail certainly made me laugh with its rye British absurdity, even right from the start with the opening credits about moose and llamas. (It reminded me of the equally hilarious end credits of a weird little film called Roller Town. Seriously, why don’t more movies use their credits as part of the jokes?) The ending was a bit of a letdown, abrupt in a way that reminded me of An American Werewolf in London, but I can see why Holy Grail has become such a lauded and influential comedy, even if it’s not among my personal favorites. I did like those French insults, though, and will be looking for chances to use them myself. 😉

Best line:  (French soldier/heckler) “I don’t want to talk to you no more, you empty-headed animal food trough wiper! I fart in your general direction! Your mother was a hamster, and your father smelt of elderberries!”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
607 Followers and Counting

 

My 2019 Blindspot Picks

Tags

Lists

Now that last year’s Blindspots have been wrapped up with a bow, it’s time to begin anew in the new year. (I was really hoping to post this a month ago, but better late than never.) I’ve really enjoyed this Blindspot series the last two years, finally exposing myself to some movies I’ve been meaning to see for far too long. I’m already behind for 2019, but once I catch up, I do hope I can keep to one per month and find some new favorites along the way. Thus, below are my 2019 Blindspot Picks:

 

Amadeus (1984)

Best in Show (2000)

 

Dancer in the Dark (2000)

 

How Green Was My Valley (1941)

 

The Longest Day (1962)

 

Monty Python and the Holy Grail (1974)

 

Mr. Nobody (2009)

 

Royal Space Force: The Wings of Honneamise (1987)

 

Run Lola Run (1998)

 

Selma (2014)

 

Twenty Bucks (1992)

 

Vertigo (1958)

2018 Blindspot Ranking

Tags

Lists

Well, it’s a bit later than planned, but I’ve finally finished my Blindspot series from last year, so with great satisfaction, it’s time to rank them before starting anew. While my 2017 Blindspots resulted in at least three films added to my Top 365 List, this year had some truly great films that didn’t quite make the cut to be List-Worthy, though that’s largely because I don’t include documentaries like #1. I did actually count #2 as List-Worthy at first, but on further thought decided it lacked the rewatchability factor. Even so, I thoroughly enjoyed watching these former Blindspots, especially #9 and up and can’t wait to begin this year’s picks.

 

12. All is Lost (2013)

Good work from Robert Redford, but boring and not helped by the lack of dialogue

 

11. Some Like It Hot (1959)

Very classic, but overlong and not quite as funny as I would have hoped

 

10. Into the Forest of Fireflies’ Light (2011)

Solid anime tearjerker; its simplicity is both a strength and a weakness

 

9. Hush (2016)

Effective slasher, with the uniqueness of a deaf woman fending off a sadistic killer

 

8. Clue (1985)

Uneven but fun mystery with a great cast; would have loved this even more when I was younger

 

7. The Sandlot (1993)

Great family film; again, my younger self would have made this a favorite

 

6. Pan’s Labyrinth (2006)

Weird, violent, and imaginative, a bit too much of all three, but beautifully told

 

5. Sunshine (2007)

Strong sci-fi thriller with some amazing music; a worthy Alien successor without any aliens

 

4. Yi Yi (2000)

Chinese drama that (for once) I can agree with the critics on; slow pace but a truly great film

 

3. Eternal Sunshine of the Spotless Mind (2004)

Crazily imaginative sci-fi mixed with bittersweet romance

 

2. Boyhood (2014)

A modern classic and a highly relatable one for me who grew up alongside the main character

 

1. Dear Zachary: A Letter to a Son About His Father (2008)

Deeply personal documentary that hits the heartstrings hard

2018 Blindspot Pick #12: Pan’s Labyrinth (2006)

Tags

Drama, Fantasy, War

The world can be cruel and compromising,
Goodness crumbling, evil rising.
Such a fact isn’t at all surprising;
Simply look around to see.

But harder to view is where the fantastic,
Magic subtle and not bombastic,
Turns the desolate and the drastic
Into beauty’s final fee.

And when the fee is finally paid,
The horrors that happen when humans degrade
Are quickly forgotten, and when they fade,
We welcome sweet reality.
______________________

MPAA rating: R (mainly for violence)

Sorry for the longer-than-expected hiatus lately. I’ve been in the midst of the busiest time of my class project, and just graduated from the program, so now I’m job hunting but also have a little more extra time to post again. I hate that my 2018 Blindspots have run so late into 2019, but I just have this one last review to finish off what I began a year ago! So before I announce the Blindspots for 2019, it’s time to cover Pan’s Labyrinth, Guillermo del Toro’s acclaimed Spanish fantasy.

I didn’t realize when I picked them, but my 2018 Blindspots have introduced me to some directors that I only knew by reputation. I’d never seen a Charlie Kaufman-written movie before Eternal Sunshine of the Spotless Mind, and I’d only seen one other Billy Wilder film before Some Like It Hot. Surprisingly, I’d also never seen a Guillermo del Toro-directed movie either, so Pan’s Labyrinth was like a fresh initiation into the Oscar-winning director’s style. And what a style! Pan’s Labyrinth is as skillfully directed a film as I’ve ever seen, and it’s mind-boggling to me that del Toro wasn’t nominated for a directing Oscar that year, though it did win deservingly for Cinematography, Production Design, and Makeup. The movements of the camera, often changing scenes as it passes behind an object, lends the film a lucid fairy tale quality, despite the contrast of its more true-to-life content.

The storyline is also engaging, split between the realistic and the magical. Young Ofelia (Ivana Baquero) is taken by her pregnant mother (Ariadna Gil) to a military base in the woods in 1944 Francoist Spain. There, Ofelia’s merciless new stepfather, Captain Vidal (Sergi López) is hunting down armed rebels and eagerly waiting like Henry VIII for his wife to bear him a son. Meanwhile, Ofelia discovers a mysterious faun (Doug Jones) in a nearby labyrinth, who gives her three tasks in order to supposedly claim her rightful place as princess of the underworld.

At times, the juxtaposition of truth and myth don’t quite mix. When rebels are fighting and dying on the battlefield, it’s a bit hard to care about Ofelia’s forays into fantasy, which may or may not be real themselves. Yet these fantasy sections remain the most memorable, offering the film’s most lasting creature creations, and even these flights of imagination remain somewhat grounded in life-and-death stakes, harkening back to the grimness of the original fairy tales. You know it’s a fantasy when there are giant toads and transforming fairies; you know it’s a dark fantasy when a monster with eyes on its hands bites the heads off those fairies!

Personally, I thought the film as a whole was much more graphic than it needed to be, whether it be some unflinchingly brutal battlefield violence or a firsthand look at how the Joker got his scars. Even so, Pan’s Labyrinth has craft to spare, particularly in its enchanting score and the ornate production design and makeup work of its fantasy elements, laudably brought to life with a bare minimum of CGI. The ending is especially moving, combining the climax of its real-life and fantasy stories into a bittersweet conclusion that artfully leaves its interpretation up to the viewer. It left me haunted in a way great cinema should, and even if not everything melded perfectly, Pan’s Labyrinth proved to be a very worthwhile Blindspot pick.

Best line:  (Captain Vidal) “You could have obeyed me!”   (Doctor) “But Captain, to obey – just like that – for obedience’s sake… without questioning… That’s something only people like you do.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
601 Followers and Counting

 

2018 Blindspot Pick #11: The Sandlot (1993)

Tags

Comedy, Family, Sports

 

When I was a child,
I spake as a child,
And acted as foolish as children will do.
Yet now that I’m older
And ought to be wiser,
I find there’s more worry than wisdom in view.
That’s why I, like many, now crave what we lack,
Some innocent childhood foolishness back.
_______________________

MPAA rating: PG

It looks like I won’t be able to quite finish my Blindspot series before the end of the year, but I’ll at least get as close as possible with eleven. (That just leaves Pan’s Labyrinth, which should be first thing next year.) Growing up, I always skipped The Sandlot when I saw it in the kid’s section of Blockbuster – is it weird that this makes me feel old when it wasn’t that long ago? – mainly because I’ve never been a fan of baseball. Then, fairly recently but all of a sudden, I heard people at work saying it’s “the best movie ever,” and I started hearing people say “You’re killin’ me, Smalls,” as if it were some classic line I’d never heard before. That’s when I decided I had to see what was so great about this little ‘90s family film that has somehow amassed a cult following.

The Sandlot is a healthy dose of juvenile nostalgia, one which most viewers should be able to relate to their childhood, even if it’s set back in the summer of 1962. Scotty Smalls (Tom Guiry) is the new kid in town, awkward and wimpy as he tries to join a local group of kids on their baseball field. While most of them have no patience for a kid who can’t even throw a ball, Benny Rodriguez (Mike Vitar) reaches out to him and allows him to enjoy the summer as part of the team, which includes various misadventures and a giant terrifying beast on the far side of the fence.

Like The Goonies or Clue, it’s the kind of film that I wish I’d seen when I was younger, because it might well have been a cherished classic by now for me as well. The vignettes of childhood camaraderie and conflict and what matters to an acceptance-seeking tween reminded me at times of Disney’s Recess series and A Christmas Story, thanks also to the nostalgic narration of a grown-up Scotty. There were also echoes of Stand By Me, but thankfully the amusingly juvenile insults lobbed among the kids are kept far more PG-rated. There are no instantly recognizable child stars here (though it was nice to see James Earl Jones), but that only helped each of the young cast feel like real kids, trading taunts, having fun, and exaggerating danger.

There are scenes that go on a bit too long, but overall The Sandlot was a fun film that didn’t require a love of baseball to enjoy. The friendship between Scotty and Benny is also a laudable example for other kids to follow; inviting an outsider into the group and having the patience to help them fit in are not common behaviors for most kids, so I hope this movie helped make some playgrounds friendlier out there. I’m not sure why “You’re killing me, Smalls” has become such a repeated line, since it was only used twice and not that prominently, but at least I’ll get the reference from now on. It’s certainly a film I’d watch with my own kids some day.

Best line: (Babe Ruth, in a dream) “Remember, kid, there’s heroes and there’s legends. Heroes get remembered, but legends never die. Follow your heart, kid, and you’ll never go wrong.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
600 Followers and Counting!

 

2018 Blindspot Pick #10: Into the Forest of Fireflies’ Light (2011)

Tags

Animation, Anime, Drama, Fantasy, Romance

When the forest’s green carpet was dappled with light,
The trees standing stolid in blithe oversight,
I cried, a mere child, alone on my knees,
And lost with no help from the untroubled trees.

I don’t know how long I stayed, venting vain tears,
For he found me, as when a rainbow appears,
And though I perhaps should have harbored unease,
I beamed at the man, standing masked among trees.

I tried to embrace him, but he dodged the act
And said he would vanish from human contact,
For spirits like him are too fragile to squeeze,
And so we stood separate, surrounded by trees.

I doubted his words, yet I welcomed his care,
As he led us back homeward, a curious pair.
And though he said not to, tomorrow the breeze
Will lead me back to him, a ghost among trees.
______________________

MPAA rating: Not Rated (easily a G as far as content)

Blindspot picks are supposed to be films that one has been meaning to see for a long time and hasn’t gotten around to it. Into the Forest of Fireflies’ Light (or Hotarubi no Mori e) certainly fits that definition for me. It has long been included in other people’s lists of favorite anime, typically alongside Studio Ghibli films, and I couldn’t put it off anymore. I was even proud that I had been able to avoid spoiling the ending, and now that I’ve seen it… I don’t want to say I’m disappointed, just that I thought there would be more to it.

I should have known not to expect too much, based on positive reviews noting its simplicity, and indeed that simplicity is one of its key strengths. The story follows the relationship of a girl named Hotaru who, while lost in a forest at six years old, meets a young man in a mask. Though he insists that no human should touch him, lest he disappear forever, she continues to visit him, and the two become close friends. Despite the invisible barrier of physical contact, they even begin to love each other, as the girl grows older, returning to the spirit forest year after year.

That’s as much as I knew going in, and while there’s a bittersweet payoff that admittedly does hit the emotions hard, that’s pretty much the whole story. There aren’t any subplots and not many extra characters, and frankly the tale didn’t need them. As seen in Makoto Shinkai’s works, such as The Garden of Words, anime films don’t necessarily have to be of feature length to realize their intended effect, and 44 minutes was just right for this one.

I will say that it could have been very easy for the story to come off as creepy by nature. After all, a lost little girl meets a masked man in the woods, who hits her with a stick (when she tries to touch him). It might have been a hard sell just describing the plot like that, but instead it’s a sweet friendship/romance that might leave many a viewer brushing away tears. Perhaps its length kept it from hitting me hard enough for that, or perhaps I was just expecting too much, but Into the Forest of Fireflies’ Light still worked well as a mini-tearjerker with some lovely animation from the studio Brain’s Base, albeit nothing exceptional. With a few traces of Ghibli-esque whimsy, it’s a touching little fantasy for those looking for a tug on the ol’ heartstrings.

Best line: (Hotaru) “Time might separate us some day. But, even still, until then, let’s stay together.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
594 Followers and Counting

 

2018 Blindspot Pick #9: Hush (2016)

Tags

Horror, Thriller

 

I can see you through the window.
I can see you through the door.
I could speak and mark my presence
As I’ve often done before,
Yet you’d heedlessly ignore.

I could detail all the lurid
Games I plan to play with you,
But my words would all be wasted
While you never had a clue,
While I linger out of view.

I could hover right behind you,
So amused you cannot hear,
But if I proceed too quickly,
It would be a waste of fear.
Never do I waste, my dear.

So enjoy your ignorance,
The bliss of danger still concealed.
Soon I’ll get to see it shatter
When my secret is revealed.
Then you’ll know your fate is sealed.
_________________________

MPAA rating:  R (for violence and brief language)

I haven’t been able to watch many movies specifically for Halloween this year, but I always intended this Blindspot for October. Among my Blindspots, Hush represents not only the horror genre but a subgenre I’ve intentionally avoided for the most part: the slasher. I’m honestly not sure if I’ve ever seen a true slasher film. (I’m not counting something like Alien or The Terminator, which might technically fit some of the requirements but have additional science fiction elements that set them apart). Actually, I might take that back, since I just thought of Psycho and Audrey Hepburn’s Wait Until Dark, though I’m not sure those fully qualify. Yet, just as Wait Until Dark was unique in pitting its killers against a blind woman, Hush does the same in making the target a deaf woman and using that important detail to its advantage.

Hush has a brilliance of economy to it, with a minimum of dialogue and only five speaking roles. Kate Siegel (the wife of the director Mike Flanagan) plays Maddie Young, a reclusive novelist in true Stephen King fashion (one of King’s books can be spotted early on), and her attempts at cooking provide a brief glimpse into what it’s like in a world with no sound. While it feels odd to not hear a frying pan sizzling, it’s much more alarming to not hear a masked psycho outside your window. Before this killer (John Gallagher, Jr.) makes his presence known, his stalking is utterly creepy considering how oblivious Maddie is, but the tension still remains high even after she becomes aware of the threat.

Hush is very much a game of cat and mouse, with Maddie testing how best to escape while the killer cuts off every chance with only his sadism keeping him from simply breaking into the house. He intentionally toys with her, boasting every advantage, including sound, and it was a genuine thrill to see how she turns the tables on him while never veering into unrealistic territory. What I most appreciated was how well the plot played out visually. Since Maddie is deaf and mute, most of her confrontations with the killer are wordless, made more intense by the absence of screaming you’d expect from a horror movie.

Unfortunately, Hush was rather bloodier than I typically like, with one little twisty shock and several bloody injuries being exchanged, but it was an enjoyable horror-thriller, even if it may adhere to some typical slasher conventions, as far as I know them. There were no hateful characters (aside from the killer) or annoyingly dumb decisions, and the acting was strong and entirely believable. Though he doesn’t wear it that long, even the killer’s mask is effective, resembling Michael Myers’ visage but with a slight smile that reflects the playful malevolence of the psycho behind it.

Since I’m not counting Psycho, it probably doesn’t mean much to say this is the best true slasher film I’ve seen (#1 of 1!), but it’s a good Halloween find all the same. Aside from disliking the gruesomeness, I suppose I’ve avoided the genre due to how many bad movies it seems to churn out, but I’m glad my first sampling was a high-quality breath-catcher like Hush. Now, if you’ll excuse me, some of us have to stay silent and hide from those trick-or-treaters lurking outside.

Best line:  (Maddie) “….”

(I love how that’s actually listed as a quote on iMDB!)

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
592 Followers and Counting

 

2018 Blindspot Pick #8: Dear Zachary: A Letter to a Son About His Father (2008)

Tags

Documentary, History

 

A normal day, no thought of death—
Till one call makes me catch my breath,
And all at once, the world I knew
Is marred by news that can’t be true.

It seems just yesterday we spoke,
And just this morning both awoke,
And now before the day’s complete,
It’s only one whose heart can beat.

“Why?” is foremost in my mind,
Which can’t be answered by mankind.
We only know one evildoer
Dared to make good people fewer.

Once anger, blame, and heartache fade,
And all my searchings have been prayed,
My memories of you remain,
And love of them must keep me sane.
_______________________

MPAA Rating:  Not Rated (a few F words, but most of the content is PG-13 level)

I haven’t had much time for anything other than school lately, but I don’t want to forget about my Blindspot picks this year. Some of them, and quite a few others I’ve seen since starting this blog, I owe to MovieRob. His seemingly non-stop movie-watching/reviewing has introduced me to plenty of hidden gems (many of which I’ve still yet to see), but when he ranked a documentary called Dear Zachary among his favorite films of all time, I knew I had to check it out. Plus, I loved director Kurt Kuenne’s time-hopping Shuffle, another MovieRob recommendation and my favorite Blindspot from last year, so I was curious to explore his previous work.

As some may know, I’m not the biggest fan of documentaries in general, since they’re often well-executed and informative but never have as much entertainment value as a normal movie. Even if it was the best doco ever made, I’d pick a feature film every time if I had the choice (which is why I grade them as a simple “Thumbs Up” or “Thumbs Down”). That being said, Dear Zachary is probably the best documentary I’ve seen, simply because of how engaging it is. This is not a true-life story to watch casually, vaguely absorbing facts as they’re doled out. No, this film strikes deeper because of what a personal project it was for its director and how its focus evolved during filming.

Handling everything from music to editing, Kurt Kuenne originally wanted to memorialize his lifelong friend Andrew Bagby, who was murdered after breaking up with the clearly unstable Shirley Turner. Once in custody, Turner announced she was pregnant with Andrew’s son Zachary. To eventually introduce Zachary to the father he’d never know, Kuenne traveled the country to gather interviews with Andrew’s friends and extended family, all of whom attest to what a special and loving man he was. If the story had ended there, it might never have been released to the public, probably remaining a personal collection of bittersweet video recollections.

Yet, as I said, the film’s focus deftly shifts from Andrew to Zachary to Andrew’s long-suffering parents, who face a lengthy legal battle with Shirley, the details of which I won’t spoil. Through it all, Kuenne’s narration manages to be both objective in stating the facts and deeply impassioned about the loss of his friend. His editing sometimes borders on too frantic, spitting out details a bit too fast to keep up, but it imbues the account with an urgency that never lets the viewer’s attention lag. Between his commentary and the heartbreaking interviews with Andrew’s parents, it’s easy to share their heartache at how things turned out and their anger at the miscarriages of justice they endured.

Watching Kuenne’s meticulous recap of this tragedy, I couldn’t help but admire his devotion to his departed friend, who I felt I knew well by the end. If I were to suffer the same fate as Andrew Bagby, I’m not sure there would be the same outpouring of grief from friends and relatives, close and distant, but Andrew clearly left behind a legacy that Kuenne captured beautifully. Yet Dear Zachary is as much a love letter to Andrew’s parents as to Andrew himself, representing their Job-like patience and resolve with clear affection. Between the drama of the unfolding crime story and the profoundly personal heartache it leaves, I certainly see why MovieRob is so fond of it. It’s criminal that the Academy didn’t even deign to give it a nomination for Best Documentary. Even if documentaries aren’t my preferred cup of tea, this one is too good to miss.

 

Rank: Thumbs Way Up

 

© 2018 S.G. Liput
592 Followers and Counting