Everything is a Weapon if You Hold it Right: On Weapons

 

The titles of Zach Cregger's films are more riddles and interpretations than descriptions. One could conclude that the "barbarian" of the first film's title refers to the character of the mother, after all she is the one that smashes heads, but, as I said earlier, I think that misses the point that the film is a far deeper reflection on barbarians and civilization. In a similar way, we could conclude that the word "weapons" in the title of the recent film refers to the weaponization of the hypnotized individuals, as is stated in the dialogue.  (Oh, yeah, spoiler alert)

The World is a Vampire: On Sinners

I am going to get to Sinners but before I get there I need to say a little about my own particular history with the music known as the blues. 

The Spectacle Goes to the Movies: The Pop Life of Debord

 

As someone who teaches philosophy at a regional public university, which is to say a school without a lot of students who could ever imagine majoring in philosophy, I have never found a pop culture reference to philosophy I did not like. I have talked about Breaking Bad and work, Fight Club and alienation, and Get Out and W.E.B. Dubois to name a few. I have never done anything with The Matrix though. I have never shown it or screened it. 

The Prison House of Emotional Labor: On Red Eye

Red Eye is destined to always be something of a footnote. Everyone involved in the film will always be known for something else, Wes Craven for the Nightmare on Elm Street movies, and the entire cast from Rachel McAdams and Cillian Murphy to Brian Cox will always be known for other films. Moreover, its premise, which spends over two thirds of the film not just on a plane, but on two seats of a plane--a sort of bottle episode of a movie--seems hard to imaging being made today in which it is always bigger spectacles that get audiences. 

We Have Met the Barbarians and they are...: On Barbarian

 

Every mention of the film Barbarian carries with it the warning to not spoil anything, to experience it completely ignorant so as to be best frightened by its particular twists and turns. [Fair Warning: I will spoil everything here] For that reason it is not entirely clear if the title refers to anything. It could just be a vaguely menacing word. Many horror movies from the last few years seem to take their title from a series of such words, Insidious, Malignant, Terrifier, as if someone was just looking up “evil” or “scary” in a thesaurus. The opening scenes of the film, however, suggest that this title is not just a vaguely scary word, after all, it would be an odd choice suggesting that the we are running out of synonyms for scary, but that the film is very much about what it means to be a barbarian and what it means to be civilized. 

The End? Narrative Incompleteness in the Age of Intellectual Property

The ending of the original The Blob 

I have a distinct memory of watching the original The Blob on a Saturday afternoon movie. I watched a lot of Saturday afternoon movies, Godzilla, all of the Universal monsters, and various giant ants, crabs, and praying mantises. The Blob stood out because it was actually frightening in a way that a giant monster crushing a city was not. It could be anywhere and could get past anything. It is also memorable because its ending, in which the image of  frozen blob dropped someplace north of the Arctic Circle was followed by a giant question mark hovering over the sky. This image lingered in my mind long after everything else was forgotten. At the time it seemed like the perfect way to end a horror movie, with the horror still intact. I must admit as well that Steve McQueen's last line, "As long as the Arctic stays cold," sounds much more ominous in these days of global warming.

Between Legacy and History: On Peele's Nope

Seeing Nope at the Bridgton Twin Drive In 

Movie critics, even amateur ones, love puns, love working the title into their reviews in some sort of play on words. So it takes a certain amount of confidence to call a film "Nope". It just invites too many titles for negative reviews, say "Nope to nope" and so on. In the case of Peele that confidence is earned. It is the third movie by a director who is developing his own vision in an era where such things as vision or style, even directors as auteurs, are increasingly obsolete. The title of Nope recalls the title of Peele's first film, Get Out  which was an homage to Eddie Murphy's bit about how a haunted house movie would never work with a black family, they would Get Out at the first warning.  

Two Versions of an Extinction: Prehistoric Planet and Jurassic Park

A similar image of dinosaurs in the snow circulated at about the same time from two very different sources. The first, above, was from Prehistoric Planet as series on Apple TV, and the second was from the trailer of the latest Jurassic World film. These images reflect the changing scientific theories of the dinosaur which have shifted from slow scaly reptiles to what are now considered smart, fast, feathered, warm blooded animals. This is especially true of the former which uses CGI and paleontology to produce a kind of Planet Earth for the prehistoric world (complete with David Attenborough providing narration). The latter is less fettered by science, but has used some recent discoveries, smart velociraptors hunting in packs, T-Rex's that walk with its spine parallel to the ground like land sharks, and so on when they have served the story. 

Boys Becoming Men, Men Becoming Wolves: on The Wolf of Snow Hollow and Werewolves Within

 

Wolves, even werewolves it seems, travel in packs. One hardly gets just one werewolf movie. In nineteen eighty one the pack included Wolfen, The Howling, and An American Werewolf in London.  (As the links indicate I have blogged about each of them, but for a thorough account of the year of the wolf I recommend Drew Strombeck's piece on the LA Review of Books) More recently, we had The Wolf of Snow Hollow and Werewolves Within quickly follow each other in the last two years. Two is less than three, but what is impressive in this case is that they are not only both horror comedies, to varying degrees, but are also both movies that use werewolves to address a different monster, masculinity.

Any Bird Whatsoever: on Fujita's Le Ciné-Capital: D'Hitchcock à Ozu

In his conversations with François Truffaut Alfred Hitchcock insisted that the birds in the film of the same name had to be ordinary birds, seagulls, ravens, sparrows, and not the more spectacular, and arguably more frightening hawks and eagles. This particular anecdote is relayed in Fujita's Le Ciné-Capital and in some sense it functions as the lynchpin that connects Deleuze's understanding of film, Marx's understanding of Capital, and revolutionary politics.

Shine On: We Are All in Room 237 Now

 

Danny Lloyd rocking the same haircut I had as a kid

Of all of the various concepts and neologisms that populate A Thousand Plateaus that of the "regime of signs" is one that never really caught on. It has not had the same effects as nomadology, rhizome, virtual, assemblage, body without organs, become etc., If I had to offer a quick explanation of  this it is perhaps because the idea of the sign, and of a regime of signs, still seems like a remnant of an earlier period, more structuralist than post-structuralist. It is for that reason that it has remained something of a B-side or a deep cut, taking a clue from Deleuze and Guattari's assertion that the book is more like album with different plateau songs than a linear progression. 

What Do Werewolves Dream of? On An American Werewolf in London

Of the three werewolf films that were released in 1981 An American Werewolf in London is that one that I have the strongest memory of even though it has had the least impact on me in the years that followed. Wolfen is a cult classic, and I am definitely in the cult, The Howling is a solid film, but An American Werewolf in London scared the hell out of me as a kid. This was in part because I saw it at far too young of an age. I do not know what my parents were thinking when they took me to it at ten, perhaps that it would be more comedy than horror, which makes sense given Blues Brothers and Animal House. All I really remember was asking to leave the theater after first werewolf attack scene on the moors, my parents tried to get me to stay, knowing that I loved monsters, but by the time Jack showed up as an ambulatory corpse I was done. We left the theater.  

The Most Dangerous Myths: On Ready or Not and The Hunt

Hollywood B pictures often come in twos. Somehow, almost inexplicably, we get two movies about undersea monsters, Leviathan and Deepstar Six, Volcanoes, Dante's Peak and Volcano, and asteroids hitting Earth, Armageddon and Deep Impact. Last year, in the brief interregnum between blockbusters and prestige pictures we got two pictures about people hunting people for sport, or at least we were supposed to.

Romero Prepared You for This: Lessons from the Dead Films for Getting Through a Pandemic

1. The television (and the internet) will always be on, filling up time. That is their job. It doesn't mean that you have to watch, or that the information will be useful.

Doppelgängerland: The New Monster is Us

Monster come in cycles. Werewolves wax and wane in and out of cultural visibility, and even vampires disappear and return. There might even be an end to zombie movies someday. Perhaps the current period will be known as the year of the doppelgänger. I am referring not only to Jordan Peele's brilliant Us, but also the return of the mirror universe in Star Trek: Discovery and Counterpart on Starz. If one wanted to add a literary reference one could include Ted Chiang's story "Anxiety is the Dizziness of Freedom." (I know that there might be more stories and novels, I just reading Exhalation now and cannot resist plugging it).

Memories of a Ratman: Becoming Animal in Film, Literature, and Philosophy

Film has a strange status in Deleuze and Guattari's Capitalism and Schizophrenia. There is nothing like a theory of film in the two volumes; as much as the politics and economics of representation through regimes of signs, synthesis of recording, and assemblages of expression are theorized film is barely mentioned. The two volumes have more to say about television as medium than cinema, which will of course later be part of a two volume study by Deleuze. This is not to say that it is entirely absent, and when film does appear it is not as specific medium to be considered on its own but as an illustration of concepts and problems. Which is not to say that film is marginal these illustrations engage the central conceptual problems in each book. In Anti-Oedipus Nicholas Ray's Bigger than Life illustrates the socio-historical nature of desire beyond  family confines, and in A Thousand Plateaus the film Willard illustrates the concept of becoming animal.

You Will Not Replace Us: On Jordan Peele's Latest

Us is a strange title for a horror film. "Them" and "It" are often the go to pronouns for horror, suggesting otherness and the unknown. In contrast to this "us" is often seen as the familiar, that which is generally threatened by some unknown "it" or "them." "Us" suggests unity not division, familiarity rather than fear, and would in general seem a more fitting title for a sappy romance than a horror movie. That Jordan Peele uses this title for his film suggests how uncanny it is, and how much the divisions between us and them are going to come under scrutiny. Jordan Peele's first film, Get Out hinged on the terror of the realization that one could be betrayed by one's most intimate relationships. While Us works with very different subtexts and cultural anxieties it takes that basic uncanny sense of the foreignness and hostility of what is most familiar to new and more twisted levels. 

The Devil is in the Details: Twilight Zone's Demonology of Capital

It is impossible to overstate how much a fan I was of The Twilight Zone.  I watched every episode of the old show, it was the reason that I had a small black and white TV in my bedroom growing up; subscribed to the magazine, a magazine which covered science fiction and published original short stories; and watched the movie and reboot. 

Year of the Wolf, Part Two : On The Howling

Years ago I wrote what I jokingly consider my contribution to "Wolfen Studies."The other contributions to the field being Evan Calder Williams Combined and Uneven Apocalypse and Alberto Toscano and Jeff Kinkle's Cartographies of the Absolute.  In the comments to that post it was pointed out to me that Wolfen was one of three werewolf movies to be released in 1981; the other two films were The Howling and An American Werewolf in London. I initially thought of writing a post on all three, but dropped the idea. Now, years later, I returned to the notion. This October I have been watching a lot of old horror favorites from Hammer films to some classics from the eighties. I decided to rewatch The Howling. 

The Primitive Accumulation of Prehistory: On the Jurassic Park films

As a kid I was obsessed with dinosaurs. I know that there is nothing unique about this and that is precisely why I relate it. My obsession took place at a time before there was an adequate pop culture outlet for that expression. It was before the Jurassic Park films before even The Land Before Time films. So I sought out every dinosaur film I could whenever they played on the afternoon or late night movie, The Land that Time Forgot, The Last Dinosaur, Dinosaurus, etc., These films were hard to come by, and many of them are not very good at all. There is a story told in my family, a legend of sorts, of the night we all ended up in a motel while taking the yearly pilgrimage to visit the grandparents, flipped through channels only to stumble upon a showing of the  Valley of the Gwangi.  Not a great dinosaur film but one that nonetheless benefitted from the work of Ray Harryhausen. It was a different time, one defined by the scarcity of cultural products rather than their proliferation. Dinosaur films were hard to come by, and good ones less so, so a dinosaur obsessed kid took what they could.