Feb 162015
  February 16, 2015

If I Ruled the Oscars there would be no pretentious and horribly inaccurate bio-pics, no plotless dramas, no hipster indies. Instead, we’d be awarding genre films.  With this being a rough year, I’m keeping my nominations short and sweet. Just 5 best of categories.

Nominations for Best Feature Film

  • Captain America: The Winter Soldier
  • Guardians of the Galaxy
  • Maleficent
  • Predestination
  • X-Men: Days of Future Past

 

Nominations for Best Animated Feature Film

  • Big Hero 6
  • The Boxtrolls
  • How to Train Your Dragon 2
  • The Lego Movie
  • Penguins of Madagascar

 

Nominations for Best Screenplay

  • Captain America: The Winter Soldier
  •  Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Predestination

 

Nominations for Best Character Creation (a combination of makeup, effects, and performance)

  • Beauty and the Beast – The Beast
  • Dawn of the Planet of the Apes – Caesar/the apes
  • Guardians of the Galaxy – Rocket
  • The Hobbit: The Battle of the Five Armies – Bilbo/Thorin/Tauriel
  • Maleficent – Maleficent

 

Nominations for Best Song/Use of a Song

  • Come and Get Your Love – Guardians of the Galaxy
  • Everything Is Awesome – The Lego Movie
  • The Hanging Tree – The Hunger Games
  • Little Boxes – The Boxtrolls
  • Once Upon a Dream – Maleficent

 

It was a reasonably good year, with some top notch choices, but not a lot of them. I was straining for a 5th nominee in each category. As for editing, I’m saving that for my Worst of the Year nominations.

And to make this a little easier on me (I’m cutting myself a good deal of slack), I only counted films that had 2014 dates in IMDB, which knocked out a few Internet favorites.

Feb 142015
  February 14, 2015

People seem to like comparing Nolan’s exercise in extreme exposition, Interstellar with Kubrick’s opaque and nearly non-verbal 2001: A Space Odyssey. So I thought I’d help that along with my latest finding. Here are a few pages from the end of an early draft of 2001 where Kubrick was thinking like Nolan. Perhaps Nolan even used gravity to write that earlier draft in Morse code on a watch which would certainly keep moving as if gravity was still tapping on it
because of love.

________________________________________________________

[EXTERIOR: SPACE]

Dave: OK, I’m going into the monolith now. The monolith is a piece of alien technology built to help humans to evolve. It was placed on Earth to evolve our ape ancestors, and then on the Moon, where it sent a signal to this location in space when we dug up, as a kind of call back home to the aliens that made it that we’d achieved space travel. This is another monolith. Oh, it isn’t at all clear it isn’t the same one moving around, but lets just say it is another one. Oh, and I’ve fixed HAL, and he’s going into the monolith too, but on his own.

[EXTERIOR
or INTERIOR: MONOLITH – A lot of colors]

Dave: I’m in now. A lot of colors. Seems like I am traveling through a worm hole made by the aliens to take me to some far away part of the universe. Where I’m going, and how I’m going are outside of normal spacetime as understood by humans. So, I’m not just in the monolith. Repeat, I am not just in the monolith.

HAL (over radio): Hiya Dave.

Dave: Oh good, HAL, you made it too.

HAL: I sure did Dave, and have been listening to your talk to no one, and I think you are right on the money.

Dave: Still lots of lights. In case you can’t see those, there are lots of light-effects around me. I’m thinking because the aliens are higher dimensional beings and we’re only three dimensional ones.

HAL: I couldn’t agree with you more.

Dave (solemnly): And HAL
Gravity.

HAL (equally solemnly): Gravity to you Dave.

Dave: Well, we’ve been in this worm hole for a while. I’m going to call it a tesseract because it feels like a tesseract to me, and besides we need more explaining words.

HAL (again, solemnly): Tesseract.

Dave: HAL, I don’t think the aliens are really making me see lots of streaky lights. I think I’m doing that to myself. Due to love. Because love really is the answer. What’s more, I don’t think the aliens are alien at all. I think they are humans in the far future who’ve evolved into five dimensional entities. I have no reason for thinking that, but I’m really really sure of it.

HAL: Again Dave, I think you’ve got it.

Dave: It happened a while ago, but I think this is a good time to bring up you going crazy and killing folks because it really isn’t clear why you did that. I’m thinking it is because there was a contradiction in your programming. You know, because you had to lie to all of us.

HAL: That makes sense Dave. Not a lot of sense, but some.

Dave: Just wanted to clear that up. I suppose it could also have been me, reaching back in time via gravity and screwing up your programming, possibly when I was putting the original monolith in place using gravity.

HAL: I find that a bit disturbing Dave.

Dave: Me too, so lets go with that other one. That is the official explanation now.

[INTERIOR: Stark white room]

Dave: And I think this is all going to work out, with love and gravity. Oh, the lights have stopped, and now I’m in a stark white room.

HAL: Me too Dave.

Dave: I know you can see the room, but it never hurts for me to talk about how white it is, and stark. It really is white and stark. Oh, and I think it is a kind of zoo, an alien zoo with this room looking the way it is due to TV signals that the aliens—oops, I mean future humans—have picked up.

HAL (with respect in his voice): You do have a knack for figuring everything out Dave.

Dave: I’m pretty sure, in this timeless place, that I’m going to age, both actually, and metaphorically representing all of humanity. Yup, here I go, aging. See me age. Oh, I aged again. Annnnnd
again.

HAL: Please continue Dave. Though I can see it all myself, I would feel lost without you telling me.

Dave: No problem buddy. Just about at the end of my life, you know, metaphorically. So, I expect some big change any moment. And gravity. Oh, monolith here again. I’m going to reach out to it, metaphorically.

HAL: Gravity Dave.

[EXTERIOR: SPACE but with Love]

Starchild Dave: Oh, I’m a giant fetus is space. We’ll call me a Starchild. I am the next step in human evolution. And the future humans have dropped me off back at Earth so I can love on it a bit. Because it’s all about love. Hello Earth, going to love all over you now. Love.

HAL: And Gravity Dave.

Starchild Dave: And gravity

Feb 092015
  February 9, 2015

The list of Fantasy/Sci-Fi Films eligible for If I Ruled the Oscars.

 

Live Action

A Haunted House 2 Ouija
Annabelle Paddington
As Above, So Below Paranormal Activity: The Marked Ones
Beauty and the Beast Predestination
Captain America: The Winter Soldier RoboCop
Dawn of the Planet of the Apes Seventh Son
Deliver Us from Evil Teenage Mutant Ninja Turtles
Devil’s Due The Amazing Spider-Man 2
Divergent The Anomaly
Dracula Untold The Giver
Earth to Echo The Hobbit: The Battle of the Five Armies
Edge of Tomorrow The Hunger Games: Mockingjay – Part 1
Exodus: Gods and Kings The Legend of Hercules
Godzilla The Maze Runner
Guardians of the Galaxy The One I Love
Hercules The Purge: Anarchy
I Origins The Pyramid
I, Frankenstein The Quiet Ones
Interstellar The Signal
Into the Woods Transcendence
Jessabelle Transformers: Age of Extinction
Left Behind Vampire Academy
Lucy Winter’s Tale
Maleficent X-Men: Days of Future Past
Night at the Museum: Secret of the Tomb Young Ones
Noah Ouija

 

 

Animated

Big Hero 6 Rio 2
Case Closed: Dimensional Sniper The Book of Life
Giovanni’s Island The Boxtrolls
How to Train Your Dragon 2 The Idolmaster Movie
Mr. Peabody & Sherman The Lego Movie
My Little Pony: Equestria Girls The Nut Job
Penguins of Madagascar The Tale of the Princess Kaguya
Planes: Fire & Rescue When Marnie Was There
PokĂ©mon the Movie: Diancie and the Cocoon of Destruction  

 

 

 

Feb 082015
  February 8, 2015

I had another night of tears and pain in place of sleep which suggested it was time to write a bit on grieving and how to react to it. I’m becoming something of an expert. There are, no doubt, many experts out there, far too many. But for the most part, I’m not running into them. Count yourself lucky. You do not want to be an expert.

Most people I interact with do not know how to deal with me, how to speak to me. They (or is it “you”; English pronouns are tricky things) lack empathy for me. Again, that’s lucky. No one should ever want to empathize with me, but, I’ll give them (you?) a few pointers that you may be able to apply to how you react to others who are grieving as well.

I’m not writing this for other experts. If you’ve lost a mate (or a child, which is something I know nothing about), ignore all this. You don’t need me giving you pointers. Though, interestingly, I have found a distinct difference between the genders. Grieving women have dealt with me little better then everyone else. They’ve talked about time and recovery, both concepts that are foreign and unwelcome. Grieving men have spoken about pain that never improves and life that never gets better. The men understand me. Unless you are a grieving woman who feels all is lost, don’t try to correct me—it doesn’t help.

So, to those pointers:

 

DON’T ASK ME HOW I FEEL.

You don’t want to know how I feel. That question creates an awkward moment with no good answer. But here, just once, I’ll answer it because it may help you understand the things I do.

My life is 95% sorrow and 5% anger. That’s it. Those are my emotions. I may smile. I may chit-chat, but that’s what’s under it. I feel no joy. There are no good moments. There are less mournful and more mournful. More mournful is bad. Letting it out, expressing it, “letting myself feel it” is bad. Anger is worse because it always comes with more sorrow. You will not make me feel good.

A friend asked me if I wanted to live and was shocked to hear I did not. Emptiness, pain, rage. Why would I want to live? (And for all that is holy, do not try and answer that. Huge pointer there.) I have to live because I am keeper of my wife’s legacy. I envy those grieving who do not have such responsibilities. There is nothing I want to do. There are things I need to do, so I do them, but I do not enjoy them.

On September 27th, standing over my wife’s body, I knew if I was a god, I would have burned this world. I’ve said since that now I wouldn’t, but that I look fondly on the image of the world being destroyed that day. I don’t know if that is true. I have a feeling I’d destroy it now as well.

I get by focusing on work that needs to be done—work related to her, and by distractions. Distractions are hard to come by, since reminders are everywhere, but sometimes I can find them in a movie or a trivia game. Take away the distractions and more importantly, the work I focus on, and I’d be a puddle on the floor.

That’s how I feel.

 

DON’T COMPARE YOURSELF TO ME BECAUSE I AM COMPARING MYSELF TO YOU.

All grieving is different, or so say all the psychiatrists and councilors. But they all agree to one universal: Never say “I know how you feel.” In simplest terms, it’s because you don’t. After all, if you did, you’d never have said that. Along with that go all the after-clauses that explain how it is you know how I feel and that often flow in on their own—the comparisons. You know how I feel because of the tragedies of your own life. You know because your cousin died, because a friend died, because your mother died. You know because your husband left you for another woman, because you fell into despair when you lost your job.

You don’t know. And your pain is not my pain. See, here’s the thing, chances are, I do know your pain. And if I don’t, don’t correct me—it doesn’t help. I listen to everyone complain. Facebook is a great place for that. I see all the agonies of your life and I’d trade with you. I’d trade with all of you at once. You take my tragedy, and I’ll take all of yours. You lost your job. You got beat up. You are sick. Your body aches. You are in constant pain. You feel oppressed. You feel threatened. You were threatened. You are treated unfairly. You were mugged. You lost all your money. You crashed your car. You are dying. It all feels trivial to me. I’d love to be sick, oppressed, threatened, and dying. Give me those, and all the rest, and give her back to me.

As I said, 95% sorrow and 5% anger.

 

DON’T ASK IF THERE IS ANYTHING YOU CAN DO TO HELP.

This is another one that most of the experts agree on (Google it). It assumes I know what I need, and that I can think of it now, and that I have a clue on how to get to next week. I don’t. I do need your help. I need a lot of help. But I don’t know for what, and I’m not comfortable asking. It’s much better to offer something specific. Then I might just be able to figure if that is something I need. It also means it is actually something you’re willing to help with.

 

DON’T TELL ME I SHOULD FEEL LIKE X OR DO X, BECAUSE SHE WOULD HAVE WANTED THAT.

I suppose the person who says some variant of that is trying to be helpful, though it sounds like a lecture from a stereotypical 1930s schoolmarm. It isn’t going to make me less sad to be told that my wife wouldn’t want me to be sad. I well know she wouldn’t want me to be sad. As for the version “You need to pull yourself together and go on; that’s what she would have wanted,” which I have been told, that one’s just wrong. It assumes what she would have wanted, and I know that far better than anyone else. What she always wanted—what I wanted—was for us to die together.

 

DON’T TELL ME SHE’S IN A BETTER PLACE, IT’S PART OF A PLAN, ETC.

Just
don’t. Ever.

 

DON’T TELL ME IT WILL GET BETTER IN TIME.

Maybe it will. I don’t think so, but maybe. Women who’ve suffered a loss tend to back up that time makes a difference. Men seem to say the opposite: that it never gets better. I really don’t want to hear your take on it. To me, it’s insulting. “Sure, she was your life, a wonderful, remarkable girl, but hey, a few months and you’ll barely remember her.” Time should make no difference. It may, but it shouldn’t. Will it? Better to let time answer that, and not you.

 

DON’T EXPECT ME TO GET OVER IT.

The old rule was two years for mourning. And women got veils. Veils would be brilliant. Don’t know how to work that on a guy, but worth a shot. Now-a-days, people seem to expect things back to normal in a matter of weeks. I’m supposed to be fine and able to deal with the world. I’m not fine. And two years is a nice start, but I tend to think forever is a better time frame. I’d like people to speak to me normally, about what they are doing or that movie they liked or their vacation. Those are good distracting subjects. But I’m not normal. I may not be able to do normal things. Her death might be a thing that happened in the past for you, but it is always with me.

Without the work I do to focus on, I couldn’t get through a day. That was the subject of my last Men’s Support Group. Everyone there was surviving purely by finding things to focus on just to make it through that day. And for some, it has been years.

 

DON’T TAKE IT PERSONALLY.

I’m broken. That’s what this does. And you can’t fix me. You can’t make me happy. Don’t get upset that seeing you doesn’t make me feel better. Don’t be upset if I can’t do something, if I can’t be there, if I can’t find hope with you. Help me, if you wish, to what extent you wish, but do not become ticked off if I cannot be what I was, or if your presence cannot bring back better times.

 

DO TALK ABOUT HER.

Not about her being in a better place or her dying or what she’d want, but about her. What you did with her. That funny time she got cake in her hair or that horrible time she was on stage and couldn’t speak. What story of hers you liked best, what you were doing when you heard that podcast of “Trixie.” I like to hear about her.

Everyone grieves differently, supposedly. These are does and don’t for dealing with me, but they are a good jumping off point for dealing with anyone in similar circumstances. Adjust accordingly, or as best you can. There’s more to say. There’s always more, but I’ve used up my resources for the day. Time to focus on work, and try and get through this day.

Feb 072015
 
3,5 reels
daredevils1

Matt Murdock (Charlie Cox) is a blind lawyer by day and an enhanced vigilante by night. In his law practice, formed with his college friend “Froggy” (Elden Henson) and aided by recent client Karen Page (Deborah Ann Woll), he defends the poor. As “The Devil of Hell’s Kitchen” he attempts to take down the mobs, searching for the kingpin of crime, Wilson Fisk (Vincent D’Onofrio). Fisk, a violent and driven man, plans to remake the city into something beautiful. His life is altered when he unexpectedly finds himself in love with art-dealer Vanessa (Ayelet Zurer).

Daredevil: Season One is the highpoint of the MCU on Netflix. It is written better, with wittier dialog, and shot better than the rest. It is serious, but not too serious. The fights are brutal but they are secondary. Much more time is spent on getting to know Matt Murdock and his pals than anything else.

It has the same flaws as the others, but to a lesser extent. I’d like to edit it down, and remove the most ridiculous decisions (You mean the guy that kills people who cross him might try to kill you if you cross him? Shocking). And there’s too many speeches and lots of repetition on the nature of a hero and vigilantism.

Matt Murdock is a middle of the road character, neither interesting nor annoying. And Froggy, the sidekick, is just that, a sidekick who fills up time. Then there is Karen Page, who’s like something out of the 1950s. She never thinks; she simply emotes. In this (and the second season) she just jumps in, crying about truth and how sad things are with no regard to how anything works and we are supposed to ride along. Bringing up THE TRUTH in a court case is not important if it is clearly inadmissible or irrelevant. She’s a bad trope from an earlier time.

What the season has is a great villain in Wilson Fisk, and most reviews fawn on him. People mistakenly think it is Fisk alone, the performance by Vincent D’Onofrio and his being a villain who is fighting for what he thinks is good. But it is the relationship between him and Vanessa that makes the show work. When Fisk kills the Russian boss, it isn’t for some empty scheme or due to daddy issues (see Luke Cage). It is because the Russian damaged his relationship—because Fisk was embarrassed in front of Venessa. That made it emotional. That gave it resonance. I believe everything Fisk does connected to her. And I believe her. They are the heart of the show. At times I wanted him to win. I understood him. I almost liked him, but I really liked them together. D’Onofrio may have been excellent, but Zurer is more. Hers is the finest performance in any of the series.

To add to a great villainous couple, we have a great henchmen in loyal James Wesley (Toby Leonard Moore). I could have watched thirteen episodes of the adventures of Fisk, Vanessa, and Wesley.

Jan 102015
  January 10, 2015

As it was pointed out to me that all of the many “Best of Film Posters” lists for 2014 were rubbish, I am diving in to save the day. Besides, I did so little film-type work this year, I need to start somewhere. This is most definitely not a top 10 film list. My year’s best (in a year that I admit to having missed many) does not have a poster in the top 10, and some of these are for movies best skipped. Enough with stalling, here they are, counting to the best:

 #10 Birdman

A classic pop culture look, with a metaphor. I got a sense of what I’d be in for, but more, I wanted to be in for it.

 birdman-l
#9 Inherent Vice

A poster that’s part nostalgia for a near-by-gone-age, part quirk, part thriller, part comedy. Add a dash of sex, and we’ve got a poster and a movie.

 

 inherentvice-l
#8 Horns

Horns could be a classic just on its poster collection. I chose this version, but there are several others just a curl behind. Here we see a fairy tale, but not one that’s filled with glee. There’s darkness in them thar points.

 

 horns-l
#7 The Maze Runner

Posters for The Maze Runner show up on every list, but different posters. It has a score of them, some drab, some looking like every other YA movie of recent years, and some fantastic. This is in the last category.

 mazerunner-l
#6 As Above, So Below

Is it a cheat to include a poster from a film that not only have I not seen, I hadn’t even heard about until I studied all the film posters for the year? Apparently it is for another dumb found footage movie (“dumb” always goes with “found footage”), but don’t you wish it was for something good?

 asabovesobelow-l
#5 Grand Budapest Hotel

It’s all about the quirk. You see that mountain goat, and you know exactly what you are in for. OK, you aren’t in for anything that special (it wasn’t exactly a great film), but nothing all that bad either. Humor to smile at, not to laugh with. Like the poster.

 

 grandbudapesthotel-l
#4 Godzilla

Another film with a stack of posters, some better than others. This is the best, showing scale, destruction, and a bit of loneliness. Too bad the film itself couldn’t show quality–Gojira ’54 it was not.

 godzilla-l
#3 Maleficent

Simple and elegant, not unlike the film. A poster that makes it clear everything is about Angelina Jolie, and in this case, that’s all you need. Maleficent was Eugie’s favorite movie of the year, and I can’t fault her for that.

  maleficent-1
#2 The Interview

A great poster does not mean a great movie (See Godzilla). The film was kinda satire. The poster is satire, and gets it right. Makes you want to march, wave a flag, launch a missile.

 interview-l
#1 Sin City: A Dame to Kill For

Combining the look of film noir and the cover of a trashy thriller novel, the Sin City 2 poster is sexy, evocative, and tells you everything you need to know about the movie.

The film couldn’t live up to its predecessor (though better than most reviews would have you believe), but the poster did.

Is there any doubt that she’s been especially bad?

 

sincity2-l

And a few honorable mentions for films that pulled out the stops making some old-school posters. Guardians of the Galaxy‘s looks like a hundred other action/SF posters from 20 years ago, but better. It goes right next to a Star Wars poster. Captain America: The Winter Soldier has a lot of posters, but this one says Alfred Hitchcock’s Captain America. Then there is Nurse 3D, doing pin-up right.

 guardians_of_the_galaxy_ver2  captain_america_the_winter_soldier_ver20  nurse_3d_ver3
Jan 082015
  January 8, 2015

I attended a second grief group this evening and the gender differences I observed at the all male group were easy to find again. This group was all female except for me, and they were as unanimous in their views as the men had been, just a different set of views. They all spoke about recovery (the men denied it). They all agreed it got easier over time (the men denied it). They all thought it was important not to second guess yourself, and give yourself permission to do this or that (it hadn’t occurred to me that second guessing yourself would be an issue, or you’d have to give yourself permission for anything—still haven’t grokked that, and no men said anything like this). They all took solace in some form of vague (or less vague) spirituality and meaning behind their spouses’ deaths (no males did). They all either cried, or thought you should cry, at the kindness of people (not mentioned by the men). They all spoke about the group being their safety place (not the males’ view). And it kept going.

Now I know I don’t have enough data points myself, but then I’m not creating the hypothesis here, just backing one that already has significant statistical support. Eugie would have loved this; well, she’d have rather there be an experimental component instead of just an observational one, but still, she loved studying people.

I’ll probably keep going to both groups for a little bit (the co-ed one that is all women meets a lot more often), but the women’s way of dealing with grief is so foreign to me, I doubt I’ll stick there long.

Jan 072015
  January 7, 2015

I’d had my doubts, but an all male grief support group was better than expected. It seems a masculine point of view is helpful, to the extent that anything is helpful. It’s trendy in my circles to think men and women fundamentally react the same, and so, grieve the same. I’m not an adherent to this point of view.

In the past three months I’ve heard a lot of “Time will make things better” and “You will, eventually, begin to recover.” I have never believed that, nor have I wanted to.

And today, I didn’t hear that.

The group was made up of men who’d been widowed between three months (me) and nine years. And everyone agreed: You never recover. Time does not help. You do not regain purpose. Years make no difference. Either you go on without purpose till you die at some point, or you find someone who can save you (though the second was specifically rejected by several men). It was really refreshing to hear.

So, I’ll be going back. We’ll share feelings of doom, and I can respect that. It’s better than lies.

Dec 312014
  December 31, 2014

Time to say farewell to 2014, and may it rot in Hell.

It is the year in which Eugie suffered and died, and left me alone, missing half of myself. It also took Baku, so I would lack his comfort. It was a year I would have ended if I could. On September 27th, I would have burned the world if I’d had the power. I wouldn’t do that now, though I still wish it had happened.

2014 is the worst year that has ever been, yet, it was a better year than all those that will follow it. After all, it was the last year that had Eugie. While it was an unpleasant year for her in general, she existed, she accomplished things, and she did occasionally enjoy herself. It is strange to look back at days on the oncology transplant floor of the hospital fondly, but I do now. We talked and laughed, and watched movies on her laptop snuggled together on her hospital bed. Similarly I think of shopping for wigs while singing Christmas carols in the car (neither of us could sing, but we didn’t care), or me getting her popsicle after popsicle at home between watching The Avengers and playing with Baku. Even when she was so very sick, we had fun
sometimes. So I have those memories to go with the pain. That’s not enough to change my view of the year. 2014 was a fucking scumball of a year.

But I do not welcome 2015; it has nothing to offer.

Dec 052014
  December 5, 2014

Went into the SS Administration office today. It took over two months to get an appointment. I had to go in to fill out forms and to get Eugie’s $255 death benefit. I suppose that was enough for a burial in the 1930s and they’ve never changed it.  Seems like the sort of thing to do online. The woman was very nice. She did ask a lot of questions about Katie which I wasn’t prepared for. Hadn’t thought to bring in a second set of birth and death certificates. Didn’t really make any difference. They’ll send me the $255 in a week or so.

Having to do that, talking about Eugie, that wasn’t uncomfortable. But the car ride there and back were. I’ve been focusing on some work related to her writing, and that’s kept my mind occupied. With the drive, with nothing else to distract me, that’s when I fell apart. Guess I need teleporters. Now back to work. Free time is not my friend.

 

Oct 192014
 
three reels

Lou Carou (Leo Fafard) is a drunken loser deputy in a corrupt town where a “Drink & Shoot” is thought of as a good idea and Liquor Donuts is a thriving business. He is a disappointment to the sheriff (Aidan Devine) and the one good deputy (Amy Matysio), but is on excellent terms with the stunning and shifty bar tender Jessica (Sarah Lind). Lou is grabbed by some cultists who perform a ritual on him, making him a werewolf for some nefarious purpose connected to local murders. However, Lou turns out to be a far better cop as a wolf than he was as a human.

Wolfcop is gory, silly, and twisted, and it is a whole lot of fun. If you are heading out to a midnight cult movie screening (do they still do that?), this is the film you want to see. If at home, invite some friends and keep the booze flowing.

It’s surprisingly well made for its budget. Fafard is an amiable lead and looks natural enough that someone might want to check him into AA. Matysio is the anchor for the film, allowing everyone else to go wild, and Lind is the kind of attractive that only pops up in supermodel cover shoots. Sure, the feature doesn’t look expensive, but this isn’t hack work, with shots and lighting I don’t expect without five times the cash, and a bit of grain in the print isn’t a problem for a film where a drunken werewolf rips a guy’s arms off. While the film as a whole looks good, the wolf makeup looks great, and the transformation scenes are spectacular. These are up with the best that’s been done.

As an homage to ‘80s horror, ‘80s cop flicks, and ‘80s comedy, it is only slightly more clever than the films it sprung from. If you are looking for theme or wit, look elsewhere. If you are looking for a lot of gore and a monster that pauses to trick out his car, then you’ve found your film. It does have an original mythology, but it would rather focus on a hilarious werewolf-human sex scene, complete with a sappy retro-ballad, then spend time on world building details. With a runtime of 79 minutes, avoiding going too deep is a virtue. It zips in, tells its joke, rips out an eyeball, and then is gone.

Oct 182014
 
two reels

A rush of hormones turns high school golden boy Cayden Richards (Lucas Till) into a werewolf. He awakens to find he’d attacked his girlfriend and killed his parents, so goes on the run. A strange werewolf (John Pyper-Ferguson) he meets along the way puts him on the path toward the secluded town of Lupine Ridge, where town werewolves who never use their powers are terrorized by the wolf pack that lives in the mountains and is lead by Connory Slaughter (Jason Momoa). Cayden is taken in by kindly old werewolf-farmer John Tollerman (Stephen McHattie) who explains that he was adopted and his real parents were from this town. It soon becomes clear that he is the deciding factor in the local problems as he is a purebred, making him stronger than most werewolves. Slaughter, also a purebred, plans to breed with Angel Timmins (Merritt Patterson), the only young purebred left in town and the girl Cayden has fallen for. Naturally, Cayden is going to fight.

Erg
 Some films make me tired. It isn’t that Wolves is bad; in fact there is a great deal to like about it. The make-up is good, the fights are exciting in a Teen-wolf dunking a basketball kind of way, and the directors of some recent 200 million+ productions could learn from Wolves how to shoot dark scenes. Stephen McHattie is very good (as he always is) and the whole production looks like it was put together with care and thought. There’s no gaping plot holes.

But it just doesn’t matter. The beginning narration needed to be followed by a biting satire. That would have been a fine way to go. Or it could have gone for horror. But Wolves takes the young adult route in the weakest way. Themes are thrown out, as is any kind of emotion. The curse of being a werewolf and murdering your parents isn’t taken as something to get all that worked up over. Cayden isn’t a monster, he’s a superhero, a fantasy for teenagers who are feeling picked on.

Lucas Till is the lead because he’s a pretty boy. He isn’t bad, but he brings nothing else. Merritt Patterson plays the girlfriend because she’s a pretty girl. She brings her looks, and that’s about it. It seems clear by now that Jason Momoa has an impressive physical presence, and knows how to stand and smolder, but after that he’s empty.

Which leaves the plot, which is the typical boy grows into his powers and gets the girl young adult stuff, except he doesn’t even do much growing. He just is. Superhero films can’t function on plot because we know how they will end—so the good ones go for character studies, or comedies. This one just plods along. Nothing matters. There are no stakes. You’d think that threatening to rape a teen girl would drum up something, but nope; we know it isn’t going to happen and it doesn’t matter. There’s a reveal toward the end that supposedly changes everything, except it also carries no weight and is worth nothing more than a shrug.

It doesn’t help that this is one of those magic-type stories that falls apart due to the existence of guns. Werewolves die in ordinary ways in this movie, and the non-pure wolves don’t heal terribly well, so if the hero had just gone out and bought a few pistols, a shotgun, and a rifle, it all would have been over in ten minutes.

There’s fun to be hand in the pretty people and the prettier fighting, but you’ll enjoy Wolves as much with the sound turned down and fast forwarding it to whatever scene looks cool. This one was forgotten as soon as it appeared. There’s a reason for that.

 Horror, Reviews, Werewolves Tagged with: