The art of violence in Bronson (2008).

Nicolas Winding Refn’s Bronson is 92 minutes of pure rage. There’s no rhyme or reason to Charles Bronson’s actions. He’s the most notorious and violent prisoner in the history of Britain, despite never having actually killed anyone. There doesn’t seem to be any contempt for his fellow man in his behavior. Bronson simply fights for the heck of it. He wasn’t raised poor, his parents in the movie were fairly well-off and in real life they were mayor and mayoress of his home town. There’s no rebellion against an unjust system, no attempt to escape attempts at subjugation or indoctrination, poverty or systematic discrimination. There is quite literally no reason for Bronson to be the way he is. And yet he exists, both in the film and in modern day England.

There are a few possible explanations for Charles Bronson’s seemingly (and most likely truly) insane actions. The most obvious and succinct one is that Bronson is simply a masochist and enjoys getting smashed to a pulp over and over again. Another is that he suffers from a severe mental illness. But I’d like to present an alternative view, one that is based more in interpretation than original intention and shouldn’t be considered as an attempt to legitimize Bronson’s violent behavior, but rather to rationalize it and use it as a means to explore questions that quite possibly haven’t even entered his head at any point in his life. Also, the following thoughts shall be based mostly on the film, so bear in mind that they might slightly misrepresent Bronson’s current image and attitude, as he seems to have mellowed over the past few years.

The one recognizable emotion that Bronson, portrayed masterfully by Tom Hardy in one of his career best performance, expresses is his distaste for mental facilities. Why would that be? Because there he can be subdued. He is tranquilized and spends a large chunk of his time there in an immobilized state that does not permit him to do the one thing he does best. It’s that one thing, fighting, that gives him agency over his life. In a sense, one could see Bronson’s constant indulging in short bouts of fisticuffs against numerous foes as an expression of freedom, of his ability to choose when and how hard to be walloped. In prison, everything is fairly simple – the hierarchy is clear, as are Bronson’s foes. He knows who’s going to give him the best beating, and he knows exactly how to ask for it. His biggest joy is being able to strike back and knock a few teeth out. The people he holds hostage are merely catnip, a way to attract more attention and thus, more guards to hit.

Furthermore, Bronson isn’t a man focused on the material. His only possessions are practical, like butter to cover himself in to make it harder to for his opponents to grasp. He’s seen escaping to the rooftop of one of the prisons he’s kept in, not in an effort to leave the facility and start anew, but to destroy property and cause damage.

There is no growth, no character arc. Bronson simply is. Towards the end, we see him practicing his painting skills and becoming close with a member of staff in the prison who helps those incarcerated to find the beauty in art. The viewer is left, even if only for a while, under the impression that Bronson is rediscovering himself, that there might be hope for him yet to be reintegrated into civil society. But what does Bronson do once the warden notices his interest in painting and begins making plans for his future? Bronson once again rears his animalistic side, the one that is ever present, and destroys everything in the final showdown between him and the guards in the movie. Does he achieve anything? Not really. He gets to paint a clown mask on a man’s face while listening to classical music. Then he hits some people over the head and causes a bit of a ruckus. It’s not grand. It’s not some overarching philosophical achievement that advances him as a person. It’s just a man doing what he does best, doing what he enjoys. Incidentally, that turns him into a celebrity among the British prison population, and Bronson seems to enjoy that. He, like every man, enjoys recognition and appreciation for his work, if you could call it that. It’s all very basic, very reminiscent of primitive societies that saw violence and physical strength as a sign of spiritual freedom and a basis for respect.  And fame and recognition are two things that Charles Bronson seems to enjoy – he’d rather reign in Hell than serve in Heaven.

What Bronson does to assert his freedom of the spirit and will is abhorrent to most, and justly so, but it’s an extreme response to a feeling that everyone experiences. That creeping sense of worthlessness that comes whenever we realize that we have no effect over whatever is going in our lives or in the world in general. It’s an idea that’s been explored in many great films over the years as well. Taxi Driver, Fight Club, Brazil, as well as many others, explore this lack of individual agency from different angles, but fundamentally it all boils down to the same feeling of insignificance in a world that is moving on and growing ever smaller in the distance as the protagonist watches it with despair and disappointment in their heart. The difference is that Bronson doesn’t justify its main character’s actions, it doesn’t rationalize his behavior or glorify him. Refn doesn’t give us much backstory or motivation for Bronson’s current attitude towards the world, but simply presents the man as he is and lets the viewer decide what to make of him.

The movie itself is very well made. It walks the thin line between indie arthouse and action-fuelled romp, and it keeps the balance thanks to its levity and good direction. The editing is great, combining a more subdued take on transition and visual imagery with what I can only describe as the old English gangster movie style that emerged in the 80s and was mainly popularized later on by the likes of Guy Ritchie, with flashy cuts, matching or fading transitions and constant narration that adds an extra layer of entertainment. The action scenes are decently choreographed, though at times it’s a bit too easy to tell just how far Tom Hardy’s knuckle stopped from his fellow actor’s body, making the punches feel floaty and weightless, thus causing the fight to lose traction. And, last but not least, Tom Hardy delivers a phenomenal performance which alone makes the movie a must-see. Hardy switches effortlessly between schizophrenic stage performance based loosely in classical acting and more modern method acting that he prepared for with the help of Charles Bronson himself. A truly masterful display that cements his place as one of the greats of our generation.

 

Under 800: The Tree of Life (2011)

Terrence Malick’s The Tree of Life is quite possibly the most frustrating, uneven movie I’ve ever seen. It was also the most profound cinematic experience I’ve ever had.

As Preisner’s Lacrimosa crescendos, the dust finally settles. What started off as a slightly confusing sequence showing the birth of everything that is, turns into a visualization of the grandeur of existence. We see galaxies in their full brilliance from impossible angles that make the viewer feel immaterial, a ghost flying through the beauty of this finite Universe that we have found ourselves in. We see the clouds of creation, we move towards them, through them, despite their size, despite the physical impossibility of it all. It was at this moment, as Lacrimosa reached its very peak, that I felt The Tree of Life had achieved something unimaginably profound and meaningful – it had dwarfed the viewer. It’s a visual experience that beats even Kubrick’s 2001: A Space Odyssey. It’s art in its most raw, unfettered form, and it’s cinema as Tarkovsky saw it – no symbolism, no ideology or attempts to make a point, no place for rationalization or coherent thought. It’s an emotional experience that gives a sort of nebulous appreciation for the very essence of being and nothingness. It’s not something that can be precisely put into words, because it’s not meant to be. I urge everyone to watch at least the first 40 minutes of The Tree of Life.

And this is where the frustration sets in. The rest of the film focuses on the life of an American small town family in the 1950s. Mr and Mrs O’Brien have three kids and we see them growing up, but the story is mostly told from the point of view of Young Jack, the oldest of the children. He goes through multiple phases during his adolescence, from witnessing the death of one of his friends and questioning the existence of God at a rather tender age, to praying for his father’s death and even considering bringing it about himself. Sounds interesting enough, right?

Except it isn’t. What we get is a jumbled mess of poor cinematography and unlikable characters. Constant close up shots, dutch angles and poor cutting and editing make the experience a particularly jarring one, as the viewer struggles to understand what’s happening on-screen. The themes this latter part of the movie explores aren’t particularly hard to spot. There’s contemplation on the constant cycle of life and death (which is a recurring theme even outside of the family’s story, as evidenced by the frequent underwater shots of overhead waves, penetrated by rays of light, and the pitch black transition shots that linger long enough to make their presence known) and its effect on those of us left behind after a person’s passing; there’s religion, spirituality, a child’s realization that their childhood is slipping away from them and there’s nothing they can do to stop the process, innocence, anger, the list goes on. And that’s exactly the problem – while trying to tackle almost every single aspect of human nature, The Tree of Life fails to flesh out and truly explore any one of them. The result is the cinematic equivalent of name dropping during a rap song. It’s void of any sort of substance to the point where it’s almost insulting at times. I firmly believe that the only driving force behind this part of the movie is the viewer’s imagination and projection. I could definitely understand someone who grew up in the same environment enjoying this part of The Tree of Life, but it did very little for me. I appreciate what Malick wanted to achieve here, but it just felt like a complete mess, despite the interesting yet underdeveloped themes. Oh, and there’s Sean Penn’s part of the movie that is somewhat confusing, to the point where even he’s admitted he had no idea what he was doing.

And this isn’t to say I disliked this movie. If I were to compile a list of my ten favorite films of all time, The Tree of Life would be a strong contender for a spot in it. If only because the first half of it left me awestruck and managed to transport me into a place that’s both real and magical at the same time. In a sense, The Tree of Life suffers from the Full Metal Jacket syndrome. Kubrick’s film about the Vietnam war also starts off incredibly strong, a beautiful look into the way young men’s identities were subverted and replaced by predatory instincts. The main character of that first part is Pvt. Leonard Lawrence, who is out of shape and out of depth in the military world. He’s bullied, beaten and shamed into complete madness and, in his madness, kills Gunnery Sergeant Hartman, a vile man with no redeeming qualities whatsoever, before turning the rifle on himself in a haunting scene that showcased the cold determination of a suicidal man. Then the movie moves on to Vietnam and loses a lot of its steam, though the drop-off isn’t even close to being as steep as that of The Tree of Life. Are both of these movies worth watching? Definitely. But don’t be surprised if you’re left feeling that they could’ve been so, so much more.

The Master and power.

Paul Thomas Anderson is a controversial figure. Some laud him as the greatest contemporary film maker and a potential inductee to the pantheon of cinema, while others remain unconvinced by the former’s enthusiasm, and that’s putting it mildly. Accusations of baseless pretentiousness and lack of coherence, both in thematic and narrative structure, have accompanied the release of most of Anderson’s films. Before I get to discussing the work at hand, I’d like to make clear my own thoughts on the matter. The rules of art are not set in stone. In fact, I’d go even further and assert that there are no rules when it comes to creating a work of art. The writer cannot be held at gunpoint by a set of arbitrary requirements or expectations. Neither can the painter, the singer, the actor or the director. The rules should only exist as a guideline, as a means for the creator to keep in check his or her unrestrained flight of fancy. Bearing this in mind, one cannot fault Paul Thomas Anderson for creating films that aren’t cut and dry. That ask the questions but provide few answers. He engages the audience and challenges it to find the truth, their truth, wherever it may be, whatever it may be. Does a free man need someone else to tell him what is good and what is evil, what is just and what is not? No, because a free man is a thinking man, and the mind needs quandaries and inner debate like an engine needs oil.

So what is the deal with The Master? A great many viewers felt disappointed or confused upon finishing the movie because of what they perceived as a lack of payoff, be it in terms of character arc or closure of the story. But what’s important to note about The Master is that it is not a story as such, it’s a character study that pokes and prods, like all memorable works of art, at the very heart of the human experience, in this case power. Power is an abstract term, I know, but it’s a fundamental component of our societies and has been since the very dawn of our existence. There has always been a leader at the head of the group, someone who’s achieved superiority in one way or another. In primitive societies this superiority stems from the physical abilities and traits of the would-be ruler. In our modern, advanced world the difference between the leader and his followers is much harder to notice, much harder to perceive from the outside. Yes, money and birth factor in, but these two alone wouldn’t be enough to convince a large group of people, each member of said group being an educated, thinking, semi-rational human being with needs and desires of their own, that this particular person is worthy of climbing the ranks and receiving a great deal of influence over the group. And this is where we can learn much about the dynamics of power from The Master.

People are prone to becoming invested in ideas. Whether it be the thought of travelling the world or writing a book, an idea is something that gives purpose to our existence, it’s the driving force behind each of our conscious actions and decisions. But there is a particular set of ideas that is more lucrative than the rest, as evidenced by the creation of countless religions and philosophical schools of thought – those that explain our existence and give us a rough outline of what to expect after death. Fear is motivational, but hope even more so. Even if it isn’t well-defined or expressly stated, hope resides in the mind and heart of each individual with the will, power and opportunity to continue existing. And that is what Dodd, like many religious and spiritual leaders in the real world, offers to the followers of his doctrine. He claims not only that each and every person has lived and died before, but that this process is a continuous loop, as old as time itself. Life, according to him, is as intrinsic a part of the Universe as death. Add to that the fact that the knowledge of your previous lives is lost upon rebirth, and you have a cautiously optimistic theory that provides each person with an endless amount of blank slates and start-overs. This is the basis for Dodd’s cult following. The other important part of his success is he himself. He’s charismatic and well-spoken, fiery and emphatic when needed but tender and mannered when not challenged. His view of the world is that of a visionary, at least in the eyes of those who choose to drink the cool-aid and accept him as their master (quite literally, as that’s his title among his followers). At first he seems to single out potential members of his cult, vulnerable or useful people who he manipulates easily enough and keeps by his side as boot-lickers, body guards or, as was implied by his wife, sex dolls. It is this tendency to surround himself with a group of blind and easily manipulated fools that puts into question Dodd’s committal to his own idea. Does he truly believe in what he preaches? Or does he simply feel an innate desire to be followed and revered? Again, this film does not tie any loose ends. It merely asks and gives out hints, leaving the conclusions to the viewer. But of hints there are plenty. It’s hard to ignore the camera work in The Master, and it is the most obvious way of recognizing the relationship between whichever group of characters is on screen. The actors are placed and presented in certain ways or in certain parts of the frame so as to indicate their importance and their place in the hierarchy, and this is made blatantly obvious fairly early on, during a wide shot of the ship where Lancaster Dodd and Freddie Quell first meet. As the ship sails, the lower deck is full of people dancing, drinking and laughing. It’s hard to discern any one of them, it’s a large group of people having fun. But just below, on the lower deck, we see a lone couple having a discussion. The woman is seated obediently, staring up at her husband who towers over her and talks down, while a waiter stands a good distance away and tries not to interrupt. This shot shows us not only that power will play a role in the movie, but also that there will be a striking difference between the surface and the substance, between what’s visible to the public and what stays in the family. As the film goes on, we learn that Dodd isn’t nearly as powerful or all-knowing as he would have everyone believe. He isn’t even the strongest and most influential member of his family when it comes down to it – his wife defies and at times even controls him, his son believes him to be a hack. Scientists mock him and run circles around his idea of the way life works and his theory of processing which supposedly induces a sort of counter-hypnosis and permits the subject to become one with time and glimpse their past lives that aren’t actually past, but parallel (because cult ideologies are weird that way). But still, his following grows larger as the years go on, his detractors, as well as eventual inconsistencies in his teachings, remain largely unheard and ignored.

Another visual example of power dynamics in The Master is Quell’s hunched back, which shows that he is neither the leader nor the follower. He takes both roles at different times in the film, never committing fully to either. The hunched back shows that he’s not a kneeler or a ruler, but an amalgamation of both that comes out somewhat awkward and stunted. He comes to see Dodd as his surrogate father, but at the same time he can’t completely come to terms with his viewpoint or the way he runs things. Nevertheless, Dodd recognizes the fact that Quell is much stronger and sturdier mentally than any of his followers and in an effort to once more and for the last time assert his dominance, he tells Quell that, if he didn’t fully commit to the Cause, he would be his mortal enemy in the next life. This is possibly a throwback to Greek mythology, where Cronus realizes the threat his children pose to his rule and chooses to devour and destroy them before they can grow strong enough to defeat him. Quell doesn’t accept Dodd’s influence. At the end of the film, we see him using Dodd’s method on a woman he meets at the bar, further solidifying the point that Quell is a man in the middle of the road between master and mastered.

The Master is an intriguing movie, brilliantly directed and gorgeously shot. At times it even defies some of the most basic cinematic conventions like the shot-reverse-shot dialogue, but it does it in style, in part thanks to astounding performances by Joaquin Phoenix and, one of the greatest of all time, Phillip Seymour Hoffman. It’s a great, if somewhat loose, package thematically and visually and a must-watch for anyone willing to experiment with films that push the envelope.

Under 800: Drive (2011)

There appears to be an unspoken consensus that action movies are supposed to be low-brow summer flicks that offer cheap thrills and excitement without being anything to write home about when it comes to the technicalities of film making and story telling. But for every twenty or so new entries in a redundant franchise like The Fast and the Furious, there is one movie that pushes the envelope and delivers something that is actually worth more than a cursory glance.

One such movie is Nicolas Winding Refn’s Drive. It’s a slick action-noir story that follows Ryan Gosling’s unnamed character (who I shall henceforth refer to as the Driver for clarity’s sake) in his quest for… well, nothing, really. Drive is an interesting beast in that it offers very little in terms of backstory or characterization when it comes to the protagonist, while still turning him into someone the viewer can root for and sympathize with. He’s a deeply cautious and introverted man who seems to share Neil McCauley’s philosophy in Heat – never get attached to anything you can’t walk out on in 5 seconds’ time once push comes to shove. His face is an emotionless mask that manages to appear both awkward and intimidating at the same time thanks to Gosling’s amazing performance. The Driver’s sullen silences prompt his interlocutors to talk more than they usually would, and while this could’ve easily resulted in a series of expository monologues that would’ve taken away from the movie’s atmosphere and understated presentation, not once does any of the information we are fed feel forced or out of place. 

The story itself is nothing spectacular. Sure, it’s quite a bit darker than your run of the mill action flick, but it isn’t particularly complex or hard to understand. What’s interesting about it is that it offers a cyclical sort of development for the main character. The Driver goes through three distinct phases: first, we see him as a cool-headed getaway driver with a stoic complexion and nerves of steel; then he falls in love with his neighbor, Irene, and his budding relationship with her and her son Benicio takes him on a journey towards something resembling a normal life; and in the third act of the movie we find the Driver back where he was in the beginning, except now he’s filled with a lust for vengeance and violence. There is no redemption for the main character in Drive. The Driver ends up in an even darker spot than he once was, a sort of existential hero that has once again fallen out of love with life and realized that meaning cannot be derived from anything worldly.

Script aside, possibly the most exciting part of Drive are its visuals, which is unsurprising, considering it’s a prime example of the so-called arthouse action film genre that was spawned by Kurosawa’s Seven Samurai in 1954. The lighting is practically a character of its own in this movie, it parallels the Driver’s internal struggle and reflects his choices. The elevator scene is a prime example of this. The shadows change position as the Driver switches between the reality he wants to achieve and exist in, in which he is with Irene and nothing else matters, and the one that he is presented with and is forced to deal with, in which he has to fight for his life and be as brutal and unforgiving as possible. There are countless examples of brilliant lighting tricks in this movie, and their effects are enhanced even further by the consistently interesting framing of the shots. There are other techniques used as well, the type you usually see in foreign movies nowadays, which aren’t exactly central to the story but all add up to make the gloomy atmosphere as enveloping and crushing as possible. One of them is the Vertigo effect, as the Driver looks out at the city from his apartment. The foreground remains stable but the city itself seems to shift further away, its size changes and morphs ever so slightly, just enough to make the viewer completely cognizant of its slow retreat. It’s a form of perspective distortion that works remarkably well when used in the appropriate moment and to the appropriate degree.

Overall, I believe Drive to be one of the best action movies ever made. I do have a few minor nitpicks, like the nauseatingly annoying vocals in some parts of the soundtrack and the admittedly lacking story, but they just aren’t enough to eclipse the movie’s great technical and visual efforts. The car chases are as intense and gritty as they come and their influence on movies like Mad Max: Fury Road and Baby Driver is obvious. And at the end of the day, isn’t that the most important thing about a movie that doesn’t set out to be a huge box office hit? To push the boundaries of its genre and ask of us, as viewers, to pay a little more attention to the smaller, more subtle beauties that the medium can offer? I believe that to be the case, and Drive does it in style.

Under 800: Moonrise Kingdom (2012)

Wes Anderson is a director who knows his craft incredibly well. And it shows. He picks and chooses from the styles of some of the greatest film makers of all time and puts his own spin on their techniques and ideas. Moonrise Kingdom is a great example of this very tendency of Anderson’s as there’s something distinctly Lynchian about the movie. From the Americana setting to the unique quirks of the side characters. There’s even a little nod to Lynch’s uncanny obsession with ears. But what makes Moonrise Kingdom patently different than pretty much every one of David Lynch’s movies (excluding a wonderful film he directed for Disney called The Straight Story) is that there is no sinister surrealism in the background. While Lynch shows us the randomness and sheer strangeness of our world, Anderson aims to create a sweet story that focuses not on the external world, but on the turbulent changes that every one of us goes through. And he succeeds in doing just that with Moonrise Kingdom, the story of two outcast kids that fall in love and proceed to do everything in their power to remain together despite all odds.

The first thing the viewer notices when being introduced to this movie is its color palette, warmer and brighter than any movie I’ve seen in the past few years, O Brother, Where Art Thou? and Spring Breakers being the only ones that I remember even coming close. Next, we have the camera, and, oh, what a delight it is to observe its movement and fluidity. The use of steadicam is very welcome in the age of handheld shakiness. The opening scene in particular is made entertaining by the work of the cameraman – first the camera glides along a rail while facing left, before making a few rapid 90 degree turns to introduce us to the surroundings and shows us what’s going on in other parts of the room. It’s effective, it’s appealing to the eye, but most importantly it makes visual storytelling that much more easy and efficient. Wes Anderson is a director who spends a great deal of time crafting his scenes, and the interior of the house in the beginning of the movie is no different. We’re introduced to the story before so much as a single word has been uttered. And just one more thing before I finish gushing over the opening scene – the use of diegetic sound, particularly the music, is a fun touch that makes the story even more immersive. The atmosphere is one of magical realism. It captures what it’s like to be a child, to explore yourself and the world you live in, thanks to both the colors and way the story is told. From the get go, the viewer can surmise that the movie takes place in a village or a small town, a notion that is confirmed later on. But the place is never shown. It never becomes the mise-en-scene, but it’s a key component to understanding the childish theme of the movie, illustrating how little the kids care about the outside world. Both Sam and Suzy are loners who spend their time doing whatever they do away from the public eye. They both have psychological issues. The town remains irrelevant up until a devastating storm decimates the local pier. That’s when the in-universe narrator first mentions it and shows it to us from afar, probably because toward the end of the movie the main characters have finished their journey and are on their way to recovery. They have families, possibly even friends. They finally notice the outside world.

The story itself is well-paced, excluding some random bits of the third act. The dialogue is brilliant, though it does sound somewhat strange at times due to the quirky and unique world that Anderson’s created for the movie and said strangeness is made almost unnoticeable by the cast. Who would’ve thought that Bruce Willis would be cast in a role that doesn’t suit his usual stoic macho exterior? And he actually acts in this movie. For the first time in years, Bruce Willis doesn’t play Bruce Willis. Delightful, isn’t it? Not that I mind his usual roles, far from it, but it’s nice to see a talented actor outside of his comfort zone. Bill Murray delivers an impressive performance that shows both external emotion and internal struggle and depth. The leads are kid actors and, while not nearly as good as some of the other cast members, they do their job admirably. Oh, and did I mention Edward Norton is great in this as well? Yeah, he’s great in everything he appears in. Even in the disaster that was The Incredible Hulk.

Overall, Moonrise Kingdom is a testament to Wes Anderson’s talent and ability to create a unique story with stunning visuals and interesting characters. It’s a shame he missed out on the Best Motion Picture award in 2015 for The Grand Budapest Hotel, though, in the movie’s the defense, it had to contend with one of the best movies made in the past thirty years, Birdman. Anderson is one of the greats of our time and I’m confident that one day Moonrise Kingdom will be considered one of the weaker movies in his filmography, not because it’s bad, but because he has so much time and potential to grow as a director and create films that surpass anything he’s put out up to this point.

John Carpenter’s The Thing – a masterclass in horror.

There are two things that the majority of horror movies today lack – artistic flair and good writing. The Thing (1982) has both of these in spades. But how exactly did this remake of a classic movie establish itself as one of the giants in the genre?

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The Thing is beautifully shot. Take a look at the image above. This one frame tells you all there is to know about what is to come, it creates suspense, it gets the viewer wondering what the hell the title is referring to. But what’s more, the scene has character, it has definition. It begins by passing through a few rooms, lit up but empty, completely devoid of human presence. The camera progresses through them carefully, before the shot changes and we’re suddenly in the hallway. The camera is on the ground. Then a dog’s head pops out through a doorway at the far end of said hallway and the camera begins to slowly back away from it as it approaches. No effects, no jump scares, just the distant sound of music somewhere else in the compound and the howl of the wind outside. No more than 30 seconds of screen time give the viewer the full picture and tell them all there is to know about the situation without so much as a single line of dialogue – loneliness, isolation and a hidden enemy that could be disguised as any one of our main characters. The enemy is fear itself. It stalks through the icy compound and finds shelter in the heart of each member of the group.

Few movies can create as immersive and haunting an atmosphere as that of The Thing. Once the monster is revealed in the first 20 or so minutes of the movie, the surroundings become claustrophobic. There’s nowhere to escape. The group is on Antarctica, with a storm coming up that puts any evacuation plans on hold. They soon discover that the alien can transform into any living being it devours. The subtlety and, in many cases, the nonchalance of the dialog is key to making every scene nerve-wracking and suspenseful. Who’s a real human, and who’s just an alien masquerading as one?

What’s intriguing about The Thing is that none of the characters are idiots. Whereas as most modern movies in the horror genre have you constantly marveling at the protagonist’s utter inability to think clearly and come to logical conclusions, most of the actions of the group in The Thing are based on sound reason. They come up with ways to protect themselves, they come up with ways to isolate those members of the group they suspect might’ve come into contact with the alien. None of what they do saves them, though, and that’s part of the beauty of this movie. When they hear the dogs frantically barking and growling in their cage, they immediately prepare themselves for any and all scenarios, not only do they bring handguns and a shotgun, but they also bring out the heavy artillery – a flame thrower. It’s realistic behavior, caution borne out of their claustrophobic and lonely environment, a response that the viewer can relate to and see themselves having in the given situation. That’s why the group’s plans falling apart and resulting in the death of yet another member each time is so terrifying – the viewer realizes that he wouldn’t be safe under these circumstances either. One cannot simply tell themselves that they’d be fine if they were in the movie because of X character’s ridiculous decision. It’s all realistic, it’s all tangible.

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Another key component is the monster design. It’s a terrifying feat of practical effects that remains impressive to this day, despite the tremendous progress in the field of CGI. The alien, apart from having an otherworldy, almost incomprehensible look to it that makes it all the more hard to logically process and thus make less intimidating, exists in the world and is affected by lighting in the same way that, say, Kurt Russell is in the movie. It looks more present, more threatening, easier to interact with for the actors, meaning it creates an opportunity for more believable performances. With how prominent the green screen is in modern cinema, the art of beautiful practical effects and prop work is much easier to appreciate and enjoy. Rob Bottin really did an amazing job.

And how could one forget Enio Morricone’s cold, spacey theme that fits the movie like a glove. Morricone even mimicked Carpenter’s own synthetic sound, making the project seem like an even tighter package that it already was.

In the age of hauntings, possessions and all other sorts of ghostly and demonic activity in the horror genre, it’s important to remember that it’s not all about the jump scares and the shaky cam/found footage. Horror movies can be well-made. They can be suspenseful, atmospheric, beautiful artistically – just like any other film out there. Horror shouldn’t be allowed to turn into a basket full of cheap scares and uneven audio.

Why Before Sunrise is a great movie.

I know, I know. I know exactly what most people think whenever romantic movies are brought up – they’re low brow, they’re slow and meandering or too quick and illogical, lacking in structure, lacking in coherence of plot or message, too whimsical or lovey-dovey. I get all these complaints, and they’re completely reasonable. But the reason for this is the fact that romantic movies are a rarity. What we get today, and have been getting for a while now, are whitewashed rom-coms with uninteresting premises and casts that look like they were picked out of a fashion catalog. The type of movies that Matthew McConaughey used to star in before Hollywood realized he’s actually a decent actor. Movies like Fool’s Gold, The Switch, Just Go With It, The Bounty Hunter… you get the idea.

Before Sunrise is nothing like that. The only way to describe it in my mind is as one of the most grounded and realistic love stories ever filmed. The characters are immensely believable and likable, each with their own little quirks and personal issues. In the beginning the relationship between Jesse (Ethan Hawke) and Celine (Julie Delpy) is delicate, a casual acquaintance borne out of necessity and in response to events that were completely out of their control. They proceed to become closer and closer until, eventually, getting together. The latter half of the movie follows the two as they walk through Vienna and explore the city, before going their separate ways.

I realize how generic this quick summary of the film is, but what makes it truly shine is its writing. The dialogue is human. It flows well, it sounds well, it’s delivered in a manner that makes the viewer believe the actors behind the on-screen characters are, in reality, just strolling through the Austrian capital and talking about anything and everything. That’s where the depth of Before Sunrise is as well – Jesse and Celine explore some complex issues together. The underlying theme is time. Before Sunrise, to me, functions as a sort of microcosm of life. The beginning of the story is their meeting on the train, a completely random event that could have never even occurred if certain variables had been assigned different values, if we were to talk about reality as if it were a computer program. That’s birth. They hit it off, become friends, have fun, walk around, get more intimate. This is life, the very process of living, of being human. They end of their first (and last) day together is death. But they make a deal to meet again 6 months later, same place, same time. That’s reincarnation, something Jesse touches on earlier in the film while playing Q and A with Celine on the train. Time is the one and only constant. The one thing inhibiting their ability to remain together. The idea of time as an unconquerable foe is further reinforced by Jesse, who quotes W.H.Auden’s As I Walked Out One Evening:

But all the clocks in the city
Began to whirr and chime:
“O let not Time deceive you,
You cannot conquer Time.

Now let’s reach even further. Let’s take a look at one of Hollywood’s favorite philosophers, Friedrich Nietzsche, and his idea of eternal recurrence. The idea is quite simple – if time and space are infinite, then the chance of everything that has ever been occurring once again is greater than zero (and this isn’t solely a philosophical concept, see the Poincare recurrence theorem; basically things return to almost the exact state as the initial one given a large, but finite, amount of time). And that’s exactly what Jesse and Celine aim to do – they have to disappear from each other’s lives for a while due to circumstances that they cannot change, but they also have time, loads of it. They’re young and in love, plenty of time for everything, right? That’s why they aim to do almost the exact same thing as they did before. This is the gist of the idea that time is cyclical, rather than linear. As that overly dramatic guy in the diaper in True Detective season 1 said “Time is a flat circle.” Yeah, that’s a good way of simplifying it.

Philosophy aside, Before Sunrise is great from a purely film making perspective. As a fan of continuous shots, this movie was a dream come true for me. Long shots aplenty, interesting framing and frame entrance, the movie features some very neat technical intricacies that make it a very accessible, easy to follow experience that satisfies the eye.

All in all, Before Sunrise is near flawless. It does everything a romantic movie should do, while also throwing some extra goodies into the bag to make it even more enticing. Its writing and camera work during the long, sometimes seemingly pointless, dialogues put it on par with some of the greatest movies of the past decades like The Big Lebowski and Pulp Fiction, but unlike them it offers a much more subdued and, depending on your preferences, boring story.

Oh, and the saddest part of this movie is knowing that it was mostly downhill from there for Ethan Hawke.