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Tim McGuire (301 KP) rated Under the Silver Lake (2018) in Movies
Apr 20, 2020
Trippy
417. Under the Silver Lake. A pretty wild mind bender, head scratcher, what the fuck just happened good time! A great recommendation from the Movie Ninja, thank you. We meet Sam, he's kind of a slacker, and about to be evicted from his pad, but he is dating a very nice prostitute. One day hanging out on his patio, he spies a beauty, Sarah, chilling by the pool, and meets her later on while hanging around her dog. And after fun night of chilling, poof, she disappears. And Sam apparently really felt a connection with Sarah over those 2 or 3 hours because this dude goes on a hunt for this girl. Through a crazy couple of dreamlike days we follow Sam through some insane conspiracy theories that lead him through a hobo underground, complete with its own king (Fisher King?) secret sex drug parties, getting crazy to a Brimful of Asha (Everybody needs a bosom for a pillow) and of course the billionaire cults preparing for the afterlife. Think Alfred Hitchcock, Brian DePalma and Stanley Kubrick got together for a movie, and it turned out pretty sweet! Starring a former Spider-Man and a former Venom (didn't recognize him at first, Foreskin is all grown up) But yea, I really liked it, gets pretty crazy!! Check it out! Filmbufftim on FB!
Ross (3282 KP) rated The Art of Dying in Books
Aug 15, 2019
Another fantastic historical medical thriller
* I received an advance copy of this book from the publishers and NetGalley in exchange for an honest review *
Ambrose Parry returns with a second book set in Victorian Edinburgh during its medical and scientific revolution. Where the first book centred around Sir James Young Simpson (and others!) search for the perfect anaesthetic, this book focuses more on the man and his reputation. Edinburgh is still a thriving centre of medical science, and reputation is everything. The book starts with Simpson's reputation being besmirched by rivals and former colleagues, looking to suggest negligence. Will Raven and Sarah Fisher team up again to gradually peel away at the facts underlying the case in question and reveal some disturbing trends.
While the plot itself, and its numerous twists and turns, is not exactly ground-breaking, it is excellently told, with clues scattered here, there and everywhere. And to weave this tale around actual historic events and cases really appeals to my mind.
This book, and its predecessor, is one of the most immersive books I have read in a long time. The reader really gets to feel as if they are in Victorian era Edinburgh. Admittedly, I read a fair part of this book while commuting to work in Edinburgh (indeed my children were all born in the Sir James Young Simpson maternity unit of the Edinburgh Royal Infirmary), but I feel the reader with less connection to the city would still get that same feeling.
There is again an underlying message of the treatment of women during those times (and indeed today), both how they are treated in the household and society and also their opportunities for a career and to explore their skills. Sarah Fisher is a strong female character who tolerates her place in society but yearns to break through the glass ceiling, proving her worth to all and sundry as she goes.
In contrast, Will Raven is somewhat spineless in this regard. He sees the issues with society but doesn't do much to act on it. Indeed, he starts the book having run away from Edinburgh and his chances of a relationship with a mere housekeeper, for fear of his heart dooming his medical career. Raven does get some amount of development, both in terms of his medical career, and also in terms of becoming the Victorian equivalent of "woke".
Parry's prose is fantastic and she (they?) truly allow the reader to feel the story unfold around them.
An utterly wonderful book with some interesting history lessons and important messages about the past that should help us build a fairer society today.
Ambrose Parry returns with a second book set in Victorian Edinburgh during its medical and scientific revolution. Where the first book centred around Sir James Young Simpson (and others!) search for the perfect anaesthetic, this book focuses more on the man and his reputation. Edinburgh is still a thriving centre of medical science, and reputation is everything. The book starts with Simpson's reputation being besmirched by rivals and former colleagues, looking to suggest negligence. Will Raven and Sarah Fisher team up again to gradually peel away at the facts underlying the case in question and reveal some disturbing trends.
While the plot itself, and its numerous twists and turns, is not exactly ground-breaking, it is excellently told, with clues scattered here, there and everywhere. And to weave this tale around actual historic events and cases really appeals to my mind.
This book, and its predecessor, is one of the most immersive books I have read in a long time. The reader really gets to feel as if they are in Victorian era Edinburgh. Admittedly, I read a fair part of this book while commuting to work in Edinburgh (indeed my children were all born in the Sir James Young Simpson maternity unit of the Edinburgh Royal Infirmary), but I feel the reader with less connection to the city would still get that same feeling.
There is again an underlying message of the treatment of women during those times (and indeed today), both how they are treated in the household and society and also their opportunities for a career and to explore their skills. Sarah Fisher is a strong female character who tolerates her place in society but yearns to break through the glass ceiling, proving her worth to all and sundry as she goes.
In contrast, Will Raven is somewhat spineless in this regard. He sees the issues with society but doesn't do much to act on it. Indeed, he starts the book having run away from Edinburgh and his chances of a relationship with a mere housekeeper, for fear of his heart dooming his medical career. Raven does get some amount of development, both in terms of his medical career, and also in terms of becoming the Victorian equivalent of "woke".
Parry's prose is fantastic and she (they?) truly allow the reader to feel the story unfold around them.
An utterly wonderful book with some interesting history lessons and important messages about the past that should help us build a fairer society today.
TheFiend13420 (21 KP) rated Texas Chainsaw Massacre (2022) in Movies
Jun 2, 2022
Some inventive chainsaw massacr...ing (2 more)
Excellent Work by Leatherface Actor Mark Burnham
The Fucking Bus....
It's About Freaking Time!!!!!
Contains spoilers, click to show
I always go into a Chainsaw Massacre movie with as open of a mind as I can. Knowing full well, that the last few entries haven't been up to par.
Netflix....you beautiful bastards you...
From beginning to end, this film kept me going. I sat, literally on the edge of my chair the entire time. Waiting to see what this big, Momma face wearing Slasher would do next.
The first kill nearly made me spit out my Coke. I wasn't expecting such ferocity of the hop.
The writers making this a true after the first film sequel, did everything right in my book.
The cast, minus the lead, Sarah Yarkin, were not your basic, run into the basement kind of kids that have been cannon fodder for good ol' Leatherface in the past. They seemed as logical as they could for a bunch of 20 somethings fending off a once dormant serial killer, who has been woken by the death of his 'Mother'.
Yarkin, who was playing main character Melody, seemed to try and grasp hold of the Scream Queen crown left behind by prior Chainsaw Final Girls Marilyn Burns and Jessica Biel, but failed miserably. She is the one thing out of this movie that I just couldn't get in to.
And, I will admit. That ending. While waiting for the basic good old jump scare. I sat, clenching the sides of the chair I was in, waiting anxiously for it to come. And when it finally did. It did not disappoint.
Look out for a stand out preformance by Olwen Fouere, who plays the role of Sally Hardesty. The lone survivor of the original 1974 film. As well as Mark Burnham as Leatherface and Elsie Fisher as Lila, Mel's sister, and a survivor in her own right.
Texas Chainsaw Massacre was one of the first films in the horror genre that I ever seen. Leatherface will always hold a special place in my Dark little heart. And after some clusterfuck films in the series. It's nice to have one strike a chord and make me want more.
Netflix....you beautiful bastards you...
From beginning to end, this film kept me going. I sat, literally on the edge of my chair the entire time. Waiting to see what this big, Momma face wearing Slasher would do next.
The first kill nearly made me spit out my Coke. I wasn't expecting such ferocity of the hop.
The writers making this a true after the first film sequel, did everything right in my book.
The cast, minus the lead, Sarah Yarkin, were not your basic, run into the basement kind of kids that have been cannon fodder for good ol' Leatherface in the past. They seemed as logical as they could for a bunch of 20 somethings fending off a once dormant serial killer, who has been woken by the death of his 'Mother'.
Yarkin, who was playing main character Melody, seemed to try and grasp hold of the Scream Queen crown left behind by prior Chainsaw Final Girls Marilyn Burns and Jessica Biel, but failed miserably. She is the one thing out of this movie that I just couldn't get in to.
And, I will admit. That ending. While waiting for the basic good old jump scare. I sat, clenching the sides of the chair I was in, waiting anxiously for it to come. And when it finally did. It did not disappoint.
Look out for a stand out preformance by Olwen Fouere, who plays the role of Sally Hardesty. The lone survivor of the original 1974 film. As well as Mark Burnham as Leatherface and Elsie Fisher as Lila, Mel's sister, and a survivor in her own right.
Texas Chainsaw Massacre was one of the first films in the horror genre that I ever seen. Leatherface will always hold a special place in my Dark little heart. And after some clusterfuck films in the series. It's nice to have one strike a chord and make me want more.
Chris Sawin (602 KP) rated Under the Silver Lake (2018) in Movies
Jul 6, 2019
In David Robert Mitchell’s (It Follows) Under the Silver Lake, Andrew Garfield portrays a jobless and lethargic young man named Sam. Apart from his obsession with conspiracy theories and finding obscure messages in common pop culture, Sam typically spies on his topless and bird-loving neighbor. He also blatantly ignores the fact that he’s facing eviction in five days for unpaid rent. His current infatuation is a zine entitled Under the Silver Lake, which seems to mirror what’s currently transpiring in Los Angeles. Sam develops a crush on his new neighbor named Sarah (Riley Keough), who seems to disappear without a trace overnight. What begins as an investigation into Sarah’s current whereabouts evolves into something deeply rooted in the peculiar.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
There’s a lot to digest with Under the Silver Lake. Not only is the story constructed on finding clues and deciphering the bizarre, but the film itself is also loaded with homage to famous music, film, and people. Nirvana, The Legend of Zelda, Nintendo Power, and Spider-Man are just a few references in the film and that doesn’t cover the blatant influence of films such as Rear Window or 2001: A Space Odyssey. What you have to ask yourself, and this is probably what makes the film so polarizing, is if what lays between the admiration for popular culture a worthwhile experience?
What you can appreciate is Andrew Garfield’s performance. Sam is so bored with his uneventful existence that he tries to find hidden meaning in everyday items. He is basically a stalker fueled by paranoia and consistent lusting of whatever woman is closest to him. When sex isn’t an option for Sam, he masturbates and somehow this becomes a common theme of the film. The first thing you ever pleasured yourself to is suddenly a conversation piece. Garfield has an unusual demeanor as Sam, but never really comes off as creepy. The method in which the story keeps snowballing into something bigger with more and more connections helps Sam’s case. Sam beats the snot out of a kid who keyed a giant penis ejaculating onto the hood of his black GT Mustang and you only seem to like him more because of it.
The fact of the matter is you also become invested in Sam’s discoveries. Despite what you feel about Under the Silver Lake as a film, it’s still unpredictable and intriguing even with its 139-minute duration. With its abrupt camera movements, a kamikaze squirrel, a serial dog killer on the loose, pets named after soda, the discovery of saltines and orange juice being one of the most unique combinations ever, a gory dream sequence, animated zine stories, people barking like dogs, the map on the back of a cereal box being the answer to everything, a seething hatred for the homeless, a way too impressive piano medley, and an almost unrecognizable Topher Grace as a reliable friend, Under the Silver Lake feels like it is overloaded with these overwhelmingly precise details that don’t necessarily lead to anything substantial.
On first watch, it’s impossible to decipher if Under the Silver Lake is destined to be a cult classic or a misguided neo-noir mystery. David Robert Mitchell knows how to introduce elements of comedy, mystery, and drama, but that final product is what leaves you scratching your head. Maybe this gets better with multiple viewings and you find more Easter eggs with each watch or everything connects differently in your head after knowing what direction the story is headed in. In the meantime though, Under the Silver Lake mostly feels like a nearly two and a half hour session of stoner ramblings that can’t decide whether to be Brick, Inherent Vice, or Southland Tales; even The Homeless King feels like a side story lifted from Terry Gilliam’s The Fisher King.
What’s happening directly in Sam’s world isn’t what matters most in Under the Silver Lake. He’s more worried about Sarah and Los Angeles than he is about not having a job or possibly a place to live in a matter of days. The outside world is far more interesting to Sam because it’s that, “The grass is always greener,” kind of mentality. Sam is consumed by Sarah because she is the one woman in the film he doesn’t get to sleep with. Having everlasting discussions of what your topless neighbor’s parrot is saying is far more humorous than revealing anything remotely personal. Becoming entangled in this crazy spider’s web of a conspiracy is far more interesting than living a boring existence. Sam makes the most out of nothing, literally. Under the Silver Lake is this spellbinding enigma of a film that is equally stimulating as it is mystifying.
Chris Sawin (602 KP) rated Texas Chainsaw Massacre (2022) in Movies
Feb 19, 2022 (Updated Feb 19, 2022)
Wasted backstories that go nowhere. (3 more)
Rehashes and recreates the original film while not offering much of its own material.
New characters fall flat.
Feels like a half-cocked attempt at a new "film. "
Tearing the Face Off of a Horror Franchise
Texas Chainsaw Massacre is a direct sequel to the original 1974 film nearly 50 years later. Directed by David Blue Garcia with a screenplay by Chris Thomas Devlin and a story by Fede Alvarez (co-writer and director of the 2013 Evil Dead remake) and Rodo Sayagues (Don’t Breathe 1 & 2), Texas Chainsaw Massacre follows a group of young 20-somethings as they venture from Austin to Harlow, TX; a seven hour drive.
Dante (Jacob Latimore, Detroit) and Melody (Sarah Yarkin, Happy Death Day 2U) are business partners with somewhat of an impressive internet following. Dante is a chef who is looking to expand and Harlow is just the type of remote town to do it in. Melody’s teenage sister Lila (Elsie Fisher, Eighth Grade) and Dante’s fiancé Ruth (Nell Hudson) have tagged along mostly for emotional support.
With bank investors on the way to scout the location, the young foursome discovers a dilapidated orphanage with an old woman (Alice Krige, Gretel & Hansel) still living inside along with the last of what she refers to as, “her boys.” Dante and his friends awaken the mostly dormant monster known as Leatherface. Sally Hardesty (Olwen Fouéré) has been searching for Leatherface since he killed her friends all those years ago and now she can finally have the vengeful closure that she deserves.
The Texas Chainsaw Massacre franchise is mostly trash. Leatherface has gotten the manure treatment outside of the original film, the 2003 remake, and maybe the 1986 sequel. The timeline is as messy and inconsistent as Halloween as whatever takes place behind the scenes between sequels, remakes, and reboots all seems to result in lackluster or sometimes atrocious outings for one of the most recognizable horror movie icons.
This new film can’t seem to decide what it wants to be. Sally is brought back for a half-hearted cameo as she does nothing but wear a cowboy hat, stare at a picture, cock a shotgun, and gut a pig. She’s meant to be the connection between this film and the original and it just doesn’t work. Texas Chainsaw Massacre also just seems to lift aspects from the original film as well as other non-genre films without ever offering its audience anything original or actually worthwhile.
The ending is basically lifted directly from the original as is the aspect of a group of young people running into trouble on a road trip far away from home. It’s young, city outsiders versus born-and-bred country veterans. The film also has a weird amount of homage to Terminator 2 (Melody’s leg wound and the shotgun blasts to Leatherface by the water being similar to Sarah Connor’s showdown with the T-1000 near the end of T2). It also feels like it’s trying to capitalize on the success Halloween has had since it follows a similar format (making a direct sequel to the original film decades later).
On the bright side, the kills and the gore are mostly satisfying. The wrist breaking scene followed by being stabbed in the neck with the broken bone is gnarly. There’s a brutal head smashing scene with a hammer and the bus sequence is essentially horror movie fan heaven even if the setup and dialogue in said sequence is awful. The swinging door kill feels like it could have been better than it was since it covers up more than it reveals. You can either leave the brutality to the audience’s imagination or show everything in its nasty and gruesome glory; trying to do both in the same sequence just results in disappointment.
You can make the argument that you watch a film like this for the gore and not the story anyway, but that isn’t the point. When there’s this much of a wait between new entries fans deserve better. The frustrating aspect is that Fede Alvarez and Rodo Sayagues are capable of providing a worthwhile story along with the blood and guts because they gave it to us with Evil Dead. There’s nothing here worth the nine year gap between this and the last Texas Chainsaw film (Texas Chainsaw 3D) or the five year gap between this and Leatherface. When it’s not recycling gags from the original film or borrowing from other franchises, it’s just young people being dumb for the sake of a cheap scare or kill.
Texas Chainsaw Massacre isn’t as unwatchable as some reviews are making it out to be, but it’s not a good film by any stretch of the imagination. It’s barely 80-minutes long, so it has a relatively quick pace and the kills are solid. But the story is seriously lacking as there are elements that literally go nowhere; Lila’s backstory about why she’s so quiet doesn’t add much of anything other than a reason for her to never leave a padded cell when and if a sequel to this is ever made.
The problem now is that the successful film formula revolves around nostalgia, rehashing familiar sequences and storylines, and bringing back survivors for one final confrontation. This has all proven to crush the box office, especially during the pandemic. This results in there being no originality or creativity anymore; it’s just a repetition of what we’ve already seen. Until Leatherface can get a fresh face to wear, the Texas Chainsaw Massacre franchise is doomed to run in circles with a sputtering chainsaw on a mostly deserted road no one wants to travel down.
Dante (Jacob Latimore, Detroit) and Melody (Sarah Yarkin, Happy Death Day 2U) are business partners with somewhat of an impressive internet following. Dante is a chef who is looking to expand and Harlow is just the type of remote town to do it in. Melody’s teenage sister Lila (Elsie Fisher, Eighth Grade) and Dante’s fiancé Ruth (Nell Hudson) have tagged along mostly for emotional support.
With bank investors on the way to scout the location, the young foursome discovers a dilapidated orphanage with an old woman (Alice Krige, Gretel & Hansel) still living inside along with the last of what she refers to as, “her boys.” Dante and his friends awaken the mostly dormant monster known as Leatherface. Sally Hardesty (Olwen Fouéré) has been searching for Leatherface since he killed her friends all those years ago and now she can finally have the vengeful closure that she deserves.
The Texas Chainsaw Massacre franchise is mostly trash. Leatherface has gotten the manure treatment outside of the original film, the 2003 remake, and maybe the 1986 sequel. The timeline is as messy and inconsistent as Halloween as whatever takes place behind the scenes between sequels, remakes, and reboots all seems to result in lackluster or sometimes atrocious outings for one of the most recognizable horror movie icons.
This new film can’t seem to decide what it wants to be. Sally is brought back for a half-hearted cameo as she does nothing but wear a cowboy hat, stare at a picture, cock a shotgun, and gut a pig. She’s meant to be the connection between this film and the original and it just doesn’t work. Texas Chainsaw Massacre also just seems to lift aspects from the original film as well as other non-genre films without ever offering its audience anything original or actually worthwhile.
The ending is basically lifted directly from the original as is the aspect of a group of young people running into trouble on a road trip far away from home. It’s young, city outsiders versus born-and-bred country veterans. The film also has a weird amount of homage to Terminator 2 (Melody’s leg wound and the shotgun blasts to Leatherface by the water being similar to Sarah Connor’s showdown with the T-1000 near the end of T2). It also feels like it’s trying to capitalize on the success Halloween has had since it follows a similar format (making a direct sequel to the original film decades later).
On the bright side, the kills and the gore are mostly satisfying. The wrist breaking scene followed by being stabbed in the neck with the broken bone is gnarly. There’s a brutal head smashing scene with a hammer and the bus sequence is essentially horror movie fan heaven even if the setup and dialogue in said sequence is awful. The swinging door kill feels like it could have been better than it was since it covers up more than it reveals. You can either leave the brutality to the audience’s imagination or show everything in its nasty and gruesome glory; trying to do both in the same sequence just results in disappointment.
You can make the argument that you watch a film like this for the gore and not the story anyway, but that isn’t the point. When there’s this much of a wait between new entries fans deserve better. The frustrating aspect is that Fede Alvarez and Rodo Sayagues are capable of providing a worthwhile story along with the blood and guts because they gave it to us with Evil Dead. There’s nothing here worth the nine year gap between this and the last Texas Chainsaw film (Texas Chainsaw 3D) or the five year gap between this and Leatherface. When it’s not recycling gags from the original film or borrowing from other franchises, it’s just young people being dumb for the sake of a cheap scare or kill.
Texas Chainsaw Massacre isn’t as unwatchable as some reviews are making it out to be, but it’s not a good film by any stretch of the imagination. It’s barely 80-minutes long, so it has a relatively quick pace and the kills are solid. But the story is seriously lacking as there are elements that literally go nowhere; Lila’s backstory about why she’s so quiet doesn’t add much of anything other than a reason for her to never leave a padded cell when and if a sequel to this is ever made.
The problem now is that the successful film formula revolves around nostalgia, rehashing familiar sequences and storylines, and bringing back survivors for one final confrontation. This has all proven to crush the box office, especially during the pandemic. This results in there being no originality or creativity anymore; it’s just a repetition of what we’ve already seen. Until Leatherface can get a fresh face to wear, the Texas Chainsaw Massacre franchise is doomed to run in circles with a sputtering chainsaw on a mostly deserted road no one wants to travel down.