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Gareth von Kallenbach (980 KP) rated Magic Mike (2012) in Movies
Aug 7, 2019
Depending on what you are looking for and what your expectations are going into it, the movie Magic Mike will either satisfy you or dissapoint you entirely.
Bad news first: If you are looking for a great plot, great storyline and phenomenal acting you will undoubtedly leave the theater disappointed.
Good news: If you are looking for a movie full of ‘good views’, some decent laughs, and men with rock-hard bodies with ripped muscles, you’ll get what you were looking for.
The movie Magic Mike, produced by Channing Tatum is loosely based on Tatum’s own experience before his acting career took off, when he spent a period of time earning a living as a male stripper. While working a roofing construction job, Mike (Tatum) meets Adam (Alex Pettyfer) and despite his young age, Mike befriends him and takes him out partying and, unbeknownst to Adam, to the strip club where Mikr works as a stripper. Mike introduces Adam to Dallas (Mathew McConaughey), the owner of the strip club, as The Kid.
.
During one of the club’s shows, one of the other strippers, “Tarzan” (Kevin Nash) passed out, and Mike pushes The Kid out on stage. It’s an awkward, unpolished performance, as one would expect from someone brand new to that particular scene, but The Kid proves to be a hit. When Adam realizes the income potential and allure of life as a stripper, he expresses interest in joining Magic Mike’s crew, and Mike and Dallas take him under their wings and teach him everything he needs to know to be successful in the business. They share tips, tricks, and outfit him with appropriate costumes. He quickly learns the dance moves and the importance of perfect timing when it comes to the pelvic thrust.
While the ‘main’ story line unfolded pretty well and the dancing and on-stage portion of the male revue club scenes were rather riveting, the attempt at bringing a romance into the story – first between Mike and Joanna (a Sociology student played by Olivia Munn) then Adam’s sister Brooke (Cody Horn) fell flat. It seemed awkward and forced, and there was no chemistry whatsoever. With a cast of stars such as McConaughey and Channing, one would expect a higher level of performance, but apparently the writer was counting on the sex appeal and dance scenes to carry the film. Instead, the audience was left with a series of awkward silences and uncomfortable, choppy dialog. Magic Mike left those in the audience that were looking for more than a two-hour male revue sadly disappointed.
We agreed that if you go wanting to see a ‘real’ movie with a ‘real’ storyline, Magic Mike rates 2 out of 5.
If you go with the expectations of ‘sex on a screen’ we rate this 4 of 5. And only 4 of 5 because we both felt uncomfortable with the ‘crotch in the face scenes’. But if you’re into that kinda thing, then by all means, 5 of 5.
Bad news first: If you are looking for a great plot, great storyline and phenomenal acting you will undoubtedly leave the theater disappointed.
Good news: If you are looking for a movie full of ‘good views’, some decent laughs, and men with rock-hard bodies with ripped muscles, you’ll get what you were looking for.
The movie Magic Mike, produced by Channing Tatum is loosely based on Tatum’s own experience before his acting career took off, when he spent a period of time earning a living as a male stripper. While working a roofing construction job, Mike (Tatum) meets Adam (Alex Pettyfer) and despite his young age, Mike befriends him and takes him out partying and, unbeknownst to Adam, to the strip club where Mikr works as a stripper. Mike introduces Adam to Dallas (Mathew McConaughey), the owner of the strip club, as The Kid.
.
During one of the club’s shows, one of the other strippers, “Tarzan” (Kevin Nash) passed out, and Mike pushes The Kid out on stage. It’s an awkward, unpolished performance, as one would expect from someone brand new to that particular scene, but The Kid proves to be a hit. When Adam realizes the income potential and allure of life as a stripper, he expresses interest in joining Magic Mike’s crew, and Mike and Dallas take him under their wings and teach him everything he needs to know to be successful in the business. They share tips, tricks, and outfit him with appropriate costumes. He quickly learns the dance moves and the importance of perfect timing when it comes to the pelvic thrust.
While the ‘main’ story line unfolded pretty well and the dancing and on-stage portion of the male revue club scenes were rather riveting, the attempt at bringing a romance into the story – first between Mike and Joanna (a Sociology student played by Olivia Munn) then Adam’s sister Brooke (Cody Horn) fell flat. It seemed awkward and forced, and there was no chemistry whatsoever. With a cast of stars such as McConaughey and Channing, one would expect a higher level of performance, but apparently the writer was counting on the sex appeal and dance scenes to carry the film. Instead, the audience was left with a series of awkward silences and uncomfortable, choppy dialog. Magic Mike left those in the audience that were looking for more than a two-hour male revue sadly disappointed.
We agreed that if you go wanting to see a ‘real’ movie with a ‘real’ storyline, Magic Mike rates 2 out of 5.
If you go with the expectations of ‘sex on a screen’ we rate this 4 of 5. And only 4 of 5 because we both felt uncomfortable with the ‘crotch in the face scenes’. But if you’re into that kinda thing, then by all means, 5 of 5.
Gareth von Kallenbach (980 KP) rated Rio (2011) in Movies
Aug 7, 2019
As the very colorful birds of the jungle in Rio de Janeiro are partying it up with singing and aeriel dancing some humans crash the party and capture some of the birds, one of them being a very young blue macaw. From there they are flown to the U.S. with final destinations unknown. Thanks to some poor driving habits the crate containing the young blue macaw is left stranded in the freezing snow of Minnesota but he is soon saved by a young girl named Linda who names him Blu (I know not very original).
Fast forward 15 years, Linda and Blu run a bookstore and even though he has never learned to fly he loves the indoor domestic lifestyle and has never thought of returning to Rio. That is until Dr. Barbosa arrives and informs them that Blu is the last known male blue macaw in the world and that at his bird sanctuary in Rio he has the last known female blue macaw, named Jewel. After some hesitation they decide it is species saving time and go with Dr. Barbosa to Rio. As Blu and Jewel get to know each other (that’s not an euphemism), Dr. Barbosa and Linda decide they should give them some alone time and leave. But while the humans are away making a connection of their own, someone breaks into the bird sanctuary and abducts Blu and Jewel.
The two blue macaws soon find themselves shackled together and locked away with many other birds to be taken to final destinations unknown (hmmm, deja vu). Blu and Jewel are able to escape from their captors but not from the shackles that bind them and thus begins their epic journey to freedom from the shackles. Along the way they befriend some very interesting characters who do their best to help them along the way. Will Jewel and Blu be free of the shackles? Will Blu and Linda ever be reunited? Will Blu ever learn to fly? What about the bookstore?
While the story is very predictable and at least once I could tell the kids were losing interest during a scene, the animation is beautiful and amazing, the humor is great and I saw many of the kids in the theater bobbing their heads along to the songs. They could not have done any better with the incredible voice cast: Blu and Jewel are voiced by Jesse Eisenberg and Anne Hathaway and Leslie Mann voices Linda. The incredible supporting cast voices iniclude Wanda Sykes, Lane Lynch, Jamie Fox, Will.I.Am and George Lopez.
Overall, regardless of age, everyone in the theater seemed to enjoy the film as much, if not more, as I did. But just to be sure I brought along a friend’s 10 year old to get his perspective and posed a few questions. I was very happy to mostly get more than one word answers:
Fast forward 15 years, Linda and Blu run a bookstore and even though he has never learned to fly he loves the indoor domestic lifestyle and has never thought of returning to Rio. That is until Dr. Barbosa arrives and informs them that Blu is the last known male blue macaw in the world and that at his bird sanctuary in Rio he has the last known female blue macaw, named Jewel. After some hesitation they decide it is species saving time and go with Dr. Barbosa to Rio. As Blu and Jewel get to know each other (that’s not an euphemism), Dr. Barbosa and Linda decide they should give them some alone time and leave. But while the humans are away making a connection of their own, someone breaks into the bird sanctuary and abducts Blu and Jewel.
The two blue macaws soon find themselves shackled together and locked away with many other birds to be taken to final destinations unknown (hmmm, deja vu). Blu and Jewel are able to escape from their captors but not from the shackles that bind them and thus begins their epic journey to freedom from the shackles. Along the way they befriend some very interesting characters who do their best to help them along the way. Will Jewel and Blu be free of the shackles? Will Blu and Linda ever be reunited? Will Blu ever learn to fly? What about the bookstore?
While the story is very predictable and at least once I could tell the kids were losing interest during a scene, the animation is beautiful and amazing, the humor is great and I saw many of the kids in the theater bobbing their heads along to the songs. They could not have done any better with the incredible voice cast: Blu and Jewel are voiced by Jesse Eisenberg and Anne Hathaway and Leslie Mann voices Linda. The incredible supporting cast voices iniclude Wanda Sykes, Lane Lynch, Jamie Fox, Will.I.Am and George Lopez.
Overall, regardless of age, everyone in the theater seemed to enjoy the film as much, if not more, as I did. But just to be sure I brought along a friend’s 10 year old to get his perspective and posed a few questions. I was very happy to mostly get more than one word answers:
Daniel Radcliffe: The Biography
Book
Daniel Radcliffe went from shy schoolboy to the world's most famous boy wizard overnight. Aged just...
Phillip McSween (751 KP) rated Léon: The Professional (1994) in Movies
Jul 5, 2020
Heart-racing Drama
Against his better judgement, a hitman takes in a little girl after her entire family is slaughtered.
Acting: 10
Loved Jean Reno as Leon the hitman as it is inarguably his greatest performance. You can tell very early on this is a guy you don’t want to mess with. Despite his excellence, Natalie Portman outshined everyone, even Reno, in her role as Mathilda, a revenge-seeking girl that has to grow up before she’s ready. She leaves such an impact from the way she harbors rage and sadness, sometimes within the same scene. While young, this is also one of her strongest performances as an actress. When you’re getting the best of your two stars, you know you have a great movie on your hands.
Beginning: 10
Characters: 10
Cinematography/Visuals: 8
Conflict: 7
I think my issue with the actual conflict throughout the duration of the movie stems more from how amazing the beginning is. The first ten minutes of the movie almost spoil you into expecting the rest of the film to be that way. Alas it is not. It moves at a bit of a slower clip and you start to feel it playing out as more of a drama than an action movie. Don’t get me wrong, there is plenty of tension to be had, just not quite enough to blow me away.
Entertainment Value: 8
Memorability: 7
There is one particularly tense moment that had my heart racing: I don’t want to give too much away by setting the scene, but Mathilda is waiting outside of Leon’s door, pleading for him to let her in. Every single time I watch that scene, my heart leaps into my throat even though I know what’s going to happen. It’s that intense vulnerability that really sticks out. While the movie isn’t oozing with scenes to remember, say like my last review of Dirty Dancing, there was definitely enough to keep my attention.
Pace: 10
Once you understand that the movie is a drama and not an action film, you can respect the pace a lot more. The movie pushes character development and the relationship between Leon and Mathilda. By the time the film reaches its conclusion, there is legitimate concern for their well-being because you’ve grown to like both of them.
Plot: 10
Resolution: 1
Did not like the ending in the slightest. I was hoping for more. Endings like this are fine when there is more closure. As bad as it was, I still enjoyed the movie as a whole.
Overall: 81
Leon: The Professional is a great movie to watch with someone who prefers drama over action and you’re trying to meet them in the middle. It is endearing to watch Leon and Mathilda’s relationship blossom with the mad world that has been thrust upon them. The action is subtle, but the movie is awesome.
Acting: 10
Loved Jean Reno as Leon the hitman as it is inarguably his greatest performance. You can tell very early on this is a guy you don’t want to mess with. Despite his excellence, Natalie Portman outshined everyone, even Reno, in her role as Mathilda, a revenge-seeking girl that has to grow up before she’s ready. She leaves such an impact from the way she harbors rage and sadness, sometimes within the same scene. While young, this is also one of her strongest performances as an actress. When you’re getting the best of your two stars, you know you have a great movie on your hands.
Beginning: 10
Characters: 10
Cinematography/Visuals: 8
Conflict: 7
I think my issue with the actual conflict throughout the duration of the movie stems more from how amazing the beginning is. The first ten minutes of the movie almost spoil you into expecting the rest of the film to be that way. Alas it is not. It moves at a bit of a slower clip and you start to feel it playing out as more of a drama than an action movie. Don’t get me wrong, there is plenty of tension to be had, just not quite enough to blow me away.
Entertainment Value: 8
Memorability: 7
There is one particularly tense moment that had my heart racing: I don’t want to give too much away by setting the scene, but Mathilda is waiting outside of Leon’s door, pleading for him to let her in. Every single time I watch that scene, my heart leaps into my throat even though I know what’s going to happen. It’s that intense vulnerability that really sticks out. While the movie isn’t oozing with scenes to remember, say like my last review of Dirty Dancing, there was definitely enough to keep my attention.
Pace: 10
Once you understand that the movie is a drama and not an action film, you can respect the pace a lot more. The movie pushes character development and the relationship between Leon and Mathilda. By the time the film reaches its conclusion, there is legitimate concern for their well-being because you’ve grown to like both of them.
Plot: 10
Resolution: 1
Did not like the ending in the slightest. I was hoping for more. Endings like this are fine when there is more closure. As bad as it was, I still enjoyed the movie as a whole.
Overall: 81
Leon: The Professional is a great movie to watch with someone who prefers drama over action and you’re trying to meet them in the middle. It is endearing to watch Leon and Mathilda’s relationship blossom with the mad world that has been thrust upon them. The action is subtle, but the movie is awesome.
Kate Nash recommended track Black Is the Colour of My True Love's Hair by Christy Moore in Live in Dublin by Christy Moore in Music (curated)
Sarah (7799 KP) rated Bloodshot (2020) in Movies
Oct 9, 2020
Brainless fun
Bloodshot is not the kind of film I’d waste my time going to watch at the cinema, however I jumped at the opportunity to watch it in the comfort of my own home where I could tune out and do other things if it got dull. And I’m rather pleasantly surprised to admit that it never did.
Bloodshot is based on a Valiant comic of the same name which tells the story of Ray Garrison, a soldier killed and brought back to life with the use of nanites, giving him superhuman powers and a thirst for revenge.
Going into this film I knew nothing about it, I hadn’t even seen a trailer. My only misgiving was regarding Vin Diesel, who like Keanu Reeves, is great to watch in action but sadly his acting skills leave a little to be desired. Surprisingly I didn’t mind Vin Diesel in this, and it probably stems from the fact that he spends most of his time in action with very little opportunity for any more meaningful or emotional scenes (thankfully).
The first half of this film had me worried. It opens with some irritating slow motion action shots and then progresses into what is rather a predictable and done to death origin film revenge plot. There are some good points though: the action scenes and CGI were very well done and choreographed, the filming locations are beautifully shot, and the dancing scene with Toby Kebbell was a riot, almost feeling like it would’ve been better placed in something made by Tarantino rather than this.
Had the film carried on in this same vein for it’s entire runtime, I would’ve switched off. However there was a reveal halfway through that provided a much needed boost to the story and a great deal of humour, and I never saw it coming. This pushed this film from being pretty poor to fairly enjoyable and entertaining.
That isn’t to say it doesn’t have it’s flaws. Guy Pearce is playing the same character he seems to have played in everything else recently and Toby Kebbell is massively underused. The remaining members of the team are rather cliched villains or just completely forgettable. And there’s a scene towards the end with a pouting and over the top KT that is so cheesy and cringeworthy it’s laughably bad. There’s also an action scene set in London that has been obviously not been filmed in London (or in the UK at all from the look of the buildings and vehicle registrations), so there are a few missteps with the production and the finale has far too much CGI as well.
Overall I was expecting this to be atrocious and was rather pleasantly surprised to find myself laughing and enjoying it to a point. It is by no means perfect and will never win any awards, however if you’re looking for some brainless action and entertainment you could do much worse than Bloodshot.
Bloodshot is based on a Valiant comic of the same name which tells the story of Ray Garrison, a soldier killed and brought back to life with the use of nanites, giving him superhuman powers and a thirst for revenge.
Going into this film I knew nothing about it, I hadn’t even seen a trailer. My only misgiving was regarding Vin Diesel, who like Keanu Reeves, is great to watch in action but sadly his acting skills leave a little to be desired. Surprisingly I didn’t mind Vin Diesel in this, and it probably stems from the fact that he spends most of his time in action with very little opportunity for any more meaningful or emotional scenes (thankfully).
The first half of this film had me worried. It opens with some irritating slow motion action shots and then progresses into what is rather a predictable and done to death origin film revenge plot. There are some good points though: the action scenes and CGI were very well done and choreographed, the filming locations are beautifully shot, and the dancing scene with Toby Kebbell was a riot, almost feeling like it would’ve been better placed in something made by Tarantino rather than this.
Had the film carried on in this same vein for it’s entire runtime, I would’ve switched off. However there was a reveal halfway through that provided a much needed boost to the story and a great deal of humour, and I never saw it coming. This pushed this film from being pretty poor to fairly enjoyable and entertaining.
That isn’t to say it doesn’t have it’s flaws. Guy Pearce is playing the same character he seems to have played in everything else recently and Toby Kebbell is massively underused. The remaining members of the team are rather cliched villains or just completely forgettable. And there’s a scene towards the end with a pouting and over the top KT that is so cheesy and cringeworthy it’s laughably bad. There’s also an action scene set in London that has been obviously not been filmed in London (or in the UK at all from the look of the buildings and vehicle registrations), so there are a few missteps with the production and the finale has far too much CGI as well.
Overall I was expecting this to be atrocious and was rather pleasantly surprised to find myself laughing and enjoying it to a point. It is by no means perfect and will never win any awards, however if you’re looking for some brainless action and entertainment you could do much worse than Bloodshot.
Emma @ The Movies (1786 KP) rated Beetlejuice (1988) in Movies
Sep 25, 2019
I'm really enjoying the classic movie re-releases at Cineworld. I've been along to several in the last year and enjoyed every one of them, so when Beetlejuice came up in the listings it was a must see for me as I loved this from the very first time I saw it.
With the other releases I didn't have much to worry about, they were either brand new to me or I'd never seen them the whole way through so it was going to be a new experience... but this time... could I be risking those great memories? While it did run through my head while I waited for the film to start I wasn't going to deny myself the chance to see it on the big screen. It did bring up a few moments that made me ponder, but all in all I'm glad that I got the chance to see it in the cinema.
At 30 years old you'd expect things to be a little dated, and perhaps the general feel of the film is with some old fashioned clothing, but most of it still holds up. The one thing that makes you notice the age is the cast. Everyone looks so young!
It's a fantastic cast too. Alec Baldwin and Geena Davis, Adam and Barbara, the perfect couple living a peaceful life out in the country. Winona Ryder, Lydia, the dark and brooding teenage daughter of Jeffrey Jones' Charles and step-daughter to Catherine O'Hara's Delia. We of course can't forget the film's (almost) namesake, Michael Keaton as Betelgeuse. Each one brings a little something different to the film and you get some fun interactions between them all as well as with the supporting cast.
The only real thing that struck me after rewatching this after a few years is that Beetlejuice doesn't actually feature in it as much as I remember. But then the film itself also feels quite short, which at 1 and a half hours it is, again, I just didn't remember it that way.
Some of Beetlejuice's antics may feel a little cringe worthy to newer viewers. To be fair some did to me as a seasoned veteran of the movie. But his over the top nature and motor mouth lead to some entertaining diversions throughout.
The highlights for me as always are the dance routines. (And possibly some of the earliest twerking in the movie biz?) I think we were all dancing a little in our seats as they played out in front of us.
It still brings just as much fun as it did before, it's one of those favourites that you can watch anytime you need something a bit upbeat
What you should do
You should watch this at least once. It's daft and some fun lighthearted humour to break up a dull day.
Movie thing you wish you could take home
If I could have the full backing band when I sing at home that would be great!
With the other releases I didn't have much to worry about, they were either brand new to me or I'd never seen them the whole way through so it was going to be a new experience... but this time... could I be risking those great memories? While it did run through my head while I waited for the film to start I wasn't going to deny myself the chance to see it on the big screen. It did bring up a few moments that made me ponder, but all in all I'm glad that I got the chance to see it in the cinema.
At 30 years old you'd expect things to be a little dated, and perhaps the general feel of the film is with some old fashioned clothing, but most of it still holds up. The one thing that makes you notice the age is the cast. Everyone looks so young!
It's a fantastic cast too. Alec Baldwin and Geena Davis, Adam and Barbara, the perfect couple living a peaceful life out in the country. Winona Ryder, Lydia, the dark and brooding teenage daughter of Jeffrey Jones' Charles and step-daughter to Catherine O'Hara's Delia. We of course can't forget the film's (almost) namesake, Michael Keaton as Betelgeuse. Each one brings a little something different to the film and you get some fun interactions between them all as well as with the supporting cast.
The only real thing that struck me after rewatching this after a few years is that Beetlejuice doesn't actually feature in it as much as I remember. But then the film itself also feels quite short, which at 1 and a half hours it is, again, I just didn't remember it that way.
Some of Beetlejuice's antics may feel a little cringe worthy to newer viewers. To be fair some did to me as a seasoned veteran of the movie. But his over the top nature and motor mouth lead to some entertaining diversions throughout.
The highlights for me as always are the dance routines. (And possibly some of the earliest twerking in the movie biz?) I think we were all dancing a little in our seats as they played out in front of us.
It still brings just as much fun as it did before, it's one of those favourites that you can watch anytime you need something a bit upbeat
What you should do
You should watch this at least once. It's daft and some fun lighthearted humour to break up a dull day.
Movie thing you wish you could take home
If I could have the full backing band when I sing at home that would be great!
The Sims™ FreePlay
Games
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From the creators of The Sims™ series of best-selling simulation games comes a complete Sims...
Beat Fever: Music Rhythm Game
Games and Entertainment
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Get your fingers ready for the ultimate music game! Beat Fever is an easy to learn, hard to master...
Gareth von Kallenbach (980 KP) rated Climax (2018) in Movies
Jul 2, 2019
If you’re going to see this film, it likely won’t be a huge surprise to you. Those that will buy a ticket already know who Gaspar Noé is and what he’s all about. Films like Irreversible and Enter the Void have defined him as an artist of scandal, evil and the extreme. Climax follows directly in the footsteps of those films, but at this point it does leave us wondering if there’s any room for growth in this writer/director or if we’ll just continue to get more of the same until we’re sufficiently numb to his offerings.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.