by ·Comments Off on Kings and Queen (2004, Arnaud Desplechin)

Halfway through this movie I paused for an hour – or was it a day? Either way, I spent some time away from the movie just loving it, thinking so this is why people love Desplechin, this is great, not like A Christmas Tale which I thought was just so-so. Then I got back to the movie and the second half felt exactly like A Christmas Tale, not in terms of plot or character, but in that I just liked it pretty alright. So either the second half is disappointing, or I should not pause movies in the middle.

Large-mouthed Emmanuelle Devos is our star, who manages an art gallery, tends to her ten-year-old son, and is engaged to Olivier Rabourdin. Elsewhere, the ever-dependable Mathieu Almaric is introduced saying fuck you to the IRS on his outgoing answering machine message before he is taken away by men in white coats. I love that guy. Drama: Almaric is Devos’s crazy ex-husband who she contacts because her dad is dying. Is that what happened? I watched this a couple months ago now, so I’m not sure.

I thought the movie would center around Devos, but Almaric takes over for a long time, with his drug-addict lawyer, his superstar psychiatrist, new psychiatrist Catherine Deneuve, his family and a suicidal friend in the asylum who’s studying Chinese. In the second half it flashes all over through time, Devos breaking up with Almaric and driving her first husband to suicide. Energetic, emotional editing, not going for any sort of classical continuity, with very decent handheld camerawork. In the end, Almaric decides not to adopt (or be some kind of insurance-policy guardian for) Devos’s kid.

by ·Comments Off on The Death of Mr. Lazarescu (2005, Cristi Puiu)

“Are you still feeling nauseous?”
“I’m feeling melancholy.”

Right off the bat I’m regretting the decision to finally watch the 2.5-hour Romanian movie about the slow death of an old drunk due to failures in the national health care system. One of the top ten most critically acclaimed films of the decade or not, the DVD subtitles are blocky white with a light purple filling, the not-quite-static handheld camerawork is irritating, and the first 50 minutes are set inside Laz’s underlit apartment. I hope with the success of this movie, the director can afford a tripod.

It definitely gets better. Once they get to the ambulance/hospital(s), the handheld camera has some reason to exist, panning in response to characters and situations, like a dopey, late-night In The Loop. The paramedic who first picks up Laz feels responsible for him, wheels him from one condescending doctor to another, waiting in long lines for the use of scanning equipment and dealing with overcrowded emergency rooms and surly staff. Laz has a “subdural hematoma” (a brain cloud) and his condition rapidly and seriously worsens over the course of the night, until he can barely speak or control himself.

Seemed like a useful movie, but I’m not seeing the great work of art within. I preferred The Mad Songs of Fernanda Hussein as far as rambling 2.5-hour politically-charged budget-shot best-of-decade picks go. It made me angry towards the end, so there’s that, and I was pleased at the beginning that Laz and his neighbors are allowed some intelligence (not a given for movies about poor people). An article I can’t find right now says any Romanian would realize that all the times hospital personnel ask if Laz has any family with him, they are looking for a bribe, and the director says the movie is about the love of your fellow man.

by ·Comments Off on The Mad Songs of Fernanda Hussein (2001, John Gianvito)

1. A deep-voiced white kid Rafael is the only peacenik in his New Mexico high school, spurred on by a hippie teacher. His parents will hear nothing of it (“There was a time for national debate. It’s over”) so he leaves home.

2. Fernanda’s kids are abducted and killed on the first day of school by local racists. The cops are unhelpful jerks, and the kids aren’t found for a month. Fernanda herself is held for two months under suspicion of murder, disappears when released, goes wandering, is found by a woman with a house full of finches.

3. Ex-Marine Carlos returns from war, finds his job gone, is full of uncontrollable lusty rage.

So, a indie film over two hours long, shot on 16mm, full of 1990’s politics but released soon after September 2001. This was destined to be ignored, but accidentally destined to be extremely relevant to the decade that followed.

Freeze frames, long refreshingly unscripted-feeling dialogue scenes, and of course some scenes of trees and the whispering wind. Plus extended concert segments by Naseer Shemma, an Iraqi musician who performs his celebrated composition dedicated to civilians killed when American planes bombed a shelter.

Michael Sicinski in Cinema Scope:

Mad Songs is a political film that encompasses multiple stories, but does so following a film historical road less travelled – beginning with DW Griffith’s A Corner in Wheat and leading most recently to Fast Food Nation. The stories never intersect; instead they examine the problems of a time and place (the suburban US during the first Gulf War) almost geologically, by taking samples from discrete layers of American life.

Part of what makes Mad Songs so poignant, and at the same time incredibly strange, is the hope and earnestness with which it concludes. No film I’m aware of has given so much space to peace activists, sitting in meetings and testifying about the transformative power of nonviolent resistance. To a generation of critics and cinephiles reared on post-noir cynicism, Gianvito’s treatises surely sounded like transmissions from another planet.

Gianvito:

When I first began to conceive the project that became The Mad Songs of Fernanda Hussein, around 1993 I believe, it grew purely out of seething rage over the events of the 1991 Gulf War, the mainstream suppression of those events, and concern over the continuing support of lethal sanctions and military “containment” of Iraq. By the time I saw the film to completion the entire situation had only grown graver and more infuriating.

by ·Comments Off on Colossal Youth (2006, Pedro Costa)

“It’s no use now. The letter will never reach Cape Verde.”

From the second scene it’s more theatrical/less documentary than In Vanda’s Room, which is a welcome change to me. Not coincidentally, I enjoyed it a hundred times more than Vanda. The Straubs would call me a stupid escapist, but I prefer having some sense of narrative and mystery over watching dudes shoot up and listening to Vanda cough for three hours.

“Bete, your mother’s gone. She doesn’t love me anymore.” Ventura’s wife has left him, after smashing up the house and wrecking all his clothes, and he wanders the neighborhood, forlorn, visiting his children and talking with friends, reminiscing and flashing-back, and worrying about the future, meeting with a realtor to select a new white apartment in the anonymous new complex. Or is any of that true? By the end we’re not sure if Ventura had any children – if the younger adults he talks with (including Vanda) are truly related or just friends and acquaintances.

Vanda is doing alright, on methadone and married to a very supportive man, with a young daughter, although her mother is dead and her sister Zita kills herself halfway through the film, so everything’s not rosy. In an eleven-minute shot she talks about giving birth and learning to turn her life around (and she doesn’t cough anymore), with references to suicide-by-gas since Costa loves to reference his earlier works. Ventura himself sports a white-bandaged head in the second half, seeming to parallel Isaach De Bankolé in Casa de Lava.

Speaking of which, Ventura recites a letter featured in Casa de Lava many times throughout the movie, uses it as a personal mantra and tries to get his friend Lento to memorize it. Lento, it turns out, is probably dead, making me wonder just how much of the story is only in Ventura’s head. This unreliable story and character made me so much more interested and invested in the movie than I was in Vanda, or even Ossos. Similar camera work to those, although the camera does move in this one, more of Costa’s strict rules disappearing.

My birds liked the movie too, or at least they noticed it. The pet birds (finches?), heard but not seen in Vanda’s house, drove them nuts.

The original title was Juventude Em Marcha (“Youth on the March”, a revolutionary slogan and once the title of a 1950’s televangelist program), and the English title is Colossal Youth (once the title of a Young Marble Giants album). Funny, all the “youth” since there’s barely any youth in the movie (Vanda’s daughter). You could count the housing development – it’s “colossal” and new – but that’s not what the original title would be referencing. I listened to the Y.M.G. album for clues but I wasn’t smart enough to draw any connections, except that the title similarity was probably intentional. If Costa enjoys early Wire, he surely likes this too.

Ventura in Vanda’s room:

T. Gallagher:

Costa’s lines are sometimes flat, delivered in short bursts, and often elliptical and inscrutable, like the dialogue in Antonioni’s English-language movies – another challenge to the spectator. Yet, nonetheless, we can feel a Straub-like sensuality of people infusing the space around them deeply, overwhelming it with their vibes, even when they are merely visiting somewhere. Indeed, in Colossal Youth, even when Ventura leaves a shot, he is still there, somehow.
…
Ventura lives partly in fantasy, which Costa makes real: past and present co-exist, the dead live, Lento dies twice, walls have creatures on them, things don’t connect. Ventura’s wife, he says, “had Clothide’s face but it wasn’t her”. Nor, in Colossal Youth, do doors always connect, for neither the Housing Agent nor Ventura. “I’ve been having this nightmare for more than thirty years”, says Ventura. “Anxiety tormented me night after night. I used to get [the door] wrong all the time. I’d come back drunk from work and collapse into a strange bed. All doors looked the same back then.”

Costa: “One can imagine that Ventura is a double character. On one hand, we see him looking at young people, and on the other there is someone who isn’t he, who lives in the past, who could be a brother or someone else, his double. Ventura’s companion who plays cards, Lento, is Ventura when young. The same, with a bit of past, a bit of future.”

Watching the ghosts in the walls:

I can’t find Mark Peranson’s long interview with Costa regarding Colossal Youth anywhere in my pile of Cinema Scope issues, but in an earlier article he calls it a “Rivettian narrative, with possible unmotivated flashbacks, probable ghosts, and drawn-out scenes that appear improvised (some may be, but considering that Costa rehearsed and re-rehearsed, then shot a total of 320 hours over 15 months, with each scene having as many as 30 takes, I expect that the words were carefully chosen). … Ventura’s haunted mien is that of the living dead; the zombies are walking again.”

Also watched two related shorts, although I couldn’t psych myself into watching the third.

Tarrafal
Faster editing than the last three features, but it tricks you since the first half of the movie is all one shot (interrupted once by a title card). Jose talks with his mom about returning to Cape Verde for a long time, then he runs into Ventura. Ventura takes over the movie, conversing with dead friend Alfredo. Movie ends with an official notice saying Jose is to be deported, pinned to a wooden post with a knife.

The Rabbit Hunters
Ventura and Alfredo each wake up on the streets in the new housing projects, which are already covered with graffiti. They go about having some of the same conversations as in Tarrafal (it’s re-edited from some of the same footage), running into Jose and again ending on the deportation notice. Guess it was overkill to watch both of these the same day.

Jose in Tarrafal:

Ventura and Alfredo in The Rabbit Hunters:

Alfredo in both:

by ·Comments Off on Shutter Island (2010, Martin Scorsese)

“Men like you are my specialty. You know, men of violence.”

Ruffalo, Leo and Norm in front of a crazy fake sky:

I don’t usually try to outthink a movie, to suppose what will happen next, but when I know in advance that it’s a twist-ending movie I’ve got no choice. What’s the twist ending? Will hallucinogenic drugs be involved? Who here is actually evil? Did the missing patient never exist? And if not, what is Leo supposed to be investigating? And so on, but it turned out to be the twist I’d guessed from the trailer, that Leo was mad all along. Seems his wife Michelle “Wendy & Lucy” Williams killed their kids, so he killed her and got committed, and now he wanders the asylum/island with a plastic gun pretending to solve crimes. Lead doctor Ben “Death and the Maiden” Kingsley assigns Leo’s own doctor Mark “Zodiac” Ruffalo as Leo’s “partner” and sets Leo loose for a couple days to run his “investigation” and see if he figures out the truth about himself.

Leo with dead wife:

Leo with imaginary friend:

Opens with Leo puking on a boat, then being greeted on the island by Norm from Fargo, which is distracting. Kingsley sets our detectives looking for a girl whose name is an anagram for Leo’s dead wife’s name – alternately played by Emily “Young Adam” Mortimer and Patricia “Station Agent” Clarkson (I liked the Clarkson version better – all suspicious survivalist in a cave). Things get more impossible and surreal from then on. Leo has some psychologically obvious dreams, Scorsese reverses the film (cigarette smoke, not as awesome as the snow in Bringing Out The Dead), and Jackie Earle “Little Children” Haley tells Leo “You’re not investigating anything. You’re a fucking rat in a maze.” It’s totally clear about halfway through the movie, and increasingly afterwards that something is happening which is not happening. At this point, if it was a crappy movie I’d be impatiently waiting out the twist ending so I could go home, but this stayed fun to watch through all the ludicrous turns.

Clarkson on fire:

Starts to remind me of The Game. More star power: Max “holy cow, The Seventh Seal was over 50 years ago” von Sydow as a doctor, Ted “lotion in the basket” Levine as a tough-looking warden and Elias “Thin Red Line” Koteas as a figment of Leo’s imagination. Not a lot of women in your movies, eh Marty?

Von Sydow in danger:

I hardly ever watch movies with headphones, just assumed they’d sound pretty professional, but this one had some clumsy-ass dialogue editing. Fine music, though. Written by Steve’s old Avatar buddy, who’s not as smart a writer as Steve probably would’ve been, and by Dennis “Gone Baby Gone” Lehane. Shot by Robert Richardson, who worked with Oliver Stone and Quentin Tarantino and shot two of Marty’s more outlandish looking features, The Aviator and Bringing Out The Dead. I like this guy.

Kingsley patiently explains the twist ending to us:

Leo can’t believe this shit:

by ·Comments Off on The Last Ten Minutes vol. 2: Dario Argento spotlight

Now that I’ve seen some exciting, excellent/horrible Argento movies from his peak period (Suspiria, Inferno) and some depressing, horrible/horrible movies from his more recent period (Giallo, Pelts), it’s safe to say I never need to watch these three all the way through (although I’m still undecided on Mother of Tears), so here’s The Last Ten Minutes of them:

Do You Like Hitchcock? (2005, Dario Argento)
First thing I see is a black-gloved hand. First thing I hear is an unconvincingly delivered line. It’s an Argento movie, all right. Looks like I’ve stumbled into a crap remake of Rear Window. Police chase the black-gloved girl onto the rooftop, where she falls, hanging Vertigo-style from the gutter while the crippled Giulio (Elio Germano of musical Nine) watches across the alley. But a minute later everyone is friends? So there was no killer? Down on the street a shopping cart lady puts on a wig. Huh? Anyway, months later, Giulio watches a hot nude girl across the alley and enters a confusing flashback montage. One of the girls was Elisabetta Rocchetti, who later appeared in something called Last House in the Woods (oh Italian movie industry, how you amuse me).

The Card Player (2004, Dario Argento)
“I’m sorry, I had to kill him,” says a dude with a cellphone (and disappointingly, no long mustache to twirl) who has tied a girl to the train tracks. He cranks up a CD of funky electro music and lies on the tracks with her playing cards on his laptop, while she taunts him instead of smashing the computer into his face like it seems like she should do. He gets run over by a train, and she shoots out his car stereo, mercifully stopping the electro music. Someone in the movie was Liam Cunningham of Wind That Shakes The Barley – hopefully not the card-playing killer, because that guy was terrible.

Phantom of the Opera (1998, Dario Argento)
Oh no, it’s a period piece. Asia Argento is pretty convincing as an opera star until a sewer troll interrupts the performance and handsome Julian Sands (Warlock himself – the description says he’d not physically disfigured in this one, but was “raised by telepathic rats”) sweeps Asia away. It is very dark, and a man with a funny mustache stumbles upon an enclave of dead bodies. Long-haired hero Andrea di Stefano (star of a Marco Bellocchio movie) shoots Julian and escapes the bloodthirsty search party (wasn’t he part of the search party), as Asia screams in horror (she’s good at that sort of thing). This looks a ton better than the last two movies, though it has the lowest rating. Maybe that’s from people thinking they were getting the Joel Schumacher version. The rat-squealing sound effects over the finale got my birds very excited.

First Snow (2006, Mark Fergus)
This dude Vince says he still considers Guy Pearce his best friend, but says that Guy has fucked up and pulls out a gun. Vince goes off with a long, tortured speech then tries to kill them both but only manages himself. Guy Pearce is sad, flashes back to a pretty girl in a cowboy hat as it starts to snow. The writers/director worked on Children of Men and Iron Man, so I suppose this should’ve been good. Didn’t look awful, but I’m not saying I wanna see 90 more minutes of it.

Noise (2007, Henry Bean)
Tim Robbins’ car is making a ton of noise and William Hurt is angry, then he makes it stop, then start again, then he has some kind of noise-epiphany as judge Chuck Cooper smashes his car with a golf club. A Baldwin tackles the judge, who is arrested under suspicious of being Tim Robbins’ anti-noise vigilante. A way unrealistic court scene follows, in which Tim helps Chuck win in order to set precedent that noise can be considered assault and battery. High on his success, Tim considers joining a pimply militant in blowing up city eyesores but chooses not to. He smashes cars Michael Jackson-style as the credits roll. Overall the movie looks pretty fun, if kinda silly. From the writer of Basic Instinct 2.

Lakeview Terrace (2008, Neil LaBute)
Controversially interracial couple Patrick “Little Children” Wilson and Kerry “Last King of Scotland” Washington come home to a mess of a house, then dude goes out back to thank Samuel L. Jackson for helping him for a break-in. But Jackson knows that Wilson knows that Jackson knew the guys who broke in, and now Jackson’s on the attack. Much punching and many gunshots ensue. I wish Samuel L. had the integrity I always imagine he had. Ugh, his character name is Abel. Cops shoot Sam a bunch, the couple turns out semi-okay and family values are protected. Besides rogue cop Abel, the rest of the LAPD force is portrayed as remarkably restrained and competent. Follow-up to The Wicker Man by Neil LaBute’s doppelganger – the one who killed the real Neil and replaced him in 2000, halfway through production of Nurse Betty.

Obsessed (2009, Steve Shill)
Beyonce catches Ali Lartner (Resident Evil 3) in bed surrounded by rose petals, presumable waiting for Idris “Stringer Bell” Elba. Girlfight ensues! So which one of these girls is “obsessed”? I think it’s Lartner, who plays it weirdly affectless. Generic thriller music, fight scene, camerawork and everything. Lartner is killed by a falling chandelier and family values are protected. Idris Elba comes home just in time for the credits, dammit, the only reason I watched this was to see him.

It’s Alive (2008, Josef Rusnak)
Thought I’d peep tha remake since I recently saw the original and more recently saw Splice. Oh it’s the ol’ flashlight-into-the-camera trick from X-Files. This is taking place in a very dark house, not a sewer – the movie probably couldn’t afford a sewer. Father Frank (TV’s James Murray) catches the baby (how? we don’t know) in a trash can and creeps off to a very dark outdoor area, then unwisely opens the can and gets savaged by the baby (played by an out-of-context CG effect). Motherly Bijou Phillips (of Hostel II, here with the horror-in-joke character name Lenore Harker) catches up with them and takes the baby into a burning house where they both perish… or DO they?? Hmmm, no cops – the movie probably couldn’t afford cops. That seemed longer than ten minutes.

Simon Says (2006, William Dear)
Key phrase from the description: “Simon and Stanley (both played by Crispin Glover), backwoods twin brothers with a fondness for booby traps.” That’s all you needed to tell me! Helpless Stanley is being groped by some girl – but he’s got a knife!! She’s got a bigger knife! Did he just headbutt a corpse? Now he’s screaming with a fake southern accent in the woods, wounded and toting a scythe. Could this be the end of Crispin Glover? Yep, got a knife in the skull by a girl who I assume is Margo Harshman (good name). Where’s the twin brother? Maybe there never was one. Oh Crispy is still alive and gets the girl, twist ending. They said “you forgot to say simon says” about four times. I missed the epilogue bit since someone knocked on the door, but I saw a bunch of mirrors and I’m guessing there was never a twin brother, which is disappointing. William Dear, also the writer, once made Harry and the Hendersons.

by ·Comments Off on Decasia (2002, Bill Morrison)

After “A Bill Morrison film” it says “A Michael Gordon symphony”, assigning auteur credit separately over the soundtrack, a rare thing. I didn’t love the symphony, though – an undertone even more monotonous than Philip Glass with bombs-falling string-sliding atop it. I enjoyed the bit where percussion chattering along with the background rhythm sounded like an old TV news theme song. But next time I’ll just listen to a Pinback album instead.

Visuals are exciting, though – Fragments of narrative films (and science films and home movies and other weirdness) gone Brakhage (or less generously, gone Begotten) through decay, slowed down so we can appreciate the distinct frame-by-frame damage.

I don’t understand what property of film decay causes the picture to go negative, bright whites turning black while the rest of the picture looks unaffected, but I’ve never much understood the chemical side of film anyway. Elsewhere, scenes are obscured by dark blots, sunken under oily water and giant amoebas, or just torn to shreds.

Forget the Great American Scream Machine – this is the most terrifying carnival ride. Each car emerges from a burbling time/space warp on left side of the frame, to circle around and go back inside. At the end of the ride, whoever’s left inside the reality-warp is doomed to spend the rest of their days in a hellish alternate dimension.

Second best part here, a boxer fighting an amorphous column of decay

by ·Comments Off on Desk Set (1957, Walter Lang)

Walter “no relation to Fritz” Lang had just come off a couple big musicals and been nominated for an oscar (George Stevens beat him with Giant). Written by Phoebe and Henry “parents of Nora” Ephron (Carousel) and shot by Leon Shamroy (Caprice, Leave Her to Heaven, You Only Live Once) in glorious Cinemascope. Seems odd for an office comedy which all takes place indoors, but it looked really nice so I’m not complaining. Katy liked it, too.

This massive wide shot of the research department, where the bulk of the film takes place, looks so sad shrunken down to web-size:

Katharine Hepburn heads the research department at a TV network, with her loyal coworkers Peg The Older One (Joan Blondell of Will Success Spoil Rock Hunter?, Footlight Parade, Nightmare Alley), Ruthie The Cute One (Sue Randall, whom I thought I recognized, but this was her only film before a busy ten-year TV career) and Sylvia The Nondescript Blonde (Dina Merrill of The Magnificent Ambersons [not the Welles], Beyond a Reasonable Doubt [not the Lang] and Catch Me If You Can [not the Spielberg]).

The girls, L-R: Hepburn, Blondell, Randall, Merrill. Notice anything about the actresses’ names when they’re strung together like that?

All is running smoothly until Spencer Tracy shows up muttering about computers and waving a measuring tape all over the place. Rumors fly that he’s planning to replace the girls with machines. Finally the mammoth computer is installed (thanks to the movie’s marketing partner IBM) along with its brittle operator (TV’s Neva Patterson), and worst fears come true when the researchers all get pink slips in their next paycheck. But it turns out everyone got pink slips – the computer in accounting is malfunctioning. IBM didn’t have the whole product-placement thing figured out yet – humorous or not, you’re not supposed to show your major new technological innovation causing massive problems at the company that installed it. To make up for that, Tracy explains that none of the girls will lose their jobs, and in fact their work will be easier than ever thanks to the new computer – a giant lie.

Wikipedia: “At that time IBM had not quite finished establishing its dominance over the computer market, but computers were already starting to replace whole offices of clerical workers, and most Americans did not know much more than that about computers. This movie would prepare them for what computers were about to do to their society.”

I know how Tracy feels. This weekend it took the Flying Biscuit twenty minutes to make my sausage biscuit because “the computer was down”. What computer??

Secondary conflict: Hepburn’s boss (Gig Young of They Shoot Horses, Don’t They? and the George Sidney Three Musketeers) is also her occasional boyfriend. He’s a loser manager who can’t even do his own budget reports, getting Hepburn to secretly do them for him, and she’s a total brainiac, so it figures at the end she’ll dump the loser in favor of socially-awkward computer egghead Tracy.

Spencer Tracy knows a thing or two about a thing or two. Hepburn’s boss/boyfriend listens intently while she flashes a ghastly expression:

by ·Comments Off on Splice (2009, Vincenzo Natali)

A pleasantly surprising flick from the guy who made ambitious indies Cube and Nothing, now with wider scope, more ambitious sfx and an oscarrific cast in Adrien Brody (fortunately much better than in Giallo) and Sarah Polley (of No Such Thing). Feels shorter than it was – full of twists and changes, the movie doesn’t slow down to relish its concept, but throws out and leaves behind any number of ideas and directions it could’ve explored as it hurtles forward. I’ve seen complaints about weak screenwriting and plot holes, but I was satisfied. No need to wrap everything up in a neat package.

David Hewlitt, star of Nothing and Cube (and Scanners II: The New Order), and Simona Maicanescu (of Marc Caro’s Dante 01) are company bosses over married couple Brody and Polley, who are rebel genius geneticists fond of splicing things in more scientific/less ridiculous ways than The Human Centipede. Or perhaps Brody is more the rebel and Polley is more the (psychologically disturbed) genius. They split their attention between two cloning projects: publicly “Fred and Ginger,” two creatures that look like leather sacks full of chipmunks, and secretly “Dren,” which looks like Lily Cole with creepy legs, a tail and hidden Wolverine wings. Polley has huge motherhood issues and the human couple are torn between love, disgust, scientific curiosity and fear of being caught over their humanoid beastie (bred from Polley’s own DNA).

image

Finally the movie destroys itself. Ginger turns into a male, and he and Fred kill each other with their poison spikes in front of the shareholders. Stashed in the family barn, Dren seduces Brody (it’s surprisingly easy to seduce Brody) and they make sweet interspecies love. Hewlitt and Brody’s little brother (an actor who’s been made up to look comically similar to Brody) crash the party and both wind up missing or dead at the hands of Dren, who has suddenly turned male like the chipmunk-sack before her. Dren, now looking less like Lily Cole than a terrifying, winged CGI effect, rapes Polley while stabbing Brody to death, the movie making up for any baby-Dren cuteness with a sudden turn towards queasy horror. Nice sequel setup with a pregnant Polley meeting with boss lady Maicanescu is the payoff from all her psycho-mother issues earlier.

Afterwards, went to pick up Katy at Sex & The City 2 and caught the end of that, featuring a closeup of a widescreen TV showing Cary Grant in The Talk of the Town, improperly cropped to fill the screen. S&TC2 has no respect for cinema!