Je nais se quois

What starts out as a really excellent pitch-black comedy about a production of "Julius Caesar" gone murderously wrong loses the thread about halfway through.

For the first half it was incredibly well made and cruising to be a particular favorite, but about halfway through the tight plotting suddenly gets very, very flabby, and instead of exploring the consequences of a murder they fall back on the "comedy" of the bodies piling up as many more happen.

It's a true shame. The production is excellent, whole thing is surprisingly strong, and even the acting holds up all the way through, with the exception of the appearance halfway through as Malcolm McDowell, playing his usual role of Malcolm-McDowell-in-costume-as-someone-else. The actors seemed incredibly true-to-life, based solely my meager experience with theater actors. I'm guessing this really is aimed as a satire at people who've been involved in the theater, but it was…

Sometimes I stumble onto a treat.

A company invents VR technology to allow rich people to experience life from the viewpoint of someone more disadvantages. To say more about the plot would require spoilers.

This indie sci-fi is filmed in black and white, which seemed pretentious at first, but made sense as the movie rolled on, because, it's sci-fi, yes—but mostly it's actually film noir, and while nobody would accuse it of being one of the greats, it's a pretty well-done one for a little indie flick. As the story gets more involved the choice to film in black and white as an homage to vintage film noir makes sense.

It started out seeming pretentious and not very effective, not to mention not particularly well-acted, but only got better as it went along, building, happily, to a very effective ending noir ending. Though it takes a while…

Truly strange—this is a very talky, amateurish, artsy and extremely pretentious zero-budget indie flick with little plot, dislikeable characters and not much acting to speak of... and yet, somehow, it works. It's like the exception that proves the rule.

A young couple goes on vacation at a cottage she grew up vacationing at, only to be visited by a pretentious masked figure who is either some sort of forest spirit or her childhood imaginary friend. She spends the rest of the movie walking through the woods talking with him, to her boyfriend's growing annoyance.

It's hard to explain why it works. It's very much like a fable, there almost nothing to it, and somehow manages to weave the pretentious elements into something of an engaging tapestry. I don't know. It's weird. It should be an awful, awful movie. Virtually every identifiable element of it, looked at on its own, is…

Movies like this exactly are why I created a category "Je nais se quois/Flawed Gems". Definitely not a great movie, but certainly original, after a fashion, and ultimately, I thought, worth a watch, despite the flaws—most particularly for people tired of the clichés of the genre.

This is a solidly B-movie supernatural thriller about—wait for it—a family on vacation in a remote cabin in the Oregon mountains when Bad Things Happen. On top of it, it intentionally starts with some of the most hackneyed cliches out there, and sticks with that for long enough that it could throw you.

As the family settles into their cabin, mysterious hooded figures are seen doing... something... in the woods. People talk on the phone in hushed, conspiratorial tones. Something is Clearly Going On.

In the first hint that things are about to get a little different, a TV is seen…

Well, this movie put one over on me. Starts off with a bunch of guys having a reunion for a bachelor party in a fancy rental house, which logically promised lots of agressive dipshit behavior and characters I wasn't going to like at all. My dirty little secret is I'm often multitasking when I watch movies, and the good ones draw my attention, otherwise I wind up missing a lot, and I tucked in with my laptop expecting to miss most of this one. The loutish behavior in the early scenes (set in a strip club, naturally) did nothing to dussuade me that this would be anything more than 90 minutes of shriek-filled audio wallpaper.

But somewhere in the middle, I noticed the appearance of an antagonist who was incredibly well-cast, just seriously creepy. And very soon the disappearance of one of the guys in the middle of the…

Well, this movie certainly turned out to be something much different, and much better, than I expected. That's not to say it was a *good* movie... it definitely doesn't aspire to higher than campiness... but by the usual low standards of a campy movie, it's in many ways excellent.

First of all, it introduced me to the idea of "mukbanging", an internet trend originating in South Korea where people watch videos of other people eating. (I'd say "kids today", but I didn't understand the shit kids did when I was a kid, so age as nothing to do with it.)

Ok. Second of all: obviously, it's a horror movie with "Cannibal" as the first word in the title, which places certain genre expectations squarely on it. And, it does live up to those expectations... after a fashion.

There's a lot of unflinching gore here, for sure, but not quite…

An interesting indie exercise, more artsy than I often like, but in this case it's effective—think more Tarkovsky than "Brooklyn hipster with a video recorder". There are a lot of long, slow shots and moments without any dialogue, but it all works naturalistically.

The entire movie is essentially a series of monologues from three generations of solitary Mars colonists (and the only three characters in the movie): a member of the first wave of colonists, a son of his who is the only survivor of an expedition back to a ruined, desolate earth, and his granddaughter, back on Mars. I unfortunately was distracted with some work for the first part of the movie before I realized there was something kind of interesting happening on my TV, but the somber first person accounts of a future history were engaging and the stark cinematography was beautiful in an amateur, indie kind…

It's hard to do anything new with a zombie movie nowadays, but this movie kind of does. Bill Moseley takes a star turn in a convincing performance of a mildly unlikeable radio shock jock stuck in the studio while a bioengineered zombie outbreak overtakes his city. It has its share of action, and of course zombies, but a lot of it is handled as a drama or thriller, not as a horror movie, and focuses heavily on the survivors in the studio, not on the zombies, except as they affect the survivors. Plus they manage to have a couple of scenes of things I haven't seen before and a few moments that kept me on the edge of my seat. Directed by Corbin Bernsen, who I've never known as a director, but obviously had a couple of ideas, and handled them well enough to make a pretty good and somewhat…

Boy, this movie really makes kind of an impression.

Annalynne McCord, last seen looking like a glamor-model-turned-actress in 90210, plays, in what is only the first of this movie's many bits of stunt casting of famous faces in unlikely roles, a painfully awkward, geeky outcast with bad skin, greasy hair and rings under her eyes. She actually kind of pulls it off with a certain impressive intensity I wouldn't have thought a puffball 90210 actress had in her. She plays socially inept and awkward—and maybe something darker peeking out underneath it—to the hilt and it's actually pretty entertaining to watch. I bet she had to study real geeks to nail it this well.

Along the way, ex-porn star Traci Lords plays her extremely uptight and conservative mom, John Waters plays a priest with a completely straight face, and cameos pop up from Malcolm McDowall, Marlee Matlin, Ariel Winter as…