And in This Corner

Film: The Iron Claw
Format: Blu-Ray from DeKalb Public Library on rockin’ flatscreen.

I don’t care at all about sports. I used to, up until about 20 years ago. I lived and died by the Bulls, Bears, and White Sox. These days, though I don’t have time for it. Even when I did care about sports, I was never into wrestling. One of my brothers was for a time, and my wife’s cousin still is to some extent. I understand the appeal of it—it’s theater on a grand scale, and while the matches are scripted, I would never suggest that the people doing the wrestling aren’t athletes. Now that I’ve said all of this, it’s not going to be a surprise that I watched The Iron Claw, which is a wrestling movie, but it’s also a movie about family and about tragedy.

We will begin with Fritz von Erich (Holt McCallany), who is a wrestler coming up in the sporting world. But we’re going to be far more concerned with the sons of Fritz and Doris (Maura Tierney), who will follow in their father’s footsteps. Much of what is going to follow will be what we are told is the curse of the von Erich family—we won’t see the death of the eldest son at a young age, but we’ll hear about it. The rest of the film will be about the near constant tragedy experienced by the family, a large amount of it clearly caused by the wrestling world.

Binge and...

Film: The Purge
Format: DVD from Cortland Public Library on basement television.

The Purge is a right-wing fantasy movie. I don’t mean that the political right is specifically thrilled about the idea of 12 hours of lawlessness (although I think a lot of them are). No, what I mean is that pretty much every conservative I know has a closet full of guns and an intense desire to use them on a home invader. The Purge is that fantasy writ large. It’s a world where people are essentially dared to break into your house and you can kill them without consequence. The entire membership of the NRA had to have a hard-on over this concept.

There’s another, more sinister reason that The Purge is the deepest fantasy of the American right, and it is that 12 hours of lawlessness. Essentially, this is the story of a future, far more fascist America, where for 12 hours every year, virtually all crimes are made legal. While it’s not stated outright, after a massive economic crash, a new political party takes over the country. Unemployment is down and draconian policies crack down on crime. However, needing a release, the American people are given a 12-hour period every year to go buckwild and get all of their violence out of their system. And, true to form, this is not a parade of rape and theft, but of the wealthy and fortunate targeting the homeless. It’s open season on “undesirables,” and there’s a reason that the stereotype of conservatives wanting to hunt the homeless and immigrants for sport exists.

Catholic Guilt

Film: Immaculate
Format: DVD from Sycamore Public Library on basement television.

Immaculate is the second movie about nuns I’ve watched in three days; the other one will show up in the July wrap-up early next month. Neither of the two movies show the church in a positive light. For Immaculate, that lens is going to be one of horror and trauma. It’s worth saying that I am fortunate in my religious past. I didn’t experience any undue religious trauma—nothing more than the typical indoctrinated fear of Hell anyway, and I was also never a Catholic. Immaculate is going to play on the much darker reputation of the Catholic Church, and anyone who has dealt with any Catholic trauma or church trauma in general is going to likely be upset by this.

That said, while the religious trauma aspects of the film aren’t going to trigger anything specific in me, the opening scene certainly is. A young nun (Simona Tabasco) breaks into the room of the Mother Superior of a convent in Italy and steals a ring of keys. She tries to escape but is attacked by four nuns who break her leg and knock her unconscious. When she comes to, she finds herself in a coffin being buried alive. I am claustrophobic, so this was very difficult to watch, although arguably not the most difficult part of the film.

Blood in, Blood out

Film: The Living Dead Girl ( La morte vivante)
Format: Streaming video from Tubi TV on Fire!

In many movies involving the dead coming back to life, the fact that this is happening is far more important than why it is happening. Sometimes, as in Night of the Living Dead, it simply happens and we don’t get an explanation. Other times, we do, and it doesn’t really matter that much if it matches anything completely ridiculous. Toxic waste, weird bacteria, whatever. It’s toxic waste in The Living Dead Girl (La morte vivante in the original French), which feels unique in the sense that our living dead girl in the title is not a Romero-style ghoul who creates other undead, but more of a reanimated vampire who requires blood to survive.

First things first—we need to get some toxic waste in position to revivify a corpse. We get that from a pair of men apparently delivery toxic waste for disposal. Rather than do their jobs, they stop at an abandoned crypt to put the waste there. While they are there getting rid of the waste and taking a few moments to rob the graves of the people buried in the crypt, a minor earthquake causes the toxic waste to leak, which causes one of the corpses to wake up and attack. Since this corpse, who we eventually learn is named Catherine Valmont (Françoise Blanchard) has been dead for a few years, it’s a bit of a surprise that there is not a bit of decay or decomposition. Must be the favorable atmosphere in the catacombs.

Religious Trauma Syndrome

Film: The Lodge
Format: DVD from Sycamore Public Library on basement television.

There are a number of topics that split the average horror movie fans. Gore, for instance, is loved by some and shunned by others who look for a more cerebral horror (and of course there are those who accept it when it’s needed). Another is the concept of the slow burn film. Horror that is going for the quick thrill doesn’t do a lot of slow burn. It’s about showing the audience a terrible spectacle. The slow burn is often about the idea of creating something much deeper than mere shock or disgust. The slow burn is about the build of terror and, hopefully, a payoff of something truly terrifying, a lasting scare that seeps into the audience’s bones. That’s definitely the goal with The Lodge.

The Lodge very much plays with an idea I heard Wes Craven bring up in an interview about Scream. According to Craven, if you give the audience a good scare in the first 15 minutes, you don’t really have to scare them again until the end. The film opens with our introduction to Richard Hall (Richard Armitage) and his two children, Aiden (Jaeden Martell) and Mia (Lia McHugh). The kids are going through the “separated parents trade-off” and Richard tells his estranged wife Laura (Alicia Silverstone) that he wants to finalize the divorce because he is going to marry Grace (Riley Keough), someone he met while researching his latest book. Laura takes that news poorly; she goes home and shoots herself through the mouth.

The Dirty Half-Dozen

Film: The Ministry of Ungentlemanly Warfare
Format: DVD from DeKalb Public Library on basement television.

I’ve said before on this blog that I grew up in part on war movies. What I mean specifically is that I watched a lot of World War II movies when I was a kid along with some World War II television like Combat! with Vic Morrow. I didn’t specifically love the war aspects of those movies, but I did like the inherent sense of adventure in them. Propaganda films from the war years were cliched but I loved them, and also the more openly violent films of the 1960s and 1970s. Had something like The Ministry of Ungentlemanly Warfare been around when I was 10, it would have been one of my favorite movies.

This movie, which for convenience I’m going to call TMoUW, tells something like a true story of Operation Postmaster, undertaken shortly after the entrance of the U.S. into World War II. The problem at the time was the German U-boat command. Massive shipping losses prevented the Americans from sending troops to Europe by ship, and air travel was not at a stage where it was feasible for large troop movements. Subs needed to be shut down, but the Germans were smart enough to keep their resupply ship in neutral Spanish waters. Desperate and on the verge of surrender, Churchill (Rory Kinnear) rolled the dice on a secret mission that violated the accepted practices of war. Essentially, send in an expert, but disposable, crew and destroy the ship.

Dissociative Identities

Film: Split
Format: DVD from Sycamore Public Library on basement television.

There was a period of three or four years when I collected comics. It started when I had a couple of college roommates who were active collectors and ended about six months after I got married and needed to start saving money to buy a house. Suddenly, $30-$40 per week no longer made sense. I say this because during that time, one of my favorite series was called The Badger. It featured a superhero who also had about eight distinct personalities, one of which was a world-class martial artist who went toe-to-toe with demons, aliens, and more. I say this because it’s relevant when looking at Split from a few years ago.

I don’t know if it’s unique in movies, but Split is a sort of parallel film with Unbreakable. What I mean is that the film Glass is a direct sequel to both Unbreakable and Split. This odd trilogy is an exploration by M. Night Shyamalan (who I tend to call M. Night Shame-about-your-last-film) into the idea of superheroes and the supernatural. At least that’s what I presume it’s about; I haven’t seen Glass.