Showing posts with label scream 4. Show all posts
Showing posts with label scream 4. Show all posts

Friday, October 25, 2019

everyone loves a list

Decades are weird, man. 

I remember sitting in front of my little 12inch TV in my bedroom in Gloucester, MA when 1989 turned into 1990.  These were dark days.  I was in catholic school at the time, so I was miserable.  Bullied and fat.


When I wasn't playing Goonies 2 ad nauseam on my NES, this was the period in which I finally saw The Exorcist and I was absolutely terrified that I was going to be possessed.   How fun!  Now I don't feel anything.


Time speeds up the older we get.
When I started this blog in '09, I didn't think I'd still be alive in '19, let alone that I would have established a stupid precedent by making a "best of" list for a decade when all art is subjective and anything that moves you is already the best.

That said, who am I to buck with tradition?


This has been a transitional decade in horror because we're living through a transitional moment in history.  From the It Follows to Midsommar, independent horror became the commercial aesthetic.  There were great things in flop movies (I like the boyfriend makeup in Warm Bodies) and there were movies that changed the world (Get Out).

From World War Z to Us, looking back on the past decade in film, the moments that stuck with me were the ones where I had significant experiences seeing them theatrically.  Each of the films below stand out as crystalline memories - these are movies that made me excited about movies.

5.
Black Swan (2010)


When I was little, I wanted to be a ballet dancer more than anything in the world but momma wouldn't let me take class because it was "faggy" (I grew up in Boston).  Never one to take "no" for an answer, I'd follow my neighbor's little sister to her ballet classes and I'd sit in the hallway outside and watch the other kids perform while I drank grape juice and fantasized about my life as a tall and genetically-fit ballet star with a Manhattan loft, a sensible eating disorder, and fastidious boyfriend who wasn't in the arts, but was a patron of the arts.


My obsession with ballet followed me when I went off to do musicals.  By high school, I had a couple jobs and I'd use that money to take dance classes (in spite of my mother) until I finally got gay-bashed and shoved on the train tracks after class one night.  Turns out Mom wasn't the only one who thought dancing was "faggy."


Anyway,  this is what came flooding back to me when I watched Black Swan.
I remember seeing this at the Landmark and being so gutted by the end that I actually couldn't move from my seat throughout the credits.  I sat there and cried like a crazy person when the lights came back up.  That had never happened before.


Ballet is like the art world in that movies never get it right and Black Swan is certainly no exception.  But a horror movie version of Center Stage starring Natalie Portman and Hillary Whitney from Beaches wasting a perfectly good strawberry cake?  Masterpiece.


4.


3.
Crimson Peak (2015)


"The horror was for love...it makes monsters of us all."


I saw this movie about four months after it came out on a date with a really cute boy at the New Beverly after about two skinny margaritas.  It was magic.


The closest thing we have in modern times to Hammer Horror and the old Universal monster movies, at its best, Crimson Peak mirrors the aesthetic of late 70s/early 80s glow in the dark monster action figures.  In fact, no horror movie in recent memory makes me want action figure play-sets more.
I can think of no higher compliment.


A horror movie where the women have all the power and the men are all fukboiz?  We love to see it!



2.
Hereditary (2018)


"Who's going to take care of me... when you die?"


I grew up with a mom who had borderline personality disorder who later killed herself.
This movie is a documentary.



1.
Prometheus (2012)


God is dead.

Long live God.

Monday, April 18, 2011

how meta can you get?

"What am I supposed to go to college?  Grad school?  Work!?"

Scream 4 (2011).

The good.


This movie is good.

The bad.


Nothing in the movie is bad.  Well nothing except for the god-awful presence of that dippy girl from the Friday Night Lights show who needs to stop being in movies.  Full stop.


The Exquisite.
(minor spoilers ahead)


Going in, I think we all had our theories as to how a new Scream trilogy could be relevant today. Obviously Sydney would have to die in the opening. Obviously Sydney would wind up being the killer, vanquished only by Gail Weathers in a stab off leaving a whole cast of doe-eyed teens to carry on the legend of Ghostface.  I’m happy to report back that we were dead wrong. Scream 4 is better than any of us could have imagined.  Williamson does, in fact, know best.

While the original Scream loved its teenage protagonists, Scream 4 stabs into them with Chayeskian zeal.  This movie is rock'n roll, spitting in the face of an entire generation who have defiantly rejected narrative storytelling.  Scream 4 loathes the A.D.D. culture engendered by a twenty-four hour news cycle.  Scream 4 hates Taylor Lautner, and the Jersey Shore.  Scream 4 does not want you to leave your iphone on the dinner table - it's rude.  Scream 4 is lashing out at tweens who just expect fame and fortune because they see it on television, gutting Rebecca Black like a school of carp in its wake. 

In this arid climate where theatrically released, big budget horror movies are ostensibly dead, Scream 4 is everything - a long lost postcard from the nineties sent to remind us that things used to be really good.  Believe it or not, it's been nearly fifteen years since a celebrity was famous for actually having some modicum of talent. In an America that is trying to pass off Donald "Rosie is a fat pig" Trump as a serious political contender, Scream 4 is mad as hell and it's not going to take it anymore.  While I hate to draw lines in the sand like that dreadful Tea Party (that doesn't help anyone), if you can't at least appreciate this film for its pinsharp social commentary then you are no longer invited to my Sunday brunches. 



There are gay characters, sure.  More importantly, though, Scream 4 is post-gay movie. We homos don't have to live in subtext anymore - being gay doesn't make you the psychopathic serial killer it did in 1996. Gays and straights coexist and can even band together to get through the night. We’ve come a long way, baby. Listen - just because we don’t have to live in the shadows or act out in shame, that doesn’t mean that Scream 4 isn’t a gay movie. Trust me, there were more queens packed into the Acrlight Cinedome last Friday than at the Elton John's Baby Shower. People dressed up like Drew Barrymore, people brought their dogs – it was like gay Christmas!

"Don't fuck with the original."

If we gays love one thing, it’s a strong female protagonist and Scream 4 delivers them in abundance. Aside from Hayden Pantypants and her fabulous haircut, this is the film where Sidney Prescott officially surpasses Laurie Strode as the Queen of franchise horror. Neve Campbell is remarkably tuned in. While she clearly could have given a shit about Scream 2 or Scream 3, in this go around she is serving us Final Girl 2.0. Sydney has become a hero, someone who can go head to head with the object of her dread and maybe even come out ahead. Her return to the small town that made her is electric. This movie is fresh, it's funny, and it reminded me why I used to be scared to use movie theatre restrooms. 


Alas, Scream 4 was a flop at the box office this weekend  - proving once and for all that people don't want ideas or compelling characters with climactic denoument in their movies.  They want bunnies who poop jelly beans.   So, if you haven't already, go and see Scream 4 and then go and see it again. Do it for our country, dolls.  Don't let the terrorists win.

xoxo