Tag: gore

400 Words on: Primate (2026)

or, “Johannes and the Terrible, No Good,
Very Bad House Monkey Horror”:
A spoiler-free mini movie review.

1 out of 5

‘Pacing’ is certainly a thing: attributed to no one, it’s an essential part of any entertainment. Audiences won’t notice the spacetime something occupies in their lives unless they’re bored, or they totally disagree with what they’re experiencing.

As an example, halfway through Michael Haneke’s 1997 art-horror “Funny Games”, there’s a long, unbroken take assumed as decompression for its characters. That part is so slow that the first time I watched, I fast-forwarded through it.

But skipping “FG’s” depiction of grief also meant reinforcing its themes of desensitization. Once it clicked, it’s a rare movie scene where something simple blossoms within a spacial indiscipline.

On the other hand, skipping scenes in Johannes Roberts’ “Primate” won’t reveal the dark side of its audience, but it will get you to the credits faster.

[cont’d]

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400 Words on: Brawl in Cell Block 99 (2017)

or, “You Made Me Promises, Promises”:
A spoiler-free mini movie review.

5 out of 5

Filmmaker & author S. Craig Zahler’s “Brawl in Cell Block 99” is a prison-fighting thriller, with an audacious literary-esque understatement. I’ll demonstrate using Lindsay Lohan…

In 2013, at her then-nadir, Lohan & disgraced porn performer James Deen headlined Paul Schrader’s social drama “The Canyons”. Schrader is the legendary screenwriter of Scorsese’s “Taxi Driver” – but a type-A director, exemplified by Stephen Rodrick’s New York Times article on Canyons’ production.

One provocative point in Rodrick’s piece was distributors’ worries over Canyons’ slow, unmarketable first act. Directorial colleague & editing precisionist Steven Soderbergh offered to cut an alternate version himself, to what Schrader responded, “You know what [he’d] do if another director offered to cut his film?” And flipped the bird. “That’s what Soderbergh would do.”

[cont’d]

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Jay’s Quick Take: High Tension

A spoiler-free revisionist movie review.

Did you know Philippe Nahon died during COVID? Too bad. “High Tension” from 2003 is one of the original entries in the New French Extremity movement, and its reputation therein would not be as solidified weren’t it for the committed turn by the late Mr. Nahon. It made me check his IMDB page to see if there were any other movies of his I was missing out on, only to find the ones I knew were what I expected to be his highlights: his early Gaspar Noé contributions and “Calvaire”. Hey, if I was a professional actor, I’d probably be satiated with the kind of marquee Nahon got from this and “I Stand Alone” – inevitable typecasting aside. Some people like playing the villain, and some were born to play villains. Nahon falls squarely into the second category, and his methodical killer at the heart of director Alexandre Aja’s first feature (who went on to make the “Hills Have Eyes” & “Piranha” remakes) rescues what is unfortunately a very opuscule “college girls trapped at a secluded location while being hunted for unknown reasons” genre ride.

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