Involuntary: Swedish outing about five everyday people, that examines human behaviour. There are no ‘conventional’ shots in the film; the director opts for long and static/passive takes of legs, backs of heads or very wide group shots. It’s also book-ended by a camera stuck to an ambulance, just driving through nondescript streets. There are apparently five ‘stories’ in here, but they’re all so tedious that you’d get more entertainment from a trip to your local slaughterhouse. It’s so uninspired that it’s one of those films where the actor’s real names are also their character’s names. This is exactly the sort of ostentatious euro-drivel that gives ‘Arthouse’ a bad name. Yet this was Sweden’s 2008 Oscar entry. It’s sitting at 7.1 on IMDB, and 74 on Metacritic. WTF am I missing? Who enjoys watching films like this?
Like a sucker, I’d fallen for the oldest trick in the book: the DVD cover over-sold it. Ultra-misleading description; billed as a cringe/comedy citing Larry David/Ricky Gervais, but I didn’t smirk once. Ultra-misleading cover; four and five-star reviews, and two blonde Swedish girls with big tits (zoomed in on to be even bigger). Ultra-misleading rating; 18 rating DVD + boobs on the cover would normally mean the film has something worth watching – like a professional troll it’s only an 18 because you see a guy’s willy. This DVD can eat a platter of dicks.
Alternative Plans: After 30 mins I put it on 1.5 speed for a few mins (about ½ a scene), then 10x speeded it to the end to make sure I didn’t miss anything interesting – alas it didn’t look like I did.
Klown (aka Klovn, aka Klown: The Movie) – to prove that he’s father material an awkward and unlucky guy takes his 12-year-old nephew on a canoeing trip with his sex-obsessed friend – what could go wrong!? It’s based on a successful Danish TV show, and the style feels stuck in that format – ‘Dogme 95’ is about as close as you could describe it in cinematic terms. The story plays out like a jet-black feature-length Curb your Enthusiasm episode: lots of small details and throwaway lines coming together for cringe-tastically embarrassing ‘shouldn’t-be-laughing’ mishaps, but don’t let Curb put you off if you’re not a fan as the Danish humour is vastly different. The two-fold aspect that sets Klown apart from contemporary comedies is a phenomenal script outline that gets very dark and risqué; which is built on by two great comedians improvising and bouncing off each other. It’s more male-centric humour than you usually see, but Klown had me continually laughing out loud for the duration. If you can’t handle a finger in the bum, lots of willy talk, or the phrase ‘Tour de Pussy’ being repeated lots you probably won’t be a fan of this. Klown is a crass but surprisingly heartwarming road trip movie that blows most Hollywood output out of the water.
Father’s Day: a string of dads are being raped and killed by “The Fuchman”, so a priest travels the globe to track down the one-eyed anti-hero that can save the day. There’s dismemberment, gore, cannibalism & masturbation in the first few frames, so be under no illusions… this is exploitation smut at it’s most rotten! For the first 20 minutes, it’s not entirely obvious whether this is trying to be a serious b-movie or a comedy spoof; but as the gags start piling on it becomes clear. The film marries tongue in cheek genre humour with outlandish and graphic shocks; epitomised in a dick-biting scene which leaves little to the imagination. For a Troma-funded b-movie, it does well to capture the guerilla / ‘cult’ / independent / cheap vibe, synonymous with the brand – and for a low-budget movie, the budget is impressively stretched to infinity. It’s well-shot, but smothered in post-production Machete-esque grain and distortion which comes and goes for no particular reason. Towards the end it becomes totally absurd, the likes of which I can only really compare to some of the CKY skits from the first 4 videos, still it remains funny and entertaining. Father’s Day is a post-Machete, sub-Hobo, spoof / homage of the direct-to-video slashers of the 70s/80s, with a ton of blood and titties to keep modern audiences satisfied. While it lacks a coherent narrative, there’s a thousand ideas thrown at it, which is more than enough to save the movie, and leaves B-movie aficionados plenty like and admire.
Thor: after putting the galaxy’s’ peace at risk Thor is cast out to Earth until he learns to tone down the arrogance, and ramp up the leadership. This is one of the most eclectic mixes of a film I can remember seeing; there’s oodles of tongue-in-cheek camp, so much so that everybody seems to think they’re in an amateur stage play; there’s about 30 characters all turning it up to eleven and vying for attention – not to mention robots, goblins, gods, scientists and feds. Most annoyingly, the SFX are insanely overused – reminiscent of the first wave of GCI laden 90s films. The action scenes are also poorly done – resulting in a series of blurry smashes and explosions until there’s a body is lying on the ground / frozen in ice. The bottom line is that the tone, style and elements of Thor are so erratic, that it ends up feeling like a film that exists just to be the next comic book film. Big, bright, loud and stupid, Michael Bay would be so proud