TRAILER THURSDAY!

How about some hardgore spaghetti western mayhem for your Thursday?! Here is the trailer for 1975′s Four of the Apocalypse, directed by Lucio Fulci.

four of the apocalypse poster

Oculus (2014)

Oculus #1

by Steve Habrat

In 2009, Hollywood revived the supernatural horror film with Paranormal Activity, the “found footage” hit that spawned four lucrative sequels. While the Paranormal Activity series has rapidly descended into a bloated cash grab, the upside is that it shifted America’s attention away from the torture porn craze and the disastrous Saw franchise. Since 2009, the ghostly scares of Paranormal Activity have drifted into other, better horror movies that have scared the pants off moviegoers, and audiences just haven’t been able to get enough. Most recently, the biggest hit has been last summer’s The Conjuring, the retro haunted house blockbuster that turned out to be one of the spookiest horror movies of recent memory. Now, less than a year after The Conjuring haunted movie theaters, comes director Mike Flanagan’s Oculus, a micro-budgeted effort that boasts a clever script, careful pacing, and some hair-raising moments of terror that don’t rely on loud blasts of music to send you to the ceiling. While some impatient viewers may find the mind-bending Oculus way too slow for their instant gratification taste, the snail’s-pace at which the film moves really mounts the tension and allows the filmmakers to play with the viewer’s mind.

Oculus begins in the present day, with twenty-one year old Tim Russell (played by Brenton Thwaites) being released from a mental institution after serving eleven years for the murder of his father, Alan (played by Rory Cochrane), after he witnessed him murder his mother, Marie (played by Katee Sackhoff) and attempt to kill his older sister. Simultaneously, Tim’s older sister, Kayie Russell (played by Karen Gillan), has been tracking down an ominous mirror that had once hung in their father’s home office, and that is believed to have caused a string of bizarre mental breakdowns and deaths everywhere it has hung. Desperate to prove that Tim was innocent of the murder, Kaylie devises an experiment to prove to the authorities that their father didn’t just snap—that there are supernatural forces that emerge from the mirror and drive anyone nearby out of their mind. Reluctantly receiving help from Tim, Kaylie begins trying to prove her theory about the mirror and the murder, but the supernatural forces appear to be laying dormant, at least at first. As the night goes on, reality begins to distort, ghostly apparitions appear, secrets from that horrific night are uncovered, and the sibling’s sanity is pushed to the breaking point.

Much like The Conjuring, Oculus is far from a lazy horror film. It doesn’t simply rely on loud noises or fake-out scares to get a jump from the audience. (There isn’t one loud bang or deafening musical cue to be found.) It has faith in its visual scares, which range from roaming apparitions with eyes like mirrors to more standard gore fare like ripped out fingernails, oozing C-section scars, and one character accidentally biting into a light bulb rather than the apple that they were previously snacking on. Nearly all of it nabs the groans that it is out to elicit, especially every single scene involving some sort of fingernail mutilation. (Flanagan must have a thing for it much like Italian horror director Lucio Fulci had a fetish for eye mutilation.) While the visual scares do have spunk, the distorted realities and unraveling mysteries that make up the center of Oculus are what really have the audience gripping their armrests. Flanagan masterfully flits between past and present, allowing the events of both to mesh together to the point where the audience isn’t sure what are the mirror’s demonic tricks and what is reality. What makes it even more nerve-racking is the fact that it remains strictly in the confines of Russell home. There is nowhere to run except up the stairs, and there is nowhere to hide except for the bathroom or the closet.

Oculus #2

While the slow pace is sure to bore the pre-teens in the back row, where the yawns really stem from are the lifeless performances from our leads. Gillan’s Kaylie hurries around with wide eyes and muttering cryptic remarks to her husband about how everything will be all right once she confronts this mirror. Things improve slightly with Thwaites, who tries to rationalize the events that took place eleven years earlier, but he largely disappears into the sea of new up-and-coming actors all looking to be the next Taylor Lautner—who he shares a mild resemblance with—or Robert Pattinson. Together, Gillan and Thwaites are a ball of forced trauma, as they carry out rehearsed bickering over the mirror and it’s rumored supernatural powers. To make things worse on the two leads, they manage to be overshadowed by the younger versions of themselves, portrayed strongly by Garrett Ryan and Annalise Basso. Then there is Rory Cochrane’s terrifying turn as Alan, the sibling’s deranged, cherubic-faced father who wanders around the home aiming a pistol and warning the children, “I have seen my demons and they are many. I have seen the devil and he is me.” He’s an overwhelmingly dark and erratic presence as the mirror’s spirits guide him around the shadows and seduce him into evil. Rounding out the main cast is Sackhoff’s Marie, the distraught mother who is convinced that Alan is having an affair and who predictably drowns her sorrows in bottle after bottle of wine. Her performance does have some bite (despite her missing teeth) when she endures Alan’s torture, which includes chains and a broken plate.

What ultimately sets Oculus apart from a good majority of horror movies today is the way it resists the temptation to constantly pay homage to classic supernatural horror movies that came before it. It’s not bogged down by tips of the hat, which usually tickle those in the audience with extensive knowledge of the horror genre. (I confess to be one of these individuals that is charmed by a sly homage or geeky reference.) This reluctance to constantly pay tribute allows the flow of the film to remain uninterrupted and leaves Oculus feeling strangely refreshing in a genre that thrives on name familiarity. The film also excites through its brainy script, co-written by Flanagan and Jeff Howard, who really understand that confusion and disorientation can really up the tension levels. It’s a constant guessing game with Oculus, and it becomes increasingly absorbing as it unfolds. Where Flanagan and Howard go wrong—and you have to wonder if there wasn’t studio pressure here—is with the climax of the film. It leaves the door wide open for a sequel, and it hints that the studios are crossing their fingers for another cash cow series that will make money on (*gulp) name familiarity. Overall, it’s plagued by a handful of flaws and it may not be quite as scary or entertaining as James Wan’s The Conjuring, but Oculus is still a shrewd little horror movie that suggests that director Mike Flanagan is a talent to keep an eye on.

Grade: B

TRAILER TUESDAY!

“He who holds them can rule the WORLD!” Here is the chaotic trailer for 1974′s Golden Needles, directed by Robert Clouse.

Golden Needles Poster

TRAILER TUESDAY!

Can YOU mix humor and horror?! If so, then check out the cheesy trailer for 1957′s Invasion of the Saucer Men, directed by Edward L. Cahn.

invasion of the saucer men poster

Captain America: The Winter Soldier (2014)

Captain America-The Winter Soldier #1

by Steve Habrat

Last summer, Marvel Studios kicked off Phase 2 of their cinematic universe with Iron Man 3, a film that featured a marketing campaign that hinted that this new set of superhero films would embrace a darker tone. Unfortunately, many were left disappointed, as Iron Man 3 quickly succumbed to the creeping sarcasm and carefree antics that Tony Stark had become known for. The hope for some darker action carried over to November’s Thor: The Dark World, which suggested that things might be getting grittier for the Norse god, but once again the audience got more of Marvel’s winking escapism. To make things worse, Iron Man 3 and Thor: The Dark World implied that Marvel might be producing these films a little too quickly, as they were far from the superhero factory’s best efforts. Somebody should tell Stan Lee that even superheroes need some time off. Now, right on the cusp of the summer movie season, audiences are given the chance to catch up with super soldier Steve Rogers in Captain America: The Winter Solider, which easily ranks as the best solo-Avengers outing yet. Under the direction of Joe and Anthony Russo, Captain America: The Winter Soldier finds Marvel getting in touch with their dark side, and opting for a much more plot-driven approach that caters more to adults than to the pint-sized viewer. The result is a heart-pounding political thriller that gives Joss Whedon’s The Avengers a run for its money as the best superhero film from Marvel Studios.

Two years after the battle for New York City, Steve Rogers aka Captain America (played by Chris Evans) has been living in Washington D.C., where he has been attempting to adjust to modern day life and taking on various missions for intelligence agency S.H.E.I.L.D. One day, Rogers is approached by S.H.E.I.L.D. director Nick Fury (played by Samuel L. Jackson) about leading a rescue mission to help save a S.H.E.I.L.D. ship from a band of vicious Algerian pirates. The rescue mission seems to go as planned, but Rogers is enraged to learn that fellow S.H.E.I.L.D. agent Natasha Romanoff aka The Black Widow (played by Scarlett Johansson) nearly compromised the rescue attempt by stopping to collect classified data from the ship’s computer for Fury. Upon returning to Washington D.C., Fury briefs Rogers on Project Insight, which involves three massive gunships that are able to neutralize dangerous threats before they even happen. Rogers is less the pleased to learn about S.H.E.I.L.D.’s new defensive program, but things get worse after Fury is attacked and nearly killed by a mysterious assassin known only as The Winter Soldier (played by Sebastian Stan). With orders from Fury to not trust anyone at S.H.E.I.L.D., including their senior leader, Alexander Pierce (played by Robert Redford), Rogers enlists the help of Romanoff and newly befriended war hero Sam Wilson aka Falcon (played by Anthony Mackie) to help him uncover S.H.E.I.L.D.’s dirty secrets—secrets that could threaten the lives of millions of innocent American citizens.

Unlike usual Marvel fare, Captain America: The Winter Soldier doesn’t focus all of its energy on the CGI battles, explosions, fistfights, showdowns, and whatever else gets the audience’s adrenaline pumping. Sure, there is no shortage of action to be found in The Winter Solider—that I can assure you—but what we have here is something that gets more mileage out of the complex plot and meaty character development. Credit this welcome shift to Christopher Markus and Stephen McFeely, who provide a screenplay that reaches back to Cap’s pulpy WWII origins while never forgetting to develop the modern characters that, up until now, have gotten by on name recognition alone from diehard Marvel Universe fanboys. Sure, we knew a bit about Johansson’s The Black Widow thanks to Whendon’s work in The Avengers, but she still acted as more of a pretty face and a fit body filling out a skin-tight jumpsuit than a properly developed member of the eccentric fighting force. She was simply riding a wave of voluptuous sex appeal before this entry came along. And then there is Jackson’s Nick Fury, another member that has acted as the one-dimensional link between Iron Man, Thor, Hulk, and Captain America. Here, we finally get a bit of backstory on the trench coat-clad S.H.E.I.L.D. director, and we are even given a chance to peak behind the famous eye patch.

Captain America-The Winter Solider 2

As far as the character of Steve Rogers aka Captain America goes, he’s still a good deal of fun as he tries to bring himself up to our modern times. In between working his way through his list of music to listen to, movies to see, and various other fun facts to brush up on, he wrestles with the post-9/11 world in which we now live. No longer do our enemies wear uniforms or clearly identify themselves. Instead, they lurk in plain sight, acting as an ally before dealing a cataclysmic and calculated blow. Even more perplexing to the Cap is the way S.H.E.I.L.D. now plans on dealing with these emerging threats—neutralizing them before they even occur. “I thought the punishment came after the crime?,” he asks. If only things were that easy! It’s a mature thrill to watch Cap pull back the layers of filth and corruption around him, and it’s an even bigger thrill to hear him remind us that sometimes you need a bit of old fashioned to combat these new threats. And then there is Mackie’s Wilson aka Falcon, a courageous war hero who is willing to stand proudly next to the Cap, no matter how dangerous the situation may be. He may not have the abilities that Rogers has, but when he straps on that wicked jet pack and flies into battle with barely any armor to protect him from the bullets and bombs exploding around him, you want to stand up and cheer.

The most surprising presence in Captain America: The Winter Soldier is none other than Robert Redford as Alexander Pierce, the tough-talking head of S.H.E.I.L.D. It’s best not to reveal too terribly much about his character, but his inclusion here makes the ‘70’s political thriller echoes ring just a little bit louder than they already do. It’s a welcome surprise to see Redford jumping into the realm of escapism, and he seems to be thoroughly enjoying every single second of his role. Probably the most hit-or-miss character here is none other than The Winter Solider, the mysterious bad guy with a buzzing metal arm and dark hair hanging in his face. For those who are only familiar with Captain America through his rollicking cinematic adventures, I won’t ruin the big reveal about his character, but what I will tell you is that his character’s full potential is never fully reached. He’s certainly a formidable villain as he jumps, kicks, and shoots at the Cap and his sidekicks, but we just don’t get enough of the powerful assassin. His relegation to a secondary foe is a bit of a letdown, but rest assured that there is plenty of emotional weight behind his fiery final showdown with Rogers.

With all of these juicy characters and the riveting plot taking center stage in The Winter Soldier, we almost forget to stop and admire all the gritty action that explodes with hair-raising strength. This time around, we get a nifty, Captain Phillips-esque hostage situation that lashes out with brutal fury as the Cap and his team execute strategic moves to diffuse the situation. There is also my personal favorite, the highway gun battle centerpiece, a sequence that roars with danger and destruction as cars explode, Gatling guns spin to life, and the Cap has his first up-close-and-personal encounter with The Winter Soldier. And then there is the colossal aerial finale that boasts tumbling gunships, even more gunfights, breathtaking fistfights, and a heaping pile of destruction. Trust me, folks, it’s an absolute doozy that leaves you gasping for air. Overall, Captain America: The Winter Soldier marks a new high for Marvel Studios. It’s a brainy superhero adventure that doesn’t even dream of skimping on expert storytelling, captivating character development, or high-stakes action. It’s downright impossible to walk away without wanting more of Captain America.

Grade: A

TRAILER THURSDAY!

“When there is no more room in hell, the dead will walk the earth…” Today’s trailer is for the 1978 horror classic Dawn of the Dead, directed by George A. Romero.

Dawn of the Dead 1978 movie poster

Noah (2014)

Noah

by Steve Habrat

In 2010, director Darren Aronofsky became a household name with the success of his sexually charged thriller Black Swan. After years of enjoying a devoted cult following with films like Pi, Requiem for a Dream, and The Fountain, the filmmaker finally broke through into the mainstream with his steamy tale of a delicate ballerina slowly slipping into pitch-black insanity. Earning universal critical acclaim and snagging several Academy Award nominations, audiences were curious to see what all the fuss was about—and eager to catch a glimpse of Natalie Portman and Mila Kunis swapping some spit. After almost four years of waiting, Aronofsky returns to the local Regal Cinemas with Noah, an epic and controversial reimagining of the Old Testament’s beloved tale, Noah’s Ark. Obliging the overwhelming demand for darker and grittier blockbusters, Aronofsky proves that he can indeed hold his own in the popcorn arena without totally turning his back on his art-house past. Truth be told, Noah has a colossal visual scope that is never short of spectacular. It’s immensely stylish, with a number of talented thespians nailing their respective roles. With Noah, Aronofsky cooks up a unique blockbuster formula that borrows a bit from his trippy mindbender The Fountain, but a bloated runtime and an uneven second half finds this beaut taking on some water.

Noah begins by explaining that the once beautiful Earth has slowly been polluted by cities built by the ruthless king Tubal-Cain (played by Ray Winstone). One day, a young Noah is about to receive the precious snakeskin shed by the serpent in the Garden of Eden from his father, Lamech, when Tubal-Cain and his forces interrupt them. Determined to take the hill for himself, Tubal-Cain kills Lamech, steals the snakeskin, and takes the new slice of land. Noah narrowly escapes the encounter, feeling into the rocky wasteland before him. Many years later, Noah (played by Russell Crowe) and his sons, Shem (played by Douglas Booth), Ham (played by Logan Lerman), and Japheth (played by Leo McHugh Carroll), are scavenging the wasteland for anything they may be able to use when they witness a drop of water hit the ground and a small flower instantly sprout from the scorched soil. Later that night, Noah has a vision of humanity being wiped out by a massive flood sent by the Creator. Confiding in his wife, Naameh (played by Jennifer Connelly), the family sets out on a journey to speak with Methuselah (played by Anthony Hopkins) about the bizarre vision. Along their journey, the family rescues a severely wounded young girl named Ila (played by Emma Watson), who was left to die in the wasteland. Relentlessly hunted by Tubal-Cain’s forces, the family receives help from a group of rock-like monsters called The Watchers, which are actually fallen angles who took the rock form after landing on the polluted soils of Earth. After experiencing another vision and receiving a seed from the Garden of Eden, Noah realizes that he has been chosen by the Creator to build an ark and save the animals of Earth from the great flood.

In this new era of the dark and gritty blockbuster, Aronofsky’s Noah isn’t handled any differently. It’s got its fair share of shaky camera work, gritty violence, and smudged grime smeared all over the faces of each and every character. This approach gives the story of Noah’s Ark a realistic feel, even when the fantasy action spirals its way out of the gunky layers of mud and blood. We’re treated to cosmic visions of the Garden of Eden, a twinkling universe made from infinite darkness, a starry heaven peeking through the heavy clouds that blanket the cancerous Earth, and The Watchers, the rock-monsters that look like they lumbered forth from the imagination of the late monster-kingpin Ray Harryhausen. There is clear inspiration drawn from The Fountain, especially the futuristic space travel and the Spanish conquistador storylines that bookended the modern day content. And in typical Aronofsky tradition, each and every moment is made gloriously dramatic with the aid of Clint Mansell’s typically grand strings. Mansell frequently collaborates with Aronofsky, providing raw violins and slamming orchestral cues to give even the smallest scenes a towering and emotionally charged power. If I were to guess, their past collaborations on Pi, Requiem for a Dream, The Fountain, and Black Swan were just warm-ups for this epic.

Noah

From its opening frames until the battle between The Watchers and Tubal-Cain’s forces for the ark, Noah is a singular and sweeping achievement—a blockbuster from a man who has never really dabbled in filmmaking on a scale such as this. While he borrows a bit from The Fountain and finds fantasy inspiration in other period epics such as Lord of the Rings, Noah is still alive with Aronofsky’s art-house spirit. It’s refined, even when stampedes of CGI critters fly, stomp, slither, and gallop into the bowels of Noah’s ark. Most eye-popping is the massive battle set in the blinding rainstorm pouring down from the heavens. The action is crystal clear and tremendously meticulous as The Watchers clash with the darker forces that hunger for shelter inside the mud-and-stick fortress. It truly makes you wonder what Aronofsky could do with other blockbusters, specifically those in the sci-fi or comic book realm. (It was rumored that he wanted to direct a Batman film, and for a while he was attached to the RoboCop reboot that was released earlier this year.) However, it’s the second act of Noah that really starts to show signs of fatigue, as the action retreats to the inside of the ark. From here, Noah evolves into a bit of a bore as CGI waves crash and Noah’s sanity starts to slip. There’s an unexpected pregnancy that Noah believes is a curse, the presence of an evil character that should have probably perished in the battle for the ark, and a tug of war for the soul of one of Noah’s sons. It’s intermittently interesting and tense, but it’s way too choppy and ends up bringing the brisk pacing to a screeching halt.

On another positive note, Noah is teeming with gripping performances, specifically from Mr. Russell Crowe. As always, Crowe brings an intensity that is unmatched, playing Noah as a conflicted soul who believes that nothing should stand in the way of the Creator’s plan. Even if it is a bit silly when Noah is sulking around the ark and threatening to kill a child, Crowe manages to inject a bit of sympathetic menace into the role. Connelly, meanwhile, is elegantly poised in the role of Noah’s fiercely loyal wife, but her love is tested when the family bobs along in the flood. There are echoes of an Oscar in one emotional standoff, as she sobs at Noah’s horrifying and heartless decision to strike down a miracle. Winstone is lip-smacking evil as Tubal-Cain, the mangy king that growls through blood bits of reptile about man taking control of the world around him. Harry Potter’s Emma Watson continues to prove herself as a young talent to watch as Ila, the adopted daughter of Noah who has caught the attention of Shem. Anthony Hopkins turns up in the small role of Methuselah, Noah’s senile grandfather who craves a handful of sweet berries and is able to work incredible miracles. Rounding out the main cast is Logan Lerman as Ham, Noah’s impossibly difficult son who demands a wife and walks a tightrope between good and evil.

Considering that Noah is drawn from the Old Testament, you’re probably wondering if the film becomes overbearingly religious or preachy. Aronofsky chooses to focus on the barbaric nature of man, sometimes graphically so. He warns us that we should be respectful of our fellow man, and that we should treat the world around us with affectionate respect—a fiercely relevant and somewhat simple message in a time when climate change is a hot topic of debate and mankind grows increasingly savage, self-centered, and cruel. Overall, as a daring slice of biblical escapism, Noah packs plenty of awe-inspiring moments that are sure to pack a movie house. Its deafening action practically shakes the seats from the screws holding them to the floor, and it’s emotional surges crash down upon the heads of the audience like tidal waves. It can be disturbing, eerie, intimate, delicate, and dreamy, all wrapped up with Aronofsky’s unmistakable cosmic visions. However dazzling Noah may be, a slimmed down runtime and a reworked second half would have kept this mighty vessel afloat.

Grade: B

TRAILER TUESDAY!

“With the swiftness of a deadly cosmic ray, the Earth is invaded by indestructible Moon monsters!” Here is the trailer for the goofy 1953 sci-fi cheesefest Robot Monster, directed by Phil Tucker.

robot_monster_poster_02 (1)

The Swimmer (1968)

The Swimmer #1

by Steve Habrat

At a quick glance, director Frank Perry’s surreal 1968 drama The Swimmer doesn’t jump out at you as a cult classic. When you watch the trailer, it swells with emotion as star Burt Lancaster proudly proclaims that he is going to swim home across a number of swimming pools that dot his scenic, upper class Connecticut suburb. Melodramatic music takes the wheel as the handsome Lancaster flirts with a number of beautiful socialite women, races a horse, and yellow on-screen text asks, “When you talk about The Swimmer, will you talk about yourself?” On the surface, it doesn’t seem like the type of film that would fit into the cult classic mold—a mold that was constructed over time by B-movie cheapies, ultra-violent midnight movies, grindhouse filler, and quirky failures. In all honesty, it seems like the type of movie your mother would love. However, when you dive deep into The Swimmer, you realize that the film, which was based upon a shot story by John Cheever, is a haunting tragedy dressed up in studio-drama garb. Led by an unforgettable performance by Lancaster, this overlooked gem is a film unlike any other—a strange, moody experience that slowly evolves from a sunny daydream into a stormy nightmare.

The Swimmer introduces us to Ned Merrill (played by Burt Lancaster), a charismatic and seemingly well-off advertising executive who unexpectedly appears in an old friend’s manicured back yard. Wearing nothing but a pair of navy blue swimming trunks, Ned is met with handshakes, smiles, and warm welcomes from all sitting around the pool. While peering out across the backyard, Ned realizes that there is a river of swimming pools that lead right to his own home, and he is suddenly compelled to swim the entire way home. Dubbing the river of swimming pools the “Lucinda River” after his often-mentioned but never-seen wife, Ned embarks on a journey that takes him to the homes of several old friends and acquaintances, all of which react to Ned’s sudden appearance in drastically different manners. Upon his journey, he reconnects with a young babysitter, Julie Ann Hooper (played by Janet Langard), who had developed a crush on Ned while watching his daughters, and Shirley Abbott (played by Janice Rule), a cold stage actress whom Ned had shared a brief fling with. Yet as Ned gets closer and closer to home, he realizes that several of his relationships and his lavish lifestyle may not be as sunny as they appear.

Early on, very little is overly strange or surreal about The Swimmer, the only peculiar things being Ned’s sudden appearance and his reluctance to reveal what he has recently been up to. He masks this unwillingness to speak about the present by offering up suave charms that tickle his old friends nursing hangovers by the pool. Upon getting the idea to swim home to his family, The Swimmer becomes increasingly moody, constantly bouncing between warm, sunny, charming, romantic, uncomfortable, psychedelic, and spontaneous before cowering down underneath gathering storm clouds in the final half hour. This constant shift in tone makes The Swimmer an incredibly unpredictable drama, as old friends and acquaintances welcome Ned with increasingly mixed reactions. Some people are icy and instantly order Ned off their property, while others are a bit uneasy with him dropping by. One encounter is fairly romantic, but it ends in squirm inducing rejection that leaves an emotionally wounded Ned limping off towards his next pool to dive into. One of the most stinging encounters comes when Ned meets up with Shirley Abbott, a woman Ned had a fling with many years earlier. Where once Ned’s playful flirtations were met with giggles and smiles, now they are met with put downs and the admittance that Shirley never enjoyed her intimate moments with Ned. Watching Shirley kill off what’s left of Ned’s cool optimism is immensely painful, ending with a venomous sting that leaves our bathing suit clad protagonist shivering in the dying sun. (This emotional encounter with Janice was actually ghost directed by newcomer Sydney Pollack.)

The Swimmer #2

Aiding with The Swimmer’s shattering power is Burt Lancaster, who gives a mesmeric performance as Ned, the mystifying advertising executive on a mission to swim his way home. While Eleanor Perry’s script almost paints Ned as an apparition who just suddenly materializes from the nearby woods, Lancaster really pivots around all the emotions like the graceful professional that he was, using his massively expressive, baby-blue eyes to really emit Ned’s early wonder and his final soul-shaking trauma. He also draws from his career as an acrobat, leaping, jumping, and playing with Julie in a horse pen like a couple of invincible school children who believe they are capable of anything and everything. And then there are the small touches, especially near the end when Ned is growing weary on his journey. His face is drooping into exhaustion and emotional defeat as he begs his way in to a public pool and limps his way through the rusted gate that guards his mansion. In the supporting roles, Langard’s Julie is a young, naïve sunbeam who has yet to experience the sadness and disappointment that Ned has encountered. She rambles on about silly school girl crushes that she hid just years before, and sheepishly admits that she stole one of Ned’s shirts one evening while she babysat his daughters. Janice Rule’s Shirley is like a viper lying out in the sun, one that Ned tramples on with his bare feet and ends up with her venom pumping into his exposed ankles.

Since The Swimmer offers very little about Ned’s background, the viewer is left to piece together his rocky past through his swim across the “Lucinda River.” As far as one can tell, life started out great for Ned—a man with a great career, a loving family, a slew of friends, and a lavish lifestyle in the sun. Behind his wife’s back, he carried out flings and affairs that ended with broken hearts, and he wronged several of his friends, leaving them seething with bitter hatred. As relationships fizzled, so did Ned’s lavish lifestyle, as money problems struck the Merrill household, his daughters ran rampant through the neighborhood, and his wife’s elitist personality left many acquaintances sour. This all added up to tragedy and ruin for the swimmer, as he crawls his way through an early fall thunderstorm for a place to rest his aching bones. As far as the technical aspects of The Swimmer go, the film’s cinematography looks beautiful and radiant, and the score from Marvin Hamlisch is a rush of melodramatic strings that compliment Ned’s successes and failures in suburbia. Overall, The Swimmer is a unique work of art that can be interpreted many different ways. No matter how you choose to look at it, Perry’s film will haunt every inch of your brain long after you’ve walked away from it. It’s a true one-of-a-kind masterpiece.

Grade: A+

The Swimmer is available on Blu-ray and DVD.

TRAILER THURSDAY!

This one speaks for itself! Today’s trailer is for the surreal and ultra-violent 1981 cult classic The Beyond, directed by Lucio Fulci.

thebeyondposter

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