Weekly Roundup DVD Reviews: “Hungry Hearts” and “Kurt Cobain: Montage of Heck” (6/8-6-12)


This was yet another film much like the “Seven Five” documentary that piqued my interest mainly because of the comparisons in which it compared itself to as read by the poster’s tagline. “Reminiscent of Hitchcock and the earlier works of Roman Polanski”. Which is a bit of a dubious endorsement indeed, but one in which I found myself drawn to. Anyone that knows me well enough knows that I think of both Hitch’s films of the 1960’s – “Psycho” (1960) and “The Birds” (1963) and Polanski’s 1-2 punch of both “Repulsion” (1965) and “Rosemary’s Baby” (1968) to be the “birth” of American horror (as was George A Romero’s original “Night of the Living Dead”) (1968). So with that in mind I thought if this one lived up to half of the hype that it showed the potential to be, even despite its mostly less than favorable reviews, I almost considered it something just based on that alone to warrant my seeing it.

The film is a “meta-exercise” revolving around Adam Driver’s character falling in love with an actress who I was previously unfamiliar with prior to seeing this film, Alba Rohrwacher, who is really the star of the film even in spite of Driver’s great performance. It’s essentially a piece about mental illness and how the birth of a child’s couple can separate themselves from one another as each seems to have his or her own’s agenda of how it should be raised, in what starts off as a marriage that shows great promise which inevitably unfolds into two people who couldn’t be more different as told through their raising on the child, to a sort of cosmopolitan pseudo-horror film about the natures of inner fears and anxieties that drew a lot of comparisons, at least for me, to the two Polanski films mentioned above. Ti West used a similar structure beautifully in 2009’s “House of the Devil”. And while this film drew many comparisons, particularly to that and especially Polanski’s “Rosemary’s Baby”, I found it to be unique enough and singular to separate itself from those films. The story and direction by newcomer Italian director Saverio Costanzo should please film buffs and fans of earlier, more psychological horror, more than their contemporary counterparts. It’s greatest strong point (like the early Polanski films) depicting what it’s like to live in a big city (NYC) but one in which a very isolated world or bubble is created in which to protect your children (or in this case child) from. Driver, whom I was mostly unfamiliar despite his work in the past two Noah Baumbach performances puts in a rather performance here as a man on the verge of hysteria as he falls in and out of love with his wife (another great performance by newcomer Rohrwacher), in a film that probably was mostly misunderstood by critics, as it’s a nice companion piece to the psychological family horror films of old. Despite some low production value issues and choppy editing, along with a questionably predictable ending, this is one that’s definitely worth checking out even despite these relatively minor criticisms & somewhat jarring shifts in narrative tone. [soft B]

My second viewing of the week was the highly anticipated “rock-doc” about the life and work of Kurt Cobain – “Montage of Heck”. Admittedly I’ve seen just about every documentary, live concert, or stock interview footage of the late artist up to this point. However, seeing in that it was made and produced by HBO Documentaries and promoted itself as being the quitessential documentary on Cobain. An artist whose work, like legions of fans around the world, I deeply admire. As mentioned in the title of this piece, Kurt Cobain was without question Generation X’s version of John Lennon. Many people don’t realize this but Nirvana was the most successful band in the history of American music. And Cobain was their spokesperson. So to do a comprehensive documentary on an artist of his caliber must have been a daunting task to say the least. Especially considering how the media played such an integral role in how he was viewed and represented in the eyes of the public. So going into it I was a bit apprehensive and skeptical that they could possibly do justice to an artist whose like and work was and has been shrouded in such misrepresentation.

The documentary starts off strong presenting us with Cobain’s childhood in the small town of Aberdeen, Washington. Through a series of interviews we find out quite a bit about his biological mother and father, both of whom I hadn’t really seen speak much of if anything at all about their son Kurt until this film. It does a nice job explaining how his mostly nice upbringing was shattered by his parents’ divorce, and how he never really recuperated from that part of his life. It then quickly skims (one of my critiques of the piece – they show his despair of being a teenager – an outcast if you will, most likely because of family problems, to his jump 5 years later being a guitarist for Nirvana when they were first starting out. I would have liked to have seen more footage from family and close ones who were around for that period about how he even became a musician. Instead of just focusing on the unhappy, rebellious child that the film makes him out to be. It then leaps ahead in its second quarter to show us Nirvana’s giant leap from club act to Geffen signed artists, and the enormous popularity that they earned by their debut album – “Nevermind”. Once we as a viewer understand the international impact that Nirvana had on the scene at the time, which I thought was nicely told, it delves straight into the relationship with Cobain and Courtney Love, lead singer of the rock band Hole. This halfway point basically sums up the rest of the documentary, as the filmmakers place (and understandably so), the impact that Courtney had on Kurt’s life. They were a match made in heaven. Both pissed off artists manifested from the troubles of their youth. Whose goal seemed to be some sort of side show freak show circus act to let the public know how really little of a fuck they thought about them. Becoming slaves to heroin and garnering a lot of negative attention from the press.

It’s about as comprehensive of a documentary as I’ve ever seen into the trails and tribulations of the late Cobain, with a major emphasis on his marriage and child who was born (sadly) addicted to drugs. It also does a great job in depicting Nirvana and Cobain’s rapid rise to fame. While also painting a rather sad, depressing portrait of a man who succumbed to his own personal demons in the end. Which the film takes an unflinching look at while not being afraid to show the dark side of both Kurt and Courtney’s relationship, but also that of Cobain’s tortured soul. Anybody that knows anybody that has an appreciation of music knows how significant Cobain’s contribution was to music. But in the end, despite his undeniable talent, fame, and popularity, really all he was was just another junkie. [B]

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A Trip To The Movies – Review: “It Follows” 4.4.15

After last year’s highly acclaimed but ultimately disappointing “The Babadook” I was really looking forward to the second of this year’s first two good looking horror releases after “A Girl Walks Home Alone At Night” (which as you can see by my review, I wound up really liking) and then this one, which I essentially knew nothing about other than that saw a trailer for it before the aforementioned film. A trailer that looked like it showed great promise. Also, coincidentally, a movie that got great reviews, which is rare in this day and age in films of the horror genre. Let’s face it, the genre in and of itself seems to be a bit of a dying one. As there are countless retread and remakes of older classics that seem to be churned out one after another. A sure-fire sign that Hollywood, hell even independent horror films, are a bit of a dying breed. One thing I realized back in October when I did my “Top 5 Favorite Horror Films of the Past 5 Years” section, is that I really could only come up with one single horror film I liked on average per year. To augment that statement, rarely does a horror film wind up landing on my end of/best of the year lists (one of the only films to have done so was in 2011 – when Ben Wheatley’s “Kill List” wound up being my favorite movie of that year). The only other horror film to have come out that landed a spot on my top 10 came out 6 years ago and that was Ti West’s “House of the Devil” (2009). It seems like it’s nearly next to impossible these days to come out with something that’s truly original and innovative enough to separate itself from the rest of the bunch coming out of the genre, and only once in a blue moon does a horror film come along that I truly feel breathes new life into the genre. So going into this one, while having heard great things via word-of-mouth, I have to admit I was slightly skeptical that it couldn’t possibly live up to the hype. But even still, despite my skepticism, my level of anticipation for this one was rather high.

The movie begins with a young girl screaming, running from something, of which we can’t see. A few hours later, she winds up dead on a beach. We are then introduced to the film’s central character, a young teenager by the name of Jay, who’s romantically involved with another character, an older guy named Hugh. After a trip to the theater, things start to get slightly odd as Hugh claims to be seeing someone who Jay is convinced is not there. Jay winds up having sex with Hugh, but you see, this is much more than just sex, as without trying to give away any spoilers, Hugh winds up passing something along to Jay, something in which she is now afflicted with. It is through this pivotal sexual encounter that the story begins to unravel, as Jay and her neighborhood friends try to stop the evil curse that Jay has unfortunately found herself with. I’m going to stop there, because the less I tell you about this film (if I haven’t told you too much already) the better (similarly to how I felt about Joss Whedon and Drew Goddard’s “The Cabin in the Woods” (2012) ). Like that film it’s one of those rare films that come along every so once in awhile that really needs to be seen before it should be explained.

As mentioned the less I talk about the film’s content itself the better. What I will say is the film met my expectations and then some as it truly was an exercise in something that felt totally unique and original. And succeeds mostly in its execution on a lot of levels. It’s genuinely unnerving and tense throughout. While also being cerebral in that if you’re not paying close enough attention you might not have a clue as to what’s going on. It’s very much a “thinking person’s” horror film. You actually have to do quite a bit of work to formulate what it’s about (but it’s all there if you’re paying close enough attention). It does a great job penetrating the audiences psyche, and creates a certain tone and atmosphere that had both me and should have any other movie goer wide-eyed and transfixed by the images that are being shown on-screen. And while although I wouldn’t necessarily call it “violent” (not a deal breaker for me with horror as I like my horror to be more psychological) per say, it certainly is equal parts disturbing, shocking, very creepy, and startling. In fact, I was so immersed in it that my “holy fuck” meter was at about an 8 throughout the entire duration of the film from start to finish. The film itself felt influenced by “j-horror” films (Japanese horror) like “Ju-on: The Grudge” (2002) and “Ringu” (1998). Both of which most Americans saw in their English remakes “The Grudge” (2004) and “The Ring” (2002). It was also reminiscent of early horror films that came out of the mid seventies to mid eighties in terms of feel and tone. Films such as “Invasion of the Body Snatchers” (1978), “A Nightmare on Elm Street” (1984), and what I found to be its most direct influence – 1987’s “Prince of Darkness” which all acted as reference points. I also thought it shared influences with more contemporary films like “Timecrimes” (2007), “Triangle” (2009), and “The House of the Devil” (2009). The latter of which it seemed like it took quite a few notes from as a throwback piece to older, more classic horror films. The music was also integral to the film as it contained a great menacing, pummeling, synthesizer score by the group Disasterpiece. I honestly can say I don’t know if I would have enjoyed the film half as much as I did if it weren’t for the score. It elevates the tension and pacing of the film quite nicely throughout, never giving up steam, and seemed to fit perfectly. If I were to throw in one or two minor complaints of the film it would be that it loses a tad bit of momentum in it’s final quarter. As Jay and her Scooby Doo rag tag team of neighborhood friends take the action to the 8-mile section of Detroit. The events that transpire after this, particularly towards its grand finale, come across as somewhat underwhelming compared to the nerve wracking tension the audience had been privy to prior to this shift in location. But that was just my opinion and my fellow film goer didn’t necessarily feel like that portion of the film detracted from it. With that said I also felt like it ended on a bit of an anti-climactic note. However, despite these two minor criticisms aside, this is as close to something that resembles a masterpiece in the current horror landscape from first time writer/director David Robert Mitchell. Who hits most of the right notes with this highly innovative, singular, and by all accounts terrifying piece of film-making, and has already positioned himself as one the freshest new voices in modern day, American horror.

[B+]