Swampflix Movie of the Month: Cloak & Dagger (1984)

The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For December 2018, Britnee made me, CCand Brandon watch Cloak & Dagger (1984).

EPSON MFP image(CC:) Boomer, during our October Movie of the Month discussion for The Pit we talked a little bit about the mental health of Jamie, the sociopathic (but previously written as autistic or at least on the spectrum) lead. I feel like this film also walks a fine line between portraying its protagonist, Davey, as an obsessed child who gets carried away with his games to the point of hallucinating his hero Jack Flack – and a normal, but imaginative child who is truly trapped in a dangerous situation. How do you think this film handled Davey’s mental state? Did you feel that the level of judgement towards Davey’s game-playing was warranted?

Boomer: There’s certainly a level of “the newest form of entertainment is evil” panic present in the film, at least as far as Davey’s father is concerned. Some of this could simply be a filmmaker’s panic about video games; after all, history is filled with (externally moralized) panic about television replacing film, phonographs replacing people’s desire to learn how to play a musical instrument, and the printing press being an invention of the devil. With the advent of home gaming in the early 80s, there were many attempts to demonize that there newfangled video console. (Given that the video game industry is making money hand over fist and pulling in more revenue than movies, perhaps their concerns were justified.) Within the context of the film itself, Davey’s father’s concerns are justified: while he’s at work, his son gets so into his fantasy world that he’s wandering around downtown San Antonio and flashing very realistic toy guns in front of office lobby security.

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Swampflix Movie of the Month: Beyond the Black Rainbow (2010)

The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For November, Brandon made me, CC, and Britnee watch Beyond the Black Rainbow (2010).

EPSON MFP image(Brandon:) Boomer, what do you think of Beyond the Black Rainbow’s balance between genuine filmmaking beauty and prankish 80s pastiche humor? Was your overall opinion of the film challenged or reinforced by its concluding minutes of genre-traditional bloodshed?

Boomer: It is interesting that, for the second month in a row, we’ve watched a horror movie that starts out as a psychological thriller, albeit one with pseudoscientific elements (the cryptozoological tra-la-logs in The Pit and the bizarre fringe parascience of Black Rainbow) that turns into a more conventional genre film toward the conclusion. Whereas that was something that I didn’t care for inThe Pit, I found it less intrusive here in Black Rainbow, if for no other reason than that the latter seems to be entirely predicated upon both being extremely conventional in its subject matter while defying convention at the same time. Nostalgia for the horror of the late-1970s-bleeding-into-the-1980s is pretty much my jam, and although it’s certainly reaching a saturation point in the wake of Stranger Things, I had to keep reminding myself throughout the entirety of Black Rainbow that it predates Things by a the better part of a decade—beating some of the more triumphant examples of this subgenre, like 2014’s superb The Guest (which is the perfect distillation of this concept into a modern environment), 2015’s It Follows (which helped popularize the style in the mainstream, paving the way for Stranger ThingsIT, and many others), and M83’s 2011 “Midnight City“-“Reunion“-“Wait” video cycle (which, for my money, is probably the purest and most beautiful example). So while Black Rainbow was ahead of the curve, riding the wave before the tide came in, its reversion to a more typical kind of 80s horror in its final minutes isn’t surprising or, to my mind, detrimental. Like the film overall, its magic (and madness) lies in invoking the rhetorical space of one concept and juxtaposing it with a dissonant one. For me, the best example of this is when the film forsakes its hypnotic droning during the emergence of the Sentionaut for a more evocative, almost peppy motif. It’s not just an auditory break in the—for lack of a better term—monotony, but its visuals as well, with the emergence of a Daft-Punk-by-way-of-Dave-Bowman entity into the Kubrickian ascetic aesthetic that permeates the film.

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Swampflix Movie of the Month: The Pit (1981)

The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For October 2018, CC made me, Britnee, and Brandon watch The Pit (1981).

EPSON MFP image(CC:) Boomer, what did you think of The Pit? Were there too many plot elements and horror tropes or was it delightfully overstuffed?

Boomer: loved this movie. It definitely felt a little sporadically organized, given that there are at least three different kinds of horror going on here (psychological/psychosexual, supernatural [arguably?], and cryptozoological), and that means that the film is being pulled in multiple directions at once, but while that certainly means that it runs the risk of being muddled (and it shows its seams at times), it hangs together pretty well on the whole, minus a few things that I would consider to be poor choices. I really like that, for the most part, the film acts as an insight into the mind of a repressed little boy who’s likely somewhere on the autism spectrum. He’s stuck in a state of arrested development and lives almost entirely in his own imagination, and his parents are so unprepared to deal with his specialized needs (or as Sandy says, “exceptional children”) that they treat their son like an alien being. At first, the things that we learn about Jamie—like that he was wearing a superman cape (presumably as a loincloth) and swinging around in trees pretending to be Tarzan—are unusual, but not bizarre, antisocial, or dangerous enough to warrant the kind of response that his family and community provide: old ladies talking about his maladaptive behavior when he is within earshot; getting punched in the face by a bully with no apparent repercussions for the larger, more aggressive boy; the cruel taunts and pranks from Abergail [sic]; and arguably the worst, Marg Livingstone, who treats Jamie as if he were an aggressive adult sex offender released on parole, rather than an odd little boy who needs a good talking to. If a child develops a crush and acts on it inappropriately, you would think an adult would first scold the kid and then get the parents involved if it happened again, but Marg just hides behind bookshelves like a creep instead of tackling the problem head-on like a grown-up (not that this excuses what Jamie does to her later). He builds, of course, to violence and sexual harassment (his extortion of Marg under threat of violence to her niece is when he really crosses the line), but his community already despises and ostracizes him at a time when the audience can’t help but sympathize with him.

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Swampflix Movie of the Month: Born in Flames (1983)

The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For July 2018, Brandon made me, Alli, and Britnee watch Born in Flames (1983).

EPSON MFP image(Brandon:) Which brings me to the unfortunately dated, open-ended conclusion. Boomer, how did you feel about the ending? Do you wish the movie had shown what happened after that first major strike of taking down the transmitter of the World Trade Center?

Boomer: I think that showing what happens next would undermine the message as a whole. In one scenario of the film’s continuation, there would be sudden and efficient retaliatory action by the patriarchal government system against the Women’s Army (and associates), thoroughly knocking the uprising off its horse and reinforcing the supremacy (not the superiority) of the system in place; which would be a bummer and run counter to the film’s self-evident call to action on the part of the women and allies in the audience. On the other hand, if the film committed to the concept that The Movement would install a newer, truer, more egalitarian utopia, then that new society would have to be depicted. Not only does this lie outside the film’s budget, it also falls outside of what I would like to call its thesis, except that the term suggests a cohesive idea, which I don’t feel the film has. Its various points of views overlap in a Venn diagram of ideologies between different groups, but these groups rarely manage to put up a united front and is fractious when doing so. There’s a lot of discussion in the film about what constitutes right, proper, reasonable, and fruitful action in response to government oppression, with little conversation about what an improved world would look like in comparison to the one in which the women reside now. There are a lot of opinions, and even when there is collaboration, there are still those who are in the oppressed group whose ideals are in conflict with others. Born in Flames is, as am I, a proponent of intersectionality, but there’s no definitive answer as to what the ideal form of governance does, how it treats the members of its society, what it looks like, and how it works.

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Swampflix Movie of the Month: Gates of Heaven (1978)

EPSON MFP imageThe post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For June 2018, Alli made me, Britnee, and Brandon watch Gates of Heaven (1978).

 

 

(Brandon:) Boomer, Morris’s style here obviously depends on his interview subjects to tell a compelling story (or at least tell a mundane story in a compelling way), but I found it curious which subjects he chose to afford the most attention. Most of my favorite interviewees in the film were the pet owners who employed the services of the cemetery, but it seems Morris was more personally invested in the conflict between the people who maintained its daily operation (for love or for profit). Do you think the movie could have used more (dead) pet owner profiles or would that have risked tipping it too far in the direction of Christopher Guest quirk humor?

Boomer: I actually feel like there was just enough balance between the proprietors and the patrons of the two pet cemeteries to prevent the film from becoming either too maudlin or too tongue-in-cheek. In general, there was a distinct tendency toward sentiment among the (for lack of a better word) mourners, which is sensible but not exactly what I expected. To me, the very idea of an organized pet cemetery seems incredibly bourgeois, although it makes sense in the context of a more urbanized area than the one in which I grew up. When our beloved eighteen-year-old cat Tabitha died in 2003, we were able to bury her in the back field between two trees next to the pond, but those living in an apartment building like I do now, or in suburban areas with overzealous and overreaching HOAs, don’t have that luxury. And while I would consider the more sensible thing to do would be having a memorial in the home (with or without your furbaby’s cremains), I understand the desire for something more traditional.

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Swampflix Movie of the Month: Suicide Club (2002)

EPSON MFP imageThe post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For March 2018, Brandon made Britnee, Alli, and me watch Suicide Club (2002).

Boomer, did you feel [that Genesis and his squad of cartoonish delinquents. The crew just didn’t seem to fit in with the rest of the film]? Was his appearance and musical number fitting for one of the bloodiest films in cinematic history?

Boomer: It’s difficult for me to say whether or not anything “fits” in this movie. Oddly enough, this movie was recommended to my roommate nearly two years ago by a friend with whom he and I have many similar interests; in fact, she thrust the DVD onto Nicky, who stuck it in the drawer under the TV, where it remained unwatched until this viewing. When it was suggested, I thought, “Oh, hey, this is like one of those nice little coincidences, like when we watched The Box the same month that Richard Kelly was hosting a viewing of Southland Tales.” I’m not sure that, if I had been watching this of my own volition, I would have been able to force myself to finish it. Not because the movie is particularly gruesome (I found the violence comedically over-the-top, with only a few moments that were truly disturbing), but because it’s tonally inconsistent in a manner for which I was unprepared. I’m no stranger to this kind of largely non-narrative storytelling that has huge shifts in concept and tone, but the thing that most took me by surprise was the fact that the film, to my sensibilities at least, plays out as a comedy for the first ten minutes or so before becoming something different. The scene at the train station is hilarious, as the overly perky music plays and 54 students step across that yellow line into danger, then leap in front of the train and everyone explodes comically. Everyone in this movie bursts like a balloon filled with blood, or like a True Blood vampire, when they die; it’s impossible to take seriously.

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Movie of the Month: Society (1992)

The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For February 2017, Brandon made AlliBritnee, and I watch Society (1992).

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I am of two minds when it comes to film’s mixed relationship with subtlety. Though the plot becomes more traditionally horrific as it plays out, the outpouring of nauseating imagery and sound that constitutes the film’s finale is a huge tonal shift from the relatively grounded story that seems to be playing out in the first act. As much as I love grue, I also love the conceit of the unreliable narrator, especially one who doubts his own mind. Take, for instance, Bill’s first scene with his therapist, in which he takes a bite of an apple only to realize it’s full of worms; he looks away, then back, and the apple is totally normal. This is a fairly obvious metaphor for the way that the presumed normalcy of Bill’s world is merely a thin facade covering inconceivable monsters beneath the surface, but it also implies that Bill’s less-than-objective interpretation of events may be the result of a diseased mind. At least until the shunting begins, anyway.

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