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Review: Raw (2016)

Article by Mike Bryan, Jr.

Julia Ducournau’s 2016 horror flick Raw (or Grave, as it is known in its home country) continues the unique trend of mixing deep-rooted psychological issues with grisly and cruel imagery that blends psychological storytelling and grisly body horror, in a tradition of modern French horror flicks that pertain to the New French Extremity movement. If that is an unfamiliar term, it is a movement that focuses on body horror (both in physicality and psychology) that normally critiques the society of France for as long as the movement itself has existed (which would be around 2000). Think of it as Hostel but more interesting and making a point. Garance Marillier plays Justine, a freshman starting out her first semester at veterinarian school amid a whirlwind of hazing rituals. She is the youngest of two children to a radically vegetarian mother (who has strictly enforced her “no meat” policy on her kids) and a father who seems rather pragmatic of this kind of parenting. Her sister Alexia (played by Ella Rumpf) is one of the upperclassmen hazing the recruits, but also helps Justine with making it through the hellish ordeal.

It is after one of the rituals, when the freshmen are each forced to eat a rabbit kidney, that Justine notices something different about her. She begins to crave meat of all kinds. It starts with her tasting regular meats and even stealing a burger patty at one point. But things start to take a grisly turn when Alexia tries to fix a botched attempt at waxing Justine’s pubic hair with a pair of scissors. The attempt ends with Justine causing Alexia to lose a finger, as well as Justine having her initial taste of human flesh. 

 The score for the film was composed by Jim Williams who expertly matches the score’s tempo and timing with the atmosphere of the film. Though it is saturated with a sinister-sounding techno synth ambience seen before in recent horror films such as the 2014 film It Follows and the more widely-known 2016 series Stranger Things, it still fits well with the imagery throughout the film. It would be nice for a more unique sound, but at least it still follows a popular trend in current horror films. 

 The cinematography adds a feel of gloom to the world. Rarely (if at all) is there any sunlight in the exterior shots. The most interesting aspect of the cinematography to point out is how the camera depicts the aftermath of devouring human flesh.  Rather than taking an even more graphic route (more so than it already is) of showing something along the lines of the physical tearing of human muscle or anything up close and physical, there is always the depiction of blood smudged all over the lips and generally the face.  This very image invokes something akin to a young child satisfied with spaghetti.  Their satisfaction of this food they’ve probably started eating only recently usually shown in the form of marinara sauce all around their face is called back when we see Justine’s hunger satiated with her face (more so around her mouth) smeared with blood.  Sadly, this is the most interesting factor that separates the cinematography of Raw from other movies of the New French Extremity, and not so much from other horror films in general. 

 Raw has an amazing blend of story and viscera, daring to leave the audience scratching heads up until the conclusion, when it all makes sense.  Where it excels with story and atmosphere, it stays under, yet close to the bar when it comes to cinematography and score (it’s still a damn good score, though).  For American audiences, the film has finally been released on home media formats, and can be streamed on Netflix (in case the subtle release was too “here today, gone tomorrow”).  If you’re looking for a scary psychological horror to watch this Halloween, why not give Raw a taste?  As for me, I give it 3.5 out of 4 devoured limbs.

Thank you for reading.  Happy Halloween.  And make the best of this... Shocktober! MUAHAHAHAHAHAHAHAHA!!!!!!!!!

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Top 5 Movies of 2016

5) Moonlight

4) The Nice Guys

3) Swiss Army Man

2) Arrival

1) Zootopia

Runner-ups:

Don’t Breathe Deadpool Captain Fantastic Green Room Dangal

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So I started experimenting with videos shot on my iPhone and editing them to give an authentic early 90s VHS look.

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Fur Crazy at ACE Anthro Con

Oops! There was a furry convention in Raleigh with the 1st annual Anthro Crossroads East convention. Music: "Fox on the Run" by Sweet

Filmed and edited at the Anthro Crossroads East Furry Con in Raleigh, NC

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Citizen Diplomacy Presented by International Focus

International Focus, a group dedicated to highlighting an understanding and appreciation for multiple cultures in the Raleigh area, presents the Citizen Dipl...

My mini documentary for a local event in September 2017.  Special thanks to and made with the cooperation of International Focus.

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Love (2015) Review

Article by Mike Bryan, Jr.

  I'll start by assuming that you might need a crash course on what this movie is, since it came out with a very limited release in 2015. Controversial Argentine-French director Gaspar Noé's fourth feature film Love follows the present relationship of Murphy, an American film student in France (played by Karl Glusman), and his current girlfriend Omi (played by Klara Kristin) whom Murphy accidentally impregnated. He starts his day lamenting over his current life with Omi and their infant child. How does he spend the rest of the day? By reminiscing on his past sexual relationship (and boy, is it sexual) with a suicidal girl by the name of Electra (played by Aomi Muyock). And… that's pretty much it. The movie volleys between Murphy's relationship with Electra, to how all three of them met (through a threesome), to how depressed Murphy is with Omi and their baby.    Roughly 60% of the movie contains hardcore scenes of sex (at least it felt like 60%), and the rest is dialogue that is yelled, cried out, or simply conversed. Most of the scenes do carry a feeling of hypnotic trance around the halfway point of the film, but it eventually drags on as we see how much of a downward spiral Murphy is in. Plus, the sex scenes are shot with a more pornographic vibe, something that Noé doesn't shy away from (even if it means saturating too much of the film with it). I can also tell that this was Noé's most personal film so far, but I say "personal" only referring to how much he modeled the character of Murphy after himself (at one point, he suggests to Omi they name their child "Gaspar"). This somewhat tipped the balance of "relating to a character" more toward "slight narcissism" to me. The balance between his relationships also skews more toward lamenting over breaking up with Electra to the point where we barely see Omi as often as we do the former. As much as I could understand that Murphy was going through a rough time, I could not see him as a likeable character, and the story dragged on way longer than it should have. It was interesting to see Omi as a character with a more conservative viewpoint in a movie like this (at one point stating her pro-life views which could explain why Murphy stayed in a relationship with her). As for Electra, I didn't feel there was as much character fleshed out for her as there was specifically for Murphy, which is a shame.

   The cinematography was actually a pleasant change, compared to his previous two and more well-known films (the 2002 rape-and-revenge thriller Irréversible and the 2009 drug-fueled odyssey Enter The Void). He once again incorporated the help of the talented Benoît Debie, but with a different, less dizzying approach. This time, we are given more established camerawork with subtle zoom-ins and pans. But also, don't be surprised when you get a couple of close-ups of... um... Murphy's junk.

   The scenery also wasted no effort in reminding you how much of a cinephile Murphey/Gaspar Noé is. Throughout the scenery, you'll find posters of films, including Salo: Or the 120 Days of Sodom (one of Noé's favorites), Birth of a Nation, and more. Accompanied with the scenery was Noé's trademark juxtaposition of flickering lights in seedy places and feathered lighting in serene locations and times.

   All-in-all, this was a film I was highly looking forward, being someone that was impressed with most of Noé's work. However, despite the welcome changes and attempt to give something new and dear, it was still long, dull, and eventually boring. It was a good try, Noé, but sadly, I give Love 2 out of 5 stars.

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November/December 2016 Movie Reviews

Reviews by Mike Bryan, Jr.

Arrival -- An intelligent take on the alien visitor sub-genre of sci-fi films, Amy Adams stars as a linguistics professor tasked by the US military to attempt to translate the speech of extraterrestrial visitors in a race against the clock before a potential war brought about through fear and ignorance. Throw some great supporting performances (thanks to Jeremy Renner and Forest Whitaker), a beautiful score by Jóhann Jóhannsson, and director Denis Villeneuve's sobering and thrilling direction, it is safe to say that this is the best sci-fi film of 2016. I give it 4 out of 4 stern Chinese generals. 

Moonlight -- A journey through a young, black, gay man’s life starting from childhood to adulthood, Moonlight is a film that could’ve so easily gone in an abhorrently preachy route, but thankfully did not. Themes of growing up, sexuality, friendships, and parental roles (both traditional and alternative) are wonderfully blended in with tones of neon and fluorescent-lit nights and bright, amazingly-written characters, wrapped up in hypnotic camerawork.  But please, for the love of God, GIVE NAOMIE HARRIS AN OSCAR!  I give it 4 out of 4 broken chairs.

Moana -- A fun-filled adventure following the epic quest of Moana (Disney’s first Polynesian princess) who teams up with the demigod Maui to return a sacred relic to its goddess owner.  First-time voice actress Auli’i Cravalho is paired well with Dwayne “The Rock” Johnson, pulling off the straight-guy/goofy-sidekick schtick rather well.  Let’s not forget the soundtrack's catchy songs, thanks partially to Lin-Manuel Miranda, writer and star of the broadway hit Hamilton.  I give it 3.5 out of 4 roosters.  

Manchester By The Sea -- A emotionally gripping film about loss, grief, and how to deal with it all.  Casey Affleck’s performance is, of course, very well-acted as a Boston janitor who is now tasked with being his nephew’s guardian after the loss of the boy’s father.  The film’s strengths shines by being a mirror to reality, showing not only how things don’t go as expected, but also how a family tries to recover from tragedy.  I give it 3.5 out of 4 fishing boats.

Rogue One: A Star Wars Story -- Once again, we’re brought back to “long ago, in a galaxy far far away.”  But in this entry of the franchise (which is not considered part of the trilogy of trilogies) seems to be even more of a popcorn flick than the others.  There is less of a strong story, but this easily forgiven, as the movie makes up for it in its epic battle scenes.  I give it 3 out of 4 K-2SOs.

La La Land -- This movie had one of the more whimsical and fun introductions than other films this year.  And while I love the homage to the Golden-Age musicals, the use of the stars’ real singing talents, and the fun choreography, all the promised glamour fades away by the third act.  Actually, maybe that was to serve as a metaphor that peeled away the sugar-coated fantasy that blocked a reality within the city of angels.  But I digress, it was a good movie, but it could’ve been a bit better.  I give it 3 out of 4 days of sun.

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September / October Movie Reviews

Reviews by Mike Bryan, Jr.

Deepwater Horizon -- The story's fluid pace helped to perfectly establish an average day on an oil rig that was soon interrupted by bewildering and tragic disaster. Aside from some occasional instances of imagery drumming up over-sensational patriotism, the story, cinematography, and acting go well in the film. I give it 3.5 out of 4 oil barrels.

Sully -- This is definitely Tom Hanks' best film of 2016, and one that is guaranteed an Oscar (I'm sure it is). The film succeeds in giving the audience a glimpse into the raging turmoil that is Cpt. Sully Sulenberg's PTSD and inquiries he faced under the pressure of bureaucratic investigations for his handling of the "Miracle on the Hudson." I give it 3.5 out of 4 geese.

The Accountant – Though it is cursed with a slow start, the thrills and mystery come alive roughly 30 minutes into the film.  I am impressed with Ben Affleck’s performance, as well as Anna Kendrick’s.  I might need some outside sources to confirm whether Affleck’s portrayal is an accurate depiction of an autistic individual, but it looks like there was a dedicated amount of effort put into that department.  I give it 3 out of 4 bullet shells.

 The Magnificent Seven -- The casting alone for this film was what made me want to see it.  And I stayed for the well-planned story and action sequences.  I give it 3 out of 4 Gatling guns.

Masterminds -- This "true story" caper comedy relies on lukewarm attempts at humor and funny North Carolina accents despite an actually pleasant cast. For the most part, it’s forgettable and could do a better job. I give it 2.5 out of 4 Loomis Fargo vans.

Boo! A Madea Halloween – Well, the first half of the title got it right.  “Boo” to this 103 minute-long piece of audience pandering, ADD-riddled joke parade.  There is no story to be found, all the characters are unlikeable, the jokes are all overstretched and unfunny, and once again, Madea herself is not funny and the final product is a thousand miles away from what the trailers lead me to believe what they were.  I give this movie 0.5 out 4 smashed pumpkins.

Max Steel -- I’ll give it this, it was filmed in Wilmington, NC, home of my alma mater.  That’s literally the only good thing I can say about it.  I give it a gracious 0.5 out of 4  “WHY”s.