Film review – Pandorica

Well, hello there internet friends. I’m back! I took another little writing hiatus to do more book outlining (on which I made great progress) and visit my awesome friend Alex in Australia (on which I ate many delicious indigenous animals). Despite my concerns about that crazy island, I managed not to get mauled by any adorable furry creatures or giant bugs and return home in one piece to you good people.

Although, that meant leaving behind one of my favorite people on that crazy island. Alas.

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Now that I’m finally over my jet lag and back in the swing of things, I’m delighted to get back to the blog with another film review. After my recent watching of Refuge I’ve been optimistic about the increasing quality of independent horror in both writing and production value.

When I saw that another indie film I’d had my eye on was available, I naturally jumped at the chance to see it. Pandorica could be categorized in a number of ways – thriller, horror, apocalyptic, dystopian – and I think that’s one of the really appealing aspects of the film.

It picks up several generations after what they call The Great Reset, some sort of worldwide disaster that decimated all but the most isolated communities. Three youth of the Varosha tribe – Eiren, Thade, and Ares – are preparing to take part in a selection test, during which the tribe’s current leader Nus will select his replacement.

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The selection test is a rather vague process that comes with folklore (told over a campfire, naturally) and is carried out whenever the previous leader feels the next crop of kids are old enough to compete. Normally that would be too generic for my taste, but I do think Pandorica‘s story benefits from being intentionally ambiguous. When things seem to go awry during the test, there’s still a little voice in the back of your head that’s saying, “But maybe that’s how it’s supposed to play out.”

What immediately grabbed my attention even from the trailer was how intensely dark it is. And I mean that quite literally. Most of the action in the film takes place over the course of one night, illuminated only by the moon or torches or campfires. Dealing with shadows in that way is seriously tricky business and I think they handled the self-imposed lighting challenge wonderfully.

There are also several sweeping aerial landscape shots that are absolutely breathtaking. In particular I was enamored with a series of wide pans over the forest as they traveled from their tribal home to the location of the leadership test. This can be attributed partly to the inherent natural beauty of the set location, but even that can’t stand on its own without skilled camera and editing work.

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The plot is not the most original construction – A group of headstrong kids in their late teens or early 20s compete against each other in a selection process to shape the future of their community. That’s kind of par for the course when it comes to modern dystopia, and director Tom Paton has even said in interviews that he sees the setting more as a way to explore interpersonal relationships than explore a likely apocalypse scenario.

The film at its core is about leadership, and earning the right to call yourself a leader. I believe in today’s world, power it [sic] too easily acquired by some and is likely the reason that people at the bottom find themselves mistreated… I think it was about looking at a big message and then applying to the world I know so that hopefully, whatever industry you are in, you can see shades of how you lead and who gets promoted in these characters. (lovehorror.co.uk)

In another interview, he even went so far as to self-identify the setting as cliché.

After reading his thoughts, I went back and watched some sections a second time. A lot of interactions that had previously felt sort of “apocalypse light” to me now play out like the most amazingly intense office team-building retreat ever taken. (And if you’ve ever been subjected to one of those personally, you’ll understand why that’s appealing.) Whether that was his intent or not is kind of irrelevant if it means I enjoy the experience more through that lens.

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The film is not without flaws. There were character actions that were easy for me to telegraph. You don’t really get much introduction to the world beyond a text-on-screen opening montage. Some of the potential impact of the script was lost by having the main characters speak English using an awkwardly manufactured accent.

In the grand scheme of things these flaws are really just minor bumps on an otherwise picturesque road. There’s plenty of imagination involved in setting the scene – especially in makeup and costumes – and it’s easy to see just how much heart went into making this film. It’s clear the cast was fully on board with Paton’s vision and I appreciate his attention to detail.

My overall recommendation – Watch Pandorica. The film takes a well-worn genre and uses it as the backdrop for something intimate and unusual. Though the plot is more about the journey than the destination, it’s still an interesting journey to take. And if nothing else, the movie is a visual feast.

3/5 stars

 

 

 

 

 

 

Film review – It Follows

When I visited Detroit last summer, my first impression was that it would make an amazing setting for a horror movie. I’ve never driven through such a large city that seemed so empty, void of both cars and people. And it wasn’t just a regular kind of empty. It felt stuck in mid-stride, as if it were suddenly but calmly abandoned.

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When I heard someone actually had filmed a horror movie in Detroit, I was instantly on board. Honestly, just knowing that Detroit was the backdrop for It Follows was enough for me to know that I was going to enjoy the film. It was really just icing on the cake when the critics started raving about its fresh take on the genre, although I’m generally wary about any piece of entertainment that comes to me pre-hyped.

The basic premise of the film is fairly simple, and is laid out right there for you in the title. There is some… force. It’s not clear exactly what it is, whether it’s a creature or a spirit or maybe just fear personified. Once you’ve been cursed (more on curse transmission in a moment), this unnamed thing follows you. If it catches up with you, it will kill you. The only way to get it to stop following you is to pass the curse on to another person. But even then, you’re really not safe, because if the person you infected is killed by this force, then it will turn its attention back to following and killing you.

I should pause and say that I’m going to discuss some plot details and cinematography. While I wouldn’t consider them spoilers, if you want to go into the theater knowing nothing else beyond the trailer, here is your point to stop reading. Just know that if you’re a fan of horror (in particular psychological horror) I would recommend you see it, and see it on the big screen.

Maika Monroe in It Follows

So, how exactly is this curse transmitted from person to person? Sex, naturally. I’ve been jokingly calling it an STD – Sexually Transmitted Demon. While it could come across as tired horror trope, there are a few reasons I think it doesn’t. For starters, there’s nothing gratuitous about any of the sex scenes. That’s not to say that there isn’t a fair amount of nudity in the film, but the nudity does not come from the people you would expect it from.

Second, while the characters are young they’re not teenagers (not all of them, anyway). They are not fumbling around, having their first sexual encounters. I think this is an important point, because your classic puritanical horror equates sex with loss of innocence but It Follows definitely does not. What it also does not do is introduce rape into the equation.

Jay (the main female protagonist, played expertly by Maika Monroe) is given this curse from a guy she’s been on several dates with. He doesn’t force himself on her, he woos her. He takes her out a few times and waits for her to initiate sex. It’s not exactly spelled out, but I get the distinct impression that consent is part of the package deal with passing along the curse. That, more than any other aspect of the sexual transmission, is why I would say that this movie is more than just groundbreaking horror – It’s mature horror.

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The other main reason to go see this film (and see it in the theater) is the unbelievably delicious ambiance. It’s due in part to the Detroit setting, but all the choices in cinematography really come together to create something new and exciting. Visually, what I like most about the movie is that it’s totally unclear when it is supposed to take place. The interior home shots could be right out of the late 70s – heavy shag carpeting; wood-paneled television sets with dials and antennae; melamine trays, bowls, tea pitchers and glasses; landline telephones with long spiral cords.

But then again, one of their friends spends the entirety of the film scrolling through The Idiot from an e-reader shaped like a clamshell compact. They drink beer out of modern pop-top cans, iced coffee from Starbucks-esque plastic cups. The cars are classic, the wardrobe both vintage and contemporary. There are no computers in their homes, and aside from the appearance of one in the opening scene, no cell phones in their pockets. It takes place now, and yet it doesn’t. It has no definitive place in time.

The other essential component to setting the mood is the stellar soundtrack. All of the music in the film was composed and performed by an artist named Disasterpeace, and the movie would not be what it is without his contribution. I think the most apt comparison would be Air’s soundtrack for The Virgin Suicides (honestly one of my favorite albums, soundtrack or otherwise). It’s the kind of music that causes the hairs on your arms to stand up, that crawls slowly into your ears and makes its way to your brain. The music is a huge part of what makes seeing the movie in the theater imperative.

Considering it started in very limited release (and only just got wider release from some larger theater chains last week) if I were you I would haul ass to a theater and see It Follows while it’s still available to watch on the big screen. The film isn’t perfect, but the plot flaws are minimal and in my opinion overshadowed by the enormity of the concept and the symphonic complexity of the execution.

4.5/5 stars