The Orphanage

Sooooooooooooooo scary! Seriously, I haven't been anywhere close to this scared from a movie since The Others, and even that movie wasn't all that scary so much as it just made me tingly when there was the big reveal and I realized what was going on. Like The Others, a lot of what's so effective about this movie is its commitment to atmosphere. I wonder, also, if a part of the reason is that it ultimately only had one big scary scene? Most of the movie was just buildup to this scene, either establishing the atmosphere or whatever, and even though I guess other scenes might be considered scary, there definitely is that one scene that made the guy in the theater behind me go, "AAAAAAAAHHHHHHHHHH HOOOOOOOOOLLLLLYYYYYYYSHIT!" I appreciated that guy a lot. I almost wonder if he was paid by the movie people to be there, except that I went to this at a late night showing on a random Saturday night well after it'd been out for several weeks, so I can't imagine they would actually have paid someone to be there to do that. I don't know why I actually bothered to refute that idea...

Aside from the whole commitment to that one absolute scary scene being the reason for that scene's total scariness, the other theory I concocted for why it works is that it's such a primally scary scene: alone in a dark house at night, wide open room behind you, if you're at all ever scared of the dark like I am sometimes you've swung your head around and expected there to be a ghost behind you. Well, that actually is what happens here. Kudos for tying in the childhood game they're playing at the beginning as well, which I thought was totally creepy when they were doing at first anyway, before they were little ghost children. But, god, they did it perfectly. She turns around and there is a fucking ghost child!

I didn't get the gore with the old lady, really, though. It seemed like the one thing that really kind of broke away from the atmosphere of the movie. She got nailed by the bus, which was a total cheap shock just like they pulled in that Final Destination movie, fine, it was cheap but whatever... But then why the flash of her destroyed face? They cover it up first and you get just the vaguest hint that her face has been mangled by the fact that mouth-to-mouth guy has blood all over his face, that seemed bad enough and really, to me, kept with the way the movie was playing with your imagination a lot. But then the cloth gets pulled away and we get to see the really great work some make-up artist or set-design person or somebody did creating this gruesome smashed face, and we make a little "oh gross" gurgle, and then we wonder why we had to just see that. The only thing I could think of was that they were trying to unsettle us in a different way, like throwing in a body blow after a long series of precise jabs just to throw off our defenses a little (I don't know anything about boxing). All it did for me was make me think for a brief moment that the movie was going to go somewhere way more gruesome than I expected it to, which felt like kind of a let down. I'm glad I wasn't let down in the end.

Some people might think the weird fake smiley ending with the husband looking up and smiling at what might be ghost of his wife entering the room was a little cheesy, and it was, but I didn't think it took anything away and it was just denouement anyway. Plus, it was totally the police counselor showing up all happy that his wife was dead, not his wife's ghost. I'm sure of it.

Control

Yeah, really very beautifully shot, no doubt. But ultimately it runs into the same problem that almost all musician bio-pics tend to run into, or troubled genius bio-pics run into, which is that it focuses too much on the turmoil in his life to the exclusion of his artistic life. Not that there should be less of a focus on his life. In fact, I do think that specifically for this movie at least, one of the things that it does right is that it doesn't really forgive Ian Curtis for being an asshole. (Even better, it also never really condemns him for it. It does really a pretty good job of letting us see how much of an asshole he ultimately is being while also allowing us to see how from his perspective he's just in an impossible situation and he doesn't know what to do about it.) Further along those lines, it does manage, mostly, to not add a whole bunch of extra symbolic meaning to Curtis's suicide. It kind of just seems like a particularly jack-assed thing for him to have done, in the end, and you don't really get a sense that he thought he was accomplishing much of anything by it. So, anyway, it does those things right. But it also falls into this very common trap of not portraying the creative process at all. Which I could forgive the movie for if it had at least tried, but it doesn't even care to look especially like it's tried. We see at the beginning that Curtis is a kid with exceptional musical tastes and capable of quoting Wordsworth and stuff, but he doesn't really ever talk about music with anyone and he doesn't really do a lot of writing throughout the movie. It's just like, he goes to a Sex Pistols show, then he tells the New Order guys that he should be their singer, and the next thing he's singing these amazing songs, and we're left to wonder where they've come from. It's like he just decided to be the singer in a band and all of a sudden he's singing songs. We don't even see him figuring out how he wants to sing or anything. (Also, the staged performances are really pretty spectacular. They almost make the movie worth it. Or they almost make up for the movie's giant gaping flaw.) And the fact that they didn't even try to put any of that creative process into the movie ultimately makes me assume that the director just must not have been very interested in it, which makes me not like him a lot, and made me spend a lot of the movie griping to myself that it was kind of a waste of time.

The Assassination of Jesse James by the Coward Robert Ford

Like an apprentice Terrance Malick movie. Highlights: the law men descending from the patch of trees toward the house in the middle of nowhere, the snow being thrown on the frozen blue-ing body of... that guy they killed... (I'm writing this a long time after watching it...)

It's hard for me to really fault a movie for trying to be a Terrence Malick movie, but I thought it could've been improved by just completely going for it in a few places where it didn't quite.

Especially, I'm thinking of, the scene when someone is approaching from the horizon on horseback, and his approach is framed by a doorway, and on the inside of the doorway its not quite (very very close) black, and outside the sky is gray and the ground is white, and there's this slightly curvy but essentially straight path of darker gray dirt, and the guy on horseback approaches right down this path, and I know it would have been a reeeeeeeeeeeeeeeeally long shot, but I found myself wishing very strongly that the shot would have been held in real time for the guy's entire approach, where instead he faded out from the distance and faded in into the foreground. Boo...

But the colors and the light throughout was spectacular. I wanna watch it again for that reason.

I wasn't really interested in the whole epilogue part, though. Or, I mean, I don't think I'd want to watch that part again. It was good information-wise, I guess.