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Double Dose of Mind****

April 5th, 2013 § Leave a Comment

Probably the first and last time I’ll use a self-censored title to this blog. I stand behind it thematically, but I don’t want to make my momma cry if ever she sees it.

Type one of mind twist is the transcendent WRONG (I’m officially switching title style so I don’t get schizophrenic between writing engagements). This film has one of the best laugh out loud moments of the year so far. If you see it you’ll know it, I don’t want to give anything away. We get some great performances from the cast, especially Steve Little, criminally underused even after giving us one of the best sitcom characters in TV history as Danny McBride’s sidekick in EASTBOUND AND DOWN.

Do you want to see a picture of my dog? No.

Do you want to see a picture of my dog? No.

WRONG’s greatest success is performing the mission of surrealism perfectly: subverting your expectations. Though the film dips its toes into straight absurdism at moments, it keeps a perfect balance of just enough strange and just enough familiar. The result: you at times will forget momentarily that you are watching a surrealist comedy (and sometimes even that you are watching a comedy) so you are continually delighted with surprise surrealism throughout the film.

And of course, Dupieux’s masterful use of sound design and audio cues are back from RUBBER. Scenes are punctuated by unsettling music swells so short you almost think them accidental, but nothing about Dupieux’s films are accidental.

Also up for mental discombobulation is MY AMITYVILLE HORROR, and film that asks a lot of questions but offers no firm answer. The main voice is that of Daniel Lutz, choicely lit by the filmmakers to cast his face in ghoulish, death mask shadow. His story provides the framework for a revisiting of 70s paranormal sensation “The Amityville House,” exploited for its perfect haunted house narrative set against a dysfunctional family.

See what I mean? TALES FROM THE CRYPT much?

See what I mean? TALES FROM THE CRYPT much?

Lutz is justifiably maladjusted, though this film portrays him more as the receiver of domestic abuse, not supernatural. His hatred of his stepfather George Lutz colors the narrative of his remembrance of the events both surrounding life in the house and life before and after. His siblings declined to be interviewed, so we are left with one voice, manic and still vividly remembering and re-remembering events 35 years prior. An interesting portrait of hatred and remembrance. Was the evil supernatural, paternal, or completely imagined?

—watched way too many movies this week, time to read some comics, dan

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