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immortalled · 4 years ago

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Live reactions to S3E5 of Misfits below because... I dunno, slapping it all under a cut is probably less annoying lol. :’>

- Is it bad that the opening scene made me think of Jamie? Jamie and Seth look like that could’ve been buds. Like a biker gang or something.

- I find it really interesting that Kelly, even with a guy like Seth, is still putting up walls and giving him the aloof act. I appreciate the consistency (rare in Misfits lol) but aw man, it is kinda sad, isn’t it? I get it, though. Poor thing. I think Seth/Kelly is a little left field but I do hope she has a happy ending with this one. Kelly deserves happiness and so does Seth.

- I keep telling myself not to compare Rudy and Nathan but omg... the little awkward lean against the support beam... Nathan does that when Simon catches him and Alisha spying on him. And then the two condom thing... I know I’m being ridiculous here and they aren’t the same character at all, but I’m gonna have to make a parallels gif set. I just know it. I can feel it. It has to happen. It was awkward at first because I missed Nathan, but the more I see of Rudy, the more I like him. He’s grown on me.

- I feel like production value went way up during this season.

- EXCUSE ME??? WHO??? TELLS THEIR GIRLFRIEND, WHO IS IN A COMA, THAT YOU’RE LEAVING THEM? YO, DUDE, I KNOW IT’S HARD TO SEE HER LIKE THAT BUT C’MON. You!! Don’t know!!!!!!! That she can’t hear you!!!!!! Maybe she can!! YOU CAN’T! oml

- I like how Kelly’s first response to seeing a patient in trouble is to calmly and slowly walk into the room to ask them if they’re okay (when they clearly can’t speak because even if they weren’t in a coma, they do have a tube down their throat) instead of immediately finding a nurse or pressing the alert button.

- Wait this hurts.

- LOL I... really love how Simon just deals with Rudy’s weird stories. That’s cute.

- O h? Is that grafitti some Bad Wolf-esque foreshadowing? 👀

- Wow. Lauren Socha is such a good actress??? What the heck. I’m gonna have to watch her in something else. I need to know if she has range.

- ...This isn’t mean, I love Kelly’s shape, but there’s no way Kelly can fit in Jen’s clothes.

- Not a fan of this weird tension that happens occasionally between Curtis and Simon. I think it’s IC for Simon to be a little jealous, I like that he still has his insecurities, but it’s a little annoying when it’s directed toward Curtis. I dunno. I guess it’s fair given that he’s the ex, but I don’t like it.

- Kelly looks great in a leather jacket.

- OOOH gosh. Sometimes, man... sometimes Simon gives this look and does this thing with his body language that’s just SO scary.

- ...As much as I dislike Curtis’ power, I think Alisha’s has to be my least favorite of the new powers. I wish Simon would use his foresight more, too.

- Something about Simon watching Freaky Friday is really funny to me.

- How many times are these idiots gonna have to sneak out bodies. They’re professionals at this point.

- Bahahaha Shaun is so nonchalant. Random coma patient in the communtiy centre? Just another day. I love him.

- WAIT NO SHAUN NO WAIT NO!!!

- NO?????????????????????????????????? NO?? NO!

- I’m not gonna think about the legal issues with what’s-his-face pulling the plug instead of a nurse. Or like... how they’re gonna explain that Jen’s body is there at the community centre. Or how the gang is gonna get away with security footage of them stealing a body from the hospital (which there would have to be, there’s no way they didn’t get caught on camera). I can’t go full clown. This is Misfits. 🤡

- Also I totally thought they were going to grab an animal or something off the street and then give it to the boyfriend or parents or something to take care of so Jen could live on at least for a while longer as something else than die. I don’t know why I thought that. It just felt like it’d be on brand. Don’t @ me LOL. (I’m glad I was wrong; I think it’s a much nobler end for Jen to own up to what she did and have her goodbye.)

- That is totally some Bad Wolf-esque forshadowing. And clearly slapped on in post!

Final thoughts:

Not a bad episode. I liked it well enough. It was entertaining and this one got a few laughs (for some reason Seth saying “Hi” and Rudy going feral at him got me). I don’t have too much to say about it, really, it’s a pretty standard episode. So far I think Peter’s episode is still my favorite just for the more superhero-y hijinks, but this ep had some really nice protective Simon moments and I really enjoyed Seth. The music was pretty good, but the Misfits soundtrack is always killer.

I hate that my only big note is a complaint, but... I’m finding it really hard to connect with the characters this season, even the OGs. I get bursts of it, primarily with Simon and Rudy, but overall something just feels wrong. No one except maybe Curtis feels OOC and yet? Something about the characters is off. It feels like I’m looking at an alternate universe where everything is the same except for some itty bitty detail and I can’t place what it is. And before anyone says it, no it’s not because Nathan isn’t there lol. He was the heart of the series for me, but I don’t think his absence is what feels wrong. It’s definitely something about the writing or within the remaining characters themselves.

I? Almost want to say that it’s an issue of the gang not feeling like a family anymore? They don’t feel as close. I know Misfits has always primarily been about hijinks and outrageous plots, but I almost wanna say that S1 and S2 had more focus on character relationships than S3 so far? We get a little more into the nitty gritty of Alisha’s relationships with Simon, Rudy, and Curtis (even though her “problem” with Curtis in E2 made no sense) but besides that... it just doesn’t feel like we’re getting the meat that we did in S1 and 2. Granted, that is two seasons versus one.

Oh yeah. And RIP Shaun. I knew he was gonna die but I didn’t expect it so soon. That sucks. I think that his death would have been sadder if the show hadn’t exposed his grosser aspects, like how he creeps on girls and... he’s just kind of a skeevy perv. Which, I know most of the male characters in this show are perverts to some degree, but it works better for everyone else because they have some redeeming qualities that make them more endearing and their faults more palatable. Shaun doesn’t quite have the endearment factor to pad out how uncomfortable he was in E2 and E4 (making him into a villain for E4 was a bad move too). I think if he had shown just a hint of really caring about the gang, even privately, then maybe I’d be sadder. Oh well. He’s still the best probation worker. I’ll miss him.

Anyway, anyway. Enough complaining. One last good thing: Rudy continues to grow on me. I am so intrigued by how he handles his split (how his splits handle each other?). I feel like I need to come up with a better term. But that’ll do for now. I really, really hope that Overman doesn’t just sweep all those issues under the rug. It seems like he did that with Rudy and Alisha’s relationship (which is a bummer!) and I think it’d be so cool for Rudy to either find peace with that inner conflict or at least be able to better cope with Rudy One and Rudy Too so they’re not always squabbling. Love Rudy, though. Him and Nathan would’ve butted heads to be the funny one, I think, but good friends after a while. Oh, the terror those two could have caused...

#out of immortality [ooc];#spark watches misfits [liveblogging];

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johnnymundano · 6 years ago

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The Theatre Bizarre (2011)

Directed by Douglas Buck, Buddy Giovinazzo, David Gregory, Karim Hussain, Jeremy Kasten, Tom Savini and Richard Stanley

Written by Scarlett Amaris, Douglas Buck, John Esposito, Buddy Giovinazzo, David Gregory, Karim Hussain, Emiliano Ranzani and Richard Stanley

Music by Simon Boswell, Susan DiBona and Marquis Howell of Hobo Jazz

Country: United States

Language: English

Running Time: 114 minutes

CAST

Udo Kier as Peg Poett

Virginia Newcomb as Enola Penny

Kaniehtiio Horn as The Writer (segment 'Vision Stains')

Victoria Maurette as Karina (segment 'The Mother Of Toads')

Shane Woodward as Martin (segment 'The Mother Of Toads')

André Hennicke as Axel (segment 'I Love You')

Suzan Anbeh as Mo (segment 'I Love You')

James Gill as Donnie (segment 'Wet Dreams')

Tom Savini as Dr. Maurey (segment 'Wet Dreams')

Debbie Rochon as Carla (segment 'Wet Dreams')

Lena Kleine as The Mother (segment 'The Accident')

Mélodie Simard as The Daughter (segment 'The Accident')

Lindsay Goranson as Estelle (segment 'Sweets')

Guilford Adams as Greg (segment 'Sweets')

Framing Segments

Directed by Jeremy Kasten

Written by Zach Chassler

Cast:

Udo Kier as Peg Poett

Virginia Newcomb as Enola Penny

The Theatre Bizarre is a series of six shorts largely in hock to the grand-guignol tradition of naturalistic horror (i.e. proper ketchup, matey). I know this not because of any keen interest in French theatre but because the framing sequence is called ‘Theatre Guignol’, and it is into this terribly mysterious theatre that Enola Penny (Virginia Newcomb) dreamily wanders one decisive night. Each of the following sections is introduced by the indefatigable Udo Kier playing a big puppet (literally “grand guignol”) who becomes less puppet-like as the movie wears on and (cue wobbly theremin) Enola become less human. Which might be an artistic statement about desensitisation, but is definitely an excuse to watch Udo Kier popping robot-moves, which I think we can all agree is a good thing.

The Mother of Toads

Directed by Richard Stanley

Written by Richard Stanley, Scarlett Amaris and Emiliano Ranzani

Cast:

Catriona MacColl as Mere Antoinette

Shane Woodward as Martin

Victoria Maurette as Karina

Lisa Belle as The Naked Witch (as Lisa Crawford)

Amelie Salomon as The Monster

The Mother of Toads is apparently based on a Clark Ashton Smith story of the same name which I haven’t read, with a bit of HP Lovecraft chucked in. It features a pair of unpleasant young Americans holidaying in France, and I’m not dissing Americans there, this pair really are unlikable; Karina moans that everything is in French in France (quelle surprise!), while Martin is so anaesthetised by his own acumen he can barely push his smug words past the thicket of his trendy beard. They come unstuck when bargain hunting in a French market where a handsome older lady with a mesmerising accent saucily offers Martin a peek at her Necronomicon. Bundling Karina off to a spa Martin spends the day with the accommodating and increasingly ardent crone, drinking suspicious brews and fingering her dusty leaves. Things end badly. This was an agreeably silly creature feature with plenty of the old ugh! quotient, an endearing lack of logic and a pervading sense of encroaching doom. The humour leavening proceedings is clearly no accident; there’s an excellent joke when Martin attempts to extricate himself from a post-coital bed without waking his sleeping and somewhat slimy partner. Probably rings a few bells in the audience that bit. It’s just enjoyably daft, tongue-in-cheek stuff and a welcome reminder that Richard (Hardware (1990), Dust Devil (1992)) Stanley is still rocking his smart-trash groove.

I Love You

Directed by Buddy Giovinazzo

Written by Buddy Giovinazzo

Cast:

André Hennicke as Axel

Suzan Anbeh as Mo

I Love You is a pretty tough watch and unusually it’s not because of the climactic gore. Axel wakes up in his bathroom disorientated and bloody; turns out he’s an insecure, self-destructive mess who has driven his lady Mo away. Mo returns to sever all ties and leave for good. What follows is an emotionally harrowing battle between two damaged people where words are weapons and the hurt is internal. As blood spattered as the despairing denouement may be the real horror is the extended verbal flensing Mo delivers to Martin, in which she destroys not only his present but also his past. And is she telling the truth? Or is it a desperate attempt to extricate herself from his unquenchable neediness? Like a fox gnawing its paw off to escape the trap? Sometimes uncertainty can be another level of horror. Buddy Giovinazzo delivers a classily acted, tautly suspenseful two-hander which leaves an emotional stain which persists for days.

Wet Dreams

Directed by Tom Savini

Written by John Esposito

Cast:

Debbie Rochon as Carla

Tom Savini as Dr. Maurey

James Gill as Donnie

Jodii Christianson as Maxine

Wet Dreams is directed by Tom Savini, who is legendary in horror for his SFX work and slightly less legendary for his acting, so there’s no excuse for doing an Elvis double take at the fact he’s given himself a role and that his segment is luridly gory. He’s no slouch at directing either, which is nice. The esteemed Mr. Savini plays a psychiatrist, the kind who drinks on the job and talks about raping his mum (i.e. a movie psychiatrist), treating Donnie, a preening jackass who likes smacking his wife, Carla, about and cheating on her. See, Donnie’s having recurring nightmares wherein his sexy dream fun times climax with him being tortured and castrated by his long-suffering wife, in a series of gruesomely humorous and visually explicit ways. Gentlemen viewers may never again think of a fry-up without skittishly crossing their legs. Serves Donnie right you might think, but by the end of the dream-within-a-dream misdirection and its gruesomely pre-code EC Comics twist finale you might think again. Ugh. I mean….ugh. I...Jesus. What could have just been a gratuitous mess of general dismemberment is deftly directed by the savant Savini, resulting in an amoral immorality tale. And need it be said that his skills in the SFX dept remain second to none? No, it need not. So pretend I didn’t say it.

The Accident

Directed by Douglas Buck

Written by Douglas Buck

Cast:

Lena Kleine as Mother

Mélodie Simard as Daughter

Jean-Paul Rivière as Old Biker

Bruno Décary as Young Biker

The Accident provides a brief respite from the onslaught of sensationalistic gore, a pit stop if you will. Even if you won’t, it definitely centres around a cute child asking her blasé mother questions about mortality, said questions raised in the tiny, inquiring mind after the witnessing of an accident earlier in the day involving a deer and a cocky motorcyclist. It’s a very restrained piece, very accomplished, and softer in tone than anything before or after it. There’s a touch of grue when the deer is finished off, but mostly the horror here is the complete horseshit parents come out with to calm their offspring with regards to the ultimately absurd nature of life and death, a subject which everyone spends a lot of time avoiding thinking about on a day to day basis and about which they would rather not be cross-examined about by a child at bedtime. As upsetting as the sight of the deer’s tongue lolling out of its bug eyed head was (very), it wasn’t as upsetting as realising all the lies you have to fill your kid with just so they can function in what we’ve all decided to call reality. Compared to all that, lying about Santa Claus is a minor misdemeanour.

Vision Stains

Directed by Karim Hussain

Written by Karim Hussain

Cast:

Kaniehtiio Horn as The Writer

Cynthia Wu-Maheux as Junkie Girl

Imogen Haworth as Pregnant Woman

Rachelle Glait as Older Homeless Woman

Alex Ivanovici as Junkie Man

I have a thing about eye trauma. Not a sexual thing, a “flinch and wave your hands about like you’re warding off invisible birds” thing. It’s a running joke in the Mundano family unit; if there’s some serious eye trauma afoot in the viewing choice, all eyes fall on the father figure as he tenses for impact. Those similarly (dis)inclined should be warned that there is a seriously impressive amount of eye trauma in Vision Stains. It’s built in as the whole episode rests on the Horror Movie Science concept of people’s past lives flashing before their eyes at the point of death. So if you extract their eye juice as they die and inject it into your own eye you will get to live the edited highlights of another life. Obviously. That sounds about as appealing as it sounds scientifically feasible, but our serial killer heroine is well into it. She basically harvests the lives of the homeless to make up for her personal shortfall in dreams. Judging by the massive pile of notebooks in which she has written the details of all the lives she has nicked, its worked out quite well for her. But people, even dreamless serial killers who prey on the homeless, are never satisfied, so she decides to take the next step and find out what happens before people have a life to flash in front of their eyes. The results are mixed. Ultimately you can’t help thinking it would have been a lot quicker and far easier on the homeless population if she’d just read Tbomas Ligotti’s The Conspiracy Against the Human race. It’s all very silly but the po-faced approach suggests it is straining for some grandiose meaning; it fails. But it does feature a fantastic amount of eye trauma. Each to their own.

Sweets

Directed by David Gregory

Written by David Gregory

Cast:

Lindsay Goranson as Estelle

Guilford Adams as Greg

Lynn Lowry as Mikela Da Vinci

Jessica Remmers as Antonia

With Sweets, things close on a hilariously disgusting note. A deadpan Estelle and a semi-hysterical Greg talk about their dying relationship in the most banal clichés imaginable as they sit in what was once an apartment, but is now a kind of edible sty plastered with smushed up confectionery. As trite nonsense falls from her lips Estelle slowly sucks a melting ice cream into her deadpan face. Greg flailing to rescue the dead relationship counters with the expected whiny responses, while spasmodically picking filthy sweets off the floor and ingesting them with all the automotive panache of the true addict. Their stale interactions are punctuated by a series of flashbacks which parody cinema’s rote scenes of romance, with the pair swilling sweet shit like swilling sweet shit is going out of fashion. Luckily for Greg, Estelle hasn’t quite finished with him, unluckily for Greg he’s about to find out what that means. Sweets is pretty funny in its lip-smacking attack on love and addiction (and love as addiction), and is delightfully cartoonish in style; Estelle is often colour coordinated from hair to shoes with whatever sickly delicacy she is proffering. Of course all the comedy and caricature serve only to distract you while Sweets prepares a delightful gut punch of horror, before the management politely ask you to leave.

TL;DR: The Theatre Bizarre: it’s worth a watch, but not if you’re squeamish.

#The Theatre Bizarre #Movies #Horror #Anthology #2011 #The 2010s #Douglas Buck #Buddy Giovinazzo #David Gregory #Karim Hussain #Jeremy Kasten #Tom Savini #Richard Stanley #Udo Kier #Catriona Maccol #United States

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