'Climax' Review

To call filmmaker Gaspar Noé a provocateur feels like a bit of an understatement. With films such as Love and the shocking Irreversible under his belt, it's clear that Noé revels in pushing boundaries, breaking taboos, and taking audiences far from their comfort zones. All of those things are evident in Noé's latest film, Climax, which follows a French dance troupe as they celebrate on their last night of rehearsals only to discover that their sangria has been laced with LSD. Here Noé brings his usual cards to the table, while at the same time providing a refreshing entry to his filmography thanks to the power of dance.

Climax essentially feels like it's split in two halves. The first half begins at the end, as a character makes their way through the snow before collapsing into a demented snow-angel. We then cut back to the beginning where we watch some faux-audition tapes from the characters, before being treated to a dazzling dance number from the cast. The first half of the film spends a lot of its time establishing the characters and how they relate to one-another. Alternating between long takes, dance sequences, and one-on-one conversations, the characters are free to express themselves not only through their words, but also through their dancing. While some of the one-on-one conversations do feel a bit drawn out, they manage to ground these characters before things begin to go south in the next half.

The second half is where the descent into madness really kicks in. With long takes, tracking shots, and extremely dizzying camera movements, Noé and cinematographer Benoit Debie manage to make the world feel gradually distorted, echoing the minds of our acid-tripping dancers. The frequent use of tracking shots reminded me a lot of Darren Aronofsky's mother! which came out last year, and had a similar disorienting effect on audiences. Unlike mother! however, Climax is a film that feels very grounded in reality, making it all the more unsettling. As the film reaches its climactic orgy of chaos, you'll either find yourself hating it, or altogether hypontised by the madness of it all. Not only does the film purposely try to make your head spin, but there are several moments ranging from unnerving to downright shocking, that practically implore you to hate it. To call Climax a divisive film feels like more of an understatement than calling Noé a provocateur.

While dizzying camerawork and taboo-breaking subject matter aren't exactly new territory for Noé, the constant presence of dance breathes fresh air into the directors usual tropes. There is so much constant movement either in the foreground or background, that gives the film this wonderful sense of energy. This is very much down to the dancers themselves, who were supposedly given freedom to express themselves through their own language save for the opening number. This proves to be both dazzling and at times quite disturbing, as one scene sees a dancer contort himself into a variety of unsettling positions while standing in an empty hallway.

Like any dance troupe, Climax is very much an ensemble piece, however Sofia Boutella really does manage to stand out from the crowd. Not just because she's the only familiar face among the cast, but because she genuinely gives a powerful performance on both an emotional and physical level. One scene echoes Isabelle Adjani's infamous subway breakdown from Possession (which can be seen among several VHS tapes at the beginning of the film), where Boutella manages to really display the extents of her talents, both as a dancer and an actor. Many of the other dancers manage to stand out from the crowd and deliver equally memorable performances, Souhelia Yacob gives a particularly harrowing one in one of the films darker moments.

Climax is a nightmarish descent into insanity that deals with some fairly heavy subjects and goes to some very dark places. Noé thrives on making his audiences uneasy and unsettled, and with Climax he goes above and beyond to achieve this, ultimately succeeding. Although it says a lot that this is actually one of his tamer films, but don't let that fool you, this is definitely one that will split audiences down the middle. The use of varying types of dance is what makes Climax unique in Noé's body of work however, injecting an extremely dynamic sense of energy into the madness of it all. It's an experience that is just as dazzling as it is uncomfortable, and is by far one of the most disturbing films of 2018.

Making a Case For 'The Cable Guy'

No comedians career boomed so fantastically in the 90's than that of Jim Carrey. The Canadian actor made a big name for himself with comedies such as Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber, as well as the occasional serious film like The Truman Show as well. While he may not be as prominent as he was back then, his legacy is unmistakable, and many of his roles have become iconic in the years since passed. However, I'm not here to talk about Ace Ventura or Lloyd Christmas today my friends, oh no, today I will be looking at what I feel is Carrey's most underrated role.

In 1996, Carrey starred as the eponymous role in The Cable Guy, a dark comedy produced by Judd Apatow and directed by Ben Stiller, based off a screenplay by Lou Holtz Jr. The film followed a recently single man played by Matthew Broderick, who befriends his strange-yet-friendly cable guy Chip Douglas. However, what begins as a chance friendship soon deteriorates into something much darker, in a film that I feel is a highlight of Carrey's career.

If you look up The Cable Guy on Google, you'll find mixed to average ratings. With 6/10 on IMDb, 53% on Rotten Tomatoes, and 56% on Metacritic, the film seems like nothing more than a mediocre entry into Carrey's vast filmography. Along with that, the title is nowhere near as iconic as the likes of The Mask or Ace Ventura, and for some reason doesn't garner the same appreciation as them. Well today, I step in, looking to make a case for The Cable Guy.

At first glance, Chip Douglas has all the traits of your usual Jim Carrey character: he's hyper, he's loud, he's a wacky guy overall, and he even has a lisp this time. He meets Broderick's character Steven while fixing his T.V. and the duo form an unlikely, albeit unconventional friendship. They go to a Medieval Times restaurant together, they play basketball together, Chip even buys Steven a new sound system and proceeds to host a karaoke party in his honour. However, it soon becomes clear that Chip isn't everything he claims to be, and things begin to get extremely dark.

Chip Douglas acts as the dark counterpart to Carrey's usual portrayals, a sort of disturbing flip-side to the zany characters he normally takes on. He is obsessive, he is manipulative, and at times he is downright unsettling. The moment that Steven becomes too overwhelmed by his behaviour and severs their friendship, Chip goes from being his best friend to his worst enemy. He begins to niggle his way into his life whenever he can, stalking his girlfriend, befriending his family, and even putting Steven behind bars only to taunt him some time later. Think Fatal Attraction, only with Ace Ventura in the Glenn Close role. All he wants is friendship, but he is willing to go to extreme lengths against anyone who denies him that.

While he is still mostly a comedic character, Carrey does a great job of bringing out Chips darker side, and gives a truly disturbing performance by the end of it all. The final half-hour or so particularly showcases Carrey's ability to play a much more sinister role as he kidnaps Steven's girlfriend Robin (Leslie Mann) and the two enter a vicious game of cat & mouse. He is no longer the wacky protagonist, but is now a disturbing adversary. Amidst all of the villainy however, Carrey also gives the character a certain degree of pathos in the climax, as he emotionally monologues about how he was neglected by his mother and raised by television. 'I learned the facts of life by watching The facts of life!' he laments, as he reflects on his lonely upbringing. This, and an earlier flashback depicting a young Chip, add layers of depth to the character and make him feel much more complex. Underneath it all, he was simply a lonely man who had been denied friendship his whole life, causing him to seek it out in the extreme ways he does in the film. As the credits roll, we can't help but sympathise with Chip Douglas, or whatever his real name was.

Chip Douglas and all his complexities are what put this film above the rest for sure, but that's not to say that there are no other merits to The Cable Guy. First of all, the film boasts two of what I feel are Jim Carrey's most iconic moments. The first is the aforementioned Medieval Times scene, in which Chip treats Steven to a meal at the feudal-themed restaurant, followed by a duel that he takes way too seriously. Dressed in full body armour and quoting Star Trek, Carrey gets a chance to highlight Chip's more intense side, while still maintaining his comic presence. Some time later however, Carrey manages to top that scene with his rendition of Jefferson Airplane's 'Somebody to Love' (or 'Thumbody to love' in this case). Clad in a fringe-sleeved jacket and surrounded by bizarre jeriatrics, Carrey will change the way you listen to Jefferson Airplane forever.

There is also an engaging subplot that's omnipresent throughout the film, involving the televised trial of Sam Sweet, a child actor convicted of murdering his twin brother Stan. Clips of the trial are shown throughout, as well as a fictional TV movie starring Eric Roberts as the twins, and we somehow become invested in this seemingly irrelevant subplot that has nothing to do with the story itself. It's not until the climax when we see that everyone in the city is settling down to watch the verdict of the trial, only for it to be cut short when Chip falls onto the satellite and damages the aerial. Suddenly we find ourselves becoming just as frustrated as the characters themselves, all over a fictional trial. Oh, and the fictional twins? Both are portrayed by director Ben Stiller.

Finally, the film also made some predictions about future technology that strangely came true. These include online shopping, online gaming, and the integration of phones, television, and the internet. These seem like pretty standard statements in the 21st century, but the film came out in 1996, so it's interesting to see how much of Chip Douglas' predictions actually happened. Well, it's not actually that interesting, but it's worth noting.

To give us one final reminder of Chip Douglas and his sinister ways, the film ends with a helicopter paramedic rescuing the disturbed Cable Guy, assuring him that he will be okay before calling him 'buddy'. Douglas then asks the paramedic if he really is his buddy, before giving the camera an unsettling smile, hinting that history is about to repeat itself.

Overall, I believe that The Cable Guy is Jim Carrey's best performance in a comedic film. He takes his usual character traits and puts a much darker spin on them to make for a sinister, yet emotionally complex character. While he does have plenty of wacky moments throughout, ultimately we can't help but feel sorry for Chip Douglas and his lonely life. Part slapstick comedy, part psychological thriller, and small-part courtroom procedural, The Cable Guy marks a high point in Jim Carrey's career that, for the first time, seen him transcend his usual comedic persona to portray a much more layered character.

'The Nun' Review

Directed by Corin Hardy (The Hallow) from a script by series regulars Gary Dauberman and James Wan, The Nun is the latest chapter in The Conjuring franchise that acts as both a prequel to all of the previous films, as well as a spin-off to The Conjuring 2 in particular. Set in an old abbey in the Carpathian mountains, the film follows Father Burke (Demián Bichir) and young nun sister Irene (Taissa Farmiga) as they investigate the mysterious suicide of a nun, leading them to uncover the abbeys dark secrets. With names like Corin Hardy and Taissa Farmiga attached, as well as how terrified audiences were by The Nun herself in The Conjuring 2, this prequel/spin-off seemed fairly promising. Unfortunately however, The Nun never fully realises this promise.

The film opens with a creepy sequence in which a young nun is pursued down a dark hallway by the demonic silhouette of Valak (Bonnie Aarons), the titular nun. As Valak advances down the gloomy hallway, lights flicker out as she passes and this ominous vocal score plays out, making for a really eerie and memorable opening scene. Unfortunately this is the films high point, and what follows are a series of sporadic scares spread out across a fairly dull film. While it does show moments of promise, The Nun never really expands on these, and we're left with a rather lackluster entry into The Conjuring universe.

The film is built on this formula that consists of long periods of chatting and exposition, interspersed with ominous jumpscares that gradually just become predictable. Almost every jumpscare involves either a nun or some sort of nun-shaped object, making for a series of repetitive events that rarely manage to do anything particularly scary. The original Conjuring and its sequel became so successful due to the ways in which James Wan orchestrated each scare to catch the audience off guard, but The Nun never even feels like its trying to surprise you. What's probably the best jumpscare in the film is the one we seen in the trailer!

As for the cast, I felt Taissa Farmiga wasn't given much to work with in her role as sister Irene. In the beginning it seems as though she will have an interesting arc about questioning her faith and whatnot, but ultimately none of this ever really plays out. Demián Bichir is given a bit more to work with and does a fine job, Father Burke has at least some sort of backstory that allows us to empathise with him. Belgian actor Jonas Bloquet takes on the role of Frenchie, the films comic relief who mostly succeeds in doing just that. As for Valak herself, the titular nun, she's surprisingly underutilised. When she is onscreen, Bonnie Aarons has this really eerie presence once again, but the problem is that she barely gets any screentime! You'd think since it's technically her film that we'd get plenty of nun action, but unfortunately her role feels even more underplayed than in The Conjuring 2.

For all its shortcomings however, I will say that The Nun is one bloody stylish film. Hardy and cinematographer Maxime Alexandre make excellent use of Corvin castles gothic features, as well as the breathtaking sets that look as though they could have featured in an old Hammer film. Gloomy crypts, gothic towers, and tons of Catholic imagery, from a visual standpoint The Nun excels. There are times when the film feels like it's leaning into this gothic B-movie territory, with ghoulish zombies and demonic apparitions appearing, and these moments are where The Nun is at its strongest. Unfortunately they occur only every so often and the film never fully takes hold of their potential. Hardy is definitely a talented filmmaker with a unique vision, but here it feels like he is somewhat held back or restrained, which is a damn shame if that is the case. If one thing is certain though, it's that I'd love to see him tackle another gothic horror film from his own script.

Overall, The Nun never really manages to conjure up the scares that some of its predecessors did, and unfortunately has not much to fall back on either. The jumpscares are predictable, the plot isn't that engaging, and while there are some points where you feel that it does work, they are sporadic, and the film in general just ends up feeling inconsistent. Still, the cast work well enough with what they have, and from a visual standpoint I think this might be the best-looking film in the franchise, showing great promise for director Corin Hardy. While it's one of the weaker entries into The Conjuring universe, thankfully it's nowhere near as awful as the first Annabelle film.

Revisiting the Darker Phase of 'Scooby-Doo' Animated Films

Since he first came into the world in 1969, Scooby-Doo has become one of animations most recognisable characters and an all 'round cultural icon. Since Scooby-Doo, Where Are You? first aired almost 50 years ago, the mystery-solving pooch has had several successful television shows, animated films, a couple of live action films, video games, and countless other merchandise. I myself had a Scooby-Doo-themed bedroom for some of the better years of my life. Yes, for many of us Scooby-Doo has always been there.

Scooby and his pals were known for chasing ghouls that ultimately turned out to be nothing more than criminals in masks. Save for a few TV specials and The 13 Ghosts of Scooby-Doo (co-starring Vincent Price), this was a continuing formula of the Scooby-Doo franchise for decades. However, in the late 90's there was a change in the Scooby-Doo formula, and the monsters started to become all too real..

This phase of darker Doo films lasted from 1998 to 2001, and dealt with Mystery Inc. investigating cases with real monsters instead of undesirables masquerading as ghosts. The first, and arguably best, of these was...

Scooby-Doo on Zombie Island (1998)

The first ever direct-to-video Scooby-Doo film followed Mystery Inc. reuniting to help Daphne investigate supposedly 'real-life' hauntings across America. The gang are soon called to Moonscar Island in Louisiana to investigate a supposed haunting by the pirate Morgan Moonscar and a zombie horde. This time there were no masks, no strings, no smoke-machines, the zombies were all too real..

Zombie Island came at a period when Warner Bros. were producing darker content aimed at children, with the likes of Batman: The Animated Series et al. This little piece of animated gold was the darkest chapter in the Scooby-Doo franchise, both in its tone and its subject matter. It dealt with issues such as voodoo, pagan rituals, cat-people, and of course zombies, and actually put Scooby and the gang in real danger. There is a scene where the gang attempt to unmask a zombie pirate, speculating whether or not it's the ferryman or the fisherman, only for the head to come clean off. This was the moment when Zombie Island proved itself to be an instant classic.

With its ghoulish animation, dark humor, and guest appearances by Mark Hamill and Adrienne Barbeau, Zombie Island has become a cult classic among millenials. Of course, those of us who have seen the film know that zombies were the least of Mystery Inc's problems on Moonscar Island, but for those who have yet to experience Zombie Island.. what have you been doing all these years? Also, I just realised that this film is 20 years old now and I feel ancient.

Mystery Inc's next adventure would take them from the bayous of Louisiana to a small town in New England where witchcraft was apparently afoot. This was of course..

Scooby-Doo and the Witch's Ghost (1999)

When horror writer Ben Ravencroft (Tim Curry) invites Mystery Inc. to his hometown of Oakhaven, the gang get caught up in a case involving the spirit of an old witch, and not everything is as it seems. Like its predecessor, Witch's Ghost once again deals with the monsters being real, but that's not to say that there aren't a few men in masks lurking around here or there. It's a tale full of twists and turns that's complimented by beautiful autumnal animation that will invoke the spirit of Halloween with ease. 

Of course, the real highlight of Witch's Ghost was the introduction of The Hex Girls to the Scooby-Doo canon, a gothic rock band consisting of three wiccans named Thorn, Dusk, and Luna. These goth chicks may come across as spooky at first, but in reality they care mainly about nature and the earth, dubbing themselves 'eco-goths'. Not only were they environmentally responsible musicians, but they also had some cracking tunes such as this banger.

Witch's Ghost was a worthy follow-up to Zombie Island that maintained the dark tone and introduced another chilling villain to the world of Scooby-Doo. It also boasts a memorable voice performance from the unmistakable Tim Curry. Curry would also later appear as the villainous Mastermind in the video game Scooby-Doo: Night of 100 Frights. With its witchy vibes, possessed pumpkins, and autumnal animation, it's also the perfect film to show your kids on Halloween.

Scooby-Doo's next outing would change things up a bit however, moving from supernatural threats to something a bit more extra-terrestrial..

Scooby-Doo and the Alien Invaders (2000)

When the Mystery Machine breaks down in the middle of Roswell, New Mexico, the gang find themselves in a small town where they face off against veggie-looking alien invaders. This one took the concept of the monsters being real, and flipped it on its head in a shocking, yet compelling twist that had Scooby fans sobbing at a young age.

The films tone is noticeably lighter than the previous two films, but the alien creatures are threatening nonetheless. It also introduces a love interest for Shaggy in the form of hippie girl Crystal, as well as her dog Amber who Scooby takes a shine to. It was nice to see Shaggy and Scooby get a little romance in their lives for once, however if you've seen the film then you'll know that it unfortunately doesn't last. It's hard not to spoil the films twist for those of you who haven't seen it, but to put it simply it's one of the finest in the history of Scooby-Doo.

Focusing on concepts such as UFO's and Roswell, Alien Invaders was a big shift in tone from the previous two films, but a refreshing one nonetheless, that allowed the franchise to explore new territory. It also has thousands of kids wondering what in God's name is a jackallope? A thrilling, and surprisingly emotional entry to the Scooby-Doo canon.

It's follow up film would see the gang go from the real world to the cyber-world in...

Scooby-Doo and the Cyber Chase (2001)

Mystery Inc. arrive on a college campus to investigate the Phantom Virus, a computer virus who gained sentience due to a hi-tech laser. The gang soon find themselves, and the virus, being pulled into a video game based on themselves, and must fight their way through 10 levels in order to escape. This film marked the end in the darker phase of Scooby-Doo films. Not only was it the last of them to be animated in Japan by Mook Animation, but was also the last Hanna-Barbera production to be executive produced by William Hanna and Joseph Barbera. Hannah unfortunately passed away in March of that year.

The film is a lot lighter in tone than the other three, but its video game setting was highly refreshing and felt as though it had brought Scooby-Doo into the 21st century. It was the first hi-tech adventure for the gang, and arguably still the best. Despite its lighter tone, the villainous Phantom Virus was still fairly menacing, and is probably one of the scariest creatures that the gang have ever faced in their animated adventures at least. 

The best thing about this film however, is how it pays homage to Scooby and the gangs past adventures, bringing things full circle in a way. In the final level of the game, the gang meet their video game counterparts who are dressed in their original costumes (while Shaggy wears his red t-shirt from some of the animated tv movies), while they also face off against some of their former foes as well. These include the Tar Monster, Old Iron Face, Jaguaro, the Gator Ghoul, and the Creeper from the original series. It's a fitting homage to Scooby's career that acts as a nice finish to this phase of the franchise.

Following Cyber Chase, the franchise would go back to the man-in-a-mask formula, while shifting to a brighter animation style in tone with the new series What's New Scooby-Doo? It marked the end of an era for Scooby's animated adventures, but the subsequent live-action films that began the following year in 2002 would continue with the darker tone, as well as the idea of the monsters being real. For many kids who were born in the mid-90's, this phase of Scooby-Doo films remains iconic even today, and can still be enjoyed for their darker tone and nostalgic content. They were the perfect medium for bringing everyone's favourite talking dog into the 21st century.