Shocktober Revisited: You're Next

Festival screenings are a funny thing: movies can really build or destroy their reputation based on playing at a festival, and sometimes it happens for reasons beyond the creators' control. For example, while I really do like Don Coscarelli's John Dies at the End and I think it does the best possible job it can adapting the book with the budget he had and the time constraints (and there's a lot that didn't make the adaptation), I think it benefited immensely from playing after Dawn of the Dead with audiences at the Nevermore Film Festival last year. I was there, and most of the people who came for Dawn of the Dead (and it was packed) stuck around for John Dies at the End, which played shortly thereafter, and they were already pumped having just seen what is arguably the best of Romero's "Dead" films (it's not my favorite, but I won't argue it's the best constructed). As a result, what is already a very good movie went through the roof because people were excited in the first place.

 I didn't see You're Next in 2011, because I wasn't in Toronto, Austin, San Francisco, Sydney, Los Angeles, or any of the other cities it played it. But apparently audiences went gaga for it. I probably read about it and then, as time went on, forgot about You're Next. Like The Cabin in the Woods, there was a sizable gap between the completed product and release. In the case of You're Next, it finally came out last August, and just recently came out on DVD and Blu-Ray, which is how I saw it. And you know what? It is pretty damn good.

 Crispian (AJ Bowen) is going to visit his parents - Paul (Rob Moran) and Aubrey (Barbara Crampton) - at their fixer-upper house in the woods for a family reunion. He's bringing along Erin (Sharni Vinson), his girlfriend, to meet his siblings: Felix (Nicholas Tucci), Drake (Joe Swanberg), and Aimee (Amy Seimetz), as well as their respective SO's Zee (Wendy Glenn), Kelly (Sarah Myers), and Tariq (Ti West). What none of them know is that three killers just murdered Paul and Aubrey's only neighbors (Larry Fessenden and Kate Lyn Sheil) and are preparing for a little family reunion home invasion. Then again, what the killers don't know is that Erin may be more than they can handle, much to the surprise of everyone else...

 I was already enjoying the set up of You're Next as it built towards the first attack on the family, but the moment that one of the killers (dressed in black and wearing animal masks, like they do in these kinds of movies) breaks through the glass and tries to grab Erin, I was sold. Instead of scream, she plunges a knife into his arm and pins him to the window pane, and the killer is standing there, howling with pain, while she looks for something to finish him off with. Her rationale why they shouldn't hide in the basement and the reaction it gets from the others is also priceless. The tone is just off-kilter enough to to overcome the predictability of the genre, which is always welcome, but Vinson is without a doubt You're Next's selling point.

(Also seeing Barbara Crampton (Re-Animator, From Beyond) again is a bonus, who came out of semi-retirement to be in the film, although I honestly didn't recognize her until I saw her name in the credits)

 Coming in, I'd seen the quotes that You're Next was "ground breaking" and that it would change the rules of horror movies, which to be honest is the kind of festival-related hyperbole that increases expectations for a movie beyond where they need to be. You're Next is a really good horror movie, and probably the best domestic "home invasion" entry I've seen in the last decade (at least), but it doesn't reinvent the wheel, gang. It's okay for a movie to just do its job very well. Director Adam Wingard (V/H/S 2) and writer Simon Barrett (The ABCs of Death) made the kind of straight ahead horror movie that audiences will eat up: great kills, some clever laughs, fun characters, and actual suspense. The Final Girl has a novel back story that explains why she knows so much about fighting back (she grew up on a survivalist camp in the Outback), and the "twist" may not be novel (it's taken from the playbook of 60% of all thrillers) but it plays out well. You're Next doesn't need to be described as game changing, because it plays the existing game and does a damn fine job of it.

  You're Next also (apparently) falls into a category I'd never heard of before: "mumblegore." To be honest, I wasn't aware such a distinction was necessary, but the internet does love to create hybrid subgenres, and it was only a matter of time before "mumblecore" horror films had their own category. Other than Baghead, I'm not really certain what else qualifies as "mumblegore," because You're Next is most certainly too well scripted and too tightly directed to be considered a largely improvised, boring piece of shit. Oh, I'm sorry. I'm letting my bias slip through, but I really don't like mumblecore movies. Unless the way they've been made has changed drastically since I endured Funny Ha Ha, You're Next has one scene that even resembles "mumblecore" - the dinner table conversation right before the first attack.

 In the extras on the disc, Wingard and Barrett mention that they wanted each conversation to be distinct from each other and that there were many, many takes to get it just where Wingard wanted it to build to, but even in that I sense a greater sense of control than "just let them act and we'll shoot it." There's still a sense of control in the editing that I don't associate with movies by the Duplass brothers or other directors of that ilk. To be honest with you, I haven't seen A Horrible Way to Die or Pop Skull (Wingard's other horror movies), so maybe that's why You're Next gets lumped in, but I don't agree with that any more than the ridiculous notion that Ti West also falls into that category.

 Maybe that happened because West (The House of the Devil), Swanberg (Drinking Buddies), and Barrett are in You're Next, and (SPOILER) have some of the most memorable death scenes. Wingard does mention in the cast commentary that he wrote many of the parts for his friends (including Seimetz, who could only film in fits and spurts because she was in Upstream Color), which I suppose is something that gets lumped into the "mumblecore" playbook, but You're Next doesn't feel improvised. Once the movie really gets rolling, it's clear that Wingard and Barrett have a plan for every scene and how things are going to play out, which is the antithesis of "mumblecore." So is "mumblegore" a real thing? I don't know, but I'm going to go ahead and declare that if it is, You're Next shouldn't be part of that subgenre. It's a straight-ahead home invasion movie with some slasher influences, and what it does, it does very well.

 You're Next is the kind of movie I would have liked to have seen with a crowd. I'm strongly considering breaking the rule of what plays at Summer Fest so I don't have to wait until Horror Fest in October to show everybody the movie. I would have loved to have seen it at Nevermore, because it plays right into what the crowds there love, but that was not to be. The good news is that You're Next is finally out there, and while it doesn't rewrite horror (and I don't think it was even trying to), it's a hell of a fun movie to watch. Check it out.

Shocktober Revisited: You're Next

 This review originally appeared in February of this year.


  Festival screenings are a funny thing: movies can really build or destroy their reputation based on playing at a festival, and sometimes it happens for reasons beyond the creators' control. For example, while I really do like Don Coscarelli's John Dies at the End and I think it does the best possible job it can adapting the book with the budget he had and the time constraints (and there's a lot that didn't make the adaptation), I think it benefited immensely from playing after Dawn of the Dead with audiences at the Nevermore Film Festival last year. I was there, and most of the people who came for Dawn of the Dead (and it was packed) stuck around for John Dies at the End, which played shortly thereafter, and they were already pumped having just seen what is arguably the best of Romero's "Dead" films (it's not my favorite, but I won't argue it's the best constructed). As a result, what is already a very good movie went through the roof because people were excited in the first place.

 I didn't see You're Next in 2011, because I wasn't in Toronto, Austin, San Francisco, Sydney, Los Angeles, or any of the other cities it played it. But apparently audiences went gaga for it. I probably read about it and then, as time went on, forgot about You're Next. Like The Cabin in the Woods, there was a sizable gap between the completed product and release. In the case of You're Next, it finally came out last August, and just recently came out on DVD and Blu-Ray, which is how I saw it. And you know what? It is pretty damn good.

 Crispian (AJ Bowen) is going to visit his parents - Paul (Rob Moran) and Aubrey (Barbara Crampton) - at their fixer-upper house in the woods for a family reunion. He's bringing along Erin (Sharni Vinson), his girlfriend, to meet his siblings: Felix (Nicholas Tucci), Drake (Joe Swanberg), and Aimee (Amy Seimetz), as well as their respective SO's Zee (Wendy Glenn), Kelly (Sarah Myers), and Tariq (Ti West). What none of them know is that three killers just murdered Paul and Aubrey's only neighbors (Larry Fessenden and Kate Lyn Sheil) and are preparing for a little family reunion home invasion. Then again, what the killers don't know is that Erin may be more than they can handle, much to the surprise of everyone else...

 I was already enjoying the set up of You're Next as it built towards the first attack on the family, but the moment that one of the killers (dressed in black and wearing animal masks, like they do in these kinds of movies) breaks through the glass and tries to grab Erin, I was sold. Instead of scream, she plunges a knife into his arm and pins him to the window pane, and the killer is standing there, howling with pain, while she looks for something to finish him off with. Her rationale why they shouldn't hide in the basement and the reaction it gets from the others is also priceless. The tone is just off-kilter enough to to overcome the predictability of the genre, which is always welcome, but Vinson is without a doubt You're Next's selling point.

(Also seeing Barbara Crampton (Re-Animator, From Beyond) again is a bonus, who came out of semi-retirement to be in the film, although I honestly didn't recognize her until I saw her name in the credits)

 Coming in, I'd seen the quotes that You're Next was "ground breaking" and that it would change the rules of horror movies, which to be honest is the kind of festival-related hyperbole that increases expectations for a movie beyond where they need to be. You're Next is a really good horror movie, and probably the best domestic "home invasion" entry I've seen in the last decade (at least), but it doesn't reinvent the wheel, gang. It's okay for a movie to just do its job very well. Director Adam Wingard (V/H/S 2) and writer Simon Barrett (The ABCs of Death) made the kind of straight ahead horror movie that audiences will eat up: great kills, some clever laughs, fun characters, and actual suspense. The Final Girl has a novel back story that explains why she knows so much about fighting back (she grew up on a survivalist camp in the Outback), and the "twist" may not be novel (it's taken from the playbook of 60% of all thrillers) but it plays out well. You're Next doesn't need to be described as game changing, because it plays the existing game and does a damn fine job of it.

  You're Next also (apparently) falls into a category I'd never heard of before: "mumblegore." To be honest, I wasn't aware such a distinction was necessary, but the internet does love to create hybrid subgenres, and it was only a matter of time before "mumblecore" horror films had their own category. Other than Baghead, I'm not really certain what else qualifies as "mumblegore," because You're Next is most certainly too well scripted and too tightly directed to be considered a largely improvised, boring piece of shit. Oh, I'm sorry. I'm letting my bias slip through, but I really don't like mumblecore movies. Unless the way they've been made has changed drastically since I endured Funny Ha Ha, You're Next has one scene that even resembles "mumblecore" - the dinner table conversation right before the first attack.

 In the extras on the disc, Wingard and Barrett mention that they wanted each conversation to be distinct from each other and that there were many, many takes to get it just where Wingard wanted it to build to, but even in that I sense a greater sense of control than "just let them act and we'll shoot it." There's still a sense of control in the editing that I don't associate with movies by the Duplass brothers or other directors of that ilk. To be honest with you, I haven't seen A Horrible Way to Die or Pop Skull (Wingard's other horror movies), so maybe that's why You're Next gets lumped in, but I don't agree with that any more than the ridiculous notion that Ti West also falls into that category.

 Maybe that happened because West (The House of the Devil), Swanberg (Drinking Buddies), and Barrett are in You're Next, and (SPOILER) have some of the most memorable death scenes. Wingard does mention in the cast commentary that he wrote many of the parts for his friends (including Seimetz, who could only film in fits and spurts because she was in Upstream Color), which I suppose is something that gets lumped into the "mumblecore" playbook, but You're Next doesn't feel improvised. Once the movie really gets rolling, it's clear that Wingard and Barrett have a plan for every scene and how things are going to play out, which is the antithesis of "mumblecore." So is "mumblegore" a real thing? I don't know, but I'm going to go ahead and declare that if it is, You're Next shouldn't be part of that subgenre. It's a straight-ahead home invasion movie with some slasher influences, and what it does, it does very well.

 You're Next is the kind of movie I would have liked to have seen with a crowd. I'm strongly considering breaking the rule of what plays at Summer Fest so I don't have to wait until Horror Fest in October to show everybody the movie. I would have loved to have seen it at Nevermore, because it plays right into what the crowds there love, but that was not to be. The good news is that You're Next is finally out there, and while it doesn't rewrite horror (and I don't think it was even trying to), it's a hell of a fun movie to watch. Check it out.

Blogorium Review: The One I Love

 In the interest of full disclosure, I've had a bad go of it when it comes to "mumblecore." Oh, I've tried, but I usually can't finish a Joe Swanberg movie (as short as they are) - that includes Happy Christmas, 24 Exposures, and Drinking Buddies, which I got the farthest into before getting bored and turning the movie off. So far, the only thing that came out of the "mumblecore" movement I even remotely enjoyed was Adam Wingard's You're Next, which apparently qualifies as "mumblegore" but seems too well scripted to really fit into the "improvisational" filmmaking style.

 This comes up because The One I Love, from first time director Charlie McDowell and first time screenwriter Justin Lader is produced by the Duplass Brothers, they of The Puffy Chair, Cyrus, and Jeff Who Lives at Home. Given the previous paragraph, I'm going to let you guess whether I liked any of those movies. Take your time. Okay, so you're back and if you thought that even the presence of John C. Reilly and Jonah Hill could sway me on Cyrus, nope. Hated it. But I had heard really good things about The One I Love, particularly about the premise, which I'm going to SPOIL the hell out of. If you want to go in knowing nothing, stop here and know that The One I Love is "mumblecore" in the same way that You're Next is, which to me means it isn't. It's a very interesting riff on The Twilight Zone, and I'll leave it at that until you're done.

 Okay, for everybody else, I don't feel bad SPOILING The One I Love at all because you're not more than ten minutes into the movie before the "twist" happens. McDowell is essentially working a variation on the "Two Hander," with Mark Duplass (The League) and Elisabeth Moss (Mad Men) as Ethan and Sophie, a married couple on the rocks. There are trust issues, he's too analytical and she's too judgmental, and even their therapy sessions are largely spent glowering at each other. Their therapist (Ted Danson) recommends a retreat out in the mountains that "renews" relationships, so they agree. The house seems nice, the grounds are pretty swank, and even the guest house is fully furnished.

 And, whenever Ethan or Sophie go into the guest house alone, they meet an idealized version of their significant other waiting inside. After a first night of confused moments, they try to leave, but curiosity gets the better of Sophie and they go back. Ground rules are set, but quickly abandoned, and the longer they spend in the guest house, the stranger things become. The wherefore is never made apparent, but it turns out not to be that important. The way that Sophie and Ethan react to this development is the thrust of The One I Love's narrative, and their character foibles play heavily into what happens next. The intuitive Sophie is more taken with the "other" Ethan, who is more contrite and laid back. Ethan, on the other hand, can't help but over-analyze the situation, and all but rejects the "other" Sophie, for reasons that turn out to be more altruistic than distrusting the situation. (He later tells Sophie that "why would I want some other version of my wife when I know the real you is still out there?")

 There is, it seems, more going on than meets the eye, but it's less important than watching Moss and Duplass interacting with very different versions of their characters (more Duplass than Moss, as the "other" Sophie isn't much of a factor until late in the film) and what it does to their already fractious relationship. Ethan finds himself competing for his wife's affection with, well, himself, only a more appealing version. Out of desperation, he pulls a potentially relationship damaging act of subterfuge, one that comes back to haunt him when they discover that the "other" Ethan and Sophie are able to leave the guest house. Their final night at the house is indeed a tense one, as both Ethans and both Sophies have dinner and attempt to navigate mutual suspicions. And then, near the end, we have some idea why the therapist isn't answering his phone and what purpose these "others" serve. I'll save that for you to find out.

 If this was a largely improvised movie (as per "mumblecore" ethos), it certainly didn't feel like it. Some of the conversations between Moss and Duplass felt a little open ended, but that might have more to do with the ambiguous nature of the situation Ethan and Sophie are in. There's a considerable amount of set-up / payoff in the film, particularly at the end, and while I'd technically classify the film as "science fiction," it's mostly realistic in execution. Since they have to carry the lion's share of the film, Moss and Duplass have a lot of work to do and are always interesting to watch. Duplass, in particular, creates two very different takes on Ethan, who are fundamentally the same person, but whose approaches to life and agendas couldn't be more different. Moss is largely relegated to one Sophie, as we simply don't get a lot of time with her doppelganger, but the way she opens up over the course of the film is something special indeed. Danson's role is essentially a cameo (his wife, Mary Steenburgen*, also has a tiny role as Ethan's mother via voicemail), but his presence looms late into The One I Love.

 Despite my apprehension at the presence of Mark and Jay Duplass producing and the concerns I might be walking into another meandering drama about relationships captured with improvisational, hand-held aesthetics, The One I Love really grabbed me and didn't let go. It's a fun trip back into the Twilight Zone, and that alone would make it worth recommending. Fortunately for you, there's plenty more to enjoy, as long as you enjoy low-fi sci-fi. Don't let the "mumblecore" producing credentials shy you away - this one is worth your time.



* Steenburgen is also McDowell's mother, and Danson his stepfather, for trivia buffs.

Blogorium Review: You're Next

 Festival screenings are a funny thing: movies can really build or destroy their reputation based on playing at a festival, and sometimes it happens for reasons beyond the creators' control. For example, while I really do like Don Coscarelli's John Dies at the End and I think it does the best possible job it can adapting the book with the budget he had and the time constraints (and there's a lot that didn't make the adaptation), I think it benefited immensely from playing after Dawn of the Dead with audiences at the Nevermore Film Festival last year. I was there, and most of the people who came for Dawn of the Dead (and it was packed) stuck around for John Dies at the End, which played shortly thereafter, and they were already pumped having just seen what is arguably the best of Romero's "Dead" films (it's not my favorite, but I won't argue it's the best constructed). As a result, what is already a very good movie went through the roof because people were excited in the first place.

 I didn't see You're Next in 2011, because I wasn't in Toronto, Austin, San Francisco, Sydney, Los Angeles, or any of the other cities it played it. But apparently audiences went gaga for it. I probably read about it and then, as time went on, forgot about You're Next. Like The Cabin in the Woods, there was a sizable gap between the completed product and release. In the case of You're Next, it finally came out last August, and just recently came out on DVD and Blu-Ray, which is how I saw it. And you know what? It is pretty damn good.

 Crispian (AJ Bowen) is going to visit his parents - Paul (Rob Moran) and Aubrey (Barbara Crampton) - at their fixer-upper house in the woods for a family reunion. He's bringing along Erin (Sharni Vinson), his girlfriend, to meet his siblings: Felix (Nicholas Tucci), Drake (Joe Swanberg), and Aimee (Amy Seimetz), as well as their respective SO's Zee (Wendy Glenn), Kelly (Sarah Myers), and Tariq (Ti West). What none of them know is that three killers just murdered Paul and Aubrey's only neighbors (Larry Fessenden and Kate Lyn Sheil) and are preparing for a little family reunion home invasion. Then again, what the killers don't know is that Erin may be more than they can handle, much to the surprise of everyone else...

 I was already enjoying the set up of You're Next as it built towards the first attack on the family, but the moment that one of the killers (dressed in black and wearing animal masks, like they do in these kinds of movies) breaks through the glass and tries to grab Erin, I was sold. Instead of scream, she plunges a knife into his arm and pins him to the window pane, and the killer is standing there, howling with pain, while she looks for something to finish him off with. Her rationale why they shouldn't hide in the basement and the reaction it gets from the others is also priceless. The tone is just off-kilter enough to to overcome the predictability of the genre, which is always welcome, but Vinson is without a doubt You're Next's selling point.

(Also seeing Barbara Crampton (Re-Animator, From Beyond) again is a bonus, who came out of semi-retirement to be in the film, although I honestly didn't recognize her until I saw her name in the credits)

 Coming in, I'd seen the quotes that You're Next was "ground breaking" and that it would change the rules of horror movies, which to be honest is the kind of festival-related hyperbole that increases expectations for a movie beyond where they need to be. You're Next is a really good horror movie, and probably the best domestic "home invasion" entry I've seen in the last decade (at least), but it doesn't reinvent the wheel, gang. It's okay for a movie to just do its job very well. Director Adam Wingard (V/H/S 2) and writer Simon Barrett (The ABCs of Death) made the kind of straight ahead horror movie that audiences will eat up: great kills, some clever laughs, fun characters, and actual suspense. The Final Girl has a novel back story that explains why she knows so much about fighting back (she grew up on a survivalist camp in the Outback), and the "twist" may not be novel (it's taken from the playbook of 60% of all thrillers) but it plays out well. You're Next doesn't need to be described as game changing, because it plays the existing game and does a damn fine job of it.

  You're Next also (apparently) falls into a category I'd never heard of before: "mumblegore." To be honest, I wasn't aware such a distinction was necessary, but the internet does love to create hybrid subgenres, and it was only a matter of time before "mumblecore" horror films had their own category. Other than Baghead, I'm not really certain what else qualifies as "mumblegore," because You're Next is most certainly too well scripted and too tightly directed to be considered a largely improvised, boring piece of shit. Oh, I'm sorry. I'm letting my bias slip through, but I really don't like mumblecore movies. Unless the way they've been made has changed drastically since I endured Funny Ha Ha, You're Next has one scene that even resembles "mumblecore" - the dinner table conversation right before the first attack.

 In the extras on the disc, Wingard and Barrett mention that they wanted each conversation to be distinct from each other and that there were many, many takes to get it just where Wingard wanted it to build to, but even in that I sense a greater sense of control than "just let them act and we'll shoot it." There's still a sense of control in the editing that I don't associate with movies by the Duplass brothers or other directors of that ilk. To be honest with you, I haven't seen A Horrible Way to Die or Pop Skull (Wingard's other horror movies), so maybe that's why You're Next gets lumped in, but I don't agree with that any more than the ridiculous notion that Ti West also falls into that category.

 Maybe that happened because West (The House of the Devil), Swanberg (Drinking Buddies), and Barrett are in You're Next, and (SPOILER) have some of the most memorable death scenes. Wingard does mention in the cast commentary that he wrote many of the parts for his friends (including Seimetz, who could only film in fits and spurts because she was in Upstream Color), which I suppose is something that gets lumped into the "mumblecore" playbook, but You're Next doesn't feel improvised. Once the movie really gets rolling, it's clear that Wingard and Barrett have a plan for every scene and how things are going to play out, which is the antithesis of "mumblecore." So is "mumblegore" a real thing? I don't know, but I'm going to go ahead and declare that if it is, You're Next shouldn't be part of that subgenre. It's a straight-ahead home invasion movie with some slasher influences, and what it does, it does very well.

 You're Next is the kind of movie I would have liked to have seen with a crowd. I'm strongly considering breaking the rule of what plays at Summer Fest so I don't have to wait until Horror Fest in October to show everybody the movie. I would have loved to have seen it at Nevermore, because it plays right into what the crowds there love, but that was not to be. The good news is that You're Next is finally out there, and while it doesn't rewrite horror (and I don't think it was even trying to), it's a hell of a fun movie to watch. Check it out.