PezzFest 2018: Night Eleven

PezzFest 2018 Double Double Film Series

Now you really know how to take on the world, to see things that no one else sees, and win the day despite absurd obsessions, atypical fantasy-lands, and aliens haunting our souls. We all go a little mad sometimes, maybe, but how far will you take your madness?

I hope you’ve enjoyed these nights of movie watching. Now for one last ride…

(Happy birthday Mom!)

Shut off your phones. Turn up your speakers. Pop the corn, open a bottle of wine, and let the good reels roll one. Last. Time…

Night Eleven: The World’s Gone Anyway

The last of it.

The dying embers of humanity, driving across the desert on a journey to freedom, an escape with all the money you could need to start a new life. You’ve done a bad thing, but no one’s going to know because you’re on your way. You’ve made it. But you’re also human, and you’re tired, so you try and stay a night at a motel. Off the beaten path. And you don’t want to raise suspicion, so you do the opposite of what your gut says and you’re nice, social, accommodating, and just when you want to cleanse yourself of your past sins — you’re dead. The rest of the world wants to move on without you, but mother says not yet. There’s things to do, there’s always things to do, and your mind won’t let you move on. Not now, not ever. You had a childhood once, but it’s gone for good. You’re not you anymore.

And then, we’re on the other side. The world has been destroyed, mankind has taken it all too far, and everything is salt, and dust, and water is a rarity, the lifeblood that allows the rulers to stay in charge, and the dying and desperate searching for answers. But the cars still run, and running is a must when you’ve taken something that isn’t yours.

In a world of salt and dust, you don’t look for a way out — you make your own.

psycho

Psycho

We start with a typical story of deception and a new life. The narrative drives us for 40 minutes in one car, then dares us to take everything we’ve got and hop in a different vehicle entirely speeding in the opposite direction, driven by a madman prone to murder.

What makes Psycho endearing is not the tortured Norman Bates barely holding his mind together, but the manner in which we are brought to his world. Marion Crane is on the run, having stolen $40,000 with the intent to get her lover out of debt and run away together. It’s not like her, it’s not like any instinct we, as an audience, would have, but she acts on impulse out of passion. Off the main roads, she stops at a motel and encounters Norman Bates, a normal enough fellow looking for company. Bates kills Marion in the shower, dumps the body, the money gone without so much as a whiff from Bates.

Eventually he’s found out, and locked away with the personality of his dead mother taking over his mind completely. Marion’s plot – a woman on the run after an improvised robbery – seems like it would make a fine movie all its own, but her tale is expertly told as only a prologue to the twisted sanity that is Norman Bates, a seemingly normal man who kills and buries his body as much as he hides his own sickness.

Perfect pacing, setup, and unexpected turns highlight this “real” horror movie, a story that drags viewers through the ringer and leaves us coming out the other side wet with hesitation to ask the person next to us for a helping hand.

ken-taylor-mad-max-fury-road-poster

Poster by Ken Taylor

Mad Max: Fury Road

A chase.

That’s the heart of it.

And it is glorious, shiny and new. Like chrome.

George Miller returns to his insane post-apocalyptic wasteland after 30 years, now with Tom Hardy as the mythical madman Max Rockatansky, and Charlize Theron as Imperator Furiosa. The cars are fast and spit dirt in the lenses, the villains are cartoonish and the worst of humanity – familiar now more than ever – and the heroes join forces with few words between them.

A lesson in ripe, efficient storytelling. Too simple for some? Maybe. But the complexity brought together in all elements of filmmaking by the dedicated George Miller will bring you to Valhalla at the edge of the broken world.

Watch on the edge of your seat and WITNESS the greatness of cinema in its totality.

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