Clean, Shaven

After viewing Clean, Shaven, the 1993 film directed by Lodge Kerrigan, I found myself concluding a psychological experience of abstraction. Like Harmony Korine’s Julien Donkey-boy, Clean, Shaven realizes a more honest view of schizophrenia. Hollywood has given us soft and friendly views via Ronald Howard’s A Beautiful Mind. Clean, Shaven pertains to viewers interested in a film that doesn’t distance the viewer from the pain of the schizophrenic. This lack of distancing from the viewer and the general subject of schizophrenia, accomplishes more in film and viewer interaction.

Kerrigan unquestionably took cues from David Lynch with his utilization of ambient sound and its interaction with image. Sound plays a very significant part in the films success of creating a world of delusion, confusion and paranoia. Many scenes rely on auditory dissonance with a combination of noir style lighting and small town decay. These three things set the emotional atmosphere for the film.

Instead of relying on quick-cuts often found in most contemporary films to create emotion, Clean, Shaven’s obsession of the shot creates a world of unrelenting experience. The viewer is forced and driven into mandatory pain. By not giving into quick-cuts, the film traps the viewer in the moment. Quick-cuts allow the viewers to be aware of what they are supposed to feel emotionally but fall short of doing it naturally.

For fans of gore and body counts, Clean, Shaven also takes the unconventional route. The film contains such scenes as the body of a naked, rotted little girl and fingernail amputation. Both scenes are presented to the audience in precise detail and virtual authenticity. Even the most seasoned exploitation fans might find themselves unable to deal with these realistic scenarios of depravation.

No task of the schizophrenic protagonist seems to be simple in Clean, Shaven. As the viewer, you also find yourself subject to these mental inconsistencies. Nothing ever seems to be in place and every moment seems to be unpredictable. Although the film has a consistent plot, the real reward lies in the experience. You won’t find yourself much different in the end.

I believe Clean, Shaven to be a worthy experience for anyone interested in looking into the mind of a schizophrenic. At the end of the film you will be more engrossed than entertained. Good films do that for us. Clean, Shaven is evidence that you don’t have to settle for a happy schizophrenic. They aren’t fun anyways.

-Ty E

What is it?

With every great film comes controversy; Citizen Kane, The Golden Compass, and The Da Vinci Code are all examples of films in recent memory that have been plagued with bad press. Crispin Hellion Glover’s new film “What is it?” might be the most taboo breaking film to be seen yet. The plot is a bit wayward but makes up for it with its striking imagery and atmosphere.

The plot seems to be about a young boy who has an everlasting interest in finding snails while being tricked by a malicious god. The entire leading cast Is formed by people who have down syndrome which plays a lot regarding the controversy. Blackface, down syndrome nudity, Shirley Temple pornography, and Charlie Manson leading the soundtrack are all examples of this films roots and where they lie.

The surrealism that leads this film is entirely creative and striking. Crispin Glover has a supporting role of playing a Demi-God Auteur, which might be one of the weirdest characters portrayed, he demands all the creatures to be resilient to him. He seems to be the God in the plane of existence. You basically are watching a power struggle in the young boys mind between dueling Gods.

Glover's ideas have finally been brought to life with an amazing background to the story. His use of generalized evil in such ways that can only be deemed audacious is appropriate. Of course, the viewing of this film is partial without Glover's Q & A, book showings, and his enigmatic charisma.

This film is the first in a trilogy that is currently being planned. The second is titled “It is fine, everything is fine!” and the third “It is mine.” These films according to Glover will never see a video release so he can preserve the road show feel. The set designs in this film are epic to say the least. His campaigning for this film has been controversial, due to a young Shirley Temple being portrayed as an SS officer committing heinous acts with a bull whip.

Many scenes stick out incredibly. For example, a crimson mounted room with a low fog that lies home to Monkey women, A glistening clam lies home to a Cerebral Palsy victim, and macabre puppet shows filled with some philosophies of either a madman or a genius decorate the runtime. Once you watch this film, you will never forget it. That is, If you are lucky enough to catch this film on tour.

What Is It? is a cerebral force that invades your mind with its whistles and screams. A haunting shadow on the surrealist acclaim and a formidable viewing experience that is unrivaled and incomparable.

-Maq

Tribute to Jean Reno

Jean Reno killed Godzilla. With those four words, I begin my quest in bringing his character to notice. Jean Reno in short terms is a bad motherfucker. A lot of people criticize how he plays stereotypical roles in all his films. No matter what role he is, playing French detectives or the key bad ass, he always delivers quality entertainment and personality to every character. Whether it is in such garbage film like The Pink Panther or Godzilla, Jean Reno never lets fans down.

My love for this Moroccan native first came when I saw The Professional when I had matured. I had seen this movie as a child and forgotten about the visual excitement and tragedy it brought. When re-watching it, I realized how great this film was. I then sought after the Extended cut entitled Leon, which is two separate movies in my opinion. After that I rented Wasabi and was blown away with his ability to make every movie an instant classic. Without Jean Reno, all these movies would be mediocre at best. Not only is he a towering monolith of testosterone, he encompasses all the culture of the French without being it himself but he also out shines Sean Connery in the category of attractive unshaven elderly men by standards of modern women.

Jean Reno's extensive library of acting roles places him from outlandish scripts to video game likenesses. His talent has been exploited in the most fruitful of ways. Bringing light to his films is the greatest thing you could do for a friend. Hallmark should buy out the Jean Reno image to use as product placement. In an alternate universe, I can see people buying loved ones Jean Reno bobbleheads and other various merchandise. A man once told me I was a faggot for admiring a male. I sent him a link to the Wasabi trailer and he shut up quick.

Most people are either a Beatles or Elvis fan. Jean Reno is an Elvis man and because of that, so am I. His strangest role by far was in Luc Besson’s first directorial effort dubbed Le Dernier Combat. In this role he played “The Brute”, a man wandering a wasteland of mute people in search of the protagonist. This "dude" wasn’t in a film called The Moroccan Stallion for nothing. In closing remarks, all anybody needs to know is that if you see Jean Reno pasted anywhere, that shit is a gold mine and popcorn flick to boot.

-mAQ

Shock Waves

Although Nazi exploitation and zombie films always seem like the best idea ever, very few of them offer anything other than cheap sex and zombie face make-up smearing (I.E. Zombie Lake). Shock Waves features neither of these things enabling for an original zombie flick and exceptional Nazi zombie flick. The film is directed by Ken Wiederhorn, also known for directing one of the worst and weakest sequels in horror and cinema history, Return of the Living Dead II. Shock Waves was directed in 1976 and ever since, it seems Wiederhorn has gotten boring. Maybe he could even be called the Orson Welles of zombie films.

One of the most unconventional aspects of Shock Waves is its surprisingly beautiful cinematography seen sporadically throughout the film. Fiery skies can be seen during the sunsets and sparkling oceans during the day. It seems that Wiederhorn takes his zombie Nazi SS units seriously.

Casting hammer veteran Peter Cushing provides support for this belief.
Fortunately, Shock Waves doesn’t feature flesh, brain eating cerebral palsy zombies. Gore is great, but try making a film without it. Shock Waves disproves that assumption. Like their historic counterparts, these SS men kill swiftly and efficiently. They are assertive and driven. Their victims notice them after its too late. No goose-stepping involved, these zombies give the full effect of marching soldiers seen in 16mm World War II stock footage.

These zombie soldiers also resemble that of 1970s German experimental electronic pop music group Kraftwerk. Whether or not director Wiederhorn had a fear of both Nazis and/or Kraftwerk, remains to be unknown. Like the men in Kraftwerk, these zombies wear matching uniforms, have hair worthy of Reinhard Heydrich and seem universally and choreographically robotic.

-Ty E