October 2012 Wrap Up

Lots of exciting content at Sketchy Details this month. I began my New York Comic Con coverage, I went full tilt horror fanatic, and even had time to complain about copyright abuse.

Here are some highlights:

And don’t forget to follow the Drag Race recaps over at Read and Rave, the new home of reality TV recaps from me.

The Tangled Horror of Elfen Lied

The Tangled Horror of Elfen Lied

Elfen Lied (as in a song, not a lie) is a very dark horror/fantasy anime series. There is a new genetic strain of humans called Diclonii. They are physically separated by small horns on their heads, but also possess highly dangerous telekinetic abilities. Lucy is a bitter Diclonii who hates human beings for the way they treat the Diclonii. However, Lucy’s psyche has splintered into another identity, Nyu, who is an almost infantile Diclonii with no abilities. Nyu allows Lucy to take revenge on those who intend to harm the Diclonii without any recollection of her actions.

Elfen Lied is based on the bulk of the manga of the same name. The anime shifted the focus to the struggle between scientists and Lucy/Nyu in attempting to train Diclonii for nefarious purposes. Unfortunately, because the manga was still in production, the creators of the anime had to develop their own conclusion to the short run series that doesn’t exactly follow the direction of the original story.

Elfen Lied Schism

The story told by the anime is a fantastic example of technology/science gone wrong horror. The series chooses not to focus on how the mutation occurred, but why so many laboratories are attempting to control it. It opens up interesting questions of evolution, bioengineering, and scientific ethics.

At the same time, Lucy/Nyu are starring in their own monster story. After a series of traumatic events in the early part of the series, Lucy begins to unravel. Her desire to take revenge on people who have hurt her kind extends to an uncontrollable blood lust. Until this turning point, Lucy only kills people trying to hurt how. From this point on, her powerful vector (telekinetic) arms begin to kill on their own even when Lucy has no reason to attack. She struggles to bring Nyu back to the surface to protect her new friends.

Elfen Lied WindowThe entryway for the viewer to this twisted world is the relationship between college-aged cousins Kouta and Yuka. Kouta moves to a new beach-front town to attend college. He finds Nyu wandering around the beach during a storm and brings her into his home. Kouta and Yuka quickly befriend Nyu, but Nyu keeps running away. The cousins find out that Nyu is wanted by the police and other organizations and choose to hide her. They don’t even know Lucy exists.

Once the relationships are established, Lucy starts to emerge more and more. It’s as if the relative safety of her generous hosts allows her the freedom to show her true self. Kouta and Yuka become Nyu’s guardians and constantly save her from harm.

Then the incest, sexual assaults, child abuse, ultra violence, and blood really goes wild. The anime focuses on the violence to comment on human relations and discrimination. It also uses shocking, out of character moments from all the major characters to force you to realize that there can’t be a happily ever after in this story. Saving or defeating Lucy will not solve the Diclonii conflict; it will only shift the numbers one way or the other in a growing battle for domination.

Elfen Lied is a very thoughtful series filled with beautiful animation. It is a difficult but rewarding watch. The big thing to keep in mind is that, due to nudity, violence, language, and adult themes, this is a series for adults. At the same time the horror unfolds, Elfen Lied also comments on nudity, male and female gaze, and the objectification of minors. The combination of content is a troubling one that gives the short series far more weight than it might otherwise have.

Have you watched Elfen Lied before? Share your thoughts before.

Santa Sangre Review

Santa Sangre Review (Film, 1989)

I’m a sucker for a well-executed avant-garde film. I find the freedom of removing traditional boundaries of logic to be quite thrilling.

Although horror rarely removes all traditional narrative concepts, the genre is a perfect match for the avant-garde style. You’re attempting to create something terrifying for a wide audience. What is scarier than the fuel of our nightmares?

In nightmares, there doesn’t have to be a strong linear sense of logic to frighten us. We don’t need consistent characters or traditional pacing to be put off. The fact that everything morphs together into some coherent in the moment story is what makes them so terrifying. Deep down, we know the nightmare doesn’t make sense; that doesn’t make the experience of the nightmare any less disturbing.

Santa Sangre Flash ForwardSanta Sangre is unquestionably an avant-garde horror movie. Told in flashbacks and flashforwards, we learn the story of a boy who grew up in the circus and can never escape its influence. The ringmaster, his father, branded him with a blood-colored tattoo and the star attraction, his mother, took revenge on the ringmaster for his many crimes.

In the flashforwards, we see the young man all grown up. He escapes a mental institution to join his mother, now a double amputee, for a new show as a front for revenge against the world. The act renders him a slave to his mother’s will, the same way his father once ruled over his every action in the circus.

Director Alejandro Jodorowsky fills the screen with wondrous visions of nonsense to present the young man’s psyche. From the funeral of a circus elephant-turned pinata party to the seduction of the world’s strongest woman after a wrestling practice, Jodorowsky continually finds shocking and exciting ways to connect the disparate threads of the story.

Santa Sangre NightmaresThe real connection is the idea of performance. The concept of everyone wearing masks can be a trite one, but it’s used to grand exaggerated effect here. These characters aren’t wearing masks; they’re all in the beautifully bejeweled costumes of the old side show acts. Each costume change means the reveal of a new version of the character that somehow doesn’t fight against the old vision. Even complete 180s are sensible in the context of this nightmare of a circus.

Santa Sangre is a film that will not allow you to rest easily. It will chill you to the bone and leave you with more questions than you can imagine. Once the central conceit of the story is unveiled in the third act, any explanation you come up with for the why and how of this story is destroyed. It is perhaps the only moment of unquestionable logic in the film.

This also makes it the scariest, most profound statement of all. Sante Sangre is everything and nothing. It is innocence and corruption, fear and joy in equal measure.

Rating: 10/10

Santa Sangre is streaming on Netflix. Do not be confused by the audio. It is a film made in Mexico that was intended to be dubbed in English from the start. The poor sync is part of the vision of the story. Seen it? Share your thoughts.

Highschool of the Dead

Highschool of the Dead

Highschool of the Dead is a zombie anime for people who like the over the top gore and sexuality of the low budget American slasher. A group of high school students are trapped in their school when the zombie apocalypse strikes. The gym teachers accidentally spread the infection to the locked campus when a strange man approaches the gate.

From there, it’s utter chaos. The sprawling campus is overrun with the walking dead in only a few minutes. By the time the school tells the students and staff to evacuate, it’s too late. They might have had a chance of surviving if they stayed in their classrooms and barricaded the doors. Instead, they run right for the main steps and became zombie bait.

Highschool of the Dead is a bloody cartoon. The 12 episode series is bent on showing you every crimson drop on every character. The zombies are stained sticky with blood from the attacks that transformed them. The survivors, too, wind up as Rorschach tests of blood and trauma.

Highschool of the Dead ZombiesPerhaps the strongest aspect of the series is the creature design. These are the shambling zombies of Romero concentrated in a relatively small area filled with desperate people. They don’t have the reasoning skills to turn away from a wall after hitting it, but they’ll stalk you down with terrifying precision if you make a noise.

The inclusion of the blood in the design really makes these zombies pop. Their skin turns gray and limp upon transformation. Their eyes go stark white before fading to a sickly gray. And, worst of all, their victims die within seconds if the bite is deep enough even in a leg or arm.

For all of the excellent horror action, Highschool of the Dead has another underlying concept that breaks taboos. Any female character who has developed, adult and teenager alike, is shot with extreme jiggling action. The unnatural bounce of the breasts and bottoms wouldn’t be too disturbing if the camera didn’t constantly shoot up or down the school uniforms.

Highschool of the Dead PerversionIt’s very perverted, especially for a Shonen series. These are manga/anime titles targeted at boys as young as 10 years old. Shouldn’t the blood and weapon-wielding action be enough to draw in readers and viewers? What is accomplished other than a cheap thrill by drawing action shots like this? One scene in the first episode went on for so long that I thought they were going to show a teenager have an accident caused by fear. It’s a dark mark on a series with a such a strong story.

If you can get past the animated perversion, Highschool of the Dead is an adventurous zombie/action series. Most of the streaming platforms have the whole series. Unfortunately, the creative team behind the manga went on a long hiatus that prevented the anime from continuing. The result is a short but effective horror series to complement a far more sprawling and ambitious work in print.

Have you watched Highschool of the Dead? Sound off with your thoughts below.

Midnight in Paris Lawsuit

The Estate of William Faulkner V. Midnight in Paris

I’m a huge William Faulkner fan. His novel The Sound and the Fury had a huge impact on my reading habits when I entered high school. The shifts in form and style resonated with me even if it took a few readings to put the whole thing together.

Faulkner was one of the key American authors working during the Modernism/Interwar Avant Garde period. He was part of the explosion of radical experimentation in art between World War I and World War II.

It couldn’t have been a surprise when Woody Allen included a William Faulkner shout out in his time traveling fairy tale of obsessive nostalgia Midnight in Paris. The film was stuffed with quick scenes featuring artists, musicians, and writers of the period. Can you really focus that much on Papa Hemingway and not throw out a little love to Faulkner?

Requiem for a NunHowever, William Faulkner’s estate is not happy with his inclusion in the film. According to The Hollywood Reporter, Sony (the distributors of Midnight in Paris) are being sued by Faulkner’s estate for copyright infringement and damages.

Woody Allen included a close approximation–attributed to Faulkner–of a famous quotation from Faulkner’s Requiem for a Nun. As Faulkner wrote it, “The past is never dead. It’s not even the past.” As Allen rewrote it, “The past is not dead! Actually, it’s not even past. You know who said that? Faulkner. And he was right. And I met him, too. I ran into him at a dinner party.”

I think this is a frivolous lawsuit inspired by greed. If Woody Allen didn’t attribute the quotation in the film, Faulkner’s people wouldn’t have known it was included. Why? It is so radically changed in form and context that it ceases to be a direct quotation.

Midnight in Paris CriticismLet’s say that it is close enough to be a violation of the copyright. The inclusion in Midnight in Paris puts it in the gray area of criticism. Woody Allen critiques the lives, works, and philosophies of the artists living in 1920s Paris throughout the film. The criticism is included in a commercial film, but it’s still criticism. That’s what makes the copyright infringement claim a gray one.

The Faulkner Estate claims that this use will confuse the public about their involvement in the film. They believe that Sony/Woody Allen not clearing the quotation with them means that they are trying to profit off of Faulkner’s name. I would buy the argument if this wasn’t literally a throwaway gag in the middle of a huge (probably drug-fueled) rant. I didn’t even catch the Faulkner reference the first time I watched the film.

Here are the facts of the case. Requiem for a Nun is not in the public domain. Woody Allen paraphrased two sentences in a commercial film obsessed with critical analysis of the people, culture, and work of Modernism. The Faulkner Estate wants money for an unlicensed use.

This case is going to come down to fair use. How much can be used/paraphrased before an infringement occurs? Does the blink and you’ll miss it context change the potential damage? And what of the non-stop literary criticism included in the film to define the cultural parameters of the story? My gut instinct tells me this case will never see trial. I have a feeling everyone involved knows deep down that it’s a ridiculous claim.

What do you think? Share your thoughts below.

The Incomprehensible Hausu

The Incomprehensible Hausu

Hausu is the strangest dream you’ve ever had brought to life on film. It is a haunted house movie where the characters are aware they are in a movie. They comment on their own actions, their role in the story, and the nature of film itself.

The 1977 Japanese horror/comedy/fantasy was green-lit by Toho studios only when they were struggling to make money with more traditional films. Director Nobuhiku Obayashi was allowed to direct the screenplay after two years of trying to get the contract. The turning point was the studio realizing an over the top sensational film–translated as “incomprehensible” in most articles–was worth the risk.

This “incomprehensible” label gave Obayashi the freedom he needed to capture the essence of this bizarre haunted house story. Seven friends agree to spend the summer at a beautiful old house in the country. Though Gorgeous hasn’t seen her aunt, the owner of the house, in over ten years, she’s sure that her aunt will still be as generous as she was the last time they met. The seven girls quickly discover that the house is capable of terrible things.

Hausu GraphicsThe beauty of Hausu is the absurdity of the visuals. Obayashi combines animation, different film stock, layered editing, and theatrical set design to define a fantasy landscape. The special effects are very low budget, but the early emphasis on experimentation and artificiality makes them profoundly effective. In a world where a man can fall down the steps in stop motion and walk away, everything is possible.

So much of Hausu just should not work. Most of the stars had no prior acting experience. They did not know how to act on film, let alone in an intentionally bizarre and artificial horror film. Their performances are broad and static at the same time. The characters do not grow or change as the story goes on. The only character that changes is the house itself, and its arc is one of increasing desperation.

Hausu EffectsThe sheer audacity of the visual landscape shouldn’t hold together at all. The composite shots work so long as no one is moving. Any action onscreen immediately gives away the gag. The scares are all telegraphed with flashing green lights yet they still have the power to scare or elicit a laugh.

Hausu revels in the absurdity of telling a ghost story. The concept of a haunted house is one we cannot explain in a logical way. Why should haunted house films conform to any traditional notion of logic? Is a house eating visitors really that far away from the insanity of a house coming to life to scare visitors?

A story like that doesn’t need to be told in a traditional way because there’s nothing traditionally cinematic about a film focused on the setting itself as the main character. How else does a house come alive? The exaggerated styles and experimental techniques bring Hausu to life.

Have you seen Hausu? What did you think? Sound off below.

Hunger Review

Hunger Review (Film, 2009)

Saw did a lot of things to the modern horror industry. It brought back gore in a big way, even if the original film was not particularly gory. It made the concept of twisted experimentation and mad geniuses viable for mainstream audiences again.

It also acted as a spark for indie filmmakers to take big risks on one room horror concepts. The minimal locations and outside manipulation allow for suggestion and psychology to take center stage in brutal horror stories. If you have the right screenplay, the Saw approach can make for a really memorable film.

Hunger is clearly influenced by this suggestive psychological minimalism. Five strangers wake up in an underground cavern with water, a few halogen light fixtures, and a countdown clock on the wall. When the lights go up, they find a scalpel that simply says that humans can survive without food for 30 days. They quickly realize they are being watched and try to find any means for escape.

Hunger 30 Days

At the same time, the curtain is pulled back on the madman’s game. This capture is not a simple game or exercise in cheap thrills for him. This is a precise scientific experiment. There are four similar subjects plus a control, research, hypotheses, and exacting reports to fill out as the clock ticks down to total starvation.

Screenwriter L.D. Goffigan manages to get a lot of mileage out of this conceit. Time skips around in the scientist’s world, allowing for enough context at key moments to advance the story. The characters within the experiment don’t even follow the cliches they’re saddled with in their dark introduction. Nothing is clear and no one is playing an honest game.

The problems kick in with the editing. The pacing of the story is off. Far too much time is wasted establishing the character types that don’t stick after the initial meeting. Hunger dwells on the mundane as a way to establish order in the experiment’s universe. Even with a massive time skip after the first act, the story takes too long to actually get to the real meat of the concept. Then, the story stops dead in its tracks to linger on a gore scene the film doesn’t have the budget to pull off believably.

What money they did have is clearly shown on the screen. The cave set is gorgeous. From the layered slats of the entrance well to the paths blocked with bricks and hidden observation/control technology, Hunger looks dangerous.

Hunger is a horror film with no limits when it comes to storytelling. This uninhibited style succeeds and fails in equal measure. With more judicious editing (onscreen and on the shoot), it could have been a tight psychological horror. A bigger budget would only have meant more focus on the gore. This is a horror story about the impact of the human body on the human mind and it falls just short of achieving its lofty goals.

Rating: 6/10

This is another one of those films that kept popping up in my Netflix recommendations. Honestly, I’d be more interested in seeing it onstage without direct knowledge of the scientist’s actions throughout the story. It would limit the distraction of the gore and place the focus on the wonderfully complex characters. Have you seen Hunger? Sound off with your thoughts below.