2009 The Year in Movies | 55 – 56

A brief two movie post to get me on the five-at-a-time schedule.

surrogates poster “Surrogates” had a few ideas attached. The message and method should be spotted in a very short time after starting the film. My problem with the movie, however, is that it was too clean. I mean that from a cinematography standpoint. Most scenes seemed to be shot with a soft filter of which there was not contrast to give it purpose. The night scenes were of the “clean night” variety which clearly indicate ambient lighting and lens filters. When I first started watching “Surrogates” I thought there was a reason for this filming technique – that film style would change with perspectives or as the Utopian claims wore off of the avatar populated realities.

It didn’t happen. “Surrogates” looks and feels like a soap opera. The premise could have been rewarding, but the movie was visually unstimulating as a futuristic society and the script was clunky and indirect. The critical failure of the movie is a real shame and one of the biggest disappointments of 2009 for me.

#56 Antichrist

antichrist poster From “the worlds greatest filmmaker” no less, Lars von Trier’s over-bearing clusterfuck contains about six minutes of visual stimulation (the sex scene and toddler death at the beginning) and 98 minutes of trudging composed visual impressionism of the worst, uninspired kind.

Thomas Edison, of all people, stated there are three levels of creation: 1) Composed – the most base level where a creator labors with the ghost of an idea as a product and finishes for the sake of having a finished product (example: pop music) 2) Inspired – where the creator has a creative spark and an idea that takes shape with each step of the process; there may be no predetermined end and completion arrives once the creator has nothing left (example: The Beatles after 1966) 3) Elemental – where the creation is such as it seems to be something organic and natural and flowing; ambiguity and resonance often accompanies a work of elemental composition (example: Bach, Mozart). The greatest work can incorporate elements of all levels (example: Poe, David Lynch).

I have no doubt that van Trier calculated what he was going to make long before he was inspired to do so. This composed trash reeks of egomanical filmmaking that vomits from the depth of proving a point and pushing the envelope for the sake of – instead of from a well of inspiration. While color and allegory are interesting in the film, its own turgid backwash robs the film of any and all meaning or impact.

Below is an example of von Trier’s composed absurdity. One could take such a scene seriously in the hands of a real elemental composer such as David Lynch. In “Antichrist,” however, it comes off as a scene included in the movie for the sole reason of making it more weird. I guess it does that, but it is so blatant that it is meaningless and frankly unimaginative.