Film Review: Eraserhead (1977)

Also known as: Gardenback (original script title)
Release Date: March 19th, 1977 (Filmex Festival)
Directed by: David Lynch
Written by: David Lynch
Music by: David Lynch, Fats Waller, Peter Ivers
Cast: Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates, Judith Roberts, Hal Landon Jr.

American Film Institute, Libra Films, 89 Minutes

Review:

“The girls have heard this before but… 14 years ago I had an operation on my left arm here. The doctors said that I wouldn’t be able to ever use it. But what the hell do they know, I said. So I rubbed it for a half hour every day. And slowly I could move it a little, and use it to turn a faucet… and pretty soon I had my arm back again. And now, I can’t feel a damn thing in it. All numb! I’m afraid to cut it, you know?” – Mr. X

My close friends that are film aficionados always get pissy when the subject of David Lynch comes up. Mainly, because I think his movies are pretentious as hell and mostly just weird nonsense. That’s not to say that I don’t like some of his work but Eraserhead is one of his movies that just irks the shit out of me.

I get it, like all David Lynch things, it looks cool and it’s creative and weird and feels like a nightmare come to life. However, I can get great visuals and creative weirdness from hundreds of music videos. What I want with movies, typically, is a coherent story and a purpose other than being bizarre, nonsensical art projects.

Most Lynch films to me are like modern art. They’re a banana duct taped to an old telephone that’s put on display in some gallery window in 1980s Soho. And I also get that “art is subjective” and that these films mean a lot to some people. But I think that 90 percent of those people are full of shit and just don’t want to appear stupid, so they act like they’re in on this “brainy art”.

So now that I’ve come off as a total dick, I do like David Lynch, the man, and the guy is free to create whatever the hell he wants just as people are free to like it… or dislike it. For me, sometimes Lynch’s uniqueness does work but this isn’t one of those pictures.

To me, this does look great but it’s a pointless, overly drawn out, shrill nightmare that serves no purpose other than to warn me away from knocking up a woman. I actually concluded that I didn’t want any kids well before I saw this film.

As far as the look and design of the picture, it is good and somewhat alluring at first. I also thought that the special effects shots and the baby creature were kind of cool in a visual sense. I also respect what Lynch created without any real budget. However, all of that gets diminished by everything else in this overwhelming, maddening nightmare.

I thought that Jack Nance was good in this and I generally like the guy in every role I’ve seen him in. However, his deliberately understated performance is drowned out by the rabbit carcass sperm baby and the noisy atmosphere.

Despite how it might appear, I don’t get off on shitting all over movies. Well, unless they’re made by Uwe Boll or a director of that caliber. As an artist, myself, I want to try to see things through the artist’s eyes. But in regards to a lot of Lynch’s work, it’s just not my cup of tea.

Rating: 4/10
Pairs well with: David Lynch’s other movies, including his early short film work.

Film Review: You Were Never Really Here (2017)

Also known as: A Beautiful Day (Germany, France, Italy)
Release Date: May 27th, 2017 (Cannes)
Directed by: Lynne Ramsay
Written by: Lynne Ramsay
Based on: You Were Never Really Here by Jonathan Ames
Music by: Jonny Greenwood
Cast: Joaquin Phoenix, Ekaterina Samsonov, Alex Manette, John Doman, Judith Roberts

Film4 Productions, British Film Institute, Why Not Productions, Page 114, Amazon Studios, 90 Minutes

Review:

“Where you spend your time? What do you do?” – Joe’s Mother

I heard a lot of exceptional things about this film and it sort of came and went without much fanfare, even though it premiered last year at Cannes. It’s an Amazon Studios film and they’ve been putting out a lot of great indie pictures, as of late.

While I enjoyed this, it didn’t blow me away like it seems to have for so many others.

To start, Joaquin Phoenix is damn good in this. He plays this character almost in monotone and it’s an understated performance but it works so well that it gives the character more depth and meaning than being overly emotional or rampaging against the vile scum in the film.

Phoenix is almost sweet even though he becomes a one man killing machine in his effort to save a very young girl from high profile sexual predators. The film is similar in a lot of ways to Taxi Driver but the main character is almost the antithesis of Robert De Niro’s Travis Bickle. Granted, both men are damaged but Phoenix’s Joe is a lot less outwardly emotional.

Young actress, Ekaterina Samsonov, was also pretty stellar and her performance was understated, as well. It makes me wonder if things naturally flowed this way or if it was the director’s choice to have her two leads perform in a more subtle style. Whatever the case, it works for both characters and the tone of the film, as it feels more organic and natural than what’s typical in these types of pictures.

I thought that the cinematography and mise-en-scène had an enchanting quality from shot to shot. There was a lot of detail to absorb but the stylistic choices really supported the narrative and the overall tone.

All the parts came together quite nicely but if I had to nitpick, I’d say that this did lack some excitement. It’s hard to see a picture like this and not expect some good action. There almost is none, really. This is more about the emotional journey of the characters within the story than being an uber violent revenge flick.

I’m all for artistic license but I really wanted to see Pheonix actually go ape shit on the evil bastards in the film. But I’m also a child of the ’80s and devoured ’80s action films like an old lady at a bon bon buffet.

Rating: 7.5/10
Pairs well with: other modern vigilante films: the Death Wish remake, the Taken films, Death Sentence.