Report # 2

NUMB
Starring Mallory Campell, and Bruce Goodchild

Shooting on a shoestring budget is no easy task. Shooting a sci-fi picture on a shoestring budget is damn near impossible. Taking a cue from George Lucas' THX 1138, and incorporating the style of Godard and the social commentary of Romero (Night of the Living Dead), director Michael Gibson has fashioned a haunting portrait of the near future.

Numb features a society plagued by disease. The cure; a super drug known only as "the Drip." A young woman seemingly immune to the disease searches amid the madness for an important man in her life. Her journey brings her face to face with a world gone crazy, and a nutty, militant individual gone even crazier.

Michael Gibson took a reported seven and a half years to complete this project, and while it is extremely low-budget, it isn't lacking in a striking visual sense or outstanding performances.

The film isn't told in a straight forward narrative, but the fashion in which the plot unfolds isn't at all confusing thanks to some truly impressive editing.

What's more, most of the picture is shot in black and white adding to an already moody and highly atmospheric film experience. My hat goes off to the cinematographers for their innovative creativity.

The performances here are exceptional. Mallory Campell is vulnerable but self assured in the lead. Her despair is completely apparent, and she's a knock-out to boot. Bruce Goodchild is also impressive as the man standing in Campell's way. He's energetic and quite terrifying as a man with a God complex.

I must admit, I did figure out where Numb was headed, and the actual plague that has taken over society, wasn't particularly surprising to me, but the journey is well worth taking and the special attention paid to the characters and their situations were both unexpected and fulfilling.

Michael Gibson shows potential for greatness with this effort. Numb has elements of last year's underrated Equilibrium as well as John Carpenter's little seen gem They Live, but a smaller budget has forced him (actually, I prefer the term allowed) to put an emphasis on character, and certainly, Numb moves at a much different pace. By the end of this movie, I felt for Campbell and her plight.

Numb is dark and moody but it does offer up a sense of hope. As for Michael Gibson, I'm reminded of a film maker named Darren Aronofsky who made the striking Pi under similar circumstances. I'm really looking forward to seeing what Gibson does next.

Grade: B+

ERASERHEAD
Starring Jack Nance

Eraserhead! Where to begin? Firstly, I had seen every one of David Lynch's pictures multiple times with exception of this one. For whatever reason, I never had an opportunity to see it. I was quite excited to learn that this first effort from the brilliant creator of Blue Velvet would appear at CineVegas 2004. And if the movie weren't grand enough, Lynch would be on hand to talk about this film and the rest of his interesting career.

Explaining this picture is no easy task, so I won't go into depth. I will say that it features actor Jack Nance in the title role, a sort of reclusive individual with a mean head of hair. Beyond that, I suppose you could call this film a slice of surreal life.

Lynch started this film as a project during his attendance at A.F.I., and it would take him nearly six years to complete the strangely unsettling movie.

There are odd films, then there are the works of David Lynch. What can I tell you? Lynch is one of those film makers capable of making a movie that, even if you're not sure what the hell is going on, grabs you and won't let go. Eraserhead is certainly no exception.

As I watched it, I thought I had a grasp on what it was all about, but then Lynch would knock me for loop, making me question my perception of just exactly what he was trying to say. I'm still convinced that this is essentially a movie about the early stages of a relationship and parenthood, but beyond that, I'm not really equipped with the intelligence to give you more insight. I'm sure there's a much deeper meaning, and the real beauty is, I have absolutely no doubt that Eraserhead is one of those films that becomes something entirely different with each viewing.

It should also be duly noted that Lynch's use of sound remains unmatched. Sound is it's own story in this picture, and the devices the film maker uses to assault our sense are both unsettling and exhilarating. And don't get me started on the special effects, most of which Lynch created himself. The "baby" is one of the most disturbing creations ever brought to the screen.

With elements of Kubrick (I constantly thought of 2001 as I watched it), Eraserhead is all at once a homage to numerous genres, but a new style all it's own. As Dennis Hopper said before introducing Mr. Lynch to the stage; "David Lynch is the first surreal film maker." That about sums this extraordinary talent up. His Eraserhead is scary, beautiful and compulsively watchable.

After the film was over, the audience was treated to a candid discussion with David Lynch, Dennis Hopper and Dean Stockwell conducted by a wired Elvis Mitchell (it was very "Inside the Actor's Studio." The three performers reflected on their careers, but the bulk of the discussion revolved around Lynch. While he was evasive in certain areas (he wouldn't mention other actors he had in mind for certain pictures nor would he discuss films that he turned down through the years), he was mostly candid and extremely gracious. He was even open enough to admit that Dune was a failure (although there are many out there that quite like that film), and he was also quick to suggest to all film makers that if you don't have final cut, then you really don't have anything.

Sadly, I didn't get to talk to Mr. Lynch because there were hoards of people wanting to get there picture taking with him. I did, however, bump into him in the urinal later on. How's that for surreal. I considered glancing in the trash for a severed body part, but resisted. Mr. Lynch, I salute you. You are one of the cinematic greats!

Grade: A

GOZU

Gozu completed a perfect triple feature of films. I saw Numb, Eraserhead and Gozu back to back to back. All three complimented each other in their own strange way, and I have to admit, Gozu was the perfect capper to a wacked out day of totally bizarro movies.

Gozu is the new film from prolific Asian film maker Mike Takashi . Just to give quick insight and a taste of just how weird this movie is, the English translation for Gozu is "cow head." This film is so off-the-wall, I don't even know quite where to begin.

I guess it's a Yakuza film, but unlike any you've ever seen. Now I'm not really well versed in the world of Asian cinema. I've seen a fair share but not nearly enough to tell you the best of the best. I will say that Gozu has the same sort of affect on the audience that movies like Dead Alive and Evil Dead 2 do. This is to say, there were moments in this picture that I still can't believe I saw, and the audience (myself included) ate it up.

Gozu follows two brothers of a Yakuza family. Following a horrible incident, one of the brothers must embark on a life of his own, but strange happenings suggest that things are not what they seem. To give away anymore would be completely unfair as this movie has to be seen to be believed.

Let me just say this. Gozu features a guy who has to shove a ladle up his ass to get aroused-- a lactating woman with enough milk to supply a multi-kegger party-- a bit of incest (sort of)-- and, of course, a half man half cow (which reminded me of that crazy old man with a pig head in Motel Hell's nutty horror flick from the 80's) as the title suggests. But that's only scratching the surface. Director Mile Takashi is known for his unforgettable opening sequences, and the one here is very funny, but the beginning of Gozu has nothing on the ending. A sequence so foul, so unbelievably audacious, so absolutely repulsive, that I still can't believe I was witness to it. Did I like it? HELL YES I DID! This movie has a sick tone from beginning to end and that gives the film maker license to pretty much do whatever the hell he wants, so he does. I won't spoil the outrageous climax, but it did remind a bit of a sequence in this 80's sci-fi/horror flick called Xtro.

In all fairness, Gozu is too long. With a two hour and ten minute running time, there are slow patches in between the money shots, but the pay-offs make the movie worth it, and the very end of the film has a kind of sweetness to it. It's perverse but strangely perfect. Should this movie open near you, I would recommend it if you have a strong stomach and are not easily offended.

Takashi was on hand with an interpreter to answer questions. He was asked pretty standard questions such as who his favorite film makers were. He mentioned David Lynch but he also brought up Paul Verhoeven. I asked him about U.S. distribution, to which he replied it would get a release. Jokingly, I said; "but it won't get released in Utah, right?" He seemed to get a kick out of that as did the audience.

Gozu was the perfect ending to a perfectly crazy film day at CineVegas 2004.

Grade: B