Review: Antichrist (2009)

by Evan A. Salazar

For me to even attempt to describe or explain Lars von Trier's Antichrist would rob you of the experience of drowning fearfully in this nightmarish masterpiece. It'd also prove useless, as this movie defies explanation and convention. I mean, there certainly is a story, but it's implications and symbols are complex, and it's philosophy is daunting (but decipherable). I legitimately left the movie not able to formulate words.

I refuse to review this movie, so consider this a recommendation with a strong disclaimer. And by strong disclaimer, I mean strong. This film is not for the faint of heart. It is as shocking as you've heard, possibly more so. It's depraved, it's fascinating, it's as grotesque and as unafraid as a movie could possibly be. I left the theatre shaken and disturbed, and the more I think about it the more it unsettles me. The film at first seems very typically dynamic, but you soon realize after viewing it that it was constantly at crescendo, one that is dissonant and haunting. It's beautiful to look at and horrifying enough to cover your eyes at the same time.

This is an explicit and graphic film. Should that bar you from seeing it? I personally do not think so. This is an important film with merit. But I know for many it's graphic content will be the deciding factor, and for those that worry about such things, know that this movie does not shy away from being as gruesome and button-pushing as it possibly can be.

You have been warned.

Review: Paris (2009)

by Evan A. Salazar

The worst thing that can be said about Paris is that it's uneven. Not uneven in all regards, but uneven where it counts. You see, Paris is a film of vignettes, all loosely tied together. In movies with no central story or main character, each story we're presented has to be strong, and it has to stay strong throughout the film. We, as an audience, have to be invested in each current story but also we must anticipate the progression of the other stories, thus keeping us interested in the movie throughout. Stories can't falter and become boring for a scene, and certainly the story itself can't be boring to begin with. It's only it's story telling that Paris trips on itself - not horribly, mind you - and we're left with moments thinking, "couldn't this time be used with another character?"

Review: Orphan (2009)

by Evan A. Salazar

I am of the persuasion that the horror genre over the past decade has really dropped the ball. I can't think of the last time I saw a trailer for or read a review of a horror movie that looked in the least bit appealing. And not only appealing to my tastes, but just simply done well. As there is for everything, there are exceptions to this rule. That's a given. But for as long as I can remember, all Hollywood seems to muster up are either remakes of foreign horror films or boring and safe PG-13 "jump!" movies. Nothing compelling or artfully shot or very horrifying, really. But as I said, there are exceptions to this rule. Orphan happens to be one of those.