Underseen Movie: Michael Haneke’s Shot-For-Shot Remake of ‘Funny Games’

There is no in between with a film like this. You will either like or hate it with a fervent passion. Reviews for “Funny Games” have gone all over the place from praise to vicious hatred. Some will describe it as a completely immoral piece of work which revels in what it despises. Others will look at as very strong suspense film which does not hide from the ugly reality of violence. After seeing this film, I can’t help but think this is what director Michael Haneke wanted. Alfred Hitchcock was once quoted as saying, “I love playing the audience like a piano.” So does Haneke.

Truth be told, Haneke must be reveling in getting us into such an emotional state as he did the same exact thing in the past. “Funny Games” is a shot-for-shot remake of his original suspense thriller of the same name from 1997. I actually did not realize it was a remake until around the time it arrived in theaters. But since this is a virtual duplication of another film, I’m not sure how necessary it will be to see the original.

Haneke wanted to remake “Funny Games” for an American audience because he felt it was in essence an American story in which he sees its citizens being giddily in love with violence onscreen and in the media. While there is something rather condescending about him thinking this, he does have a point. Every once in a while, we need a film which reminds us of the brutality of violence. While we may fiend for gun battles on the big screen, violence in real life is scary and something we should be eager to avoid. “Funny Games” was the first ironically titled and truly polarizing movie of 2008. It is anything but entertaining, and in the end, it is not meant to be. Some movies are made to be experienced, and this is one of them.

“Funny Games” revolves around the married couple of Ann and George Farber (Naomi Watts and Tim Roth) whom we first see driving down the highway with their son Georgie (Devon Gearhart) and their sailboat in tow. When they finally arrive at their destination, they are met by two young men, Paul (William Pitt) and Peter (Brady Corbet), both of whom look like well-bred preppies equipped with very nice manners. Brady’s character comes to borrow eggs to give which Watts gives him kindly. But on the way out, he accidentally drops them and won’t leave until he gets some more. Soon, both husband and wife are trying to throw these two guys out, and then the two show their true intentions when they take a golf club and smash one of George’s kneecaps.

With the family held hostage, Paul and Peter reveal their heinous plan; they bet that in 12 hours, the whole family will be dead. From there, it becomes a game of survival for the family as the games these two force them to play get increasingly dangerous. One of the major criticisms I have heard leveled at the killers is they have no motive. Sometimes not knowing why people do the things they do makes things much scarier. When “Silence of The Lambs” was first released in theaters, we were never told why Hannibal Lecter was a cannibal. But here, these two evil schmucks do have a motive which is senseless and viciously cold: they are torturing this family for the thrill of it and for what one of them calls “the importance of entertainment.” The director has given us two psychos whose motives, as he puts it are not “easily explained by societal factors.” They look to enjoy the power they have over this helpless family.

This phenomenon of people getting a high off of violence and torture feels like it is growing at a horrifying rate. There have been movies like “Henry – Portrait of A Serial Killer” and “Menace 2 Society” that have moments where the characters commit violent acts which have been intentionally or unintentionally videotaped. We later see these same characters watching their hideous acts over and over. There was an episode of “Homicide: Life on The Street” which featured a scene with one man filming his friend as he goes over to a nearby bus stop and shoots an old lady to death. No reason is given, other than the fact they find the visual so incredibly entertaining.

Like those characters, Paul and Peter are utterly repellent individuals. But the thing is, you should be repelled at what these guys are doing. They are without morals, and the rules of society are nonexistent to them which makes them all the more threatening and dangerous. The comfortable conventions of the normal suspense thriller are thrown out here. If they are employed here, then it is only for us to see them overturned when we least expect them to be. Unlike other Hollywood thrillers, the violence here feels much more real than you would expect it to be.

Another interesting thing is while this is technically an ultra-violent movie, there is actually not a lot of violence shown onscreen. Most of the violence is committed offscreen, making it all the more terrifying. There’s another moment where Ann is forced to disrobe completely, but you never see her from below the neck. It’s a moment where Haneke dares you to wonder why the camera isn’t showing us more here. You may end up hating him for that, but you cannot deny your mind went down to that dark and dirty place.

Like “Cache,” Haneke likes to film shots in long takes. This succeeds in trapping the viewer in with this family as we wait to see if they can escape their fate. One shot lasts a good five minutes or so as Ann desperately tries to break free of the tape which binds her hands behind her back. There are a lot of static shots here which are free of overly clever camera moves, and they suck us in to the action while generating strong suspense. There are points where we are not sure when these two psychos threaten to strike next.

Haneke goes even further by having Paul break the fourth wall between the characters and the audience watching this movie. Many found this device to be annoying, but I wasn’t bothered by it because it made the movie seem even creepier than it already was. It probably would have been an unnecessary device had it been overused, but the director uses it sparingly and to a powerful effect.

There is also a moment a rewind of events is employed. It is as brilliant a move as it is done to completely frustrate the viewer as it completely eschews the formula of movies like these. Haneke doesn’t hesitate to subvert our expectations, and trap us into a reaction we cannot hide.

Whatever you think of the movie, there is no denying the superb work done by the cast here. Tim Roth does strong work, and I can’t remember the last actor who made the pain of broken bones feel so vivid. I also don’t want to forget Devon Gearhart who plays Georgie Jr. as he has a very unenviable role as a child caught up in the worst of situations. He is asked to do things we would rather not see a child actor do, and he makes his sheer terror seem all the more horrifyingly real.

Michael Pitt makes Paul into such a cleverly cold character to where some have compared Paul to Alex in “A Clockwork Orange.” This is a young actor who has made a strong impression in movies like “The Dreamers” and “Bully” among others. He excels in roles like this which play on his charm to an incredibly unsympathetic effect. Brady Corbett plays the seemingly Peter, and he also has done memorable work in “Thirteen” and “Mysterious Skin.”

But in the end, this movie really belongs to Naomi Watts who has long since proven to be one of the bravest actresses working today. She has portrayed characters so naked in their vulnerabilities onscreen to where I constantly wonder how she gets through these roles without having a nervous breakdown. Her performance in “Funny Games” is no exception as she puts herself in situations so difficult to make seem real, but she succeeds here in making us believe just how terrifying her ordeal is.

“Funny Games” is one of those movies which make me want to ready everyone’s reaction to it. Like I said, this is without a doubt a very polarizing motion picture which people will either admire or despise. The again, if many did not have a negative reaction, then Haneke would have failed in his mission to completely unnerve us. No, it is not an enjoyable movie, but it is an experience which cannot easily be ignored as you walk out of the theater. It is a thought-provoking as it in no way allows for a neutral opinion. For my money, it is a very strong exercise in suspense which never lets up throughout its two-hour running time.

While it is not the most disturbing movie I have ever watched in a theater (“Requiem for A Dream” takes the cake there), it sure does come close. The violence presented here is of a real kind, and it does not offer the typical feeling of escapist entertainment. The best advice I can give you is if you don’t want to subject yourself to a very disturbing cinematic experience, then don’t see “Funny Games.” You have been warned, so take the R-rating seriously.

* * * ½ out of * * * *

‘Point Break’ Remake is Visually Spectacular But Dramatically Inert

Was the world really pining for a “Point Break” remake back in 2015, especially when it already got an unofficial remake back in 2001? That remake was called “The Fast and The Furious,” and its director Rob Cohen freely admitted on many occasions how its plot was lifted directly from Kathryn Bigelow’s 1991 action film. Nevertheless, the good people at Alcon Entertainment felt an official remake was needed. What results is a film of spectacular visuals, but they all come with a screenplay which is dramatically inert and with actors who barely look like they are having much fun even after all the surfing, rock climbing, snowboarding and wingsuit flying we see them do.

The plot is basically the same as the original, but the characters led by Bodhi (Edgar Ramirez) are not thrill seekers robbing banks to fund their exploits, but instead ecoterrorists who look to play a Robin Hood role in society. Moreover, they are trying to complete the Ozaki 8, a list of eight extreme ordeals designed to honor the forces of nature. FBI agent and extreme sport athlete Johnny Utah (Luke Bracey) picks up on this and becomes determined to infiltrate this gang and bring them down. Of course, this has him going undercover, and we all know what happens to undercover agents in movies like these.

I should note how this “Point Break” starts off with a prologue which has Johnny Utah racing over a steep ridgeline on a motorbike with his friend Jeff (Max Thieriot). But while Johnny lands successfully onto a lone stone column, Jeff does not and ends up falling to his death. As a character in “Cliffhanger” once said, “gravity is a bitch.” Did this remake need such a scene? I think not as the original didn’t. Seriously, how many times have we seen this scenario played out?

One thing I have to say about this remake is it does look spectacular on a visual level. It was directed by Ericson Core who, quite ironically, was the director of photography on “The Fast and The Furious.” He also serves as his own cinematographer here, and he captures some amazing sights whether it’s the waves surfed at Teahupoʻo in Tahiti, the wingsuit flying sequence in Walenstadt, Switzerland, the snowboarding scene shot on the Italian side of Aiguille de la Grande Sassière in Aosta Valley, or the rock climbing which takes place at Angel Falls in Venezuela, Throughout, Core captures the beauty of each location to where I am compelled to visit them as soon as this Coronavirus epidemic is resolved. Yes, I am willing to wait that long.

But while the look of this “Point Break” is spectacular, it does not feel particularly the least bit exhilarating. The beauty of Bigelow’s film was she made you, as an audience member, part of the action. This was especially the case during the skydiving scenes as you felt like you were falling from the sky with the characters. With Core’s remake, I felt like I was watching everything from a distance to where I admired the view, but was never really enthralled by it.

Seriously, none of the actors look like they are having much fun here as they all seem so deadly serious to where you wonder if any of them has a mere understanding of what an adrenaline rush is. Luke Bracey may be a good actor, but his performance as Johnny Utah makes Reeves’ in the original appear all the more stellar. Reeves’ Utah had the good sense to know how scary and thrilling his adventures were to where his screaming while skydiving made complete sense. But to see Bracey remain calm while he falls from a mountaintop so high up makes his silence during such a descent utterly ridiculous and unbelievable.

Then there is Edgar Ramirez who has turned in memorable performances in “The Bourne Ultimatum,” “Zero Dark Thirty” and most especially in the biopic “Carlos.” But as strong an actor as he is, he does not succeed in making Bodhi a compelling character in this remake. Throughout, his face looks like it is etched in stone, and I kept waiting for him to show a little more excitement about his death-defying exploits. Patrick Swayze’s performance in the 1991 film was my favorite of his even if everyone thinks his penultimate role was in “Dirty Dancing,” and Ramirez does not come even close to matching the late actor’s charisma. This is especially evident in the scene where is sailing through some insanely high waves which are the same kind George Clooney and Mark Wahlberg attempted to traverse over in “The Perfect Storm.” Ramirez looks far too collected as he is facing death at any second, and the fact he is able to even get on his surfboard to travel that one last perfect wave is completely unbelievable. Come on, you have to be the least bit scared in a situation like this.

You also have Delroy Lindo and Ray Winstone here as FBI Instructor Hall and Special Agent Angelo Pappas (Gary Busey played Pappas in the original). Both are also playing characters who look like they are having a miserable time due to the challenges and endless frustrations of their jobs, but they should be forgiven as their characters were written as such. Besides, with actors like these two, you can never go wrong.

If there is a bright spot in this remake, it is Teresa Palmer who portrays Utah’s girlfriend, Samsara. She is such a luminous presence in any movie she appears in whether it is “The Choice,” one of the many misbegotten cinematic adaptations of a Nicholas Sparks novel, or “Hacksaw Ridge.” Her first appearance here is unforgettable as she dives into the ocean to where Utah is as compelled to dive after her as we are. Seeing her lay back into Bracey’s arms while in the ocean made me infinitely envious of him as I would have loved to been in his position. Palmer, however, is barely in this movie and is wasted in a role which demands more of her than the screenplay is willing to give. This is a real shame considering she gives this remake its most lively presence.

Bigelow’s “Point Break” cost only $24 million to make while this remake had a budget of around $100 million. Money may buy you impressive sights, but it cannot guarantee any audience an adrenaline ride. Besides, when it comes to filmmakers, male or female, can any of them compete with what Bigelow has to offer? Seriously, there is a reason why she was the first female to win the Best Director Academy Award for her work on “The Hurt Locker.”

When it comes to remakes, filmmakers and studio heads these days seem determined to play things straight. But looking at this remake of “Point Break” serves as a reminder of how it helps to not take things ever so seriously. Furthermore, Bigelow’s film has aged well over the years to where we are more than ready to accept Reeves as an action hero. While it helps to have a ton of money to make any motion picture, the budget on this remake did little to keep us on the edge of our seats. Just remember this the next time you feel like the budget for your flick is not nearly enough.

By the way, James LeGros who played Roach in the original “Point Break” appears here as FBI Deputy Director #2. I just thought you might be interested to know this.

* * out of * * * *

Lynn Lowry Discusses the 1982 Remake of Cat People

WRITER’S NOTE: As the opening paragraph indicates, this is about a screening which took place several years ago.

Actress Lynn Lowry, one of the famous horror queens of 1970’s movies, made a special appearance at New Beverly Cinema on Thursday, April 19, 2012 for a double feature of George Romero’s original version of “The Crazies” and Paul Schrader’s erotic remake of “Cat People.” Lowry took some time to talk about her brief appearance in Schrader’s take on the 1942 horror film, and her responses truly surprised the small but faithful audience attending this screening.

Filmmaker Ryan Stockstad, who was about to make a movie with Lowry called “Eggs,” asked the veteran actress what it was like working with Schrader, who may be best known for writing the screenplay to “Taxi Driver.” Lowry described Schrader as “insensitive,” and also said, “Is it okay if I say Paul Schrader is the least favorite director I’ve ever worked with?”

In auditioning for “Cat People,” Lowry said she asked the casting directors if they wanted her to do the scene “full out.” They said they had no problem with that, and she didn’t hold anything back as a result. Looking back, she said the secretaries who heard her from a distance loved what she did.

Lowry’s scene had her playing Ruthie, a prostitute who goes to a seedy motel to fulfill the pleasures of a particular customer. While there, she gets attacked by a black leopard hiding underneath the bed and screams in horror when she realizes how badly one of her feet has been slashed.

Lowry started the scene by walking to the hotel, and Schrader wanted the makeup people to spruce her up from head to toe. He wanted to light up the streets of New Orleans where “Cat People” was being filmed as she made her way to the location, but she ended up only being filmed from below her knees.

The actress described Schrader as working so fast to where he couldn’t quite get what he needed. For her scene, Lowry had to keep falling on her knees over and over again. As the day went on, she said the crew finally had to put a cat paw on the leopard to make this scene work.

The climax of had Lowry falling down a flight of stairs, a sequence she noted had to be shot multiple times. Part of the problem was her bra would not open up on cue, and she said Schrader wanted to see a lot of skin throughout the film. This ended up necessitating the use of Velcro on the undergarment to make it open more easily.

Lowry also remarked how there were nails on the stairs which the crew members did not bother removing. As a result, she ended up getting cuts on various parts of her body.

On the DVD commentary for “Cat People,” Schrader said he wanted to share credit with the movie’s visual consultant, Ferdinando Scarfiotti, and this was because he felt Scarfiotti was mostly responsible for the look of the film. Lowry, however, said she never ever saw anyone else on set directing.

It is a bummer to hear Lynn Lowry was not very happy with her time making “Cat People,” and she is certainly entitled to her opinion. But after all these years, this movie is a fascinating remake which truly stands on its own.

‘Pet Sematary’ Remake’s First Trailer is Unearthed For All to See

Pet Sematary 2019 Teaser Poster

The cinematic adaptations of Stephen King’s novels have been a mixed bag, but ever since the phenomenal success of “It,” Hollywood has been desperate to adapt his works more than ever before. But moreover, they are also not afraid to remake those films which have already been made from them like “Carrie,” “The Shining” and “Salem’s Lot.” It was only a matter of time, and an eventual escape from development hell, that we would get a remake of “Pet Sematary,” and now its first trailer has been unearthed for all to see.

To be honest, I never cared much for the 1989 version of “Pet Sematary” directed by Mary Lambert. Some of the performances were rather weak, and King, who wrote the screenplay, ended up cramming too much of the novel into the movie to where not all the plot threads were tied up in a satisfying way. Having read “Pet Sematary” myself, I can confirm it is one of King’s scariest works which left me unnerved, especially with its wonderfully ambiguous ending. Now that we are finally getting its latest cinematic incarnation, I cannot help but be intrigued.

From its trailer, it is clear directors Kevin Kolsch and Dennis Widmyer (“Starry Eyes”) are intent on making this version their own. The sight of children marching to the beat of a drum through the cemetery while wearing animal masks is a scary sight even if one of them reminded me of the rabbit mask from “Donnie Darko.” Granted, it starts off in a routine fashion with Louis and Rachel Creed (Jason Clarke and Amy Seimetz) driving their kids to their new home in Maine. As they get their first glimpse of it, a truck comes roaring by without warning as if a gale force wind suddenly swept by, leaving trees shaking endlessly. It’s a strong moment as we are reminded of the terrible tragedies which will eventually befall these characters.

This trailer doesn’t spell out the story for its audiences, and we only glimpses of other characters like Church and Victor Pascow. Interestingly enough, these proceedings are dominated by John Lithgow who plays Jud Crandall, and he speaks his dialogue in an increasingly ominous tone and without a New England accent. It’s great to see Lithgow here as his presence lends much to what we see here. He does, however, have to contend with the shadow of the late Fred Gwynne who played Jud in the original. Whatever you may have thought about the 1989 film, there’s no denying Gwynne was perfectly cast and the best thing about it.

Overall, this trailer left me intrigued at the possibilities the remake has to offer. It features Clarke who, whether he’s in “Dawn of the Planet of the Apes,” “Knight of Cups” or “Chappaquiddick,” is one of the most dependable actors working in movies today. However, I have to say the trailer for the original was much more frightening, especially with Dale Midkiff standing in the middle of his kitchen yelling into his phone, “WHAT DID YOU DO??!!” Even more chilling was hearing Gage’s voice saying, “Now, I want to play with you.” My hope is the next trailer for “Pet Sematary” is even more chilling than this one. My other hope is that the filmmakers will get to retain the ambiguous ending of the novel in this version. Thanks to test screenings, the 1989 movie was denied this, and I am still annoyed to this day at its conclusion.

“Pet Sematary” is set to open in April 2019. Please check out the trailer below.

John Carpenter Revisits ‘The Thing’ at the Aero Theatre

John Carpenter Dummy Magazine photo

“Escape Artist: A Tribute to John Carpenter” was held a few years ago by American Cinematheque at the Aero Theater. In addition to being treated to a double feature of “The Thing,” which is widely regarded as his best film, and “The Fog,” the writer, director and composer also showed up in between both films to give us more insight on their making and took questions from the audience. Even though these movies are now twenty to thirty years old, they still resonate deeply for movie fans today. This was proven true by the fact these screenings were sold out and packed with Carpenter’s biggest fans.

While “The Thing” was not a big hit upon its release, it has since developed a huge cult following and been critically re-evaluated as the masterpiece it always was. Eighty percent of the audience had probably seen this movie several dozen times, but they still jumped during its most shocking moments.

The Thing movie poster

After the movie ended, Carpenter came to the stage and was met with a standing ovation and thunderous applause. He thanked them for coming on out to see this movie when they could have just watched it at home. One fan in turn thanked him for coming on out to visit with us as he has millions of fans all over the world, and yet he chose to hang out with us.

Today, as the emcee pointed out, many are surprised “The Thing” was not a big hit when released back in 1982. Carpenter put it all the more bluntly:

“It tanked! 1982 was supposed to be the summer of love. It was the summer of ‘E.T.’ and it was the summer of freedom and hope, and ‘The Thing’ was about as bleak a movie as any that could have been released that year. People hated it for that, and all the sci-fi fans out there absolutely hated it and trashed it when it first came out.”

As Carpenter pointed out to actor and friend Kurt Russell on the movie’s DVD commentary, “We came out two weeks after ‘E.T.’ And while there’s was all warm and cuddly, ours was ugly and hideous.” Universal Pictures, which released both movies that summer, attempted to make it the summer of extra-terrestrials, but the timing did not work at all in Carpenter’s favor and it later cost him the job of directing the Stephen King adaptation, “Firestarter.”

One fan pointed out how “The Thing” was unique in a sense as it is one of the few Carpenter movies he did not compose the score for. While the score does have the Carpenter sound, it was actually composed by Ennio Morricone. Carpenter said Morricone is one of the greatest film composers ever, and he did point out there is one synthesizer piece of music which was not composed by Morricone. Now he wouldn’t say who composed it, but it’s safe to say he did, and in association with Alan Howarth.

Another fan pointed out several of Carpenter’s movies have been remade like “Assault on Precinct 13,” “The Fog” and “Halloween,” and a remake of “Escape From New York” is in the works. This fan said he found remakes blasphemous, and to this Carpenter replied, “I actually find it flattering. They also have to pay me a lot of money when they do that.”

Dean Cundey, director of photography on “The Thing,” worked on several of Carpenter’s movies including “Halloween.” Carpenter has not worked with Cundey for some time now, and one man asked why and if there had been a falling out between them. Carpenter replied they have not fallen out, and he recently caught up with Cundey at a movie shoot in Canada. Carpenter did, however, point out why they haven’t worked together for a while, “Dean wanted to be a director. And when you have a director on a movie, and a director of photography who wants to be a director, that’s just not going to work out.”

Everyone who knows Carpenter knows he is a big fan of westerns, and he recently recorded a commentary track for the special edition release of “Rio Bravo.” Many wonder why he still hasn’t directed a western of his own, and Carpenter replied he honestly didn’t know but that he came close several times. The closest was when he wrote the script for “El Diablo” which was made into a cable movie that earned him a Cable Ace Award. If you look closely, all of his movies do have western elements to them. The closest he has ever gotten to making a western is “Vampires” with James Woods.

Many also wondered, and it was asked, what future projects he has on tap and of what his current passions are. His reply was, “Current passions? I’m playing Ninja Gaiden, I just got Metal Gear Solid 4 for PlayStation 3… No seriously, I have a couple of things I’m looking at doing, so we’ll see what happens.”

Before he left, he did have some things to say about “The Fog,” “I have heard that the print for this movie is not in the greatest shape, and that it is pretty faded. But keep in mind that when we made this movie, we made it for only $1 million dollars, so please be kind.”