4 items from 2016
Chicago – The contemplation of beauty gets a little more truth in a new film by Nicolas Winding Refn (“Drive”) entitled “The Neon Demon.” It features Elle Fanning as Jesse, a naive girl who wants to break into the world of modeling, and does so in an unexpected way. The symbolic film has both strange drama and touches of horror.
Director Nicholas Winding Refn has been a known cinema force since his breakthrough with “Drive” in 2011. The Danish born filmmaker began his career in his native Denmark with the film (and subsequent trilogy) “Pusher” (1996). He built his reputation film-by-film, as the John Turturro starring “Fear X” (2003) next got him noticed. The Sundance Film Festival gave praise to “Bronson” (2008), nominating the film for the Grand Jury Prize. The breakthrough film “Drive” came three years later, and garnered two Oscar nominations. “The Neon Demon” is Refn’s tenth feature film.
Elle Fanning and »
- firstname.lastname@example.org (Adam Fendelman)
The Danish-born director, Nicolas Winding Refn, has helmed a few popular movies such as Drive (2011), Bronson (2008), and the Pusher trilogy. This success has been only slightly marred by a handful of far-less-favored works including Fear X (2003) and Only God Forgives (2013) starring Ryan Gosling.
Ironically, that latter disaster supplied grist for one of the best scenes in the documentary, My Life Directed by Nicolas Winding Refn, which was helmed by Refn's wife, the talented but put-upon Liz Corfixen. Near the end of her engaging feature on her self-absorbed spouse, Refn, lying on his bed after the Cannes opening of Only God Forgives, mutters, "Why do critics have to be so cruel?" Then he reads aloud off his cell phone this Hollywood Elsewhere critique by Jeffrey Wells:
"Movies really don't get much worse... It's a shit macho fantasy -- hyperviolent, ethically repulsive, sad, nonsensical, deathly dull, snail-paced, idiotic, possibly woman-hating, visually suffocating, pretentious... [T]his is a defecation by an over-praised, over-indulged director who thinks anything he craps out is worthy of your time. I felt violated, shat upon, sedated, narcotized, appalled and bored stiff."
What I found so fascinating here, besides Refn's reaction to such verbiage ("That's how you know when you made great cinema. When half love and half hate it."), was that Mr. Wells will be able to reuse his review word for word for The Neon Demon.
This tale focuses upon a sixteen-year-old virgin, Jesse (Elle Fanning), who arrives in Los Angeles to begin a modeling career. Her first job is to lie on a couch with her neck supposedly slit and the fake blood streaming everywhere. The photographer is the young, kind-hearted Dean (Karl Glusman, who exposed his erection throughout Gaspar Noé's equally dull Love (2015)). The chap instantly falls in love with her.
Please don't ask why a nice guy would have a young woman pose with her body mutilated, other than it is a striking visual to open a film with. Anyway, Jesse has no time for love. Admitting herself talentless except for being pretty, she has only one item on her bucket list: to be a top model. Seemingly, she will succeed because when this young woman enters a room, everyone stares. Men. Women. Goats. Chimpanzees.
The very next day she's hired by a modeling agency. Twenty-four hours later she's posing for a top brooding photographer (Desmond Harrington), who after spotting her, has everyone leave the studio, orders Jesse to strip, then rubs metallic paint all over her body. Hopefully, it's not lead-based.
Soon every blonde model in L.A. with an Olive-Oyl physique hates her for stealing their jobs, and to top it off, the manager (Keanu Reeves) of the cruddy motel she's staying in is a rapist with a Lolita fixation. Uh-oh. Can there be more? Poorly directed party scenes, stray wildcats and eyeballs, cannibalism, a vile depiction of a horny lesbian, necrophilia in a mortuary, and a dastardly over-the-top performance by Alessandro Nivola as a shallow fashion designer just scrape the top layer of the slime that slithers about as The Neon Demon.
Mr. Refn has noted his goal was to make a satire about the modeling industry and America's facile addiction to externals. He also wanted to explore the 16-year-old girl that resides within himself. As if that weren't enough inspiration, he's spouted, "One morning I woke and realized I was both surrounded and dominated by women. Strangely, a sudden urge was planted in me to make a horror film about vicious beauty."
Now if Mr. Refn had an iota of wit (visual or otherwise) or if he respected women (his wife says he just wants her around as a housewife) or if his half-baked ideas spent ten more minutes in the oven, this offering could have been a gas. Paul Morrisey, John Waters, or even Greg Araki might have shaped this hodgepodge into a tongue-in-cheek funfest. But if Refn is aiming for intentional laughs, he fails. He seems to have been treading more into David Lynch territory but was swallowed up by the quicksand of his own dullardry. More Blue Polyester than Blue Velvet.
That Refn had no idea what he was creating with Demon was not a new occurrence for this vanquished auteur. He has said of a previous effort, "I've spent three years on this movie, and I don't really know what it's about." Then after the filming and the editing of Only God Forgives was completed, he observed to his wife," I wasted six months of our lives." Happily, for us, with his latest, our wasted time clocks in at one hour and 57 minutes. It just feels like six months.
Mr. Judell has written on film for The Village Voice, indieWire.com, the New York Daily News, Soho Style, and The Advocate, and is anthologized in Cynthia Fuchs's Spike Lee Interviews (University Press of Mississippi) and John Preston's A Member of the Family (Dutton). He is also a member of the performance/writing group FlashPoint.
Samuel Brace casts his eye over the second half of 2016 with four movies to look out for…
Here we are guys. We are nearly halfway through 2016, a year that has been pretty tepid on the cinematic front. We’ve had some absolute stinkers, some surprising hits and a few excellent hangovers from last year’s awards season. But life is about looking forward, and there are some fascinating films/movies on the way, features that are — at the very least — worth keeping an eye on, and at the most, are wonderful excuses to jump up and down with perpetual excitement. But don’t worry, gang, I’m not going to tell you what to care about, just what to be aware of. Just a careful nudge in the direction of films that won’t necessarily be world beaters (some will) but that could be pertinent to cinematic conversation in 2016’s latter half. »
- Samuel Brace
In Nadia Litz's new feature film "The People Garden," the mysterious Sweetpea (Dree Hemingway) travels to Japan to break up with Jamie (Francois Arnaud), her rock star boyfriend who's currently shooting a music video there with '90s sex symbol Signe (Pamela Anderson). When she arrives, the production crew informs her that Jamie has gone missing and was last seen deep in the forrest shooting the video. Sweetpea pledges to solve Jamie's disappearance with the help of cagey ranger Mak (Jai West), but she soon discovers a mystery far larger than she anticipated. Watch the trailer for "The People Garden" above. Read More: Monterey Media Acquires Female-Centric Western 'Big Muddy' "The People Garden" is Nadia Litz's second feature film after 2014's "Hotel Congress." She is best known as an actress, performing in such films like Jeremy Podeswa's "The Five Senses," Nicolas Winding Refn's "Fear X, »
- Vikram Murthi
4 items from 2016
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners