In a Mirror, Grimly

When historians look back on the horror cinema of the 2010s, Mike Flanagan will undoubtedly be considered one of the decade’s most influential filmmakers. Though he lacks a distinct breakout hit, Flanagan has quietly built a reputation as one of the finest directors working in horror today, and if 2017’s Gerald’s Game isn’t considered the best of the recent glut of Stephen King adaptations, it’ll only be because he outdid himself with Doctor Sleep, his upcoming sequel to The Shining.

Flanagan’s first success, the film that made him a director to watch, was 2013’s Oculus, and, for my money, it’s still his best work. Tim Russell (Brenton Thwaites) is released from the psychiatric hospital where he’s lived since the deaths of his parents: the official version of events is that Alan, his abusive father, killed his wife, Marie, and was about to kill his children before Tim shot him in self-defense. Years of therapy have convinced Tim of the official story, but his sister, Kaylie (Karen Gillan), is not so persuaded. She uses her job at an auction house to get her hands on what she believes was the true cause of their parents’ deaths: a cursed mirror called the Lasser Glass with a long history of death in its wake. She invites Tim back to their childhood home to document the mirror’s deleterious effects on the human mind, proving the innocence of both Tim and her father, and then destroy it.

Suffice it to say, despite Kaylie’s extensive precautions (three cameras filming the mirror at all times, temperature monitors in every room to detect paranormal activity, alarms to remind her and Tim to eat and, most famously, an anchor suspended from the ceiling that will smash the mirror if a manual timer isn’t reset every thirty minutes), things don’t go according to plan. The mirror can completely warp human perception, even erase memories. In one of its simplest but most effective gotchas, Kaylie takes a bite from an apple, only to see the mirror has tricked her into eating a lightbulb, which then immediately turns back into an apple. Though broadly well-received, a small but vocal minority criticised the films’ ending, which leaves the viewer completely uncertain which of the film’s events, if any, actually happened. But I have the answer.

None of it actually happened. It’s a movie.

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The Best of The Sundae #3

It’s been a banner year for The Sundae and we’re only halfway through. We got a shout out from Todd in the Shadows, took the New Zealand drag community by storm and did an objectively better job of rewarding the best films of 2018 than the Oscars by sheer virtue of not nominating Bohemian Rhapsody for anything. We also wrote some really good shit. And, for the first time ever, our best-of round-up contains two pieces from a pair of fantastic guest contributors.

So, if you’re a long-time reader, revisit some of our greatest hits. If you’re a recent reader, catch up on some stuff you might have missed. If you’re a brand new reader, take a chance on something a little different. And, if you like what you see, drop a tip in the jar so we can continue our mission of publishing independent cultural criticism unbeholden to the hot take cycle, and destroying the Walt Disney Company.

Here’s the best of The Sundae so far. Again. (Again.)

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Double Features #3: Partners in Theme

This article is part of the Double Features series, which pairs great films that go great together. Check out previous installments here and here.


The best way to learn about films, in my experience, is to watch a lot of films. Duh, I know. But every film you watch teaches you how to watch the next. One of the good things about double features is that watching films together can illuminate both, each teaching you how to watch its partner. Here are five pairings that clarify genre focus, help to situate each other in history and otherwise enrich each other, both as films and as guides to future films.

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Nobody is Ever Supposed to Win Motorama

“I want you to listen for a moment. Nobody is ever supposed to win Motorama. Okay? Not really. It’s just something that’s been, well, sort of set up, you know? It’s just something to kinda give people something to do, something to talk about.”

For years, I’ve tried to put my finger on the best way to describe Barry Shil’s 1991 road movie, Motorama.

It’s a road movie where that kid who played Rusty, the bratty practical joker from Full House, curses like a sailor and gets tattooed by Meat Loaf. It’s Lynchian, if David Lynch had a budget of only $1.8 million. It’s Interstate 60, if Interstate 60 was written by the man who wrote Martin Scorsese’s After Hours, and filmed in the style of a Nickelodeon show from the ’90s. It’s Home Alone if Kevin McCallister had decided to use his newfound independence to steal a car and get filthy rich, only to get the shit kicked out of him by the bad guys.

Motorama is all of these things. But the best way I’ve come up with to describe Motorama is that it’s a cult film severely lacking in a cult.

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Linguistic Intimacy in The Boy Downstairs

Last year’s The Boy Downstairs is a small, quiet romcom. It’s the kind of film that’s very easy to dismiss without even seeing, because it’s “annoying” or shallow or twee, because of its offbeat sense of humour not registering for all viewers, because it’s catnip for the unbelievably tedious “pointing out that a fictional character in New York lives in an apartment they could not realistically afford” crowd. But that’s a mistake. Equal parts Nora Ephron and Noah Baumbach, The Boy Downstairs succeeds at being both funny and romantic. If it, at times, follows the romcom formula a little closer than it needs to, it is elevated by Zosia Mamet’s great lead performance and especially its dialogue. How you execute the formula always matters more than how closely you follow it.

Diana (Mamet) has returned to New York after moving to London when she finished college. She works at a bridal shop, but she wants to be writer, even as she studiously avoids working on her novel. She finds an apartment through Meg, a real estate agent, and after signing her lease discovers Ben (Matthew Shear) – her ex-boyfriend, who she broke up with right before she left for London – lives downstairs. And is dating Meg. The film cuts between scenes from Ben and Diana’s relationship and eventual break-up, and their living in the same apartment building in the present day.

The Boy Downstairs does a decent job of portraying post-college anxiety, even if there’s no economic component in how it portrays that anxiety. At one of Diana’s low points, her landlady –who has become a mentor figure for her – asks her how her book is going. “Uh… not great,” Diana says in a small, high voice, and when her landlady asks why not, she says, “I just haven’t really been working on it.” Making the protagonist of a movie a writer is a total cliché, but Mamet plays it with unexpected clear-eyed honesty, making “being a writer” both foundational to Diana’s sense of self and a vague childhood aspiration that has become yet another expectation when expectations are already weighing her down. The day her father meets Ben, he warns her not to get tied into something when she should be focusing on her writing. It’s a film about how we cannot predict what we will regret, cannot know for certain which are the commitments that tie us down, lock us in place, and which are the commitments that give our lives meaning.

But the thing that sticks with me about The Boy Downstairs – the reason I’m still thinking about this film almost no-one but me saw – is how its characters talk, because it’s unlike anything I’ve ever seen in a film. They talk just like me.

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Netflix and the Obama Legacy

When Netflix announced last year it had entered a production deal with Barack and Michelle Obama, trading as Higher Ground Productions, the response from the right was predictable. Tons of extremely online conservatives who’ve spent the better part of a decade criticising every single thing that Obama does just because he’s Obama tried to start a boycott. Extremely online liberals and leftists made fun of the extremely online conservatives, but rarely commented on the deal itself, save the occasional prediction the shows would probably suck. And most people didn’t hear about it or didn’t care.

It was all very predictable, yet also confusing. I’m an extremely online leftist and when I heard Netflix had signed a deal with the Obamas, I was disgusted, so I thought the extremely online left response would be to make fun of extremely online conservatives for coming up with an incorrect explanation for their correct conclusion this news was messed up. But no one else seemed disgusted, so I waited to see if maybe some disgust would develop, but everyone just forgot about it, and now it’s a year later and I’m finished waiting, so here’s why you should be disgusted by the Obama-Netflix deal.

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On Cinema(s)

In 2018, Ireland had the highest per-capita cinema attendance of any country in Europe, averaging 3.3 visits per person and just edging out France’s average of 3.2. This really surprised me, because I go to the cinema a lot more than that. I go to the cinema most weeks, and it’s not unusual for me to see two or three films in a row on the same day. Last year, the Pálás cinema in Galway had a Jeff Goldblum day, and I went to see The Big Chill, The Fly and The Adventures of Buckaroo Banzai Across the 8th Dimension and really regretted not seeing Independence Day because I was at such a loose end, and I don’t even like Independence Day. I once saw Justice League, Murder on the Orient Express and Suburbicon on the same day for some reason. I pretty regularly miss out on seeing films in the cinema that I’m interested in, and yet I regularly beat the Irish annual average in a week without even thinking that I’ve been going to the cinema “a lot”.

This means that just by myself, I’m skewing that average up a bit. I can’t imagine going to the cinema three times a year, but there are obviously loads and loads of people that go far less than that. I think for some people, going to the cinema is something you mostly do as a child, the way lots of people think of libraries or bowling. It makes me sad.

Cinemas are special places, and they offer a special experience. And I’m terrified of them dying.

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You Should Watch Short Films

I wish I could say short films have a bad rep with the general public, but that would imply they have a rep at all. Short films may as well not exist for a lot of people, even people who love movies, and that’s just a shame. The only short films most people I know have seen, if they’ve seen any, are Pixar or Disney shorts, old Looney Tunes one-reelers, or “short films” that are actually just long ads (not to police the boundaries of the medium or whatever). Some of those are good, sure, but if your entire diet of short film is just Disney and ads, like, Jesus, that’s just not good for the soul.

Here’s a selection of great short films from right across the medium’s history. I’ve excluded films that wouldn’t have been considered short when they were made (e.g. A Trip to the Moon) and anything made by Disney or a Disney-owned studio, though I couldn’t resist including a classic Looney Tunes short. Hopefully, this can be a first step into the wider world of short films, but, if not, just these ten are all pretty great.

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I Feel Far Away: Class (and) War in The Deer Hunter

Hollywood has made a lot of films about the Vietnam War. There’s the stuff set directly in the war, like Apocalypse Now or Full Metal Jacket or Good Morning, Vietnam, and there’s stuff in which the Vietnam War is a persistent background detail that somehow defines life back in America, whether that be in Travis Buckles’ fucked-up psyche in Taxi Driver, the gut-punch epilogue to American Graffiti, or the senseless slaughter of youths in The Texas Chainsaw Massacre. Films that aren’t about the Vietnam War at all still seem to be, because it is always there. Vanity Fair says that in Midnight Cowboy, “the Vietnam War lurks at the edges of the frame, all the more insistent for being virtually absent.” You can even read the Vietnam War into Grease, if you wanted to: maybe the reason it lapses into complete fantasy at the very end, as Danny and Sandy fly off in a flying car, is because an ending grounded in the real world would be the one where Danny goes halfway around the world to die. Basically every movie from the 1970s is about the Vietnam War to some degree, and plenty more since.

They are, in aggregate, terrible. I don’t mean that they are bad films – all the ones I’ve mentioned would comfortably make it onto my list of my favourite films ever, except for Good Morning, Vietnam, which sucks – but, taken as a whole, the Hollywood-Vietnam-War-movie genre distorts our understanding of the war itself. “The United States lost 58,000 soldiers in the war, while multiple millions of Vietnamese lives were lost, possibly nearly 4 million. This is 20 to 60 times as many deaths, almost half of whom may have been civilians,” Nathan Robinson writes for Current Affairs, “Yet… the story of the Vietnam War is almost always told from the perspective of American soldiers. The Vietnamese are nameless fungible extras.”

Films aren’t history lessons, nor do I think they should be, but when we’re shown something the same way and from the same perspective over and over, it helps to mould how we understand that thing in real life. The Vietnam War has been depicted so often on screen that it’s easy to feel like we know all about it, when in reality, there has still been very little reckoning all these decades later with the sheer devastation the war caused. More than three times as many tons of bombs were dropped in south-east Asia during the Vietnam War as in all of World War II, and yet almost all films about the conflict – including strident anti-war polemics – place American experiences, and particularly American suffering, front and centre.

The Deer Hunter is the patron saint of this critique.

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It’s Not Your Art, It’s Ours

Last month, James L. Brooks announced that The Simpsons had decided to pull “Stark Raving Dad”, its classic episode guest starring Michael Jackson. Speaking to The Wall Street Journal, Brooks said that he and fellow producers Matt Groening and Al Jean agreed to stop airing the episode in reruns, drop it from the show’s streaming service and cut it from future DVD releases. HBO/Channel 4 documentary Leaving Neverland has brought renewed attention to the accusations against Jackson of serial child sexual abuse, and many have had to answer difficult questions about how to relate to Jackson and his work. Brooks et al. apparently felt this was most appropriate for a show that had collaborated with Jackson.

“I’m against book-burning of any kind,” he explained. “But this is our book, and we’re allowed to take out a chapter.”

Whether you agree or disagree with their decision, most people would instinctively concede that the producers are perfectly entitled to do with their property what they will. But that’s exactly where they were one hundred percent unequivocally wrong.

The Simpsons doesn’t belong to them. It belongs to us.

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