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2. Triangle – 2009 (Christopher Smith)

Triangle is a very difficult film to watch and that’s the point. It’s supposed to feel like being caught in a nightmare and employs a great deal of dream logic. It also surprised me because I had no idea Melissa George could act, and she knocks it out of the park.

In the film, she is single mother, Jess. Burned out with caring for her son, she joins some friends for some sailing but they get caught in a storm and (it is inferred) deposited into the Bermuda Triangle. They find an  abandoned ocean liner, and as soon as they get on the weirdness starts.

They are stalked by a masked killer, and hunted down one by one until Jess is able to injure and throw him overboard… and at that moment she sees herself and her crew members and getting on the boat. They are in a spot in the ocean where time is a little strange, where there are multiple versions of each person… including the killer.

This is a dense, smart film whose strong point is disorientation and confusion, but it is not underwritten like many so-called ‘ambiguous’ films can be.

3.    Lovely Molly – 2012 (Eduardo Sanchez)

I hated the Blair Witch Project. Hated it. Finding out that this was another film by one of the makers instantly put a scowl on my face and made me unconsciously put my hand on my wallet. But Lovely Molly is a great film, which of course didn’t get wide release, even though The Apparition and The Possession have opened in back to back weeks, demonstrating there’s certainly a market for this sort of film.

Molly (Gretchen Lodge) moves in with her husband Tim to her childhood home. This is already problematic, as she was abused by her late father, and is recovering from a history of heavy drug abuse. Her husband is a truck driver, and compounds the problem by having to leave her for days at a time. Eventually, Molly comes to one disturbing conclusion, her father is still alive, has been transformed by his time in the afterlife, and it is not done with her yet.

Lovely Molly does ambiguity perfectly.  You could argue what exactly is happening for some time, but what you can’t debate is seeing the torment of one poor woman until there is no humanity left in her. Sanchez also cribs directly from Robert Wise’s The Haunting, which is always a good move.

It is worth noting, that this is one of those slow films with no real answers, and little blood. If you think it’s something else, based on the marketing, or films of its type, you are going to be furious.

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