Showing posts with label anthony scott burns. Show all posts
Showing posts with label anthony scott burns. Show all posts

Monday, December 4, 2023

In Your Dreams


Last year, I participated in an overnight sleep study to identify some of my nighttime issues. It. Was. Weird.

Let me set the stage:

It's 10PM. You show up to a hospital that makes the setting of Halloween II look like a bustling ER circa NBC's Must See TV era. There's a handwritten piece of paper taped to a door reading "Sleep Study Patients This Way." You accept the fact that you're actually following a sign to your imminent death, but as long as your insurance is paying, it seems worth a try.


A single employee (seemingly the only one IN this facility) guides you down a wing and opens a door, revealing a miniature Holiday Inn just SITTING across a lab. The nice, hopefully non-homicidal nurse then proceeds to connect 36 wires to various parts of your body, pausing at wire 20 to confirm that you don't need to use the restroom. You then roll into bed carefully, as half of your entire being and a whole chunk of your glue-filled head is now tethered on the left side to a box that looks only slightly more professional than the Lite Brite machine from your childhood.



The nurse leaves, cheerfully announcing that she'll just be a few rooms away "watching."



GREAT.

As the lights go off, the nurse's voice walks you through some eyeball exercises in complete darkness. You now know what eyeball exercises feel like.You're then left to fall asleep which is of course VERY EASY considering your situation and the fact that your body is literally wired.

At 5AM, the same voice gently tells you to get your ass out of bed. The nurse returns to help remove the 107 wires (because they have definitely multiplied overnight), glue still deeply embedded in your head. You shuffle out of the hospital knowing you look like someone who not only has trouble falling asleep, but who has probably also battled an army of angry robot cats when trying. It's quite a sight for the rest of the people at the bagel shop, but you're hungry and sure no one here knows you. You take comfort in knowing you have probably terrified a child or two, just as those dreadful 14 seconds of action in the Superman III climax destroyed your own youth.


Two weeks later, you are issued a mostly insurance-funded CPAP machine. Life actually gets a lot better.

Anyway, what are we here to do? Talk about horror movies of course! Wasn't that obvious?

Quick Plot: Sarah is a student suffering from some kind of sleep disorder. She spends most of her nights grabbing a few z's on a park slide before sneaking back home to grab a hot shower right after her estranged mother leaves the house. When she spots an ad for a local sleep study, Sarah jumps at the chance to earn some cash and a more comfortable bed that isn't made of urine-soaked aluminum.


The first night goes well, but Sarah is (rightfully) unsettled when she discovers one of the scientists, Riff, is following her outside (AND recommending Philip K. Dick novels, no less). She suffers a severe panic attack during a morning debriefing where Anita, the sleep study supervisor, shows her a picture of a man that appears regularly in her mysterious dreams.


Sarah demands an explanation from Riff, who reluctantly reveals his team's goal: to capture the images we experience only in dreams.


I realize how old I sound when I say this (note: this coming from the same 40something who just admitted her CPAP prescription), but I think Come True is what the kids today call a "vibe". Cowriter/director Anthony Scott Burns is vague on the details of his and Daniel Weissenberger's script. We don't know much about Sarah or the source of her troubles, but actress Julia Sarah Stone is compelling enough that we easily follow her journey and wish her the best. We're along for the ride even when we have no idea where it's heading.


Come True has an incredibly distinctive tone. The electronic score does heavy lifting in situating the mood, while blue-hued lighting seems to tint every scene to keep us at a distance. It's all clearly very deliberate on Burns' end, and it does, in SOME way, help us sort through things with the film's twist reveal. More importantly, it's pretty cool.



(again: 41-year-old CPAP user speaking)

That being said, it's also easy to feel frustrated by Come True. Much like Bad Things (ANOTHER CPAP-Y REFERENCE!), this is a film that is deliberate in being opaque. Maybe there's a rosetta stone that someone on their fifth viewing might unlock to reassemble the details for a clear narrative, but to me, it seems clear that Come True doesn't expect that of its audience. It wants to take you on a dream, accepting that the very nature of such a trip means it doesn't have to make sense. If that's the kind of thing that bothers you, stay away.



High Points
Aforementioned performance by Stone, who has to keep us caring even when we have no idea what to care about



Low Points
The more I think about Come True's final beat, the more frustrated I become

Lessons Learned
Insomniacs are not vulnerable to magical nerd charms

The ethics of sleep study doctor/patient relationships are, to say the least, muddy



There's an untapped market in the shoe industry for sleepwalking footware

Rent/Bury/Buy
I wasn't completely satisfied by Come True, and I can see it leaving a lot of its audience in a far more annoyed state than me. But as long as you go in expecting more mood than narrative, you'll likely walk away with some appreciation for the overall effect.

Monday, December 19, 2016

Mark Your Calendar


How has nobody ever thought of this before? A horror anthology composed of shorts set on the calendar’s major holidays. It’s a no-brainer.

And, much like Southbound, a pretty pleasant surprise.

Valentine’s Day
Written and directed by the team behind Starry Eyes, the first segment follows a teenage outcast named Maxine (unfortunately nicknamed Maxi Pad) as she nurses an intense crush on her gym teacher while her classmates brutally tease her. There's nothing overly revolutionary about the story or execution, but it's a well-told tale that's perfectly satisfying in its brief running time.



St Patrick's Day
Set in Ireland, this one follows a pleasant schoolteacher who tries to welcome a mysteriously moody new student into her class, only to have, well, a very unpleasant but somewhat welcomed surprise pregnancy via a Danny Zuko-esque snake worshipper. Directed by Gary Hore (Dracula Untold), this is a grotesquely funny and weirdly sweet horror comedy of sorts. Lead Ruth Bradley (wonderful in Grabbers) plays it perfectly, and the final reveal is one of the most adorably weird things I’ve seen in a while.


Easter
Easily my favorite, Nicholas McCarthy (The Pact) spins a bizarre little yarn about how a curious young girl (the delightful Crazy Ex-Girlfriend’s Ava Acres)’s questions about the specifics the Easter Bunny and Jesus’s resurrection leads to meeting a truly inspired and gross monster creation. The writing is on point here, as the little girl’s conversation with her exasperated mother is funny, smart, and wonderfully disturbing. That’s not even mentioning the odd background decision to decorate the home with an impressive collection of creepy clown art.


Mother’s Day
Kate has a problem: every time she has sex, no matter how many preventative measures she takes, she ends up pregnant. After two dozen abortions, she agrees to visit her gynecologist’s off-the-beaten-path spiritual retreat where a batch of infertile baby-hungry women see Kate as something very, very important. Directed by The Midnight Swim’s Sarah Adina Smith, this is probably the story that most felt like it should have been a full feature. There’s plenty of potential in exploring what it means for a woman to have or not want to have a baby, and while the ending has a nice kick, the story feels almost trapped in the short format. 


Father’s Day
A young woman named Carol (House of the Devil’s Jocelin Donahue) receives a cassette tape with a recording made by her presumed dead father with instructions on how she can see him again. Carol smacks on her headphones and follows his lead, walking through a beach as she listens to her dad’s intensifying guide recorded on the last day she ever saw him. Newcomer Anthony Scott Burns builds tension with incredible skill, making this, for me, the scariest of all the stories. It doesn’t quite make good on its promise, but it still manages to be a unique spin on the typical anthology tale.


Halloween
Kevin Smith--yes, that Kevin Smith--tells this revenge tale of a trio of webcam performers who finally take control over their gross and abusive boss. This will probably be the most polarizing of the bunch (as Kevin Smith fare tends to do to an audience) but I enjoyed it well enough. There’s a nice girl power vibe and a satisfying comeuppance, and perhaps most importantly, a short running time that doesn’t let anything out live its entertainment value. 


Christmas
Legion’s Scott Stewart directs Seth Green as Pete, a nice, but unexceptional dad trying to get the latest new technology toy for his son on Christmas Eve. When the customer who snagged the last one has a heart attack on an otherwise unoccupied street, Pete grabs the gadget and guiltily leaves the man to die alone. Naturally, this decision haunts him, especially when the gift in question (a pair of virtual reality goggles designed to show each wearer his or her own personal fantasies) keeps reminding him of his crime. This is a fun segment, aided a lot by Green’s take on a schlubby dad and some genuine surprises along the way. The ending is a bit abrupt, but again: this is an anthology. We don’t need codas.


New Year’s Eve
An awkward and dentally challenged killer meets women online, kidnaps them, and murders them when he loses patience with their inability to love him. On New Year’s Eve, he scores a date with an attractive younger lady with her own crappy dating history and, well, twists ensue. Made by Adam Egypt Mortimer, this is a fun tale and appropriate way to end the film, as the tone is somehow both lighthearted and appropriately violent. Mortimer also deserves credit for staging a wonderfully realistic, painfully uncomfortable first date.


Lessons Learned
Vets don't get things wrong

Jesus and ET do indeed have a lot in common


If a man doesn’t think you’re worth brand name candy, that is not a man for you

Rent/Bury/Buy

I had heard mixed reactions to Holidays, so my expectations were fairly low going in, but man...I kind of loved this movie. Some stories were certainly stronger than others, but none wore out their welcome (the kiss of death for many a short film). The fairly organic mix of offbeat comedy and genuine horror made for a refreshingly diverse mix of tone that kept me invested throughout. Like any good multi-filmmaker anthology, all the stories have their own identity but never seem to clash. Not to always bring up my favorite punching bag, but I’d take the weakest installment here (probably Halloween) over all of the first V/H/S, and most of the other segments in the more decent sequels. The film is streaming on Netflix and can make a satisfying watch for any season.