Vultural

Tweddell, Benjamin - Sermons In A House Of Grief

“When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things …”

Problem is, childhood connections are often as strong as steel, and impossible to break from.
Controversial Professor Eskola delivers, apparently, his final, firebrand lecture.
Overnight, weariness has become overwhelming. Time to put this career, his second, to rest.
An encounter with an old colleague, childhood colleague, leads to an impulsive journey.
The train rumbles into the past, into a bitter childhood filled with memories that have begun flowering.
This brooding novella, set primarily in backwoods Finnish hamlets, is a troubling one of abuse and worship.
The sect of Kartanoism, with its terrors of the apocalypse, is neither more nor less relevant today.
Nor is the exploitation of children and the stripping of innocence.
Mr Tweddell has unearthed a distant sect (and perhaps still lingering) and given it wings. Black wings.
As always with this publisher, the book is a work of art in itself. Beautiful endpapers, haunting photos.

After reading, I began crawling through history’s rabbit hole of Alma Kartano and Tilda Reunanen, ending with the congregation Mansion.
True faith is ever the hard path.

The Black Cat - 1981 - 6/10
AKA - Gatto Nero

Alright feline fanatics, and cat haters, line up!
In small village England, a medium tries to communicate with the dead.
He’d best hurry, because the deaths mount. All instigated by a growling black cat!
Odd Lucia Fulci film, loosely based on Poe (ha!), suffers from almost incoherent plot and poorly interacting characters.
The demises, of which there are quite a few, differ and are imaginative, especially when you keep in mind that the cat has to be a plausible killer.
Nonetheless, I’d like to hear how the feline(s) took direction.

Poms - 2019 - 5/10

Diane Keaton, Jacki Weaver, Pam Grier, Rhea Perlman play residents in a retirement community.
They decline the existing, rather cliquish, clubs, and instead form a cheerleading squad.
I kid you not. (And more proof I don’t control the remote.)
Formulaic, clichéd storyline wastes a good cast trapped in by-the-numbers script.
Who was the target audience anyway? Over 60’s females? Do enough still frequent movie houses to make a hit?
The females I watched Poms with enjoyed it more than I, and they laughed throughout.
Go figure.

Mrs. Lowry & Son - 2019 - 6/10

By day, L S Lowry collects rent in impoverished neighborhoods.
At night, he dotes on his mother and paints his thoughts and moods on canvas.
His mother, who once had social aspirations, is controlling, cruel, and belittling.
No encouragement from that quarter whatsoever.
Not so much a character study as a “couple” study. Mother and son.
Aside from brief street scenes, and a few ghostly flashbacks, the dramatics play out inside their shared flat.
Acting is superb, but this is very stagebound.
Downbeat film may appeal to creative sorts, who generally receive limited encouragement.

Sideshow:
^

During a lunch break at the bygone job, I was scribbling another masterpiece.
One of my coworkers, an artist, said, “It’s so easy for you. All you need is a pen and any sort of paper. None of the expense of pads, canvases, paints, etc …”
“Oh yeah? How many of the girls here have you drawn, at your apartment?”
“Three, four,” he shrugged.
“And how many have asked you to sketch them?”
“Another five,” he smiled.
“You know how many girls ask me to write about them?” I asked. “Zero!”
Another coworker spoke. “You guys should be musicians. Girls throw themselves at us.”
^

Murder Is My Beat - 1955 - 5/10

My mistake. I mistook Barbara Payton for Beverly Michaels and grabbed this from my stash.
Pretty bad film from the get-go. Note police captain in awful black n white checked sportcoat. Ugh.
Dead man found in fireplace, face and hands burned beyond recognition.
Blame falls on girlfriend - clubgirl - hooker at cheap bar.
Cop traces her to mountain cabin (chance to see snow for no reason).
Atrocious dialogue, like the writer attempted wiseguy Noir and ended up with junior high mimicry.
Acting uniformly bad. Photography ranges from static to overused stock. No pace.
There must have been ten minutes of trains roaring past. Plus, a couple minutes tour inside a ceramics factory!
Blows, man. Payton’s final film. From this point on, her story was ugly.

http://www.imdb.com/name/nm0668510/bio

Ready Or Not - 2019 - 6/10

Family traditions are often the worst, especially those of the in-laws, particularly “new” in-laws.
Poor but pure Grace marries Alex, filthy rich, member of a family of uncountable wealth.
Nightfall after every wedding, there is a game, played by all.
Almost always inconsequential. Harmless. On rare occasions, though …
Grace draws the dire hand. She runs for her life, the family draw traditional weapons.
Old premise is reworked as foul mouthed, savage comedy.

Dirty God - 2019 - 7/10

Jade is a victim / survivor of an acid attack.
The NHS repairs the facial damage, but they do not, nor seemingly will not, restore her beauty.
Jade is poor, young (I’d guess 18), lives with her mom in a council estate, or crashes on a friend’s couch.
She also has a daughter, though she is an indifferent mother, at best.
More than anything, Jade desperately wants a reset button to restore her life before the disfigurement.
The film reads like a book of bad decisions.
Many of those she makes because she is young and inexperienced.
Her choices, moreover, are narrow, restricted, confined by limitations of education, wealth, class.
While this evokes Ken Loach, a trickle of redemption weeps in and out, offering the sliver of hope.

Hope Gap - 2019 - 6/10

Study of a marriage coming apart.
Grace has provoked Edward for years already.
Trying to get her reserved husband to show signs of life.
Yes, he is tired. Tired of living with her.
Opposites attract, especially when we are young.
Yet over time, such polar attractions often reverse. We have witnessed, we have been miserable participants.
Beautiful location filming, fine acting, though several sequences display stage roots.

Day Of Resurrection - 1980 - 4/10
AKA - Virus

You visit granddad at the nursing home. He could be better, or far, far worse.
In the lobby, strapped to wheelchairs, sit glass eyed residents, brains riddled with Alzheimer’s, and doped with sedatives to keep them docile. All have the IQ of a carrot.
Any of those human vegetables could have edited a better version of this Japan doomsday film than did the Hollywood turnips.

Pentagon bioweapons develop a virus that can exterminate life.
Not to fear, it is safely locked away in –– Wait! Now East German operatives have a vial and are flying to Moscow to – Oh no! They’ve hit an air pocket! Look out! There’s a mountain! Ka-boom!!! And the dying starts.
Headliners expire first (Glenn Ford, Sonny Chiba, Robert Vaughn, Ken Ogata, Henry Silva).
Leaving George Kennedy and his band of 800 survivors in Antarctica as the final humans.
800 men, 8 women. The latter are informed they will need to be generous, in a new, “sharing” world.
Despite explosions here and there, this movie is mind numbingly boring.
The full length, original Japanese version is allegedly superior. I wouldn’t know, nor will I ever.

Ackroyd, Peter - The Last Testament Of Oscar Wilde

Oddly enough, I missed this book when it was published.
Then again, I was in profound financial distress in 1984.
Fortunately, while reading Green Book #6 (Swan River), interview subject, David Skal, referenced Ackroyd’s book and I directed my library to retrieve a copy for me.

Mr. Wilde is persuaded to keep a journal during his Paris sojourn.
This comes after the fame, after the trial, the imprisonment, after “The Ballad Of Reading Gaol”.
Written during the final four months of his life, Wilde reminisces on his life from childhood through school, from fame to infamy. Determination, temptations, reckless choices.
Ackroyd shows an uncanny ability to, chameleon like, capture Wilde’s voice, the sharp wit, fond recollections, and the weariness of it all.
(When mention was made of an Edison recording with Wilde speaking, I spent several hours searching for it.)
I found this to be an exceptional book, and consider it to be must-read, perhaps must-own, for Wilde devotees.

Kill Me Three Times - 2014 - 6/10

Black comedy of a contract hit, a pair of eloping lovers, theft, insurance fraud.
Mildly complicated, with flashbacks and multiple narratives, but all characters are identifiable and fleshed out.
Difficult - in a funny way - to keep track of who is cheating on who.
Simon Pegg plays a professional hitman with a sardonic sense of humor.
Western Australia provides stunning backdrop.
Style over substance, but nails every one of its marks.

Wolf Creek: S01 - 2016 - 6/10

Vacationing Yanks frolic in the Australian outback.
When a hungry crocodile snaps after junior, they are saved by the sharp shooting, Mick Taylor.
Later, after dinner, Mr Taylor unfurls his true colors, and his sadistic treatment of turistas.
All but one. The daughter, albeit badly wounded, escapes.
When she recovers, she seeks revenge.

Twisted series follows Eve as she begins an almost futile search.
Hunting a monster in the desolate wastes filled murderers, liars, predators.
As well as Taylor, a master of game playing and patience.
A few stray coincidences can test belief, but the series superbly evokes the heat and raw landscape.

Tidelanders - 2018 - 6/10

Sultry, humid flipside to the Wolf Creek series.
The latter was relentless heat, dusty wastes and instinctive behavior,
This is set on the Australian coast, where fishermen subsidize work as middlemen drug shippers.
No idea who they ship to, yet their suppliers, well now, they can breathe underwater.
Yep. Mer – No, that word is never used.
Intriguing concept, updated for modern times, with a few back stories and mysteries.
For most of the episodes, this stays fresh (although I had trouble with the main lead)
Near the end, the script shows evidence of being contrived with explanations and errant turns.
After the final episode, I cannot see a S02, Viewers who disdain endless soap operas might appreciate.

Wolf Creek 2 - 2013 - 5/10

Sequel to the fun grinder that was Wolf Creek.
This opens with lonely encounter with law enforcement grafters, then succumbs to rehashing earlier themes.
From there, repetitive, unimaginative story lines, whining characters.
Mick Taylor remains a grinning, malevolent force of nature, however.
Still, the template of trailer trash meets dead teenagers feels like cold leftovers.
Lazy efforts all around from the creative team: Writers - director - money men.

Son Of A Gun - 2014 - 6/10

Testosterone overload + logic implosion = beach read.
Ewan McGregor plays hardened lifer in max security lockup.
He befriends a shy new arrival, probably because the kid is only in for six months.
Then before you can imagine escape - gold heist - betrayal . . .
Entertaining actioner so long as you don’t think too much.
Story is really from the “kid’s" point of view, but he lacks the charisma to carry this off, especially compared with all the studs.
Alicia Vikander has dark role as crime lord’s less-than-thrilled paid companion.

The Little American - 1917 - 6/10

Stateside, circa 1913, Abigail toys with two suitors. A dashing Frenchman and a handsome German.
Before she has to choose, both return to their native lands as the Great War begins.
No sooner is the Von Schlieffen Plan implemented, than Abigail inherits a chateau in rural France!
She sets sail on the Lusitania - oops! - yet miraculously survives and reaches her chateau …
Just as a German division seizes it for a command headquarters.
Women are raped, villagers shot, looting is widespread.
Propaganda film, well directed by Cecil B DeMille, moves briskly and piles on the excesses.
I don’t know whether intentional or not, but the German top officers reminded me of Von Hindenburg and Ludendorff.
For folks who think Mary Pickford only played little girls, check this one.
(Every copy I have ever watched suffers poor video resolution.)

Relic - 2020 - 6/10

When the 80 year old mother does not answer the door, the sheriff phones her daughter.
Daughter Kay and her daughter, Sam, drive to the lonely country home and discover Gram is missing.
The community searches the woods in vain, and the two females began cleaning the home.
And then Gram returns, in and out of cognizance. One minute, razor sharp, the next a mind fog.

There is something wrong, however, very wrong.
The older woman insists “something” got into the house, though clearly she suffers dementia.
Very much a psychological horror / closet horror, with three characters. The three female generation.
Along with the riddle of the house, with develops throughout the film.
Female viewers may value this more than males.
May also intrigue the Aickman - Ligotti contingent.

Inside The SS - 2017 - 5/10

Indifferent account of the SS, pushed by a droning narrator, the script peppered with ongoing judgments.
Perhaps just as well, because this is primarily interviews with ex SS servicemen.
The elite, the cream. While a few are remorseful, most remain unrepentant.
Proud of their service, justified in their actions, many still attend SS conventions.
Afterward, I wondered how strong was their indoctrination. Is racial hatred simply in our DNA?
Or, as a species, are humans flat out not so great as we think we are?
The color work of this is quite good.

Black Sea - 2014 - 6/10

Pay attention to those opening credits - that’s the back story.
Submarine skipper (Jude Law) is laid off.
Actually, the mega maritime salvage organization no longer needs subs.
Then he gets approached for a shady job.
Deep in the Black Sea, a sunken Nazi sub filled with gold.
All he has to do is assemble a crew, half Russian, half West, and retrieve the loot using a derelict Soviet sub.
Communication problems, augmented by greed, transform the crew into factions.
As with all sub flicks, claustrophobic, damp, and gloomy dark.
Decent twists midway, then again late.
Sturdy male cast led by Mr Law, no longer the slick pretty boy, who delivers another gritty performance.

The Devil’s Honey - 1986 - 5/10
AKA - Il Miele del Diavolo

Cecilia is in love with saxophonist Gaetano.
Though he is domineering and demanding, his instrument purrs her fancy.
Then an accident, surgical errors, and Cecilia is left lonely.
Where most would be steeped with regret, she is aflame with vengeance.

I’m unsure how to categorize this Fulci flick.
It is so over the top with sexual misbehavior, layers of domination, trashiness.
Nudity throughout. A saxophone solo is unforgettable, as is bright red nail polish.
Let’s not forget collars and leashes!
Although steeped in sleaze, a series of flashbacks add depth to Cecilia’s character.

Don Wilson Of The Navy - 1942 - 6/10

Twelve part serial does double duty as recruiting tool.
Don and his sidekick Red fight a band of saboteurs, kidnappers, and all around traitors.
Led by the ever dastardly Scorpion who seems to have acquired Emperor Ming’s video communicator.
Underground bases, secret submarines, car chases, loads of fisticuffs.
Don and Red wear their Navy whites throughout and those seldom stain or get dirty.
Most of the cliffs are cheats, and, dastardly as Scorpion is, there is no reason for his activities.

Die Muse Des Mörders - 2018 - 6/10
AKA - The Murderer’s Muse

Blue smoke curls from the crushed cigarette, drifting away like memories best forgotten.
The glass of wine Is now lukewarm, sour, like the restless audience that came to see a has-been.
Madeleine, the matriarch of crime fiction, has outlived her era.
Her books sell poorly. Younger generations want flashier, if lesser, writers.

Out of the blue, an unknown killer leaves a victim, and stages the scene from an episode in her book.
Even better for her comatose career, he / she proves to be a serial killer, copying from more of her novels!
Murder, ain’t that a kick?
Decent mystery / thriller is predictable, but has sharp dialogue.

Copper, Basil - The Black Death

Young architect departs London and buys a partnership with a Dartmoor firm.
Repeatedly he is warned by various residents to keep off the moors.
Mind well, gentle reader, the moors soon draws him.
Copper could write yarns like this in his sleep, and yet this was the last Gothic novel he wrote, similar to Necropolis and The House Of The Wolf.
An old fashioned, atmospheric page turner set, to my mind, in the Edwardian age. (One of the residents notes the fad of the motor car in the city, declaring it will never succeed in Dartmoor.)
Perhaps more suitable in cooler months, but needs must …

Babylon Berlin: S03 - 2020 - 6/10

When will I ever learn? After one or two seasons, inspiration and creative fire for most shows ebb away.
So too here, the third installment of a series which dazzled over the course of two back-to-back seasons.
Where the narrative once took bold leaps within a dynamic Weimar Berlin, now the plot inches incrementally.
The threads seem smaller. Murders on a film set. (The troubled film, “Dämonen der Leidenschaft,” may remind decadent buffs of Sebastian Droste’s work in “Tragödie der Macht”.)
Gereon’s personal problems, Charlotte’s family and career problems, Greta’s incarceration.
The minutes creep doggedly by. Bits of an arc advance here, piece of action there.
The Hollywood writing room crutch of “milking” a series, of dragging the pace in order to stretch an eight episode series into twelve, is sadly and shamefully evident.
Babylon Berlin becomes another dull soap opera (thanks, Netflix), which is regrettable because this had been, for me, a thrilling show.

Babylon Berlin - 2017 - 8/10

Exceptional series set in Weimar Berlin.
A train, streaking from the Soviet Union, is hijacked into Germany amidst bloodshed and conspiracy.
Police, city and state, chase thin trails into nightclubs, embassies, bordellos, pornography studios.
Cops vs the Red Front, Soviet spies vs Whites, gangsters and embezzlers.
Berlin in the late 20’s, early 30’s was an anything goes place and this series captures that.

Knowledge of the Weimar era is not essential, but would certainly help.
Production values are excellent, this is a gritty, well designed thriller.
Several of the set pieces, nightclub sequences in particular, are spectacular.
S01 builds, S02 follows immediately and is the payoff.