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The Black Laser

The Descent

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Last night after Juli had gone to bed, I watched The Descent, a film which I had passed off as total “meh” when it first came out in 2006. Oh great, another stupid Hollywood piece of shit horror movie, I thought. I passed it off as nothing. Then, earlier this year when I was in Minnesota with Mikey W we got to discussing films (as we do) and The Descent came up. He recommended it to me wholeheartedly, noting that my preconceptions about it were wrong. Always willing to give a film with a solid recommendation a chance, I threw it onto my Netflix Queue.

I’m glad I did too, because it’s a fine example of what can be accomplish on a smallish budget when you’ve got a super tight script, concept, actors, and production team. Working with not that much, director Neil Marshall turned out the best new horror film I’ve seen in a few years that doesn’t rely on a gimmick (Cloverfield, I’m looking at you).

The film is about Sarah, who lost her husband and child in a grisly auto accident a year prior, and a group her friends, led by the headstrong Juno, embarking on an adventure into a cave system in the Appalachian Mountains. They climb down into a giant hole in the ground (that’s the technical term) to do some spelunking and Sarah starts to see shadows moving. When they becoming trapped by a cave in, Juno reveals that this isn’t the cavern they were supposed to be in and then it all goes down hill. I won’t spoil it any further. You should see it.

The Descent is truly masterful at building a palpable sense of dread. As much as everyone subconsciously wants to go back to the womb, no one wants to be trapped in a cave with two miles of rock above them and with no way of getting help. Really, this film, for me, breaks into two kinds of scares. The first is the base human dread of being trapped alive with no hope of escape, which seems like a most horrible way to die. Claustrophobia is this film’s friend and confidant. Taking clear cues from Ridley Scott’s Alien, The Descent utilizes its setting to enhance the dread we feel as we imagine ourselves in the place of the women struggling desperately to escape into the light. The second, which is less interesting, is the jump-out-at-you scare. I am not a fan of these types of scare, not because I am susceptible to them, but because I find them often to be cheap. Being startled because something jumped out and the music suddenly got very loud is not being scared. Sure, it causes me to jump, but it’s nothing compared to the dread you feel when something is really scary. Now, I’m not begrudging this film the use of the jumpscare (a term I read somewhere that I like) because it’s one of the horror genre’s most common tools. I just think it’s cheap, but that is a genre-wide complaint, and not specific to The Descent.

I thought that the most frightening point of the whole film was when Sarah is crawling through an extremely narrow passageway and begins to have a panic attack. She feels stuck and her friend Beth comes back for her, trying to calm her down. Then the passage starts to collapse and they have to rush through this narrow little hole as quickly as they can lest they be crushed under tons of falling rock. I was sitting on the sofa watching this with my body turned halfway away from the screen, my head cocked back, I found it so horrifying. No number of jumpscares could equal the slow dread of that moment for me. It reminded me for the first time in a long time of how as a kid I used to hide by the door during particularly scary parts when watching horror films so that if I needed to I could get away and not have to sit through whatever was about to happen. It was that same feeling, except I wasn’t hiding by the door.

Regarding the effects in the film, I thought they were mostly spot on. The creatures were amazing. They were like Gollum, if Gollum was, you know, a real monster. The excessive blood and gore was a little silly at points, but never dissatisfying. The set design and cinematography was great with real moments of actual darkness. Not bullshit movie darkness, but real, old fashioned, ain’t-no-light-in-this-bitch darkness. There were a few comps that weren’t that great, where they felt like they were overreaching their capabilities, but overall it was a seamless effort.

My one almost-criticism, is that is nearly falls into the “Inappropriately Hot Chick” convention, which I will not describe here. Fortunately, it’s kind of ok here. Perhaps this is just a particularly attractive group of spelunkers. I don’t know. I don’t do a lot of crawling about in caves, but something tells me that we’re looking at a conveniently too-pretty group of cave divers. Expect further analysis of this convention in a future Black Laser post.

Niggles aside, if you’re a fan of horror flicks, check out The Descent. It won’t make you mad. In fact, I enjoyed it a lot, and I am glad I watched it alone because Juli would have hated it. When the chick gets the pickaxe through the throat? Awesome.

23 – These Fists

These fists.  These fists have known such discord as I cannot begin to recount.  In times before men lived upon this land, I rode across it, aimless.  I knew neither form nor consciousness, yet I was.  I remember those times, but I do not remember being.  And then the first men crossed the ice bridge in the north and spread down, adapting, changing, learning to live in this hostile, giving land.  And they told stories of the wind and the night and the lightning and the thunder.  They told stories of the great tusked beasts that roamed the land, of the fire that burnt the forests, of the place they went when they died.  They sought to make sense of so many things they knew nothing about, so they used what they knew—the animals, the birds, the seasons, the plants.  Each little group of these men created a web of stories, of belief, about the genesis of this place.  They created symbols to explain the inexplicable.  They gave names to the things and places and moments and stars that had no names, never knew they needed to be named.  It was then that I took form, though I was and am known by many different names to many different people.  As the years progress, I am known less and less.  My form has become a blending of so many cultures and traditions and ideas, the sum of so many thoughts, that I have become hard to recognize to all except the most attune to the natural world.  The modernization of the world has drained my once vibrant colors.  So few still believe, but I shall never cease to be for deep within them they know I am there.  To some, I am a benefactor, bringing with me change and growth and development.  To others, I am a malefactor, ushering in the end of an age, the death of what they had always known.  To be fair, I have never been either of these things.  My role is subject to their interpretation, to the context of the situation.  I only am.  I will only be.  I will continue to ride as long as the sun rises and sets.

And though I am impartial, my time amongst the people has imbued me with something like what they call emotion.  I have found myself taking part in their struggles, often against my better judgment.  When I have had time to stop and think about it—such a strange thing thinking—I recognized that my role is only to lead the change, not to fight for or against it.  Yet that is what I do.  I take sides.  While so many people thought I was preventing change from taking place, I knew that change would happen regardless.  Nothing can stop the change once it begins.

And here, again, I embarked on this cycle of change and rebirth, the cycle of death and destruction, leading the vanguard of discord to welcome an era of concord in my wake.  But on whose side shall I fight?  Whose blood shall I spill?  What shape shall the future take when my role, for the moment, is done?

Pet peeves on the subway

I am a (fairly) understanding, (mostly) patient man. I hold the door for people. I get out of the way. I allow others to go first. I think it’s just common decency. But that’s just me. I don’t like to be a dick (usually) to total strangers. That doesn’t get my rocks off. It’s lame. It’s putting a whole bunch of bad energy into the universe for no real reason. The Space Pope is down with being chill.

As such, it always astounds me when someone goes out of their way to be a total fucking boner. I notice that it seems to happen a lot on the subway which, understandably, is an unpleasant, often stressful place. No one really likes the subway; it’s an unfortunate, unavoidable truth of life here in New York, especially for the lot of us peons who can’t afford to even have a car, much less a driver. But not liking something doesn’t mean you have to be a total cock to everyone else when you get on it. No one wants to be there, so you might as well be pleasant to the people surrounding you. It just makes things nicer.

Now, there are a few things people do that I just can’t stand. Let’s break them down.

  1. The guy who stands in front of the door when you’re trying to get off the train. — Look, guy, I know that you saw that there’s a seat open through the window as the train pulled into the station, but GET THE FUCK OUT OF THE WAY. I can’t walk through you, and you sure as hell can’t get onto this train until I get off. This is even worse when the train is crowded near capacity and there is literally no room for him to get on, but he tries to shove his way on anyway.
  2. The guy who steps onto an empty train and then stops immediately so that he can stand by the door. — Are you serious? Look, this is totally fine when there’s no other people waiting to get on behind you. Great, you like to stand by the door and lean, I get it. But if you’re the first motherfucker getting on and you decide to just stop and be in the way of the 20 other people trying to get on the train, you are a fucking asshole. This is the train rider’s equivalent of driving into an intersection, throwing on the e-brake, and expecting people to just drive around you. Yeah, it sounds pretty fucking ridiculous doesn’t it? Just got on the train and walk toward the center of the car. Theres plenty of room and all sorts of things to hold on to. That’s how they designed the train.
  3. The guy who tries to push his way onto a train that obviously has no room for him and ends up standing halfway in the doorway way, holding the whole damn train up. — Let me clue you in on a little secret, buddy. There’s zero reason to squeeze on a train like that. The train is only ever like that when there’s been some hold up way down the line and people have decided to force themselves onto the first train that arrives. 99 times out of 100 there’s another, much less full train right behind it. All you have to do is wait 2 more minutes and you’ll be able to stand in the train like a human being. Try it some time.
  4. The guy who pushes past you to snipe a seat — Oh, I’m sorry, fuckface, that I was being polite and letting the people on the train get OFF before I forced myself onto the train. I didn’t know it was necessary for you to push me out of your so-important way so that you could sit down ON THE EMPTY BENCH because, you know, 12 seconds later that seat would have been filed with someone else. Oh the train doors are closing and we’re still the only two people sitting??? Well, thanks for pushing me for nothing, dipshit! I really appreciate that.
  5. Anyone who asks me for anything while I’m on the train — I know that your acrobatics show was really fucking amazing, but I have a headache and just want to go home and eat some dinner and watch the episode of Dexter sitting on the table. And, no, I’m not going to give you and your brother a fucking dime. I’ve seen the show before. Oh, you’re selling newspapers, Raffie? No you’re a lying fuck junkie who’s been using the same line on this train for YEARS and the only people stupid enough to give you anything are the people who’ve just moved into the neighborhood. Curl up and die under a bridge, you swollen-hand, toothless, drug-addled fuck.

That list pretty much encompasses the things I really hate on the subway. There are some things that other people hate—delays, slow service, stopping in the tunnel beneath the river, whatever—that don’t bother me at all. In terms of the actual subway service, once I’m on I sort of just let go. It’s out of my hands. But other people on there bug the living shit out of me. That’s not to say there aren’t other courteous train riders; there are, of course. But, my attention is often grabbed by the annoying fuckers much more than the nice people who aren’t obtrusive. And, really, this article wouldn’t have been nearly as fun for me to write or for you to read if I was being super nice to the considerate people, would it?

22 – Jacob Donner, Apt 23

It was Spring after a long, cold, dark winter, so I never noticed when the apartment across the hall from me was filled.  January and February had been particularly cruel and I spent most of it inside, alone.  I’m not entirely sure how it was that I missed something as noisy and drawn out as someone moving in.  I guess I was asleep that day.  Or hung over.  Or drunk.  Or something.  It didn’t matter.  The point I’m trying to convey is that it was March (or was it April?) before I discovered that the apartment across from me, long vacant since the old woman who previously lived there disappeared, she must have died, was filled by someone new.  New blood in my apartment building was refreshing.  A nice change from the old ladies who live here on pitifully tiny rents their sons pay for them.  They were nice, but quiet and shy.  A little fire never hurt.  

I was coming up the stairs from somewhere, the liquor store around the corner probably, cradling a fifth of Turkey in my jacket pocket.  I like Jim Beam, but when a man is faced with the prospect of nothing to drink versus something to drink of maybe not the exact preferred brand, then he has an easy decision to make.  I was going up the stairs with my Turkey, when beside me I noticed a tall, soft Asian boy, maybe 21, dressed nicely I guessed.  He smelled like a woman without a doubt.  I never trusted a man who smelled like anything other than a man, but this kid looked harmless enough.  He looked at me like I was the boogie man.  It’s not good to be scared of neighbors.

“You live here long?” I asked him.

“Oh, no, we just, uh, moved in, like, maybe two months ago?” he said.  Light in the loafers, this kid for sure.  Definitely light in the loafers.

On deleting photos and why I never do it

I never ever delete photos. Well, that’s not entirely true. I almost never delete a photo when in the field, and NEVER delete a photo once it’s made it onto my computer. The only photos I will delete from my camera while shooting are the “Oops, I pressed the shutter button with the lens cap still on” type. Everything else, even if maybe it doesn’t look at that exciting then, I keep and evaluate later. The difference between how a 5616 × 3744 RAW looks on a rinky dink 3″ VGA resolution screen and how it looks on my color calibrated 1920 x 1200 24″ monitor at home is often night and day. On the tiny screen you can get a rough impression of what’s going on in the photo, but there is no nuance. I really only ever use it for checking exposure. You can’t check focus on the damned thing, so why even try? There have been so many times that I’ve taken a photo, thought it to be a total discard, only to look at it later and realize that it’s much better than I’d thought. Good I didn’t do the hasty thing and delete the photo I was iffy about in the field.

Of course, shooting RAW and never deleting anything means I have a tremendous need for storage capacity. Fortunately for all of us, I have 3 8gb compact flash cards I use which have proven to be vastly more capacious than I require over the course of a day, often longer. Whenever the 5DIII comes out, I’ll need to upgrade my cards, no doubt, but by then 64gb cards will be cheap and easily accessible, like 1gb cards were when I got my 20D in 2004. Ah the inevitable march of technology. It makes me want to buy a 35mm camera, a film scanner, and just go analog. One day when I have more reliable income again, I will do that. Not as a replacement, but as an addition to my current setup.

I don’t know why anyone out there other than my dad would care about this, but I was thinking about it after reading something on the internet and thought I’d share. I’m always interested to learn about how people work since it often provides insight into the work itself. And if not, it’s fun to talk shop.

21 – Piss Poor Taste

“This wine is terrible,” I said.

“No, it’s fine,” Donny said.

“You can’t taste.  This is swill.”

“I’ve had worse.”

“This wine is terrible.  Waiter!  Waiter!  This wine is terrible.  I demand another bottle.”

“But sir, you’ve drunk most of it already and…”

“Are you calling me a goddamned liar?  Are you calling me a liar?”

“No, sir, it’s just that…”

“Just drop it, Phil,” Donny said.

“You will bring us another bottle, young man, or I will speak to your manager.”

My least favorite TV/Movie convention – The Overheard Conversation

It is no secret that literature and cinema often use common themes and devices to propel a story. Some of these are very useful for opening doors for your characters or building drama. Indeed, Joseph Campbell’s entire career was based on the idea that the literature of the world, myth, repeats certain key elements and structures across cultures, geography, and time. They represent the human mind seeking answers to unanswerable questions through the use of imagery and symbol. If you’ve never read any of Campbell’s work, I highly recommend you do. It’s fascinating stuff.

But those are not what I want to write about here. Instead, I want to discuss a common dramatic device so lazy, so dastardly, so woefully incompetent that I cringe and immediately lose my ability to enjoy said film or show. I’ve never heard it referred to by anyone else so I have come to call it “The Overheard Conversation”. You’ve seen it before.

How about a quick example? Here’s the premise: GEEKY GUY has spent the entire film trying to woo the most popular, most beautiful BABE in school. He had been successful for a while, but then they got into a fight over whatever the hell reason and he stormed off at the big homecoming party. Later, feeling stupid, GEEKY GUY tries to find BABE who has been approached by her ex-boyfriend HOTSHOT GUY. But because he’s so shy, GEEKY GUY doesn’t approach them and instead hears a snippet of their conversation that he takes completely out of context. Like this.

EXT PARTY NIGHT – HOTSHOT GUY and BABE are on the edge of the party by the pool. He is drunk and making physical advances. She is rejecting him, but he is much stronger.

BABE
Get off me HOTSHOT GUY. I’m with GEEKY GUY now.

HOTSHOT GUY
What do you see in that dork?

BABE
More than I see in you, jerk.

GEEKY GUY approaches HOTSHOT GUY and BABE where they are arguing by the pool, but he cannot hear them. He comes up toward them quietly and in the shadows and they do not see him.

HOTSHOT GUY
Don’t you still care about me?

BABE
Of course I care about you, but…

HOTSHOT GUY kisses BABE forcefully and she is not strong enough to resist. Enter slow motion. Close shot of GEEKY GUY with tears welling in his eyes, and then rage blossoms. He runs off.

BABE pushes HOTSHOT GUY off and slaps him in the face.

BABE
I told you already we’re done! I never want to see you again!

Stop me if you’ve seen this film before. Oh, you can’t stop me? Well, then I’ll continue.

From here, GEEKY GUY goes on a self-destructive/depressed/whatever bend. Eventually they reconcile when he confronts her about the night by the pool and she tells him the truth of what happened and he suddenly feels foolish and she forgives him for not just being forthright with her in the beginning and they live happily ever after through high school graduation. How romantic!

How many films can you name where some permutation of this has happened? Five? One hundred? A billion? It’s basically the plot device used in every stupid rom-com piece of trash spit out by Hollywood 50 times a year. Whenever I see this used, I imagine this conversation.

“Gosh! I can’t think of how to drag this Jennifer Anniston vehicle out to the bare minimum 90 minutes. Whatever shall I do?!” one writer says.

“Why not just have her walk into the room when her boyfriend is on the phone with his sister saying something she’ll take completely out of context because this is the only way to inject some ‘drama’ into this horrid piece of trash?” the other says.

“Brilliant!” the first one says. “I’ll get another Oscar for this one!”

It really must be the laziest cop out to burden the state of modern drama. It’s the Deus Ex Machina of modern cinema. How do we drag this out? Add some fake tension? Perfect.

What’s worse is that I cannot think of even a single time that this has happened to me or anyone I know in real life. Now, I’m not saying that all drama in films has to be absolutely realistic. Of course it doesn’t. I have zero issues with the Eye of Sauron being able to see Hobbits when Frodo puts on the ring. That’s awesome. Great. But if you’re going to be basing your drama on real life, then at least make it believable. Are you really expecting me to believe that GEEKY GUY, after spending the whole film fantasizing and eventually attaining BABE, would not just step in and be all, “What the fuck?” He would run off without, at the very least, waiting in the shadows to see how their conversation turned out? Pathetic. He doesn’t even need to be forceful, just, you know, let it play out a little. How about giving your girlfriend the benefit of the doubt? Has she betrayed you before? Do you have ANY reason to think that she’d not be faithful to you? How about asking her about it? Nah, instead you should just assume a bunch of untrue crap and then spend the next 35 minutes of screen time moping around being an all around asshole. Good plan.

Here’s how the scene should have gone.

EXT PARTY NIGHT – HOTSHOT GUY and BABE are on the edge of the party by the pool. He is drunk and making physical advances. She is rejecting him, but he is much stronger.

BABE
Get off me HOTSHOT GUY. I’m with GEEKY GUY now.

HOTSHOT GUY
What do you see in that dork?

BABE
More than I see in you, jerk.

GEEKY GUY approaches HOTSHOT GUY and BABE where they are arguing by the pool, but he cannot hear them. He comes up toward them quietly and in the shadows and they do not see him.

HOTSHOT GUY
Don’t you still care about me?

BABE
Of course I care about you, but…

HOTSHOT GUY kisses BABE forcefully and she is not strong enough to resist. Enter slow motion. Close shot of GEEKY GUY with tears welling in his eyes, and then rage blossoms. He steps out into the light startling the other two.

GEEKY GUY
What the fucking fuck?!

BABE
Geeky Guy! This isn’t…

HOTSHOT GUY (interrupting)
Get the hell out of here, Geeky Guy. She’s my girl.

BABE
It’s not what you think! I didn’t mean to kiss…

GEEKY GUY hold up his hand to stop her.

GEEKY GUY
It’s all right, Babe. I trust you.

BABE runs over and gives GEEKY GUY a big hug. HOTSHOT GUY fumes.

GEEKY GUY
Now, I must deal with you.

HOTSHOT GUY
What are you going to do, World of Warcraft me to death?

HOTSHOT GUY laughs. GEEKY GUY pulls out his lightsabre, but HOTSHOT GUY begins to mutate into a giant beast, like a cross between a lizard and a slug and a spider, all fangs and teeth and eyes, more than 10 feet tall.

See? Wasn’t that better? Doesn’t that sound like a better movie? It makes you wonder how many completely awful films could have been saved from their fate as utterly forgettable pieces of fluff if the writers had just spent another 40 seconds and avoided The Overheard Conversation. Truly sad.

20 – The Subway Singer

When he woke this morning with the sun in his eyes he knew that today would be a fruitful one for him, for his art.  His guitar tuned, his song rehearsed, he was going to sing his poet’s heart out for the people on the downtown C local train.  Their souls would lift and swell and fly like an eruption of butterflies from the end of a rainbow when they heard his uplifting words, delicate fingering of his instrument, and unique take on “Lean On Me.”  He closed his eyes as the train approached the platform and imagined their admiring faces beaming with the pleasure he’d brought into their day.  Singing was never for the money; it was always for the love.  Always for the heart.