Peter and Lorna (Denham and Vicius) head off to a top-secret location where they are initiated into a cult led by Maggie (Marling), who claims to have travelled back from the year 2054. But Peter and Lorna have a secret: they're collecting material to debunk Maggie and her followers as a nutty apocalyptic cult. Then Maggie starts getting under their skin, as the cynical Peter finds himself wondering about the impact of his painful childhood and the addictive Lorna gets sucked in deeper than she expects.
Continue reading: Sound Of My Voice Review
"Teenage angst has paid off well / Now I'm bored and old," sang Cobain on Nirvana's Serve the Servants, and one can feel that infectious malaise throughout Van Sant's portrait of Blake (Michael Pitt), a grungy icon living out what a friend (Kim Gordon) dubs "a rock and roll cliché." Donning Cobain accoutrements such as a hunter's cap and a green-and-red sweater and sporting shoulder-length blond hair, Blake spends the film sleepwalking around his backwoods home and property with a mixture of drug-addled bewilderment and spiritual melancholy, and Pitt embodies this wayward soul - whose rambling exploits involve wearing a black spaghetti-strap dress and toting a rifle - with a hunched, drooping-to-the-floor sagginess (as if under tremendous strain) that's at odds with the actor's slender physique. His constantly incomprehensible muttering, such as during an amusing, chance encounter with a telephone book salesman (where the only audible Blake line is telling: "Success is subjective"), echoes Cobain's frequently indecipherable lyrics while also conveying a torturous emotional detachment. Trapped in Van Sant's constrictive full frame (employed to heighten the oppressive claustrophobia gripping the character), Pitt's Blake is a zombie who, as revealed by the film's opening scene - finding him symbolically baptizing himself in a tree-shrouded lake, and later whispering and then roaring "Home on the Range" to the empty nighttime forest - desperately seeks communion with the world around him.
Continue reading: Last Days (2005) Review
Sometimes you can see one but not the other.
It's time for a riot grrrl revolution.
How are the world's biggest superstars changing?
Graham J tells all about his experience with the Jazz Journal.