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Quik Flix Hit

Paranormal Activity 4 (2012)

Rated R

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Paramount Pictures

I know, I know.

Any movie with the number 4 or higher at the end of its title risks automatic long-in-tooth status. And so it goes with the fourth installment of the catching-demon-terror-on-videocamera franchise.

2007’s PA’s found-footage trope terrorized with a single camera mounted in a bedroom. PA2 (2010) one-upped that film’s voyeur content by tapping into a multiple-camera surveillance system. PA3 (2011) went old-school by bringing the pain via VHS videotape. This latest film opts to zing us with up-to-the-minute digital wizardry—laptop Skyping, cellphone video, even a videogame system’s motion-tracking technology (very cool) gets in on the action.

The producers obviously see human beings getting dragged out of frame by invisible demons as a hallmark of the franchise, but I think it’s become stale.

I should be cheering a movie that prefers slow-burn creepiness over attention-deficit quick cutting, flittering shadows and hushed demonic sounds over gore. I’m continually amazed at how these movies encourage—no, command—you to scour every inch of the frame, seeking out the lurking, about-to-pounce terror even as you’re trying to look away. There are shocks to be had, but by now, it all seems so familiar. And by now, can’t we delve a little deeper into the origin of this family-obsessed demon/witch coven nonsense, or just let it go already?

As I rolled my eyes at the post-credit setup for the next one, I’ve decided then and there to heed my opening warning about titles with growing numbers.

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| Marvin Brown’s Movie Review Archive

 

Quik Flix Hit

The Dark Knight Rises (2012)

Rated PG-13

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Warner Bros.

Epic, complex, overdone, grim, redemptive and rewarding. The final film in the ambitious comic book-to-neo noir series brings it all. At darn-near three hours it needs to.

Eight years after events in part two (The Dark Knight, 2008), Gotham’s nearly crimeless thanks to sacrifices of Commissioner Gordon and The Batman, who’s now broken down and in retirement. Not for long. A three-tiered enemy looms, including those operating boldly in the spotlight, like the merciless Bane, and the double-crossers waiting in the shadows.

Anne Hathaway makes impact as Catwoman, as do Michael Caine as loyal servant Alfred, and Joseph Gordon-Levitt as a steadfast cop. All of Bane’s sparse dialogue is epic—when you can clearly hear it.

The film’s strength is its sustained tone of impending doom, which puts viewers and Gotham citizens in a simpatico state of victimization and hopelessness. We and they are hyped for some serious payback by the finale.

Give Batman Begins (2005)—the first in the series—a rewatch. The Dark Knight Rises draws heavily upon that film to wrap up its themes.

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| Marvin Brown’s Movie Review Archive

 

Swearing by it

As a general rule, I don’t use profanity in my day-to-day life. With comprehensive English at my disposal, why bother using the same seven dirty words (and their creative variations) again and again?  It’s not for me. But when I write, I can’t always account for the words that fly out of my characters’ mouths. (I know, you say I can; I say I let the characters come to life in all their fascinating, sometimes flawed and vulgar glory).  It’s not a vicarious thing, honestly. Some of my creations are as verbally chaste as I claim to be; others use cuss words to cut a swath through everyday chit-chat. Whatever brings the character to life, I say.

Early in my writing career, I really struggled with the extent of which I would use swearing in my stuff. People who don’t know me could think I am cavalier in the use of profanity, I thought. People who think they know me will begin to regard me suspiciously (I always used to get: “This writing seems so unlike you.” Or: “For someone who doesn’t curse, you sure seem to not have a problem with it your writing.”). People who really know me usually defer to my judgment, sometimes with their eyebrows raised, but are supportive nevertheless.

A decision had to be made. To swear or not to swear?

While I still understand that some people can’t—won’t—see how I square this duality, I soldier on. Look, I’m either gonna write what I’m lead to write, write what I think people want me to write, or step away from this whole writing thing altogether. Stephen King (an unsolicited mentor, of sorts) suggests in his memoir that as writers we should write as if no one is looking over our shoulders.

And so I do.

Does this make me hypocritical? I think not. After all, despite having never killed and maimed anyone or anything (Do ants, bees, flies, those nasty centipede thingies in the basement and home-invading mice count?), I’ve slaughtered dozens on the page. With dialogue I try to get a real representation of how people talk. It’s not about how I would say it. It’s about how people of a particular lifestyle or environment might talk. And let’s face it, darn near everyone I know uses some level of profanity. I’m not judging, just observing. Many characters in my stories would ring hollow if they spoke, well, like me.

Along with accepting my graying hair and widening waist, I’ve found peace in this struggle. I know this much: I’d have a harder time looking at myself in the mirror if I fashioned a character out of my anticipation of what others would accept of me, rather than of what the characters would expect of me.

Anyway, welcome to the Bloghouse. I hope you drop in from time to time to hang out.