Sunday, July 13, 2014

Red White & Blue



Red White, & Blue
Noah Taylor, of the Tomb Raider movies with Angelina Jolie, gets a real chance to carry a film, particularly in the harrowing closing forty minutes of Red White & Blue as an Army interrogator harboring a dark side. His Nate in this film isn’t above stabbing and horrifying the wife and daughter of a member of a garage band (The Exits) that jams together in order to secure the entire body of his wife, Erica (Amanda Miller, in a brave, emotionally raw performance). Erica, the recipient of molestation at the young age of four, is a man-hating nymphomaniac, spreading the HIV virus to as many men as possible who are willing to fuck her. It seems she purposely attends bars and clubs with the sole desire to pick up men and infect them! Her inner pain runs deep and inflicting her disease on men, all sexually interested in her and seemingly an example of the mother’s boyfriend responsible for screwing up her psyche (a corrupting influence that ruined her sense of morality and normality), is almost like a therapeutic revenge. When she meets Nate, however, he awakens something that seems practically borderline affection. He doesn’t threaten to pollute her in the same fashion as the many men (140 is a number she thinks is close to how many have had sex with her!) before him, so Erica agrees to marry him. When a barely-held-together guitarist with a Cancer-stricken mother (he holds dear to his heart), named Franki (Mark Senter; he was the crazy Ray Pye in the notorious Jack Ketcham flick, The Lost), learns of his infection thanks to her, he sets in motion a series of events that will encourage Nate to commit some serious retribution, leaving behind quite a nightmarish trail of bodies in his wake. Disturbing, unsettling developments thanks in part to Franki’s rage, and his reluctant, mortified bandmates that become unwitting participants in the cover-up of Erica’s death, Red White & Blue doesn’t necessarily take a dark turn (the film is wholly dark, to be honest), as much as, bring together two parties (Nate and The Exits) resulting from Franki’s inability to control the malevolence building inside him due to his infecting his mother with HIV not long after she had went into Remission. Using HIV as a weapon, Erica not only afflicts the men that have sexual contact with her, but other innocents are polluted as well. There’s tragedy all over this film. The Exits aren’t necessarily excused from punishment because they were willing to help dispose of Erica (who was cut into pieces, placed in bags and wrapped in duct tape) for their pal Franki (and they knew he was “taking care of Erica”, trapping her in his home), but seeing Nate execute his plans for each of them was more than a bit unnerving. Not putting aside loyalty for Franki, doing the right thing by reporting his use of a knife after his mother died, the Exits placed themselves in the crosshairs…not collateral damage, per se, but close. I think the power of the film is in how Nate conducts his strategic hunt for “all of Erica”, searching for each member of the Exits, learning of where her pieces were before enacting his final adieu to her memory through violence. Scenes include seeing a terrified girl told by Nate to choose to die with her family or live by herself without them, attempts at decapitating a live victim as he screams, and a face wrapped in duct tape while the victim loses oxygen. Erica’s fate is certainly unfortunate as is Franki’s mom. Senter does multi-faceted psychopathy well, conveying a person who is both tenderhearted (more or less for his mom and girlfriend) and unhinged, while Noah totally escapes into the role of a societal reject, with roughly hewn beard and hair, a jean jacket (absent sleeves) with an American flag on the back, and gruff looks. Noah, though, has a character that isn’t so easily defined…besides what you see, he appears fiercely loyal to Erica, and his love for her I think can’t be questioned. I think the film enters a point in Nate’s life when love was exactly what he needed; Erica, a different sexual partner every night, with a dysfunction that torments her, is the same way. I think the violence at the end against the Exits was in its own way an extension of that lost love that Nate was exacting on them for taking it away.



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I had a fun dialogue with a young lady I work with about the rather hilarious scenes particularly in romantic comedies and action genre wher...

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"... perhaps we invent artificial terrors to cope with the real ones."

--host, Donald Pleasence, Terror in the Aisles (1984)

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Sbut
Snip. Snip

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Hal
There are many things under the sun
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Jtm 2

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Mrub

Gb

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Lok

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Po

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Ra6

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Countess Zaleska: Be thou exorcised oh Dracula, and thy body long undead find destruction throughout eternity in the name of thy dark unholy Master.

mh2

mh2

z2

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Hiii

Hiii

Fred

Fred

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Ghspo
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Enl

Enl

nos4

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gm

To a new world of gods and monsters!


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Jason Lives

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clothes line

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Ahorr

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Cbi1
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Mouth3

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Fdfn2
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Sh fr

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Vlov

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f133

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Ttf2

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Jm2

Jm2
El Hombre Lobo

Psycho '60

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Kife

Kife
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Meg

Meg
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exor1

exor1
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Tz1

Tz1
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sus
I'm going to grind you down to blood and screams.

--Innocent Blood 1992
Rest in Peace, Robert Loggia

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Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright.

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WZ

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Edfen
"Do not enter the city...It belongs to the dead now."

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Look behind you!

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Bs
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Taste of metal

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f13
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Bmate

Bmate

--Wes Craven

I think there is something about the American dream, the sort of Disneyesque dream, if you will, of the beautifully trimmed front lawn, the white picket fence, mom and dad and their happy children, God-fearing and doing good whenever they can, and the flip side of it, the kind of anger and the sense of outrage that comes from discovering that that's not the truth of the matter, that gives American horror films, in some ways, kind of an additional rage.

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Ms45 w

Churcvh

Churcvh
The Church 1989

Ww

Ww
The Whip and the Body 1963

Lsho

"Now, no novacaine....it dulls the senses"

--Little Shop of Horrors (1960)

Christopher Lee

Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.

Vampyros lesbos

You are one of us now. The Queen of the Night will bear you up on her black wings

The Unknown 1927

No....not sick. But I have lost some flesh.

Alonzo, the Armless.

Ckvh

Ckvh

Blood of Dracula's Castle (1969)

Glen: We'd like to speak to the Townsends, please.

The Butler: They are not available till after sunset.

Bw5

Bw5

Jill

Jill

Mad Love 1935

Doctor Gogol: Did you ever hear of Galatea?

Lavin - Waxworks Proprietor: Gala - who? Not wanting a statue of him, are you?

Doctor Gogol: I don't want a statue of Galatea. You see, she was a statue herself. Pygmalion formed her. Out of marble, not wax. And then she came to life in his arms.

Lavin - Waxworks Proprietor: [calling to his assistant] Start the motor, Henry. There's queer people on the streets of Montmartre at this time of night.

Doctor Gogol: [handing him his card] Here, a hundred francs if you deliver the statue to my house.

Lavin - Waxworks Proprietor: [reading card] It's a go, Dr. Go... gol. First thing in the morning.