1/4/15: Leave Your Mind At the Sound of the Beep

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Ahnna Rasch, Alexander Brøndsted, Antonio Tublen, audio experiments, audio tones, Björn Löfberg Egner, cheating husbands, cinema, Computer Chess, dark comedies, dramas, dysfunctional family, electronic score, Erik Börén, experiments, film reviews, films, flashbacks, foreign films, hallucinations, husband-wife relationship, infidelity, insanity, Johanna Tschig, LFO, Linus Eklund, loners, Lukas Loughran, mental breakdown, mental illness, mind control, Movies, neighbors, Patrik Karlson, Per Löfberg, Samir Dounas, sci-fi, scientists, secrets, sound frequencies, sounds, stylish films, Swedish films, synthesizers, troubled marriages, writer-director-score-editor

Suppose that you invented the perfect self-help device, a machine that would put you into a highly suggestible state, allowing for subtle modifications to your behavior. Trying to cut back on sweets? Simply leave a “message” for yourself and your mind will subconsciously take care of the heavy lifting. Want to exercise more? Listen to a particular tone and, without even trying, you’ll actually want to run a marathon and do sit-ups until the cows come home. Want to just be a “better” person, in general? Set the controls, leave your command and, through no additional effort of your own, your brain and body will spring into action, making your “wish” come true. Sounds pretty amazing, right?

Now…suppose that you also just realized that if your humble little invention works so well on you, it might also work equally well on others. Suppose you discover that your device allows you to “control” others, using the power of hypnotic suggestion to subliminally influence and direct their actions and thoughts. Would you use said device to help make the world a better place, influencing people to abandon selfish, dangerous and destructive behaviors in favor of a more helpful, unified world view, inching humanity ever closer to a long-sought-after utopia? Or would you use it to turn those around you into mindless slaves, unknowingly beholden to your whim and command?

In a nutshell, that’s the conflict at the center of multi-hat-wearing director Antonio Tublen’s (he also wrote, edited and performed the electronic score) intriguing LFO (2014), an odd, stylish and darkly humorous bit of heady sci-fi that whips mind control, mental illness, marital discord and God complexes into a heady brew. While the film can be a little rocky, at times, and comes across as overly complex in the early going, LFO eventually settles down into a smart, edgy and appropriately weird little film that’s somewhat reminiscent of Andrew Bujalski’s Computer Chess (2013), while still managing to stake out plenty of original territory of its own.

Robert (Patrik Karlson) is a loner who lives by himself, routinely ignores his self-posted notes to “Take his medication” and seems to hallucinate the specter of his former wife, Clara (Ahnna Rasch), who appears to serve as his conscience. He also appears to be a scientist, of some sort, who’s working on an experiment involving sound frequencies: Robert collaborates with several other colleagues, including Sinus-San (Erik Börén), via short-wave radio, since he rarely seems to leave his house. Robert makes a breakthrough when he notes that a particular frequency makes him highly susceptible to suggestion: upon further experimentation, he discovers that he can actually command himself to do things by giving an order into his device and listening to the resulting tone. In a humorous bit, Robert makes himself dislike cookies: after “waking up” from the frequency, he absent-mindedly noshes on a cookie, only to spit the treat out in disgust. Success!

After further tests prove how well the device works, Robert decides to take everything to the next level, “Phase 2,” as it were. Inviting his new neighbors, Linn (Johanna Tschig) and Simon (Per Löfberg) over for coffee, Robert uses the device on them and discovers that it has the exact same effect as on him. While in their hypnotic states, Robert plants subtle subliminal commands that have the effect of turning Linn and Simon into mindless drones: whenever they hear the tone, they’re powerless to resist Robert’s commands, although they remember nothing upon “waking.” In short order, the mad scientist is using Simon for free labor, while Linn serves as his sex slave, in a pretty obvious example of “absolute power corrupts absolutely.”

As Robert continues to fine-tune and perfect his device, however, outside forces begin to swirl about him. Sinus-san has taken to lurking around the periphery after discovering that Robert has cut him out of their joint discovery, while a mysterious insurance adjuster, Peter (Lukas Loughran), keeps asking questions about a car accident that Robert seems to have been involved with. There’s also the little matter of Clara, whose presence becomes more and more pronounced, as she constantly admonishes Robert to take his meds. Buffeted on all sides, Robert begins to lose control of his unwitting neighbors, who are now beginning to experience strange, unexplained half-memories of things that they can’t quite recall, such as Linn having sex with Robert. As Robert slips further and further into madness, humanity slides ever closer to a complete loss of free will…for better or much, much worse.

Tublen’s LFO bursts out of the gate with a smart, fresh concept and then proceeds to expand on it in some interesting ways. If the initial going can be head-swimmingly complex (perhaps those with knowledge of sound frequencies and the resulting science behind it may be able to keep up but this viewer was underwater fairly quickly), the film eventually settles down and, once we’ve accepted the tech aspect, becomes much more of a basic “mind control” film, albeit one filtered through the cracked, surreal lens of something like a Quentin Dupieux film. While not as outwardly strange or surreal as Dupieux’s films, there’s still the basic sense of a world that’s similar to ours but just off-kilter enough to be strange and unsettling.

LFO is a highly stylish, visual film, filled with vibrant colors, blinking lights, lo-fi technology and lovingly composed frames. The cinematography, courtesy of dual personnel Alexander Brøndsted and Linus Eklund, is consistently strong and the film always looks interesting. As befits a film focused on sound frequencies, the sound design in LFO is absolutely top-notch: I don’t normally single out sound engineers but I’d be a real jerk not to heap some praise on Samir Dounas, since the sound mix and editing is so vital to this particular film’s success. There’s also a highly effective electronic score, courtesy of the director, himself, which adds immeasurably to the atmosphere and tone of the film: another way in which LFO reminded me of Dupieux’s filmography.

The performances are uniformly strong, with Karlson being particularly impressive as the increasingly unhinged Robert. Tschig and Löfberg are quite convincing as the couple, vacillating between dead-eyed drones and confused, slightly frightened babes-in-the-woods: particularly good are the later scenes where Robert pretends to be a marriage counselor and leads the couple through his version of reconciliation therapy. One of the most impressive aspects of the film is how outwardly funny it is, albeit in a dark, rather twisted way. All three of the leads display excellent and subtle comic timing, which helps keep everything moving smoothly.

If I have any real complaints with LFO, they’re the same kinds of issues I might have with any similarly “tricky” film: at times, the film can get tripped-up in its own complex rationalizations and the whole thing feels just slightly longer than it should be. There’s also the underlying problem of Robert’s virtually unbeatable ability to control minds: similar to superheroes/villains that are too powerful, the balance of power in LFO is always drastically unbalanced. Since Robert is able to effortlessly control any and every situation with a click of his remote, there are times when the film feels rather low stakes: regardless of his situation, we’re always fairly sure that our little anti-hero will be able to regain control. Tublen still manages to wring plenty of genuine suspense and tension out of the scenario, don’t get me wrong, but this is definitely the epitome of a “stacked deck.”

In the end, I quite liked LFO: the film was very smart, relentless and genuinely intriguing. While never as unpredictable as something like Computer Chess or Wrong (2012), it was still one of the trickier films I saw last year and is never anything less than thought-provoking. LFO also manages to go out on a real high point, with one of the best endings I’ve seen in some time: in fact, the ending is so good that it actually helped to smooth out some of my previous reservations, proof positive that you always want to leave ’em with your best foot forward. While I’m sure that none of us would ever want a neighbor like Robert, it goes without saying that we could all benefit from spending a little time with the creepazoid, now and then.

My 16 Favorite Films of 2013

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American Mary, Antiviral, Best of 2013, cinema, Computer Chess, films, Grabbers, horror films, John Dies at the End, Jug Face, Magic Magic, Maniac, Movies, Only God Forgives, Resolution, Side Effects, Sightseers, Stitches, The Conjuring, V/H/S 2, Wrong, year-end lists

I had posted my Best of the Year list on Facebook before starting the blog. Since I figured that at least a few new viewers might be interested in what blew me away last year, I’ve decided to re-post it here, with one addition. My 15 Best is now a 16 Best. C’est la vie. Now then, in no particular order, here they are:

Jug Face – Quiet, character-driven and tragic, Jug Face is my favorite kind of horror film. The script was quite good, the performances of Lauren Ashley Carter as the troubled lead and genre vet Larry Fessenden as her stern father are nuanced and outstanding and the backwoods setting managed to seem booth authentic and eerily dreamlike. Although there are elements of a creature feature, this is much more about family and duty.

The Conjuring – Decidedly old-fashioned and proud of it, Saw creator James Wan’s third foray into low gore, atmospheric horror is a home run. The performances can seem a tad earnest at times and I still don’t care for that (literal) jump scare but these are minor quibbles. When Wan is content to let the chills unfold at their own glacial pace, it can feel like a steamroller is crushing your chest.

Computer Chess – Very few films are genuinely weird: Computer Chess is genuinely weird. At times baffling, often like watching paint dry into Dali-esque nonsense, occasionally terrifying and always brilliant, this film is truly in a league of its own. This is truly outsider art that feels like Jarmusch filtered through Korine. Like the saying goes, if this is the kinda stuff you like, you’re really gonna like this stuff.

Only God Forgives – For me, Nicholas Winding Refn is the modern Kubrick. I’ve never seen one of his films that I haven’t loved, despite their vast differences, and Only God Forgives was no exception.  For me, everything about the film from the visuals and score to the acting and themes did exactly what it was supposed to do. Walking out of the theatre after seeing this the first time was like waking from one dream into another.

 

Resolution – Resolution is a film about the evils of drug addiction. It’s also about: the power of friendship; demons; book-writing squirrels; the influence of story-telling on reality; multi-dimensional time-travel; the joy of creation; creepy backwoods areas; Indian burial grounds; the nature of story; friends vs family…and on and on. I loved every single minute of this film and restarted it as soon as it was over. Absolutely genius.

Maniac – As a rule, I dislike remakes. Franck Khalfoun’s remake of Maniac, however, is a huge exception to this rule. In fact, I can confidently say that the remake is superior to the original in every way save one: I really miss those gritty, sleazy early-‘80s Times Square visuals. Other than that, the new Maniac is impossibly tense, outrageously gory (certainly one of the goriest films I’ve ever seen) and features an outstanding performance by some kid named Elijah Wood: someone should make that guy a star.

 

V/H/S 2 – Anthology films, by their nature, are hit or miss. The first V/H/S was especially emblematic of this, although there were frequent bursts of insanity to move things along. Luckily, the follow-up is much more meat than gristle. In fact, the penultimate tale, Safe Haven, may just be 20 minutes of the finest, most extreme (non-underground) minutes ever committed to tape. Thoroughly memorable.

Grabbers – In films, concept is king and this one rules the roost: hungry, tentacled evil arrives from space and proceeds to chow down on any humanoid that isn’t drunk. That’s right: these particular aliens are allergic to alcohol. They’ve also managed to land in a hard-scrabble Irish fishing village…bad luck, Kang and Kodos! Hilarious, heartfelt and utterly awesome, I fell completely in love with this after the first viewing. A neo-classic.

American Mary – I applaud fearlessness in film and, nowadays, I don’t think that any filmmakers are as hard to scare as the Soska sisters. Their newest film, American Mary, is a flawless synthesis of Lynch’s kink, Cronenberg’s ick and Scorcese’s rags-to-riches-to-shit character arcs. When I wasn’t staring in awe at the visuals or gagging at the graphic surgical scenes, I was wishing the film would never end.

John Dies at the End – Yeah, it’s not a perfect adaptation of the book but guess what? It’s a damn fine film and, most importantly, a damn fine new Coscarelli film. In my mind, this film’s whups Bubba Ho-tep up one side and down the other. Funny, imaginative, startling…sometimes all three at once (the meat man will be forever etched in my mind), this was some of the most fun I had watching a film all year.

Magic Magic – Michael Cera as a super-creepy, ugly-sweater-bedecked perv? Sign me up! Magic Magic is a rare bird: it’s not really a horror film, yet features some truly horrific things. It’s not really a thriller but features an atmosphere so tense and unpleasant  that the air practically crackles. If anything, Magic Magic is the modern Repulsion: a near-perfect examination of one young woman’s terrifying spiral into insanity.

Antiviral – Like father, like son: Brandon Cronenberg, son of David, turns in one of the freshest, most disturbing and oddest sci-fi/body-horror hybrids in recent memory with his feature debut. Antiviral is a timely examination of our society’s obsession (sickness?) with celebrity and fame. Equal parts Blade Runner-lite and Videodrome, Antiviral is sterile, off-putting, strange, rather gross and kind of brilliant…just like good ol’ dad.

 

Side Effects – If this really is one of Soderbergh’s last films, he’s going out on top. Tightly plotted, exquisitely paced, completely unpredictable and stacked with quality performances from top actors, Side Effects is a sleeper that shoulda been a contenda. Compare this to most other thrillers of the year and it becomes apparent why Soderbergh is in his own class.

Wrong – Once, there was a little French film called Rubber about a car tire that gained sentient intelligence and became a serial killer, using its powers of telekinesis to make various heads explode. Wrong is the follow-up to that film, about a sad-sack office drone that loses his little dog and finds his life up-ended. If Rubber was strange, Wrong is one of the most gleefully batshit films ever made. Seriously.

Stitches – After just watching this last night, there was absolutely no way I could leave this twisted, nutso, wonderful little film off my best-of list. A clown comes back from the grave, thanks to an evil clown ceremony, to take revenge on the bratty kids who accidentally killed him six years earlier. The comedy is razor-sharp, the killer clown is completely awesome, the kills are radically inventive and the whole thing has more energy than a power plant.

Sightseers – Over the course of three exceptional films (Down Terrace, Kill List, Sightseers) and one short (in The ABCs of Death), Ben Wheatley has quickly became one of my favorite modern directors, next to Nicholas Winding Refn. Sightseers is the culmination of his power, although a new film drops next year, so there may be competition. This tragically hilarious, pitch-black examination of a vacation gone horribly wrong is impossible to shake once it’s over. The ending, in particular, is devastating.

– – –

There were several films from last year that I still haven’t seen (The Wolf of Wall Street, You’re Next, Gravity, Upstream Color, 12 Years a Slave, Jim Mickel’s remake of We Are What We Are) and I’m sure that any of those might have wormed their way into this list if I had.

Honorable mentions go to the Evil Dead remake, The ABCs of Death and Europa Report. I liked all of these more than many films last year but not quite enough to give them an official home of the list.