A Letter to Momo
Even scenes that work, such as a climax on a rain-soaked bridge, feel like they could have been trimmed by a few hand-drawn frames. Maybe…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
It was the best of times, it was the worst of times. Gene Siskel and I fought like cats and dogs, and we made some good television.
During those early years for "Sneak Previews" our favorite occupation was dreaming up "special editions" which were sort of like the "think pieces" we wrote for our papers.
Lars von Trier, maker of calculating horror comedies, is a shrewd showman -- if not exactly in the classic Hollywood tradition then at least in the Barnum & Bailey one. He pleases his audiences by teasing, taunting and testing them, keeping his tongue in his cheek. I picture him as a dancing, grinning little prankster on the fringes of world cinema, alternately flaunting a streak of astringent sadism and hiding for safety behind a shield of facetiousness.
He's also, in "Antichrist" particularly, a thudding literalist whose mock-academic ideas and images are so over-rationalized and in-your-face that (like the mysterious cry of a baby placed too far forward in the sound mix to be haunting or ambiguous) they don't have much room to resonate. When they ought to be harrowing, they're obvious and over-explained, which cuts them off from genuine emotion or experience. Nevertheless, "Antichrist" is a serviceable, sometimes atmospheric horror movie, until the last chapter-and-a-half when it just goes flat. By then it's already gotten a little too much of a charge out of commenting on its own giddy morbidity, and whether the audience is laughing at it or with it doesn't matter. Either way, the laughter is dismissive.