Posts Tagged ‘fantasy’


the world is conditioned to look the other way,
except for one dying little boy with nothing to lose.


Yes, my fourth novel is up for PRE-ORDER, but to you, my loyal people, here’s the scoop. If you add your email to the Announcement List I’ll send out an email the day before it releases, and you’ll get a major discount.

DEMIGODS releases on September 26, 2019 through Indies United Publishing House, LLC.



Borgman – my review

Posted: January 16, 2015 in -
Tags: , , , , , ,

J. Giambrone

This film will prompt about four exclamations of “What the fuck?”This is a deviant work, and one that I’m still trying to process. It’s a small Dutch indie, with a bourgeois veneer. But it’s also a twisted tale that seems to merge class conflict with some kind of unexplained demonology. A harsh dichotomy separates the rich family from the servant class invaders who infiltrate and take control of their minds.

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The film seems to point to a revolutionary mindset, but the story comes at it from left field. Also there are children involved, completely vulnerable. The parents and the children are divided. An uncomfortable obliviousness overtakes the family, and it leaves them helpless. At the center is the mother, who is captivated by Borgman.


By indulging her lust, she puts them all at risk. But since there is a magical element, it seems that she has no free will…

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My daughter forces us to listen to this.  Radio is not dead.  It’s just really, really, really fucking weird.



“It’s only in the movies that you find this kind of fantasy violence. And that’s infected the American culture; you young people believe all of this shit! Batman and Superman, you’ve lost your minds, and you don ‘t even know it! At least respect violence. I’m not saying don’t show violence, but show it with authenticity … when you’ve reached this height of technology level of a Michael [Bay], of a ‘Transformers,’ I don’t understand the meaning of it and the reason for it, except that it appeals to some visual sense, some kinetic sense of dynamism and a need for action. But action is not always a solution, character is.”

I’m not sure if Stone always lives up to his own standards.  Particularly, the ending of Savages was a bit stupid, sort of ruined the movie.

Some want to call him out over Natural Born Killers, but I think those people are missing the point.  NBK was a statement about TV and movie violence and intentionally unrealistic and over the top.  That was the entire point, and remains consistent with what Stone says here.  I think he is making a stand for believable violence, the possible as opposed to the ridiculously implausible.




Bellflower (2011)

Reckless generation lampoons itself, unintentionally.  Bellflower is a film where every few minutes people are lobotomizing themselves with alcohol.  “Let’s get totally wasted,” is the marching order at least twice in the first half.

The script could really have used some more thought behind it.  No one in the film works at any job, but they keep spending money on muscle cars, trips and an endless supply of booze.

The movie isn’t totally irredeemable, as the camera work is unique and unexpected.  The visuals attempt to make up for the twisted story of 20 something heartbreak, gone off the deep end.  It doesn’t make a lot of sense, as much of the plot is fantasizing (and rather pathetically about being Lord Humungous of The Road Warrior).  The relationships also don’t make a lot of sense as they jump abruptly from state to state, lacking the subtlety and attention to detail of more accomplished writers.

It’s a ham fisted drunken lust for glory with reckless abandon, on several different fronts.  The flamethrower fetish seems to have been real, and on the set as well.  The danger involved was simply laughed off, and safety precautions don’t seem to be in evidence.  Homemade Home Depot flame throwers strapped to backs, cars modified to the point of absurdity, also pumping flames at high pressure out through their exhausts, even shotguns and exploding propane tanks, this is barely a cut above the Jackass series.  Thankfully, nobody died, although one of the filmmakers was nearly taken out by an exploding fan on the Medusa car, which everyone considers the be all of “cool.”

What seems like a great signpost for what’s wrong with generation fuckup, is actually what drives the production.  They take this “cool” car and flames thing seriously.  It’s not meant to be ironic, not a critique.  We are supposed to get behind these wasted imbeciles and their “cool” car, spouting flames, as they imagine themselves Lord Humungous.  Pretty hard to let that slide without some snark.

Still, the film was well received at major film festivals.  It did dare to do something different, on the surface anyway.  Underneath, it’s petty, spoiled drunks wallowing in their heartache to the point of absurdity.  The satire wasn’t there at all, although the targets look pretty ripe and juicy.



Watching this twisted true story of fantasy, forbidden love and murder, I knew instantly that Peter Jackson was someone to keep track of.  Kate Winslet and Melanie Lynskey play two teenage lovers a true story from New Zealand in a period when such relationships weren’t even acknowledged publicly.  Their wild, deranged fantasies are brought to life in unexpected ways.


Eventually society intrudes, but not without a fight.