Due to what appeared to be a very limited cinema run I only just managed to catch seeing this film last night. Was it worth the wait. No. Was it worth the hype. No. Full on pretentious noodling from the outset, the film does have a few “arty” moments which are beautifully shot. The sexless sex scenes in particular seem to have been
ripped off directly influenced by the actual hot lesbian sex scenes in Lucio Fulci’s Lizard in a Woman’s Skin.
The rest of the film falls totally flat. I don’t understand how having a female sexual predator driving around in a white van (albeit alien) is supposed to be ground breaking, Its maybe toyed with a stereotype of white van man, but ground breaking no. The only thing I felt gripped by was tedium, as our alien protagonist retreated into her shell (or skin) unable to eat cake and feel loved. I’m sure there is some deep questions here about the nature of humanity, but between the tedium and jarring soundtrack I was put off investing too much into this film.
As much as I would say I bloody hated it, fans of shite like David Lynch and Portishead will lap this crap up. Anyone else, I would recommend to avoid it, and this is coming from a fan of art house horror/gialli.
I’ve totally fallen off the writing wagon the past few weeks, as my spare time has been watching the amazing House of Cards remake instead of writing here. All finished now, so I should get posting again soon, although I’ve been lent the complete series of The Wire …
Patrick Cowley’s hi-energy Sylvester productions of the early 80s show the roots of black music’s fascination with continental electronics. The direct descendents of that sound are the deep house records made in Chicago –a crossbred of gospel influenced vocals and hard synthesiser trax. Detroit goes on step further.
1988 report on the Detroit scene from NME of all places! A great read!