Boris_Day
Joined Apr 2003
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Love Streams feels like the last in an unofficial trilogy of films where Gena Rowlands played "women under the influence" for Cassavetes. Like in A Woman Under the Influence, she plays a character who appears to love too much and who feels too intensely, which alienates her from her family. As with Opening Night Cassavetes departs even further from his naturalistic , hanheld camera style and he gives us a view of the inside workings of his protagonists mind. We see things only Rowlands' character sees, Unlike with the two earlier films, here she gets a kindred spirit in Cassavetes' equally troubled character.
For the first half the film cuts back and forth between two protagonists, one a womanising, insomniac alcoholic writer, the other a just divorced mother with mental health issues. Having lost custody of her daughter, she returns from a manic jaunt round Europe. Cassavetes' and Rowlands' characters meet an hour into the film (the nature or their relationship doesn't become clear till later) and they both increasingly lose control, till it all ends with a small menagerie of animals and a surreal musical sequence worthy of David Lynch.
Absolutely amazing and never miserable as Love Streams is also darkly funny and ultimately a strangely hopeful film. A sequence where Cassavetes' absent father is asked to look after his eight year old son for a day by one of his ex-wives, gets the kid drunk and takes him to Vegas, is an appalling, yet wickedly funny depiction of truly terrible parenting.
Rowlands is one of my favourite of all screen actors and she is still criminally underrated. She played emotionally/mentally vulnerable women without a shred of sentimentality or self-pity. There is a defiant toughness to her characters which makes her as electrifying as Brando at his best. Despite playing several characters with mental health issues for Cassavetes, she never allowed herself to come across as victimised. Awards voters love an obvious victim turn, so this may be why she's never been properly recognised by the Academy. Here she plays a woman who loves too much, which becomes too much to deal with for everyone but Cassavetes' equally damaged character. With an actress who would have made less interesting choicest, this could have come off as maudlin but Rowlands' performance undermines any emotional vanity or sign-posting. She never tells you how you should feel about her characters, which is what makes her so compelling.
Cassavetes too gives a fantastic performance. The characters in his films feel so alive and unpredictable, there is constant tension, it feels like anything could happen. Cassavetes, possibly the godfather of the American indie film, at this point had abandoned the cinema verite style he had basically invented. The film has a dreamlike quality, features a shape shifting dog and ends with a mini-opera.
For the first half the film cuts back and forth between two protagonists, one a womanising, insomniac alcoholic writer, the other a just divorced mother with mental health issues. Having lost custody of her daughter, she returns from a manic jaunt round Europe. Cassavetes' and Rowlands' characters meet an hour into the film (the nature or their relationship doesn't become clear till later) and they both increasingly lose control, till it all ends with a small menagerie of animals and a surreal musical sequence worthy of David Lynch.
Absolutely amazing and never miserable as Love Streams is also darkly funny and ultimately a strangely hopeful film. A sequence where Cassavetes' absent father is asked to look after his eight year old son for a day by one of his ex-wives, gets the kid drunk and takes him to Vegas, is an appalling, yet wickedly funny depiction of truly terrible parenting.
Rowlands is one of my favourite of all screen actors and she is still criminally underrated. She played emotionally/mentally vulnerable women without a shred of sentimentality or self-pity. There is a defiant toughness to her characters which makes her as electrifying as Brando at his best. Despite playing several characters with mental health issues for Cassavetes, she never allowed herself to come across as victimised. Awards voters love an obvious victim turn, so this may be why she's never been properly recognised by the Academy. Here she plays a woman who loves too much, which becomes too much to deal with for everyone but Cassavetes' equally damaged character. With an actress who would have made less interesting choicest, this could have come off as maudlin but Rowlands' performance undermines any emotional vanity or sign-posting. She never tells you how you should feel about her characters, which is what makes her so compelling.
Cassavetes too gives a fantastic performance. The characters in his films feel so alive and unpredictable, there is constant tension, it feels like anything could happen. Cassavetes, possibly the godfather of the American indie film, at this point had abandoned the cinema verite style he had basically invented. The film has a dreamlike quality, features a shape shifting dog and ends with a mini-opera.
With a few exemptions I'm not a huge fan of horror comedies as they are rarely scary nor really that funny. What I like about Housebound is that it is first and foremost a horror film, which also happens to be funny. The humor develops naturally out of the situations and the characters. The gags don't feel shoehorned in and it isn't a parody of the horror genre. And in a genre where characterisation often comes as an afterthought, the characters here feel well rounded and very real.
The performances are fantastic all round. Morgana O'Reilly as Kylie is one tough cookie of a scream queen. After participating in a failed ATM robbery she gets sentenced to eight months house arrest at her mother's rambling country house, which her mother suspects may be haunted. The fact that she is trapped in the house with her ineffectual stepdad and her blabbermouth of a mother, makes Kylie even more cranky than she already was and the fact that something spooky stalks the house at night isn't helping her mood either. In a great cast the stand out is Rima Te Wiata as Kylie's none too bright but well intentioned mother. There will be people complaining about unlikeable characters but who cares when they are as fun and as well drawn as they are here. Nobody strains to give a comedy performance, in best Antipodean tradition the humor is totally deadpan.
The set-up is similar to the forgettable Famke Janssen horror flick 100 Feet but this film does the premise of being under house arrest in a haunted house justice. If the film has one flaw then it's one typical of many a first film: Housebound runs on a little too long and would have made a perfect 90 minute film. It takes a while to get going. But that's a small complaint when the film gets so much right. The film really hits its stride in the last third, when all hell breaks lose and the plot twists and turns. Best horror film of 2014.
The performances are fantastic all round. Morgana O'Reilly as Kylie is one tough cookie of a scream queen. After participating in a failed ATM robbery she gets sentenced to eight months house arrest at her mother's rambling country house, which her mother suspects may be haunted. The fact that she is trapped in the house with her ineffectual stepdad and her blabbermouth of a mother, makes Kylie even more cranky than she already was and the fact that something spooky stalks the house at night isn't helping her mood either. In a great cast the stand out is Rima Te Wiata as Kylie's none too bright but well intentioned mother. There will be people complaining about unlikeable characters but who cares when they are as fun and as well drawn as they are here. Nobody strains to give a comedy performance, in best Antipodean tradition the humor is totally deadpan.
The set-up is similar to the forgettable Famke Janssen horror flick 100 Feet but this film does the premise of being under house arrest in a haunted house justice. If the film has one flaw then it's one typical of many a first film: Housebound runs on a little too long and would have made a perfect 90 minute film. It takes a while to get going. But that's a small complaint when the film gets so much right. The film really hits its stride in the last third, when all hell breaks lose and the plot twists and turns. Best horror film of 2014.