Skip to main content

Proxy

If Fight Club and The Hand That Rocks The Cradle had a really boring, emotionally stunted baby, it would be Proxy.

Hands down one of the most boring, slowest paced movies I've had to sit through in a long time, this pointless piece of independent crap needs to be shelved and forgotten.

I will note here, with some interest, that "birth horror" has really seen a boom in the past 5 years or so. Although I typically have a pulse on the social issues that create an increase in a particular horror topic, I'm not sure - aside from the renewed interest in grindhouse cinema - what's making everyone so hot for pregnancies these days.

I'm also seeing an increased number of lesbian relationships in horror but, unfortunately, they are all truly, deeply, unhealthy relationships. Here you won't need to be a genius to track the roots of this trend. How fucking sad.

So, I'm not sure I can explain Proxy in my typical one liner - try to follow along while I lay this one out for you:

A pregnant woman is attacked and the baby killed. We later find out that her lover is the attacker and the victim planned the crime. The victim begins attending a support group where she meets a woman who is pretending to have lost a child. Victim then victimizes the faker by murdering her son. Faker's husband kills the victim, fantasizes about torturing her, and is eventually killed by his wife. Who then kills the victim's lover.

What a bucket of convoluted plot puke adding up to 120 wasted minutes of my life.

And seriously, if I stumble onto one more movie starring Joe Swanberg, I might delete my Netflix account and give up watching movies for good. People keeping lauding his "improvisational performances" and it completely blows my mind. His overly inflated self-importance ranks beside that of Tarantino. You "brilliantly" improvise your work? No dude. Read your fucking script and stop being too lazy to memorize your lines. You're too cool for rehearsal? Really? Get back to me when you have an iota of the talent Robin Williams had or Bill Murray has. Then you can blow off rehearsals and improvise your lines.

There is ABSOLUTELY no chemistry between Swanberg and his on screen wife (Alexa Havins). They are like two mannequins posed beside one another. The only moment they even come close to having any kind of emotional interaction is in this glorious moment (after their son has been murdered) where she says to him, "we can always have another."

First of all, I actually laughed out loud at this because it's the kind of callous, heartless, tactless joke I would make about other people who have lost a child.

Secondly, it's about THE LEAST realistic thing a human may say at this point.

Anyway - it's the only instance in the whole movie that they both almost seem to be acting.

You can watch the trailer here, if you hate your life and having literally NOTHING left to live for:

Comments

Popular posts from this blog

Rebuttal: 17 Disturbing Horror Movies You Will Never Watch Again

When I'm not watching movies, I'm reading about movies. I stumble across all kinds of articles, blog posts, book excerpts, etc. in my quest to absorb as much movie knowledge as possible. Now, I'm snotty and loud-mouthed and opinionated but I'd never begrudge another human their opinion. Seriously. You're absolutely welcome to have any opinion about any thing you want. However, I must warn you, if I think your opinion is stupid, I'm absolutely going to say so. I've recently stumbled on an article completely  brimming with so many idiotic opinions that I'm actually compelled to craft a response. Here's the gist of the original article: there are some horror movies out there that are so disturbing , you'll only ever want to watch them once. I've have taken her original list and refuted her claims without pulling her entire article over. You can read the original article here . Let's start at the beginning, with her opening statement

Escape From Tomorrow

I love creative people who are willing to take risks with their art. I appreciate the refusal to do things by the rules. I'm also terribly impatient with mediocrity. Enter  Escape From Tomorrow . Created by a team of rogue filmmakers, the movie was shot in the video mode of high-end still cameras. Actors shared scripts and shooting locations across their smartphones. Shot on location at Disney World, the parks were completely unaware this was all going on right under their mouse ears. I wanted to love Escape From Tomorrow. More than that, I wanted to be completely taken with its ingenuity and creativity and - oh yes - its originality. And there is really a simple brilliance to their covert plan; all families are roaming around the parks, taking videos and chatting on their phones. Just blend the fuck in, act like you belong, and you won't get caught. Too bad the movie can be summed up as: ambitious but Rubbish. As you can imagine (or possibly know), there was a ton of con

Mother!

Alright friends and readers–this one is probably doubly filled with typos and grammar errors because I wrote it while angry. Good luck and happy reading. There are unpopular opinions in every realm. As a film student, you can truly strike a nerve when you say things like, "I fucking hate the self-indulgence of independent films and the way people idolize them." Or, you know, "Low lighting and slow pacing does not a good movie make." Or whatever. You can of course, objectively, understand how this happens. When you are creating art–when you are outside the system  so to speak–you are free to explore things (subjects, techniques, etc.) that may need to be addressed and that freedom can become intoxicating and go to one's head. While it may seem only right  or only fair  to respect and accept each creative endeavor that every artist undertakes, it is unreasonable to believe that the world will remain forever patient with the self-obsession artists have. Th