Creep

CREEP (Patrick Brice, 2014)

In CREEP Aaron (Patrick Brice) accepts a videography job in the mountains not knowing much about what he’ll be recording other than it will pay well for one day’s work. Initially the remoteness of the location unnerves him somewhat, especially because his client Josef (Mark Duplass) startles him by banging on the window of Aaron’s car by way of an introduction. Aaron’s imagination also wanders a bit when spotting an axe in front of the house but dismisses it once he starts doing what he’s been hired to do.

That’s not to say everything is normal. Josef tells him that he wants Aaron to record him all day because he has a brain tumor, likely has just a couple months left, and wishes to document who he is for the unborn son his wife is carrying. For the first thing they record Josef disrobes and pretends to give his baby a bath. The interpersonal tension at the beginning doesn’t entirely go away, but by the time they finish it seems to have been a worthwhile experience for Aaron. He can’t find his keys when he’s ready to leave, though. The longer he’s in Josef’s home, the more concerned he becomes for his safety.

CREEP is shot with the first-person perspective, which has the effect of making the viewer present in the goings-on, if not exactly an active participant. The distance between the audience and the characters is shortened so that it feels like being in the room with them even if as an unacknowledged observer. The form charges the interactions so that they are direct and intense and not mediated through the camera. The fewer number of cuts emphasize being put on the spot in awkward situations. The uneasiness cannot be relieved because you are trapped in the moment as the recording rolls.

Duplass, who co-wrote the story with Brice, excels at straddling the line of being friendly and unsettling with his overly familiar manner. Josef is a little weird, particularly where he lacks boundaries, but it’s hard to discern if such quirks are harmless breaches of social etiquette or indicative of a deeper pathology. Duplass molds Josef into the kind of person who could be fun to be around in one instance and put you on guard in another. He doesn’t necessarily come across as sinister, yet Duplass doesn’t hide the calculation in how Josef tests Aaron’s limits under the guise of honesty. Duplass’ performance highlights how someone can give you the creeps even though there may not be tangible evidence of anything dangerous about him.

CREEP reveals itself to be about how propriety can be used against the person who strains to be polite. Because Aaron is genuinely a nice guy, he gives Josef the benefit of the doubt. He also gives him leeway because it’s how we’re taught to be from a young age. Even if Josef comes across as kind of strange, many people feel the reflex not to act overly judgmental when face to face with such a person. Doing so would be rude and only serve to amplify the awkwardness. CREEP considers how that civility could be a fatal flaw when the other party refuses to abide by the contract. On the surface not much in CREEP is objectively scary, but the context of what is said and done often makes it terrifying.

Grade: B

Trollhunter (Trolljegeren)

TROLLHUNTER (TROLLJEGEREN) (André Øvredal, 2010)

A trio of Norwegian college filmmakers follow a secretive man they believe is poaching bears and set out to expose his illegal activities.  Fashioning themselves documentarians working in the tradition of Michael Moore, they keep up their pursuit of him despite having interview requests rebuffed multiple times.  When Hans (Otto Jespersen) finally consents to reveal what keeps him busy all hours of the night, his answer is not one they anticipated.  Hans claims to hunt trolls.

The students--interviewer Thomas (Glenn Erland Tosterud), sound engineer Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen)--are greatly amused by such an outrageous assertion, but after accompanying Hans on a search and being chased by a giant, lumbering, three-headed creature, they are duly convinced that trolls exist.  Possessing the first video evidence of trolls is bound to reward them with fame and fortune, and they continue to travel with Hans to collect more proof that the mythical beings are real.

TROLLHUNTER (TROLLJEGEREN) adopts the form of a found footage documentary, which translates as lots of banal conversations, abundant shots of the Scandinavian countryside, and competent but shaky handheld camerawork.  The format is inherently forgiving toward these shortcomings, if not outright encouraging of them.  While the style grants TROLLHUNTER the opportunity to take the cheap way out in showing (or not showing) the trolls, the special effects crew aims high and impresses with the design and realism in the gnarled creatures.

As robust as the FX work is, the meat of the film is narratively undernourished. There’s plenty of driving on highways and trudging through woods but little in terms of story or character, at least as far as the college students are concerned.  They need to be more engaging even if their actions aren’t.

Conversely, Jespersen amuses with the workmanlike approach he invests in his weary lone ranger patrolling the territories.  Hans’ matter-of-fact style, as if he’s placing cheese in mousetraps and swatting flies rather than baiting and blasting towering beasts, brings droll humor to the rather absurd situations he encounters. TROLLHUNTER can’t quite decide if it is playing the run-ins with trolls for laughs or scares.  Jespersen’s dry wit suggests that director André Øvredal should have favored the former.

Grade: C+

Chronicle

CHRONICLE (Josh Trank, 2012)

In CHRONICLE three high school students crawl into a hole in a field one night and find something otherworldly.  Soon thereafter the guys discover that they have developed telekinetic powers.  At first this newfound ability to move things with their minds is something they use on a small scale, like building things with Legos or turning on a leaf blower to blow up their female classmates’ skirts.  Their telekinetic skills increase as they use them, and it isn’t long before they’re moving cars or flying.

Andrew Detmer (Dane DeHaan) is arguably the most talented of the trio and the one who has benefited the most from acquiring superpowers.  With a dying mother and angry, alcoholic father at home and a spot at the bottom of the social ladder at school, Andrew was lonely and miserable.  He was videotaping everything as a way of distracting and protecting himself, even if doing so also brought unwanted attention. His recordings supply most of the “found footage” that comprise CHRONICLE.  In these documents it is easy to see that the intense bond Andrew forms with his cousin Matt Garetty (Alex Russell) and big man on campus Steve Montgomery (Michael B. Jordan) is as meaningful to him as their superhuman gifts.  The weak, unpopular one now feels strong and important.

As Voltaire wrote, and as another superhero film reminds us, with great power comes great responsibility.  Matt suggests that they need to establish some rules for how they use their powers, but Andrew for one has no desire to have any limitations placed on him.

The overwhelming number of superhero films of late and the seemingly limitless ability of CGI have taken some of the wonder out of displays of dazzling feats beyond ordinary human potential.  CHRONICLE restores that thrill through the actions and reactions of three teenage boys who behave like their real life counterparts might. Director Josh Trank and screenwriter Max Landis devote significant time to the guys goofing off.  Their prank-pulling and limit-pushing is not that far removed from what the JACKASS crew might attempt if they had the capability to control objects with their thoughts.

The acclimation to superpowers portion of CHRONICLE is good fun in a particularly adolescent male way, but without any boundaries or check on such power, the outcome is eventually bound to result in ugly consequences.  Andrew’s telekinetic talents greatly exceed his emotional maturity, so he channels his antisocial rage in harmful ways.  CHRONICLE echoes CARRIE and the Columbine shootings as the bullied evolves into the bully, culminating in a spectacular battle in and above downtown Seattle.

Trank employs the found footage construct more to provide a firsthand account than to suggest someone has unearthed and assembled the videos. The casual nature of the teens’ activities and their emotional extremes feel more immediate in this form.  Plus, since Andrew can control the camera with his mind, CHRONICLE can position it anywhere, giving the film the visual freedom that the characters enjoy.

Grade: B