Tag: lobotomy

The Mountain


The Mountain (2018)
★ / ★★★★

The defiantly obtuse “The Mountain” could have been a humanistic story centering a young man (Tye Sheridan) who is recently hired by a doctor (Jeff Goldblum) to take pictures of lobotomy procedures and patients as they travel across the country. Instead, this simple plot is shoved into an experimental route: a minefield of characters staring into space as the irksome score wriggles like a worm in the eardrums; clichéd illusions, daydreams, fantasies; and blinding chalk-white interiors that look and feel like a movie set. Not one element is convincing—the acting, how people actually spoke in the 1950s, the clinically sanitized atmosphere—and especially the ill-paced and ill-placed histrionics of a French-speaking drunkard (Denis Lavant) who wishes for his daughter to be lobotomized. When he is front and center, one could feel the remaining curiosity of the picture shriveling into itself. Who is the movie for? Just as it is reluctant to look deeply into what makes its characters interesting and thus worth following, it, too, is afraid to stare at lobotomy in the face, particularly the long-term side effects that patients experience: incontinence, seizures, apathy. The work fails to take on a specific perspective and so a potentially worthy subject is reduced to an opaque exercise designed to test the patience. Directed by Rick Alverson—giving the impression he was half-asleep while helming the film.

Sucker Punch


Sucker Punch (2011)
★ / ★★★★

After their mother’s death, Baby Doll (Emily Browning) and her sister were left in the hands of their evil stepfather (Gerard Plunkett). When he found out that the sisters were the heir to the fortune he hoped to receive, he was possessed by rage and tried to hurt the girls. Commotion ensued and Baby Doll was accused of accidentally killing her sister. She was sent to a mental hospital where she eventually planned her escape with other patients (Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung). Directed by Zack Snyder, there was no denying that “Sucker Punch” delivered visual acrobatics galore. The action sequences looked dream-like, appropriate because much of the fantastic elements occurred in Baby Doll’s mind, and the girls looked great in their respective outfits. However, it was unfortunate that there was really nothing else to elevate the picture. The acting was atrocious. Blue (Oscar Isaac), one of the main orderlies, for some reason, always felt the need to scream in order to get his point across. I understood that Isaac wanted his character to exhibit a detestable menace, but he should have given more variety to his performance. Sometimes whispering a line in a slithery tone could actually pack a more powerful punch than yelling like a spoiled child. I was astounded that we didn’t learn much about Baby Doll’s friends. They were important because they helped our protagonist to get the four items required if she was to earn her freedom. I wondered what the sisters, Sweat Pea and Rocket, had done to deserve being sent to such a prison. They seemed very close. Maybe for a reason. The girls were supposed to have gone crazy in some way but there was no evidence that they weren’t quite right in the head. If they were sent to the mental hospital for the wrong reasons, the script should have acknowledged that instead of leaving us in the dark. They, too, could have been framed like Baby Doll. Overlooking such a basic detail proved to me how little Snyder thought about the story. “Sucker Punch” tackled three worlds: the mental institution, the brothel, and the war against Nazi zombies. Too much time was spent in the whorehouse, the least interesting of them all, and not enough time in the asylum. Though beautiful to look at due to its post-apocalyptic imagery, I could care less about the battle scenes with the dragons, giant samurais, and Nazi zombies. The reason why Snyder should have given us more scenes of Baby Doll in the asylum was because that was Baby Doll’s grim reality: in five days, she was to be lobotomized. Those who’ve played a role-playing video game in the past five years are aware that the games have mini-movies during key events in the story arc. Those images were as good as the ones found here and some of the stories in those games are quite compelling. If images were all this film had to offer, then why should we bother to watch it?