Martha Marcy May Marlene (2011)
★★★ / ★★★★
Martha (Elizabeth Olsen) made no contact with her family and friends for two years. During that time, she joined a cult, led by the quietly malevolent Patrick (John Hawkes) who renamed her Marcy May, a place where she believed was perfect to reset her life. Unable to endure their way of living any longer, Martha ran through the woods, called her sister, Lucy (Sarah Paulson), and asked to get picked up. Lucy and her successful but stressed husband, Ted (Hugh Dancy), allowed Martha to stay with them in their vacation house and hoped that she would eventually open up about what happened during her disappearance. “Martha Marcy May Marlene,” written and directed by Sean Durkin, captured a traumatized and fractured mind without necessarily showing every violent detail. It focused on the repercussions–how certain things that were done could not be undone. Most of the time, the filmmakers relied on Olsen to deliver subtle facial expressions as she sat in one place, looked around the room as if she was lost or confused, and recalled the terrible things she was forced to do for the sake of the group she formerly belonged in. Every time the film jumped between past and present, Olsen almost played a different character but it worked because the protagonist didn’t have a defined identity. Her first identity was erased after joining the cult. Although we can agree that her decision to go back to the real world was ultimately a good thing, it’s not at all difficult to argue that her decision was unhealthy for her mind. She wasn’t ready to leave. But will she ever be ready to? Martha and Lucy’s interactions were very sad and sometimes unnerving. For example, the sisters would prepare dinner and suddenly Martha would ask, “Where is this? Is this now or is this the past?” It consistently surprised me because something so ordinary, like preparing a meal, was often marred by a strange but very serious question or comment. Lucy, who felt guilty for not being the sister she thought she ought to be, struggled to be supportive by not falling apart. Having her sister under the same roof as her husband proved to be a bad idea but she made the most of it. Yet she was only human. There were times when she would scream at Martha out of frustration because it seemed like no matter what she did, her sister’s condition turned for the worse. Feeling like one’s effort is not appreciated breeds anger and grudge. It didn’t help that she had no knowledge of Martha’s experience in the cult. She was led to believe that Martha had a boyfriend and she was only experiencing a bad break-up. “Martha Marcy May Marlene,” purposefully slow in pace but consistently focused on the message it wanted to deliver, was driven by Olsen’s wonderful performance. The glossy blankness in her eyes was haunting one minute, very tragic the next. It was like trying to understand an empty shell. Martha came back in the same body but half of her mind was stuck in that terrible farm, still secretly coming up with ways to achieve freedom.
Red State (2011)
★★★ / ★★★★
A dead teen was found in the dumpster at the back of the town’s most popular gay bar. It was reported that he was wrapped in plastic from head to toe and authorities believed that it was some form of ritualistic murder. Despite these happenings, Travis (Michael Angarano), Jarod (Kyle Gallner), and Billy-Ray (Nicholas Braun) accepted an online sex ad posted by an older lady (Melissa Leo) on Craigslist. As they headed to the trailer home’s bedroom, the trio lost consciousness. Their bodies were taken to a church by a group of religious zealots, led by Abin Cooper (Michael Parks), to be “punished” for their sins. “Red State,” written and directed by Kevin Smith, was brutal, intense, and sometimes devoid of reason. I think it was meant to incite frustration and anger with the religious extremists’ talk of hatred toward homosexuals, how that one group of people was responsible for the world going to hell. It wasn’t easy to watch, not because of the violence, but because for at least fifteen minutes, we were forced to sit in that church and listen to Abin Cooper summoning fire and brimstone, even implying that the tsunami that ravaged Thailand in 2004 was not only an act of God in order to set an example but it was actually deserved. I was in rage, in a red state, if you will, because in the back of my mind, I knew people like them existed somewhere. I admired the writer-director’s decision to allow the story’s exposition to take up almost half of the picture’s running time. It was necessary that we understood the evil within that church before we were introduced to Joseph Keenan (John Goodman), who was called to arrest the cult members for suspicion of illegally storing firearms, because we were asked to weigh between right and wrong. Sure, the adult cult members needed to be apprehended, preferably dead according to Keenan’s superiors, but there were also children and minors inside. Not all of them were innocent; they, the teens, knew that people were being taken and killed, but none of them had actually partaken in the physical act of taking and killing. However, it didn’t expunge the fact that they ignored their moral responsibility to report a crime. What didn’t work as strongly were the shootout scenes. They dragged for what seemed like an hour. I understood that governmental law and the word of God were literally at war but it eventually started to feel like an action film. Following Keenan as he searched for a kill shot was less exciting than what was happening inside the church. I preferred watching Goodman connecting with someone else, whether it be face-to-face or via cellphone. His pauses, stutters, and variation in voice implied great experience in law enforcement and I was so fascinated with what he was going to do next. His speech regarding a pair of bloodhounds toward the end was brilliantly executed and it summed up the crazy, somewhat otherworldly happenings up to that point. “Red State” defied the conventions of the horror genre. Instead of focusing on the gore to entertain, using violence as a tool, it made a statement about religion and politics: sometimes the two make no sense at all.