Lucky McKee
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McKee s’en remit ainsi à une certaine théâtralité pour appuyer ses efforts sans que ceux-ci ne deviennent exubérants à l’image du Suspiria de Dario Argento, film auquel The Woods paye tout de même ses respects à plus d’une reprise.
Carrie, Suspiria, The Wicker Man, and 1980’s teen high school dramas are all part of the film’s ominous fabric, but the means by which McKee (working from David Ross’ sharp script) references and borrows from these many influences is neither plagiaristic nor stale.
Actually, the reel reference here is more likely the three strip Technicolor effect of Dario Argento’s primal masterpiece “Suspiria”, which McKee does what he can with his small budget to capture.
Long delayed and with good reason, The Woods is a well-made yet thoroughly impenetrable riff on Dario Argento's Suspiria from up-and-coming genre filmmaker Lucky McKee.
Plus McKee himself acknowledges the influence of Argento's "Suspiria", the music of Nirvana, various paintings and sculptures... Needless to say that this hodgepodge is not as singular as May , but it's still a solid flick.
Director Lucky McKee’s second film is another twisted tale involving the sick minds of women, and delves into the psyches of girls both old and young, and bears shades of “Whispering Corridors” and “Suspiria.”
By the film's end, all the black humor acts to reinforce a parody of classic horror films such as "Carrie" and "Frankenstein" and "Repulsion."
With a passing resemblance to last year's "Secretary" and even the old Stephen King classic, "Carrie" (in which Bettis played the title role in the recent TV version), McKee wastes no time in setting up the story.
The movie will inevitably be compared to " Carrie ," not least because Bettis starred in the 2002 TV version of that story.
It wants to be a "Carrie" with a modern-day "Frankenstein" twist, but it lacks the smarts behind the weirdness.
Bettis performs very well in a role that's reminiscent of Stephen King's "Carrie" (not surprisingly, she played Carrie White in the 2002 television remake of Brian De Palma's film of the same name) but the stitched-together denouement, while definitely disturbing, feels contrived and less effective than the rest of this interesting little creepfest.
The scorching horror of "Carrie" and the genre satisfying thrills of "Re-Animator" coalesce to conceive âMayâ, a delicious new horror feature from director Larry McKee, and something quite unlike anything weâve seen in eons.
"May" has been described as a tribute to "Frankenstein," but it also recalls Herschell Gordon Lewis' notorious "Blood Feast" — except that McKee wisely trusts us to complete the film's horrors in our imagination.
Cleek, a creepy dad in the vein of Terry O'Quinn in The Stepfather (1987), drags the wild child to his cellar, where he chains her in a crucifixion stance, intent on "rehabilitating" her.
Having made an impression on horror audiences way back in 2002 in Lucky McKee’s May , this is a role that seems built on the strengths she has to carry a feature, which is matched by a game supporting cast.
Years later working as a vet’s surgical assistant, May remains lonely, socially awkward and full-blown “weird,” the latter of which proves initially appealing to mechanic Adam (Jeremy Sisto) – a guy whose apartment boasts a shrine to Argento’s Opera – until he discovers that May’s strangeness extends far past his own threshold for the bizarre.
Lucky McKee takes a look at the end of the world and it comes half-blinded before a student version of Claire Denis' Trouble Every Day and a poster-shrine to Dario Argento's Opera .
I will confess to experiencing flashbacks to Mel Brooks’ Young Frankenstein, Bill Condon’s Gods and Monsters, Lucky McKee’s May, and other riffs on the story while I was watching this, but I don’t think I’m burned out on the story.
“May” takes a cracked view of 1 Corinthians’ idea of leaving childish things behind — blending the brooding of Mary Shelley’s “Frankenstein” with the bleak, acrid tone of Alkaline Trio lyrics and the most frightening sing-song horror-film score since Goblin’s nightmarish prog-rock whispers in “Suspiria.”
In a way, she�s like Clint Eastwood�s anti-hero in High Plains Drifter, kicking up the dust that has settled over the lies.
The fatal undoing of “Lisa Frankenstein” has nothing to do with the weirdo wish fulfillment behind Diablo Cody's very Diablo Cody screenplay, which is rock-solid even if it cleaves a lot closer to the sociopathy of Lucky McKee's “May” than it does to the sorrow of its namesake.
(Given that she’s tied up through most of the picture, there’s little more she’s able to do.) It’s a brave, unglamorous performance that exposes Jodie Foster’s “Nell” for the goofy, theatrical sham that it is.
Yet while the adults around her regard this gawky, greasy-haired high schooler as being like the teen misfit from Welcome to the Dollhouse, she is revealed both by her disturbing dreams of sexuality and surgery (to which we alone are privy) and by her furtive extra-curricular activities, to be far closer to the unhinged anti-heroine of Lucky McKee’s 2002 film, May.
McKee's interest in dividing lines will find its literal manifestation in the spider-webbing glass of May's doll case and, inevitably, the Jigsaw/Blind Beast-lines of vivisection and reconstruction.
There are also subtexts about the ways in which men oppress women to keep them locked inside specific societal roles, but come on: You want a feminist movie, go rent Norma Rae.
Her simultaneously sensitive, scary and sexy turn is a marvel to behold and may be the best to occur in the genre since Angela Bettis’ work in the great and underrated “May.”
In "The Woman," the suburban ennui of 1999's " American Beauty " collides head-on with the graphically violent nature of 2005's " High Tension ," and the results are nothing short of excitingly unique, deeply disturbing, and seductively macabre.
Así, psycho-killers tan célebres como el Norman Bates de Psicosis (Alfred Hitchcock, 1960) o la chica con telequinesia de Carrie (Brian De Palma, 1976) encontraron una excusa para su enfado contra el mundo en la educación castradora recibida de unas madres de sexualidad frustrada y refugiadas en la religión, mientras que otros como May (Lucky McKee, 2002) o Willard (Glen Morgan, 2003) se construían su propio mundo de amigos imaginarios –rodeados por muñecas y ratas, respectivamente–, en respuesta al rechazo que sufrían desde pequeños por ser diferentes.
As Chris, Sean Bridgers (2002's " Sweet Home Alabama ") is disquieting in his own right by so convincingly essaying the kind of evil soul that exists in one's everyday surroundings.
Similar to Lucky McKee's May, but not as dour in its approach, the story focuses firmly on its idiosyncratic but likable heroine.
Scottish actress McIntosh, who resembles Milla beneath her organic grime, gives a fierce, physical performance with a guttural voice a step between human and Mercedes McCambridge's "The Exorcist" vocals.