Film Review: “Climax”

Starring: Sofia Boutella, Kiddy Smile and Roman Guillermic
Directed by: Gaspar Noe
Rated: R
Running Time: 96 minutes
A24

Usually for arthouse films, you hear the phrase, “This may not be for everyone.” When it comes to Gaspar Noe films, they may not be for anyone. Having only seen “Enter the Void,” out of curiosity on Netflix one night, my second trip into Noe’s twisted mind comes in the form of a dance troupe’s celebration before heading out on an international tour. They got the jams, they got the drinks, and they got the food. However, an uninvited guest is about to crash their party.

The jubilation slowly turns into a horrifying mystery as members of the young French dance team suspect someone has spiked their sangria with drugs. Things decline quickly as the LSD takes hold, leading to arguments, more dancing, graphic violence, more dancing, deaths, more dancing, graphic sex and more dancing. Luckily for audience members that might not have the stomach for Noe’s twisted vision, he never comes off as an edgelord looking to exploit his characters for ghoulish fun. Instead he’s more transfixed on how an eclectic group of young 20-somethings in the mid-90’s quickly turn on each other or flock into unsuspecting arms when their perceptions deteriorate.

“Climax” doesn’t abide by any cinematic rules, as it begins with the film’s end credits, then fixates on an old box TV that plays VHS interview tapes of all the dancers we’re about to meet. After every character’s brief introduction, the film switches to the old abandoned school where the madness goes down, beginning with a lengthy dance sequence, all within a single take. There’s actually quite a few single takes in the film, some that would make Alejandro Inarritu scratch his head in curiosity as to how it was pulled off.

A movie like this in anyone else’s hands would be boring, but Noe keeps you transfixed to the screen as he flies seamless and methodically around the school, like a curious specter watching the pure bedlam unfold. There’s genuine dread as several scenarios are left to playout as the LSD amplifies character’s primal instincts. It’s in these moments that you realize that despite our best attempts to do good for the benefit of society, self-preservation will kick in or we’ll resort to our most basic animal instincts. Of course it’s entirely possible that you’ll take away a different experience or viewpoint.

Much of the film is made even more impressive by the tidbit that the cast is made up of professional dancers, not professional actors. We never see the hallucinations from their point of view, but the pain or pleasure is etched all over their faces. The only person of note in this film is Sofia Boutella, and even she gets lost in the group theatrics. In several interviews, Noe has discussed his love of dance. Not as a participant, but more as an observer. “Climax” is almost like his theatrical version of people watching. “Climax” takes that club dancing expressionism that he fondly enjoys and cranks it to 11 by throwing in drugs, blood and sex. It’s a trial by fire where the people become marionettes, with the bass puppeteering their every movement. For those who break free from the trance, they meet an untimely fate or wind up naked with an unlikely lover. It’s a true Heaven/Hell on Earth.

I felt really unsure about “Climax” as I left the theater, but I couldn’t quite narrow down much in terms of technical or storytelling complaints. The cinematography is on another level, matching the constant dance beats in the background. The soundtrack ranges from foreign EDM to more recognizable artists like Daft Punk and the Rolling Stones. I only withhold unflinching adoration for a film like this because I may believe I’m consuming something of substance while blinded by its deliciously fresh style. It’s a brisk, but bewitching film that I’m sure I’ll watch again. It’s in that second watch I’ll either find distaste or amplified admiration for Noe’s vision. Love it or hate, viewers won’t be able to shake “Climax,” much like a bad acid trip.

Film Review: “It Comes at Night”

Starring: Joel Edgerton, Christopher Abbott and Carmen Ejogo
Directed By: Trey Edward Shults
Rated: R
Running Time: 97 minutes
A24

Our Score: 3.5 out of 5 Stars

There are a few things that always seem to get lost in the shuffle when an apocalyptic end of the world movie is created; paranoia, hopelessness and brutally honest human emotion. Most of the time in this genre, we’re meant to jump in our seats, watch a subtle reflection of the current political climate or enjoy watching Earth devolve into a sadist’s playground. “It Comes at Night” appears to start out with one of those intentions, but as it unwinds; the movie captures the very essence of humanity’s last gasp and struggling with death.

Paul (Edgerton) keeps his at his side, having them abide by a strict set of rules. The home, deeply entrenched in the woods, is boarded up and only has one entrance/exit, two locked doors, which Paul has the only key to. Paul struggles in silence to understand his son, Travis (Kelvin Harrison), who has just witnessed his grandfather succumb to the disease that is infesting the world around them. It takes effect within 24 hours, causing the body to develop talon like boils, its host to puke ink-like blood and turn eyeballs into tar pits.

“It Comes at Night” actually begins with the arduous task of putting grandpa out of his misery. Paul has Travis come along, despite his mom questioning whether or not Travis would be ready to watch the tragic deed. As Paul takes grandpa out into the woods, digs a shallow grave, and shoots him, Travis watches in confused silence. Certainly, going through puberty is compounded by watching a loved one slowly morph into some zombie movie monster.

They don’t have long to sulk because a strange man breaks into the home, scrounging for food and water. After an extensive interrogation process by Paul, the family learns that the man, Will (Abbott), is in desperate need of assistance. His wife and child are in a different home, waiting for him to return with any signs of hope. Paul agrees to help and welcomes the family into the home, and while things may be peaceful at first, things slowly unravel.

There isn’t a lot of small-talk or meaningful conversation between characters in “It Comes at Night.” On one hand, it makes sense because there’s no reason that the people in this scenario would be regurgitating the tragic details of what they already know. So very little is learned about the actual happenings outside the world and what kind of pandemic is eating away at the Earth. On the other hand, we don’t get a sense of what characters are truly thinking since they appear to be more obsessed about what the other is plotting or contemplating. The only inner workings we get a glimpse of our Travis’ adolescent mind.

It’s clear through many of Travis’ nightmares, that the death of his grandpa, sexual frustration brought on by puberty and paranoia are creating a lethal mental cocktail. Anytime a problem arises with Will and his clan, Travis is reminded by his parents about how family comes before everyone else. Since the movie spends so much time with Travis, it creates disconnect from nearly everyone else, which can be frustrating at first, but sets up for an intense final act.

There’s no traditional resolution to “It Comes at Night,” which is both a blessing and a curse. It gives the viewer a lot to ponder and discuss, but it also leaves you with no profound message to chew on. It’s unique in its pragmatic presentation of what happens when human beings are left to their own isolationism and the overwhelming distrust that will certainly envelop society during end times. But the biggest takeaway is that we’re all afraid of dying and losing those closest to us. There’s no political or social commentary away to take from that, it’s just a universal truth.