serventy

I'd dub Killers' an 'arthouse psychological-thriller comedy', there isn't much I've seen like it. I saw 'Killers' at the Sydney Film Festival tonight and the presenter who introduced the film accurately and succinctly described it as "out there". With a lengthy two-and-a- half hour running time the film just manages to succeed in its ambitions despite some unevenness.

The story chronicles two disturbed characters in opposite regions (Japan/Jarkata)and they're experiences. Nomura (Japan) is the anti-hero protagonist; a proficient serial killer with a prolific selection of snuff films and an online fanbase. Nomura premeditates everything, smooth and always careful. In Jarkata we have Bayu, an ex-journalist turned novice killer who goes about his business righteously, killing only those who 'deserve it'. I won't spoil much but the film drifts back and forth between these two characters and their daily hindrances, pleasures and inner-turmoils.

I expected this to be a flat-out exploitation gore fest, but I was surprised at the amount of depth and unique writing Killers' had going for it. The biggest surprise was its sense of humour; the audience were laughing at some truly reprehensible scenes, which is a sign of good black comedy. Moreover, the humour is well-balanced with intense kill scenes, surreal and psychological imagery and plenty of suspenseful action throughout its running time. Some great, modern and creative cinema going on here.

For me there were clichéd, predictable scenes; but the filmmakers twist and flip 'em over like a pancake moments after that kept me guessing 'till the final and wonderfully satisfying end scene. I give kudos to the writer(s) for not copping out and sugarcoating a story that easily could have if fallen into the wrong hands.

There may be unevenness in its length and characters, superfluous scenes of indulgence, repetition and some plot holes but at the end of the day it was entertaining from beginning till end. Certainly not for the faint-hearted as the grimmer scenes will shock thick-skinners. This is the only Mo-brothers film I've seen and I want more already. As I said in the intro - there's not much out there like 'Killers', so I recommend checking this movie out.

A strong 7.5/10 from me.

Happiness is a story of three sisters; Joy, Trish and Helen, and weaves in characters who are a part their life. Joy is the angel, the kindest, albeit naive sister who is faced with harsh hurdle after hurdle; a symbol of hope in a grim world. Trish is the housewife and loving mother to her children; conceited yet kind at heart who glues the family together. Helen is the successful artist; independent, successful, condescending while deceptively confident. We also get a sexually frustrated psychiatrist, lonely geek who makes obscene phone calls, a worn-out old couple and more. The film's ensemble cast are sublime, hilarious and reflect people we all 'know' or think we know. Featuring a smorgasbord of nuanced and memorable characters, Dylan Baker steals the show as Bill Maplewood, a psychiatrist with grotesque fantasies who society would unquestionably label a monster. His performance gets under your skin and lingers in your mind days after watching. What makes him so memorable is that despite his appalling and unforgivable acts he is remarkably sympathetic, honest and far beyond what could've easily been just a cruel and heartless caricature.

Happiness explores themes of rape, pedophilia, loneliness, belonging and sexuality with a dynamite script that is funny, morbid, moving and drenched in subtext. Solondz uses a unique voice to convey how society uses sex and fantasy to fill certain life voids and strive to create their version of happiness. The film is perhaps one of the darkest black-comedies ever and deals with similar ideas and characters found in American Beauty, only grittier and unflinching. My only flaws with the film are its its length and overindulgence. This narrative where a handful of characters link up as the story moves forward is comparable to movies like 'Magnolia', 'Crash', 'Pulp Fiction', 'Rat Race' etc. While the style is ambitious it becomes problematic as the plot loses focus, punch and is usually overwrought. Pulp Fiction is probably the sharpest mesh-character movie I've seen because it focuses on fewer characters. Happiness falls into the trap of being too ambitious when the three-sisters' marriage-torn parents get introduced. Their story felt superfluous and lacked the meat, exploration and commentary found in the other arcs.

I still give Happiness a 9 because Todd Solondz' magnum opus is a brave, memorable movie with heart, hilarity and vigor. There aren't many filmmakers audacious enough to 'go there' without being pure shock-value. Happiness makes thick-skinned audiences squeamish, but it resonates with you for days like many films don't and is a must see if you can handle the subject matter.