Film Review: Invasion U.S.A. (dir by Alfred Green)


Here’s how Invasion, U.S.A. opens:

A bunch of strangers sit in a bar.  On the television, a blandly handsome anchorman delivers the news.  He talks about foreign wars.  He talks about domestic conflicts.  One of the bar patrons asks the bartender to turn off the news.  Who cares about all of that stuff?  All he wants to do is have a nice drink before heading home to his cattle ranch.  Can’t he just do that in peace?  The bartender agrees and turns off the news…

That’s a scene that gets played out a lot nowadays.  No one wants to watch the news.  Certainly not me.  I guess we all know that we should because it’s important to know what’s going on in the world and blah blah blah.  But seriously, people who spend all of their time watching the news inevitably seem to end up going insane and ruining twitter.  I’ve got no interest in doing that.

Here’s the thing, though.  Invasion U.S.A. may open with a contemporary scene but it’s hardly a contemporary movie.  Instead, it was made in 1952 and it serves as proof that we’re not the first Americans to get sick of watching the news and that our current crop of politically minded filmmakers are not the first to try to change our mind with heavy-handed propaganda.

Everyone at the bar has a complaint.  The Arizona rancher resents having to pay high taxes just to support the defense department.  The Chicago industrialist is upset that the government wants to use his factories to build weapons.  Congressman Haroway (Wade Crosby) is a drunk.  Socialite Carla Sanford (Peggie Castle) worked in a factory during World War II but she no longer follows the news.  Newscaster Vince Potter (Gerald Mohr) is a cynic.  Tim the Bartender (Tom Kennedy) is too busy selling cocktails to worry about the communists.

Only the mysterious Mr. Ohman (Dan O’Herlihy, who would later play Conal Cochran in Halloween III) seems to care.  While holding a conspicuously oversized brandy glass, Mr. Ohman explains that he’s a forecaster.  What’s a forecaster?  A forecaster is … oh wait!  There’s no time to explain it because the communists have invaded!

Everyone sits in the bar and watches as the news reports on the invasion of the U.S.A.  (Everyone except for Mr. Ohman, who has mysteriously vanished.)  In the tradition of all low-budget B-movies, the invasion is represented through stock footage.  Lots and lots of stock footage.  Planes drop bombs.  Soldiers run out of a barracks.  Cities burn.

When everyone leaves the bar, they discover that America has been crippled by people like them, people who never thought it would happen.  Some of our bar patrons die heroically.  (Not Tim the Bartender, though.  He’s still making dumb jokes and cleaning beer mugs when the bomb drops.)  Some of our patrons regret that they didn’t care enough when it would have actually made a difference.  The industrialist discovers that, because he wouldn’t let the government take over his factory, he now has to take orders from sniveling little Marxist.  The rancher discovers that taxis get really crowded when everyone’s fleeing the Russians.  And others discover that better dead than red isn’t just a catch phrase.  It’s a way of life.

Of course, there’s a twist ending.  You’ll guess it as soon as you see Mr. Ohman with that brandy glass…

Invasion U.S.A. is often cited as one of the worst films ever made but I have to admit that I absolutely love it.  I have a soft spot for heavy-handed, over the top propaganda films and they don’t get more heavy-handed than Invasion, U.S.A.  There’s not a subtle moment to be found in the entire film.  You have to love any film that features character authoritatively declaring that something will never happen mere moments before it happens.  Best of all, you’ve got Dan O’Herlihy, playing Mr. Ohman with just a hint of a knowing smile, as if he’s as amused as we are.

Politically, this film is a mixed bag for me.  The film argues that you should trust the government and basically, shut up and follow orders.  I’m a libertarian so, as you can imagine, that’s not really my thing.  At the same time, the villains were all communists and most of the communists that I’ve met in my life have been pretty obnoxious so I enjoyed the part of the film that advocated blowing them up.  The only thing this film hates more than communists is indifference.

In the end, Invasion U.S.A. is a real time capsule of a film, one that shows how different things were in the past while also reminding us that times haven’t changed that much.  Though the film’s politics may be pure 1952, its paranoia and its condemnation of apathy feels very contemporary.

(For the record, apathy is underrated.)

Seen today, what makes Invasion U.S.A. memorable is its mix of sincerity, paranoia, and Dan O’Herlihy.  Unless the communists at YouTube take down the video, you can watch it below!

 

 

Trailer: If Beale Street Could Talk


Yesterday was James Baldwin’s birthday so it was also the perfect day to release the trailer for Barry Jenkins’s upcoming film, If Beale Street Could Talk.  If Beale Street Could Talk is based on a 1974 novel by Baldwin.

Jenkins, of course, previously directed Moonlight, which won the Oscar for best picture.  Interestingly enough, Moonlight defeated Damien Chazelle’s La La Land for the prize.  This year, not only is Jenkins back but so is Chazelle with First Man.

So, could we be looking at another Jenkins vs Chazelle Oscar race?  Maybe.  Who knows, to be honest?  That is what a lot of people are hoping for, of course.  Jenkins vs. Chazelle: The Rematch!

Check out the trailer and try to guess what will happen for yourself!

4 Shots From 4 Mario Bava Films: Black Sunday, Kill Baby Kill, Lisa and the Devil, Shock


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

104 years ago today, the most important Italian filmmaker of all time was born.  Today is Mario Bava’s birthday!  And, as we often do here at the Shattered Lens, it’s time to celebrate with…

4 Shots From 4 Films

Black Sunday (1960, dir by Mario Bava)

Kill, Baby, Kill (1966, dir by Mario Bava)

Lisa and the Devil (1972, dir by Mario Bava)

Shock (1977, dir by Mario Bava)

What Lisa Watched Last Night #187: The Wrong Cruise (dir by David DeCoteau)


Last night, I watched the latest Lifetime premiere, The Wrong Cruise!

Why Was I Watching It?

Well, the obvious answer is that it was on Lifetime and I always watch Lifetime original films.  I’m running a little bit behind in reviewing all of them and, for that, I apologize.  Hopefully, I’ll be able to get caught up next week!

The other reason that I was watching The Wrong Cruise was because it was a “wrong” movie.  As any regular Lifetime watcher knows, there are several different genres of Lifetime movies, each with their own quirks and rules.  There’s the “Killer” movies, which usually feature Barbie Castro.  There’s the “at 17” movies.  There’s the “Deadly” movies.  And then there’s the “Wrong” movies.  Several of these films — including The Wrong Cruise — were directed by David DeCoteau and usually featured Vivica A. Fox and William McNamara in memorable supporting roles.  The “Wrong” movies are always a lot of fun.

What Was It About?

Ever since her father died, teenager Sky Tanner (Sidney Nicole Rogers) has been acting out.  After throwing a punch at track meet, Sky finds herself on the verge of being expelled from school!  Uh-oh!

Fortunately, for Sky, it looks like she’s about to get a break from the stress of dealing with high school.  Her mother, Claire (Vivica A. Fox), is booked on a cruise to Mexico and there’s no way that Claire’s going to leave Sky home alone.

At first, it seems like the perfect vacation!  Claire meets a man named Dante (Andres Londono).  Sky meets a teenage boy named Rico (Adrian Quinta).  Love is in the air!  Dante is charming and quite insistent that Claire go sailing with him.  As for Rico, he’s willing to buy drinks for the underage Sky and he’s more than happy to show Sky around Mexico.

If, at this point, you’re saying, “I don’t trust either of them!,” you’re not alone.  After you’ve seen enough Lifetime films, you know better than to trust any charming stranger.  Add to that, while Sky is drinking with Rico and Claire is flirting with Dante, there’s a creepy ship’s mate (played by William McNamara) who seems to be determined to keep an eye on both of them.  What’s up with that?

What Worked?

This one was a lot of fun, largely because Vivica A. Fox and Sidney Nicole Rogers were totally and completely believable as mother and daughter.  Every time that Claire said something overprotective and Sky reacted by sighing and rolling her eyes, the more you found herself believing in their characters.  When they inevitably ended up getting into trouble, the stakes felt real because the mother/daughter relationship felt real.

Londono and Quinta both did work as Dante and Rico but the film was ultimately stolen by William McNamara.  For such a handsome actor, he’s really good at playing creepy Lifetime movie villains.

What Did Not Work?

I would have liked to have spent a little more time on the cruise ship.  For a film called The Wrong Cruise, it seemed like the boat was a little underused.  Then again, maybe I just want to go on a cruise…

“Oh my God!  Just like me!” Moments

I didn’t run track in high school but, if I had, I would hope that I would have had just as combative an attitude towards my competitors as Sky had towards her’s.

Also, like Sky, I spent a lot of my teenage years rolling my eyes at overprotective parental figures.

Lessons Learned

Never get out of the boat.

4 Shots From 4 Clara Bow Films: It, Wings, Dangerous Curves, Call Her Savage


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Happy birthday to my pre-code role model, the amazing Clara Bow!

4 Shots From 4 Clara Bow Films

It (1927, dir by Clarence G. Badger)

Wings (1928, dir by William Wellman)

Dangerous Curves (1929, dir by Lothar Mendes)

Call Her Savage (1932, dir by John Francis Dillon)

 

Film Review: Live By Night (dir by Ben Affleck)


Remember Live By Night?

Released in December of 2016, Live By Night was one of those highly anticipated films that ended up bombing at the box office and leaving critics cold.  The anticipation was due to the fact that Live By Night was the first film that Ben Affleck had directed since Argo won best picture.  It was seen as Affleck’s next prestige picture, the one that would remind everyone that he was more than just the latest actor to be cast as Batman.  Live By Night was expected to be a huge Oscar contender.  As for why it bombed at the box office, that may have had something to do with the fact that Live By Night is not a very good film.

It’s a gangster film, one that takes place during prohibition.  Joe Coughlin (Ben Affleck) is the most boring gangster in Boston.  Or, at least, he is until he falls for the wrong woman and he ends up having to flee down to Tampa.  Once down there, Joe sets himself up as the most boring gangster in Florida.  There’s all sorts of themes running through Live By Night — racial themes, economic themes, even some heavy-handed religious themes — but ultimately, the main impression that one gets from the film’s story is that Joe Coughlin was a very boring gangster.

Anyway, Joe gets involved in all sorts of corruption and violence.  He brings down his friend, Dion (Chris Messina), to help him out.  Whereas Joe is rational and dull, Dion is violent and dull.  You spend the entire movie waiting for the moment when Dion will turn on Joe but it never happens.  I guess that’s a good thing since Joe and Dion are busy battling the Klan.  Joe may be a 1920s gangster but he’s got the political and cultural outlook of a 21st century movie star.

Joe knows that prohibition is going to end someday, so he hopes to make money through opening up a casino.  Standing in the way of the casino is a prostitute-turned-evangelist named Loretta (Elle Fanning).  Loretta is the daughter of the local police chief (Chris Cooper), with whom Joe has an uneasy friendship.  You keep expecting this plot to go somewhere but it really doesn’t.  Loretta’s just kinda there.  That said, we do get a hilarious shot of a tearful Chris Cooper repeating the word repent over and over again so there is that.

Zoe Saldana is also just kind of there, playing Joe’s Cuban wife.  Again, you expect a lot to happen with Saldana’s character but, for the most part, she’s mostly just a plot device who exists solely so that Joe can have some sort of motivation beyond simply wanting to get rich.

It’s a big, sprawling film that never quite feels like an epic.  A huge part of the problem is that Ben Affleck the director is let down by Ben Affleck the actor.  Regardless of what’s happening in the scene, Affleck always has the same grim look on his face.  At times, it seems as if he’s literally been chiseled out of a marble and you find yourself wondering if he’s actually capable of any facial expression beyond glum annoyance.  A gangster film like this need a bigger-than-life protagonist but, as played by Affleck, Joe always seems to be in danger of vanishing into the scenery.

I think part of the problem is that Affleck’s previous films all dealt with places and subjects that Affleck felt comfortable with, perhaps because he could relate their stories to his own personal experiences.  Gone, Baby, Gone and The Town both took place exclusively in Boston.  Argo dealt with the film industry.  Live By Night is a period piece set in the South and Affleck is obviously lost from the minute Joe arrives in Florida.

Live By Night, I think, could have been a good movie if it had been directed by someone like Paul Thomas Anderson and maybe if an actor like Colin Farrell played the role of Joe.  But, as it is, it’s just a rather stolid and uninspiring gangster film.

Lisa’s Oscar Predictions for July


Well, here we are.  We’re more than halfway through the year and, to be honest, the Oscar forecast seems just as cloudy as ever.

To be honest, I’m starting to get the feeling that this is going to be a year where the Academy is more concerned with sending a message than anything else.  Just as the Emmy nominations were all about sticking it to Trump (as opposed to actually honoring the best that television has to offer), it wouldn’t surprise me to see the Academy try to do the same thing.  That doesn’t mean that the nominees aren’t going to deserve to be nominated, of course.  Instead, it just means that this might be a good year for films with a political agenda.

Anyway, here are my predictions for July!  They’re still pretty random, to be honest.  Be sure to also check out my predictions for January, February, March, April, May, and June!

Best Picture

Backseat

Black Panther

BlackKklansman

Boy Erased

The Favourite

First Man

If Beale Street Could Talk

Mary, Queen of Scots

Old Man and The Gun

Widows

Best Director

Damien Chazelle for First Man

Barry Jenkins for If Beale Street Could Talk

Yorgos Lanthimos for The Favourite

Spike Lee for BlackKklansman

Josie Rourke for Mary, Queen of Scots

Best Actor

Christian Bale in Backseat

Steve Carell in Beautiful Boy

Ryan Gosling in First Man

Robert Redford in Old Man and The Gun

John David Washington in BlackKklansman

Best Actress

Glenn Close in The Wife

Felicity Jones in On the Basis of Sex

Keira Knightley in Colette

Rosamund Pike in A Private War

Saoirse Ronan in Mary, Queen of Scots

Best Supporting Actor

Russell Crowe in Boy Erased

Sam Elliott in A Star is Born

Topher Grace in BlackKklansman

Michael B. Jordan in Black Panther

Sam Rockwell in Backseat

Best Supporting Actress

Claire Foy in First Man

Nicole Kidman in Boy Erased

Regina King in If Beale Street Could Talk

Margot Robbie in Mary, Queen of Scots

Sissy Spacek in Old Man and the Gun

Film Review: Streets of Fire (dir by Walter Hill)


File this one under your mileage may vary…

Okay, so here’s the deal.  I know that this 1984 film has a strong cult following.  A few months ago, I was at the Alamo Drafthouse when they played the trailer and announced a one-night showing and the people sitting in front of me got so excited that it was kind of creepy.  I mean, I understand that there are people who absolutely love Streets of Fire but I just watched it and it didn’t really do much for me.

Now, that may not sound like a big deal because, obviously, not everyone is going to love the same movies as everyone else.  I love Black Swan but I have friends who absolutely hate it.  Arleigh and I still argue about Avatar.  Leonard and I still yell at each other about Aaron Sorkin.  Erin makes fun of me for watching The Bachelorette.  Jedadiah Leland doesn’t share my appreciation for Big Brother and the Trashfilm Guru and I may agree about Twin Peaks but we don’t necessarily agree about whether or not socialism is a good idea.  And that’s okay.  There’s nothing wrong with healthy and respectful disagreement!

But the thing is — Streets of Fire seems like the sort of film that I should love.

It’s a musical.  I love musicals!

It’s highly stylized!  I love stylish movies!

It’s from the 80s!  I love the 80s films!  (Well, most 80s films… if the opening credits are in pink neon, chances are I’ll end up liking the film…)

It takes place in a city where it never seems to stop raining.  Even though the neon-decorated sets give the location a futuristic feel, everyone in the city seems to have escaped from the 50s.  It’s the type of city where people drive vintage cars and you can tell that one guy is supposed to be a badass because he owns a convertible.  All of the bad guys ride motorcycles, wear leather jackets, and look like they should be appearing in a community theater production of Grease.

Singer Ellen Aim (Diane Lane) has been kidnapped by the Bombers, a biker gang led by Raven (Willem DaFoe).  Ellen’s manager and lover, Billy Fish (Rick Moranis), hires Tom Cody (Michael Pare) to rescue Ellen.  Little does Billy know that Cody and Ellen used to be lovers.  Cody is apparently a legendary figure in the city.  As soon as he drives into town, people starting talking about how “he’s back.”  The police see Cody and automatically tell him not to start any trouble.  Raven says that he’s not scared of Cody and everyone rolls their eyes!

It’s up to Cody to track Ellen down and rescue her from Raven and … well, that’s pretty much what he does.  I think that was part of the problem.  After all of the build-up, it’s all a bit anti-climatic.  It doesn’t take much effort for Cody to find Ellen.  After Cody escapes with Ellen, it doesn’t take Raven much effort to track down Cody.  It all leads to a fist fight but who cares?  As a viewer, you spend the entire film waiting for some sort of big scene or exciting action sequence and it never arrives.  The film was so busy being stylish that it forgot to actually come up with a compelling story.

I think it also would have helped if Tom Cody had been played by an actor who had a bit more charisma than Michael Pare.  Pare is too young and too stiff for the role.  It doesn’t help to have everyone talking about what a badass Tom Cody is when the actor playing him doesn’t seem to be quite sure what the movie’s about.  Also miscast is Diane Lane, who tries to be headstrong but just comes across as being petulant.  When Cody and Ellen get together, they all the chemistry of laundry drying on a clothesline.

On the positive side, Willem DaFoe is believably dangerous as Raven and Amy Madigan gets to play an ass-kicking mercenary named McCoy.  In fact, if McCoy had been the main character, Streets of Fire probably would have been a lot more interesting.

I guess Streets of Fire is just going to have to be one of those cult films that I just don’t get.

Cleaning Out The DVR: The Colossus of Rhodes (dir by Sergio Leone)


I recorded this 1961 Italian film off of TCM on June 14th!

From 280 BC to 226 BC, a 108 feet high statue of the sun-god Helios stood in the Greek city of Rhodes.  It was reportedly built to celebrate a major military victory and it overlooked the harbor, serving to both welcome friends and intimidate enemies.  No one’s quite sure what it actually looked like but we do know that it was considered, by its contemporaries, to be one of the Seven Wonders of the World.  No trip to Greece was complete without a stopover in Rhodes so that the curious could feast their eyes upon the Colossus.  Eventually, the statue was destroyed in an earthquake and it was never rebuilt.

The statue serves as the centerpiece for the aptly named 1961 film, The Colossus of Rhodes.  The film opens with its dedication and ends with the earthquake that toppled it.  (Of course, in the film, the earthquake occurs just a week or two after the dedication.)  The film imagines that the Colossus was not just a monument to a God.  No, instead, this film suggests that the Colossus was an elaborate torture chamber, one that could pour fire down on anyone trying to sail underneath it.  Inside the Colossus is an elaborate labyrinth of dungeons, where anyone who has displeased the king is punished.

And, indeed, quite a few people have displeased the king.  King Serse (Roberto Camardiel), it turns out, is a mad tyrant who spends all of his days eating grapes and having people executed in the coliseum.  (He’s like Nero but without the artistic temperament.)  Not only do the rebels want him dead but so does his evil second-in-command, Thar (Conrado San Martin).  With the people angry that they’ve been forced to build a giant statue for no reason other than their king’s vanity, it seems like a perfect time for a revolution!

Caught in the middle of it all is Darios (Rory Calhoun).  Darios is from Athens and the only reason he came to Rhodes was to visit his uncle and see the statue.  At first, Darios is more interested in trying to get laid than the revolution.  When that doesn’t quite work out, Darios tries to leave the island, just to discover that, thanks to the Colossus, escape is impossible.  When Darios is accused of being a supporter of the revolution, he has no choice but to take up arms against Serse, which is exactly what Thar wants him to do…

The plot’s is more than a little convoluted and Darios is never the most sympathetic of heroes but The Colossus of Rhodes is still an enjoyable example of the peplum genre.  Though the acting is frequently stiff, the film is visually impressive, with both the Colossus and ancient Rhodes brought to wonderfully decadent life.  The idea that the Colossus was actually just an elaborate torture chamber is handled well and the frequent battle scenes are well-choreographed.  (I was particularly impressed with a scene of Darios fighting off an army while also trying to maintain his balance on the Colossus’s arm.)  And, of course, the climatic earthquake is as grandly operatic as you would hope.  Say what you will about the Italian film industry, it always delivered what audiences wanted.

That said, the main reason that The Colossus of Rhodes is known today is because it was the Sergio Leone’s first directorial credit.  (It was, however, the second film that he actually directed.  Though uncredited, he previously replaced Mario Bonnard as the director of 1959’s The Last Days of Pompeii.)  While The Colossus of Rhodes was obviously very different from the spaghetti westerns for which Leone is best known, there are some thematic similarities between the film and Leone’s future work:

For instance, much like Clint Eastwood in the Dollars Trilogy, Charles Bronson in Once Upon A Time In The West, and the gangsters in Once Upon A Time In America, Darios starts out as an amoral hero.  When Darios does join the revolution, it’s reminiscent of James Coburn aiding Rod Steiger in Duck, You Sucker

The corrupt and greedy Serse has much in common with the crooked land barons and businessmen who lurked behind-the-scenes in Once Upon A Time In The West.

Even the torture chamber in the Colossus brought to mind the grisly torments that both Clint Eastwood and Eli Wallach had to endure in The Good, The Bad, and The Ugly.

(Unfortunately, unlike other Leone films, Ennio Morricone did not provide the score for The Colossus of Rhodes.  Instead, Angelo Francesco Lavagnino provided a rather standard “epic” orchestration.)

The Colossus of Rhodes may not be a great film but, as an early work of a great filmmaker, it’s definitely worth watching.

 

Film Review: My Friend Dahmer (dir by Marc Meyers)


The 2017 film, My Friend Dahmer, opens in a suburban high school in the 1970s.  It’s a school like any other, with the usual collection of jocks, nerds, geeks, and outcasts.  Jeff (Ross Lynch) is the token weird kid.  Every school has one.  He’s obviously intelligent but there’s something off about him.  He shuffles around the school with his eyes down.  When he speaks, he rarely shows any emotion, leaving you to wonder if he’s just shy or if he’s lost in a world of his own.  There are rumors, of course, about all the strange things that Jeff has done.  Some people say that they’ve seen him collecting dead animals.  Jeff has told people that he has a shack where he uses acid to dissolve carcasses.  Jeff frequently comes to school drunk, reeking of alcohol.  And then there’s his parents!  His father (Dallas Roberts) tries to be strict but usually just comes across as befuddled.  Meanwhile, his mother (Anne Heche) alternates between doting on her oldest son and making paranoid accusations.

His father demands that Jeffrey make some friends.  That’s why Jeff ends up in such unlikely places as both the school band and the school’s tennis team.  Still feeling out-of-place, Jeff starts to act out in school.  Walking through the hallway, he’ll suddenly start shouting and twitching.  Jeff becomes known as the kid who will do anything.  One his classmates, an artist named John “Derf” Backderf (Alex Wolff), even starts to draw pictures based on Jeffrey’s antics.  Derf and his friends describe themselves as being Jeffrey’s fan club.  For the rest of the school year, they encourage Jeff to act stranger and stranger.  It would be incorrect to say that Derf and Jeff are really friends.  In fact, towards the end of the school year, Derf starts to realize that he’s basically been exploiting Jeff for his own amusement.  And yet, Derf and his friends provide perhaps the closest thing to “normal” human interaction that Jeff will ever experience.

As you’ve probably already guessed from the film’s title, Jeff is Jeffrey Dahmer, the infamous Milwaukee-based serial killer and cannibal who is estimated to have killed 17 young men before he was arrested in 1991.  (In 1994, Dahmer was murdered in prison by an inmate who claimed to have been motivated by Dahmer’s lack of remorse.)  Dahmer committed his first murder when he was 18, a fact alluded to towards the end of the film when we see Dahmer picking up a hitchhiker.  (Disturbingly, the only time in the film in which Dahmer smiles and sounds like a “normal” person is when he’s trying to convince that hitchhiker to get in his car.)  With the exception of that one scene, My Friend Dahmer deals with the year before Dahmer started his killing spree, when Dahmer was just the token weird kid.

The fact that we know what Jeffrey Dahmer is ultimately going to becomes add an ominous subtext to every scene in the film.  Throughout, there are signs that something is wrong with Dahmer and yet neither his classmates nor his teachers ever seem to take those signs seriously.  When Dahmer brutally cuts open a fish because he wants to see what’s inside of it, his friends are disgusted but they assume that’s just Dahmer being weird again.  When he shows up drunk for class and his grades start to go downhill, his teachers just ignore him.  No matter what he says (and he does say some truly disturbing things), everyone just shrugs it off.  Their attitude is that Jeff’s the weird kid so, of course, he’s going to say weird things.

To its credit, My Friend Dahmer resists the temptation to sensationalize or make excuses for the monster that Jeffrey Dahmer became.  Ross Lynch plays Dahmer as a hulking, inarticulate time bomb.  It’s not so much that Dahmer can’t control his dark thoughts as he really has no desire to do so.  The film contrasts Dahmer’s darkness with the light-hearted and, quite frankly, dorky guys who briefly became his clique.  (Again, despite the film’s title, it would probably be a bit of a stretch to say that Dahmer had any real friends.)  One practical joke, in which Derf sneaks Dahmer into every club’s yearbook picture, is so likable in its dorkiness that you almost forget that Derf’s scheme centers around a guy who will grow up to murder 17 people.  In the end, both Dahmer’s crimes and his fate feels as inevitable as the fact that Derf will ultimately write and draw graphic novel about their relationship.

By any stretch of the imagination, it’s not a happy or pleasant film.  I watched the film last night and I doubt I’ll ever watch it again.  And yet, it’s an effective film, one that left me wondering what happened to some of the “weird kids” that I went to school with.  Do we ever really know what’s going on inside someone’s head?  Ross Lynch turns Dahmer into a disturbingly familiar monster while Alex Wolff is sympathetic in the role of Derf.  Anne Heche goes a bit overboard as Dahmer’s unstable mother but Dallas Roberts has a few good scenes as the father who can only watch helplessly as his son grows more and more disturbed.  The film is a disturbing trip into the heart of darkness, one that will haunt you after it ends.