Tag Archives: absurd

CORPORATE (2018) – COMEDY CENTRAL TV REVIEW

CORPORATE (2018) – COMEDY CENTRAL TV REVIEW

Created by: Pat Bishop, Matt Ingebretson, Jake Weisman

Directed by: Pat Bishop

Starring: Matt Ingebretson, Jake Weisman, Anne Dudek, Adam Lustick, Aparna Nancherla, Baron Vaughan, Lance Reddick

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Have you ever had a job where during your employment you literally just wanted to die?  It could be for a number of reasons: you hate your job; you hate your boss; you hate your work colleagues; you hate yourself; you’re bored with the tasks; the endless meetings; a hangover from hell; your pen broke and leaked all over you; the girl from Accounts doesn’t fancy you; you hate the customers; or you feel so existentially empty and having realised the pointlessness of living in a cruel, heartless and soulless vacuum of a world you see no alternative but to commit suicide. Or is that just me?

Of course, many of the above are the irrational emotions of a spoilt Westerner and can be firmly filed under first world problems. Because in a thriving and greed-driven capitalist society which is destroying the environment and Earth, making the rich richer and the monetizing and exploiting the poor for the continual gathering of wealth, what alternative is there? We can protest and sometime things change but most of us have the fight kicked out of our guts or never had it to begin with. So we have no choice but to punch the clock, get our money, go out and get drunk or high and play Xbox, have miserable children, watch a movie, watch Netflix, buy crap we don’t need, over eat and drink; and then go back to work on Monday, deluding ourselves we are living valuable lives.

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Comedy Central’s under-the-radar black comedy satire Corporate encapsulates much of what I’m talking about above. My attitude is nowhere near as bleak anymore as the opinions stated above and come from emotions of when I was much younger and cynical. However, there remains a truth to these feelings and Corporate – in ten very funny episodes – captures that negative truth very well. It also captures the existential dread of working in an office for a diabolical corporation, hell-bent on fucking the world while chasing the: Dollar, Pound, Yen, Rupee, Renminbi etc.

Indeed, Hampton DeVille are a massive global company and completely ruthless in their business as the show reflects practices by such conglomerates as: Amazon, Apple and Google etc. Their CEO is the megalomaniacal Christian Deville (Lance Reddick) but the show focusses on the trainee executives Matt (Matt Ingebretson) and Jake (Jake Weisman) as they face the horror of: long pointless meetings; ridiculous away days; dress down days; pedantic HR policies; general boredom and ennui; and dealing with patronising middle managers and petty colleagues. With episode titles such as: Powerpoint of Death, The Void and The Pain of Being Alive, the show is pitch black in its outlook and themes; while the visual style is drained of colour with browns, blacks and greys dominating.

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Overall, I really enjoyed the absurd look at office life in Corporate. It takes risks because even the lead protagonists aren’t likable and the delivery is very deadpan. I especially enjoyed the skewering corporate business, as Hampton Deville is shown to be involved in: gun-running; starting civil wars; monetizing religion and art; over-the top technological releases; stupid jargon and sloganeering; plus it nails the horrific tedium of being trapped in a job you hate. But as I always say: there’s one thing worse that having a job you hate – having to look for a job you know you’re going to hate!!

(Mark: 8.5 out of 11)

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THE KILLING OF A SACRED DEER – LONDON FILM FESTIVAL 2017 – REVIEW

THE KILLING OF A SACRED DEER – LFF 2017 – REVIEW

I started writing film reviews a few years ago and the main reason was because I wanted to try and understand why I liked or disliked a film. I also wanted to improve my creative writing by understanding the thought process of others.  Living filmmakers whose work I have consistently enjoyed, save for the odd one here or there, are: Martin Scorsese, Quentin Tarantino, The Coen Brothers, Lynn Ramsay, Jonathan Glazer, Woody Allen (even some of the later ones), Park Chan Wook, David Fincher, Edgar Wright, Jacques Audiard, Darren Aronofsky, Kathryn Bigelow; and many others no doubt!

Such directors capture the quintessence of what cinema is for me. Not simply just in style and form but also powerful themes, imaginative concepts and sheer bloody entertainment. Filmmakers, of late, you can add to that list are: Denis Villeneuve, S. Craig ZAHLER and Greek filmmaker Yorgos Lanthimos. I have now seen three of his films, namely: Dogtooth (2009), The Lobster (2015) and his next release The Killing of a Sacred Deer (2017), and they all defy conventional film conventions to deliver absurd, surreal, funny, dark, thought-provoking and imaginative visions of human nature. Also, let’s not forget the writer too; so kudos to his writing partner Efthymis Filippou, who combines with Lanthimos to create such memorable cinematic offerings.

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The story itself begins in a reasonably conventional fashion. Colin Farrell’s successful surgeon, Steven Murphy, is happily married to his wife, Anna, portrayed with glacial precision by Nicole Kidman. They have two healthy and intelligent children, a boy and a girl, and their lives are a picture of upper middle class contentment. Steven and Anna’s family equilibrium is skewed when a teenage boy, Martin, brilliantly portrayed by Barry Keoghan, inveigles his way into their lives through a combination of innocent charm and surreptitious pathos. Martin is a dark angel representative of the cloud of sickness and guilt and remorse and his actions force Steven and Anna to have to face up to a parents’ worst nightmares.

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Lanthimos and Filippou, in Godardian fashion, constantly calls attention to cinema form; especially with a strangely effective form of anti-acting where, Farrell notably, dryly delivers dialogue as unconnected non-sequiturs. The words also constantly surprise us as the characters speak at each other with phrases that create humour and emotional disassociation. Nonetheless, such artifice only adds to the off-centre and sinister nature of the piece. The film is also beautifully shot with a wonderful symmetry to the composition of many shots. I also liked the choice of wide-angle lenses and the flowing Steadicam shots. Many were pitched at just over head-height, and provided an eerie floating sensation throughout the drama.

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Colin Farrell (as he did in The Lobster (2015), Nicole Kidman and the rest of the cast buy completely into Lanthimos and Filippou’s striking vision which takes its’ influence from l Greek tragedy. But while Farrell excels in another praiseworthy under-stated deadpan performance, Barry Keoghan steals the show. The young actor follows up his impactful supporting appearance in Dunkirk (2017), with a compelling character study and eerily mature portrayal. Overall, this is a gripping, absurd thriller-turned-horror film which constantly wrong-footed me with its plot turns. It is a truly chilling, yet darkly comical and surreal genre film that manages to be somehow extremely accessible too.

(Mark: 9 out of 11)