Does anyone else miss pre-depression era Lars von Trier? I still give him Antichrist and even Melancholia, but the "just because" stylistic choices of the tedious Nymphomaniac made me yearn for a time when he had enough thought behind his unconventionality to give us his wonderful Dancer in the Dark, and enough humor to give us Riget. He was always nasty, defiant, and upsetting like only he knows how, but something has changed.
Now we have The House That Jack Built; another film that, despite how different it is from every other movie out now, still manages to be predictable if you know your Trier. I often defend strange decisions and rule-breaking in film, as with Michael Haneke's Funny Games, but Von Trier somehow manages to make clear that the only reason he's breaking the rules is that he's Von Trier, the supposed arthouse emperor. See what I did with that shot? Aren't these title cards weird? Look at how oddly edited everything is!
We get "more of the usual" in other departments as well. The documentary-esque camera work (à la Dogme 95), the super-slow-motion bits, the jump-cuts, the lengthy lecture-like conversations, and the controversial scenes of violence and mutilation. The villain protagonist, OCD-ridden serial killer Jack, narrates the film nigh constantly, and despite sometimes doing us the favor of explaining to us what he's thinking and feeling, I don't know that he ranks among the greatest, most complex killers of cinema.
Matt Dillon is good in the role but like many a recent Trier character, Jack rarely partakes in any particularly human-sounding interactions or monologues. It's difficult to emotionally connect with the characters of Trier lately, especially when they start reciting whatever opinion or observation was on the director's mind while he was writing and felt the need to vent.
The movie supposedly alludes to his fiasco at Cannes. You know, that time when he apparently "understood Hitler"? I didn't notice this when I saw the film myself but I believe in the critics (there's definitely a sequence where he congratulates himself on his filmography and dubs himself misunderstood). It's nice that he got to screen another film at the festival after all, but the film in question may have made his future at Cannes uncertain.
In the movie, Jack retells a number of "incidents" from the past 12 years of his life, where he would slaughter women played by the likes of Uma Thurman, Riley Keough, and Siobhan Fallon Hogan - these scenes, I gather, haven't exactly countered the idea that Von Trier has weird feelings about women. I maintain that he gave us admirable female characters in pictures like Breaking the Waves and Dancer in the Dark, but who knows? Did the divorce change things?
Listening avidly to Jack's tale is Bruno Ganz, never seen by the viewer but often heard making obvious observations, and/or notes which Von Trier no doubt really WANTS the audience to make during a given scene. Again, thanks for the assistance.
The House That Jack Built is just not that rewarding to watch. It's amazing how a movie can be so different, so completely defiant, and yet so completely unsurprising at the same time. When you're spoonfed all emotions and themes, and you've gotten used to the cruel violence and even the persistent rule-breaking within the presentation, what's there to chew on? Towards the end, the film goes for a more surreal (albeit at times just "random") approach and I find myself interested again, although it isn't quite enough.
Hell, the film doesn't even have Udo Kier. What kind of Von Trier film is that?
Now we have The House That Jack Built; another film that, despite how different it is from every other movie out now, still manages to be predictable if you know your Trier. I often defend strange decisions and rule-breaking in film, as with Michael Haneke's Funny Games, but Von Trier somehow manages to make clear that the only reason he's breaking the rules is that he's Von Trier, the supposed arthouse emperor. See what I did with that shot? Aren't these title cards weird? Look at how oddly edited everything is!
We get "more of the usual" in other departments as well. The documentary-esque camera work (à la Dogme 95), the super-slow-motion bits, the jump-cuts, the lengthy lecture-like conversations, and the controversial scenes of violence and mutilation. The villain protagonist, OCD-ridden serial killer Jack, narrates the film nigh constantly, and despite sometimes doing us the favor of explaining to us what he's thinking and feeling, I don't know that he ranks among the greatest, most complex killers of cinema.
Matt Dillon is good in the role but like many a recent Trier character, Jack rarely partakes in any particularly human-sounding interactions or monologues. It's difficult to emotionally connect with the characters of Trier lately, especially when they start reciting whatever opinion or observation was on the director's mind while he was writing and felt the need to vent.
The movie supposedly alludes to his fiasco at Cannes. You know, that time when he apparently "understood Hitler"? I didn't notice this when I saw the film myself but I believe in the critics (there's definitely a sequence where he congratulates himself on his filmography and dubs himself misunderstood). It's nice that he got to screen another film at the festival after all, but the film in question may have made his future at Cannes uncertain.
In the movie, Jack retells a number of "incidents" from the past 12 years of his life, where he would slaughter women played by the likes of Uma Thurman, Riley Keough, and Siobhan Fallon Hogan - these scenes, I gather, haven't exactly countered the idea that Von Trier has weird feelings about women. I maintain that he gave us admirable female characters in pictures like Breaking the Waves and Dancer in the Dark, but who knows? Did the divorce change things?
Listening avidly to Jack's tale is Bruno Ganz, never seen by the viewer but often heard making obvious observations, and/or notes which Von Trier no doubt really WANTS the audience to make during a given scene. Again, thanks for the assistance.
The House That Jack Built is just not that rewarding to watch. It's amazing how a movie can be so different, so completely defiant, and yet so completely unsurprising at the same time. When you're spoonfed all emotions and themes, and you've gotten used to the cruel violence and even the persistent rule-breaking within the presentation, what's there to chew on? Towards the end, the film goes for a more surreal (albeit at times just "random") approach and I find myself interested again, although it isn't quite enough.
Hell, the film doesn't even have Udo Kier. What kind of Von Trier film is that?