Fine Line should expect modest returns for this original, often disturbing film; while it may appeal to adolescents, pic is likely to alienate more conservative indie audiences with its nonlinear structure, downbeat tone and off-putting imagery. Korine is 23, and his age— and corresponding sensibility and aesthetics — are crucial to understanding a work that displays all the characteristics of a first film.
That's not quite fair -- Greenaway had an obvious craft, intelligence, and eye for stunning visual beauty. This film, however, is urine, with or without the bucket. Its makers would no doubt hide behind that mask of "realism," and that's fine.
But does anyone who sees this movie come away with anything other than awfulness? That's what I asked myself about ten minutes into this film. Does the movie reveal great truths about us or the world in which we live? Maybe, though I'm not quite sure. If this movie has any value to the average moviegoer, that's it.
I'm sure that aspiring directors interested in cinema verite would gobble this up, as would the self-important proponents of the Dogme 95 movement. Apparently, Korine's next film, which I have but haven't yet watched -- "Julien Donkey-Boy" -- is the first American film to use the Dogme 95 rules.
I was ready to hate it. In fact, I wanted to hate it. I wanted to reject this as the bowel movement of some no-talent film graduate.
But I couldn't, and I can't. It's something like "Kids" a film Korine wroteor some other Larry Clark concoction. It's a hard-to-take movie that would probably anger most, intrigue some, and bore the rest. I was angered only a few times, during the scenes of animal cruelty -- nothing gets me writhing in my seat quicker.
The main idea or "story" here is just a stream-of-consciousness tracking of a number of white trash kids. The main character, Solomon, and the kid who plays him, Jacob Reynolds, is very interesting.
It's a shame he hasn't been in anything sinceaccording to IMDb. It's the only part of the movie I really didn't like. Well, I guess I could have done without the pretentious slow-mo.FilmBar brings you the indie drama Gummo - hosted by local movie podcast, Cult Film in Review!
The film centers around the lives of a group of smalltown Ohio denizens just trying to get through the day and is the first movie from controversial director Harmony Korine.
'Gummo' is a very strange little film. Its documentary realism is rather captivating, the bizarre people we see appear to be completely real%(36). But the film's uncertainty is precisely what makes it so refreshingly honest. The sheer crassness of some of the scenarios -- a boy discovering a lump in the breast of the girl he's feeling up, a retarded teen turning tricks while her brother/pimp tweaks his nipples, and Korine himself jokily propositioning a gay African-American dwarf while.
This weekend saw the London Short Film Festival (in partnership with the good people at Mubi) hold a two day event at the ICA to examine the incendiary filmmaker in order to see how his debut feature Gummo fits into the current climate of filmmaking.
Gummo is a film of substance, a rare thing in this time of Estee Lauder actresses and pec enhanced tree trunks stumbling around the kindergarten dialogue. Reality TV before it became anachronistic. The film itself is an interesting vignette of characters, locations, doings, sayings.
The landscape of a fictionalized Ohio town in the aftermath of a disaster is as much an excuse to film outright absurd scenes as the ambiguous plot.