#18, 19, & 20: The Neon Trilogy
Special Reservation Via Invitation. ������
Appetizer: Director's Filmography
Let's kick this trilogy off the right way by discussing the neo-crime film Drive. When it first came out, it made a lot of people angry in theaters because the trailer made it seem like a popcorn action flick. It isn't. Far from it really. But that bait-and-switch pays off with a linear story executed fantastically. This is Ryan Gosling at his best - a broody yet caring protagonist who is swallowed up by the criminal waters of Los Angeles. A stuntman turned getaway driver smacks of B movie fun, but there are so many additional elements to this it makes my head spin.
The music, while jarring at first, is icing on the cake in what is obviously aiding the movie in paying homage to what we like about the 80s. Lighting gives this (and the rest of his work) a cool synthwave vibe to them and since I love that kind of music, this gets brownie points from me.
It's a simple tale of doing right by doing wrong. There may be a bit more patience required for the juicy bits, but that makes it all the better for me. Don't expect explosions, but there will definitely be blood.
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Next I want to briefly examine The Neon Demon. I watched this with a few friends and by the end they were emotional wrecks. SO of course I loved this film. The characters were way more lively than they were in the other two, and I can see why most label this one Horror, but for me it wasn't really Horror. It was a drama with horror undertones followed by a hell raising third act. Sort of in the same sense Hereditary is, where it's not apparent you'll get gruesome, but oh you will.
I noticed by this movie that Refn has a thing for pacing. It's unconventional and requires the audience to stay with the character even if what they're doing isn't exciting. He holds on to a shot, and it gives the film a dreamlike essence.
Fine enough film for arthouse horror. It isn't grip-you-by-the-balls terrifying, but it does something different with a archetype we've seen a hundred times plastered on billboards and magazines. Fair bit of fashion industry critique also makes this a pleasant ride with an unpleasant detour.
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And that brings us to Only God Forgives. This movie is the odd-man out. For half of it I was getting a hard David Lynch-vibe (right? Not from the dark supermodel nightmare but THIS one), with several moments reminding me of Blue Velvet. Gosling is still the quiet brooding protagonist, but this time there seems to be focus on him standing or sitting around compared to Drive, and no gentler side to fall back on. Gosling spends a third of the movie just staring at hookers. At least in the car flick the setting was visually stimulating and the music made you pay attention. While the set pieces and lighting were gorgeous here, it never really offered anything narrative-wise. Dialogue was also so flat and uninspiring it had to remind the viewers "Hey, Ryan is going to kill someone, we promise, this is a revenge story, just wait some more."
When people use the phrase "all style and no substance", this movie comes to mind for me. Count all the scenes that play with orange and blue colors. Make a damn drinking game of it.
I will give Refn and this movie in particular its props - stylistically it's a treat. Characterization with focus on what the cast is doing, wearing, etc. is superb, practically Tarantinoesque. When we finally, finally get around to violence, it goes above and beyond the other two films. Nobody is relatable in this movie but at least their blood is the same as ours.
If you haven't seen any of these but want to go on the journey, I'd start with this course first to get it out of the way.
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My Overall Take
There is one word that describes Refn, and it's aesthetic. Like Wes Anderson and Hitchcock, it's easy to pick up on who it is that's directing the movie. That's the mark of a true film auteur. His worlds are pretty but also seedy, full of bittersweet vengeance and understated lines. It is insane to know that this director is also colorblind, because when it comes to lighting and color choice, he is a champion. Old Hollywood meets millennial flavors in these films, and it's well worth price of admission let me tell you. Subdued until it can't be anymore, this kinda sorta trilogy is a thinking man's action movie gauntlet. Be prepared to shift in your seat and soak in the purple and pink spectacle.
Tonight's Special: Grilled Fish Tacos (Seal of Approval)
A colorful as well as appetizing snack for your movie going purposes, this recipe is a favorite of mine for those pleasant summer evenings.
INGREDIENTS (Serves 6)
Adobo-Rubbed Fish
4 teaspoons chili powder, preferably made with New Mexico or ancho chiles
2 tablespoons lime juice
2 tablespoons extra-virgin olive oil
1 teaspoon ground cumin
1 teaspoon onion powder
1 teaspoon garlic powder
1 teaspoon salt
1/2 teaspoon freshly ground pepper
2 pounds mahi-mahi or Pacific halibut, 1/2- 3/4 inch thick, skinned and cut into 4 portions
Coleslaw
1/4 cup reduced-fat sour cream¼ cup low-fat mayonnaise
2 tablespoons chopped fresh cilantro
1 teaspoon lime zest
2 tablespoons lime juice
1 teaspoon sugar
1/8 teaspoon salt
Freshly ground pepper to taste
3 cups finely shredded red or green cabbage
12 corn tortillas, warmed
1. To prepare fish: Combine chili powder, lime juice, oil, cumin, onion powder, garlic powder, salt and pepper in a small bowl. Rub adobo rub all over fish. Let stand 20 to 30 minutes for the fish to absorb the flavor.
2. To prepare coleslaw: Combine sour cream, mayonnaise, cilantro, lime zest, lime juice, sugar, salt and pepper in a medium bowl; mix until smooth and creamy. Add cabbage and toss to combine. Refrigerate until ready to use.
3. Preheat grill to medium-high.
4. Oil the grill rack or use a grilling basket. Grill the fish until it is cooked through and easily flakes with a fork, 3 to 5 minutes per side. Transfer the fish to a platter and separate into large chunks.
5. Serve the tacos family-style by passing the fish, tortillas, coleslaw and taco garnishes separately.
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