The Huckleberries Vol. 12 - undertone & Slanted

     Obviously we want to have an area for reviewing new films here at The Film Encomium, but we want to send a message with our methodology. That message is a simple one: Don’t forget about the fun. 

Yes, film can be transformative, prophetic, and groundbreaking. It can also be none of those things and still be a damn good time, and we want to validate both of those experiences. If you want to fall into the loving yet deadly embrace of gothic horror, we recommend the works of Terence Fisher—but if you want to become well-rounded, you should probably know the relevance of the date October 3rd. 

It is from the balance of Tom Sawyer and Huck Finn that we draw inspiration for the title of this section. Tom is clever; Tom is great. If there were one of those boys we were going to try to get into Harvard, it would be young Mr. Sawyer…but he will always need his Huckleberry. 

We all need our Huckleberries. Art needs its Huckleberries. Sometimes beauty is in the little things and reasoned reflection. Other times beauty is loud, bright, and bold. In the interest of providing our readers with a comprehensive experience, we are not willing to skip The Huckleberries. 

So, with that in mind, here are two enthralling flicks that dropped in theaters recently. The first will alter the way you sense and process terror. The second will remind you of the true importance of being yourself. Enjoy!

undertone -

The advertising for undertone leaned almost exclusively into its status as “THE SCARIEST MOVIE YOU’LL EVER HEAR” and you can absolutely understand why they went that route. They clearly put an exceptional amount of work into auditory terror, and it is the aspect of this production that is the most likely to be studied and replicated by others in future filmmaking. However, this film offers so much more than that, and it is almost unfortunate that they put so much focus on the sonic aspect of their creation; it is exceptional in so many additional fashions. 

The most notable strength that stands out at least once in nearly every scene is the cinematography and camerawork. From the opening shots, first-time director Ian Tuason shows a masterful understanding of space and movement within his shots. This movie may be derided as “a bit of a slow burn” by more casual moviegoers but the truth is that it will feel like anything but for the cinephiles amongst us. Roughly 95% of screen time is dedicated to the lead role of Evy, and the camera angles and transitions are done in a meticulous and intelligent manner that keeps the audience looking over her shoulder even more often than she is.

Speaking of Evy, another massive bright spot that this film has going for it is the fact that it is a spectacular platform for Nina Kiri to flex her considerable acting chops. The only other person who actively appears onscreen during the film is Michèle Duquet as Evy’s mother, and she has some of the most chilling contributions despite barely speaking. Adam DiMarco, Keana Lyn Bastidas, and Jeff Yung all put in some outstanding voice work as well—but it is Kiri who is given the keys to the car, and it is she who single-handedly keeps this ride on the road. 

If you are a fan of flicks that make the most of a modest budget, chilling atmospheric horror, and the general concept of innovative filmmaking? You should make the time to catch this one on the big screen, or as they may advertise it, on the big stereo. Dive into the world of horrifying paranormal myths and legends drawn from our real world, and don’t worry. You don’t believe in this kind of stuff anyway, remember?

Slanted -

This film takes the strongest aspects of The Substance and Mean Girls and reconstructs them into a critical examination of bigotry and the daily impacts of racism. It forms an intersection between genuine existential trauma and the burning desire for fleeting popularity at all costs, a combination that can only be properly expressed through the medium of teenagers. A body horror flick that it is tough to look away from and even tougher to stop thinking about. 

Shirley Chen and McKenna Grace anchor this storyline with their combined portrayal of Joan/Jo, but it is of course Amy Wang’s brainchild. Slanted is Wang’s feature film debut, and it more than lives up to the promise shown in her work with short film and television. It is a bit of a hectic production, but in a manner that is intentionally chaotic rather than the result of sloppy composition. 

Where the assembly of this movie really hit its stride was in the casting department. On top of the co-leads, the performances by Fang Du and Vivian Wu as our protagonist’s rightfully befuddled yet incredibly loving parents stand out in particular. Beyond that, R. Keith Harris has a splendid turn as the cringey Dr. Singer, plus Maitreyi Ramakrishnan and Amelie Zibler manage to combine on a flawless reflection of the types of friendship one runs across in high school. 

At the end of the day, this is a charming and thoughtful piece that still spends more than enough time making you squirm. It should be categorized as a horror first, but there is plenty of drama, comedy, and satire along the way. One gets the feeling that we may be looking back in ten years and talking about how this film was just the beginning for a number of prodigious talents, but don’t let that distract you from the very tangible accomplishment that is this twisted take on coming-of-age tropes. 

Don’t miss this one, or else you can’t sit with us at lunch anymore. 

~The Film Encomium~