I have a friend who loves to walk out of movies. He’ll give almost anything a try, but he knows his taste and can tell when he’s seen enough. It’s almost a matter of pride for him to cut bait at a …
I have a friend who loves to walk out of movies. He’ll give almost anything a try, but he knows his taste and can tell when he’s seen enough. It’s almost a matter of pride for him to cut bait at a certain point during the screening, once he has determined that the film is only going to disappoint him further.
As a result, I can count on one hand the number of films I’ve walked out of. The first was a movie called “John Carter’s Ghosts of Mars,” at a screening where the director was supposed to do a Q&A afterward. I just couldn’t take it. Several years later, I gave up on “Control,” a pretentious and ponderously obvious portrait of suicidal Joy Division singer Ian Curtis that hit every beat of the musical biopic genre so predictably that I didn’t have to watch it to know how it would unfold.
Instead, I stuck with it for another hour, as the boy goes on to discover his guardian’s lifeless body. Their cabin catches fire, and he is forced to find the nearest town, where the suspicious locals abuse the kid and sell him to a witch. The old woman then drags him to the middle of nowhere, burying him up to his neck, so that menacing black birds can peck at his skull.
Mind you, I’m not squeamish and have seen far worse things on screen before. War films can be especially brutal. Still, I appreciate the way that Elem Klimov’s wrenching “Come and See” and the more recent, Auschwitz-set “Son of Saul” — to name two examples — have forced me to examine ugliness where I might otherwise turn away.
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