Buy Martyrs Blu-Ray
Mardi, août 31st, 2010
I freely admit I had dangerously high expectations going into this film, having read SO many obvious reviews (and some rabidly negative ones as well — as this is one of those love-it-or-loathe-it experiences), but I’m jubilant to say that, for me, ‘Martyrs’ lived up to every bit of the hype, and then some.
Buy,Download, Or Stream Martyrs! Click Here
The predicament is that, for most people, they are simply NOT going to be anticipating what this film actually IS, as opposed to what they’ve been led to Gain it is. Namely, though it contains many ASPECTS typical of the genre, ‘Martyrs’ is NOT really a “terror film” in the usual sense.
Don’t acquire me imperfect, though — the film certainly IS horrifying at times, on a number of different levels. And it has a kind of nightmare poetry which continues to haunt me.
Buy,Download, Or Stream Martyrs! Click Here
‘Martyrs’ also manages to explain an overwhelming sense of cumulative horror and a hellishly pervasive sense of icy, heartless, systematically calculating horrible. But it actually has a lot more in well-liked with Gaspar Noe’s uncompromising ‘Irreversible’ and the sunless lyricism of Franju’s ‘Eyes Without A Face’ than it does with films like ‘Saw’ or ‘Hostel’.
For, while it does have some extremely disturbing violence and gore, it’s somewhat less obscene in that respect than either ‘High Tension’ or ‘Inside’ — two other famous examples of the current wave of French scare cinema.
But ‘Martyrs’ affected me far more than any of the above-named films (excepting ‘Irreversible’ and ‘Eyes…’ ), because of the IDEAS being dealt with and because of Pascal Laugier’s remarkably artful handling of his material, aided tremendously by the harrowing, raw-nerved excellence of the acting, as well as the pleasurable cinematography, editing, music, and make-up effects.
Indeed, ‘Martyrs’ is an “art film” in many ways. In fact, at a couple points it actually elicited tears from me — not my typical response to most apprehension films — as well as a few genuinely appalled exclamations of “Oh my God… Oh my God…”, such was the level of my empathy and identification with the main characters and their ordeal.
In fact, it was this aspect of the film which enabled me to glean past what would otherwise have been a large stumbling block for me, in terms of worn movie logic — i.e. the primary caveat of illogical behavior on the allotment of the characters when faced with a risky or potentially perilous region and NOT getting the hell OUT of there! In fact, at a very key point in the chronicle, not only do the two main characters refuse to extricate themselves from a very uncertain and potentially uncertain locale, they positively LINGER there for what seems like DAYS!
Now, normally this would have had me crazy and screaming in frustration at the seeming stupidity or obtuseness of the characters. But, miraculously, in the case of ‘Martyrs’ I hardly even registered any of this because of the particular relationship dynamic of Lucie and Anna and their original personal/psychological histories. In other words, given the very particular qualities of these two women, a specific case could be made for what would otherwise have seemed infuriatingly harmful behavior.
I collect it both advantageous and reassuring that Laugier has referred to his film as the “anti-’Funny Games’”, referencing Michael Haneke’s deeply bad, repellently grueling use in audience participation/endurance. For while ‘Funny Games’ was also not a fear film in the exploitative/commercial sense, neither did it have, for me, the inherent spiritual aspects or, dare I say, compassion, which form me willing to return to ‘Martyrs’, whereas I never feel myself fervent to play more ‘Funny Games’.
But, more than anything, ‘Martyrs’ lingers in my mind as a deeply dusky, disturbing, and ultimately curious meditation on the theme of injure and transcendence. And though I can recognize many viewers recoiling from the experience, disgusted by its brutal savagery and dismal and offended by its seeming nihilism (with the emphasis on “seeming”), I regain that the film’s tantalizing ambiguities and factual questions fabricate for a rich cinematic tapestry, reflective of both heaven and hell. And yet, paradoxically, it is perhaps the film’s unnerving ability to remark a world of bottomless heinous and merciless cruelty that kept me from giving ‘Martyrs’ a corpulent five stars. Almost as though a piece of me would feel guilty in doing this — as if that would be akin to giving my implicit endorsement or tacit approval of the film’s pitch-black heart of darkness.
Perhaps, Mr. Laugier, you did your job a bit TOO well!
Be that as it may, clearly this film has a lot more on its mind than simply grossing out or traumatizing its audiences, though it certainly managed that, as well, during some of its controversial festival screenings. Yet I would peaceful hesitate to recommend it to most people I know. ‘Martyrs’ is, decidedly and emphatically, NOT a film for everyone.
But, for those looking to be challenged as well as shaken — for those willing to be taken to deeply sad places and shown poor things in original and unexpected ways — for those yearning to FEEL a visceral response again after years of mindless, numbing “movie-violence”… For all these people ‘Martyrs’ will be a welcome, if not necessarily respectable experience, leaving them with something to actually Consider about once the slay credits have rolled.
A very sunless postscript to a very sunless film:
Benoit Lestang, a stop friend of the director, and the man who contributed the film’s jaw-droppingly noteworthy special make-up effects, committed suicide shortly after the film’s completion. He did score to spy the film prior to his death and apparently was proud of his work and moved to tears by the film. As to the specific reasons for his tragic decision, tiny has been spoken or written about that. And, given the film’s specific subject matter, one could all too easily be drawn into the temptation of making improper connections and drawing conclusions, which I shall assiduously avoid.
Laugier himself has been very candid about his have personal feelings, both in regard to the emotional devastation of losing his friend, as well as the fact that the creative genesis of ‘Martyrs’ sprang from a long period of Laugier’s enjoy depression. And he has indicated that, in some ways, the film was perhaps his response to that depression — partially expiating it through channeling his occupy darkness and hurt into that of the film’s theme and characters.
Suffice it to say, ‘Martyrs’ will provide a lasting and noble final monument to Mr. Lestang’s amazing gifts as a supremely talented artist and craftsman. And it is precisely that artistry, in conjunction with that of Laugier and the rest of his mighty team, that resulted in startling images of odd and unpleasant beauty. Images which, like the film itself, continue to linger in the mind long after the final curtain.
Peace be with you, Benoit.
I’m finding it difficult to properly and sensibly review this film. No film in modern or past history has left me as afraid and almost confused about how I feel about it as Martyrs did. I felt the film was exceptionally well made with a very recent and VERY unlit storyline. I’m a substantial terror and gore fan, but I’m not quite obvious this film fits in that category. Its something more, something that is nearly in a class by itself.
Its hard to review a movie like this, at least for me. Did I like the film? Yes. But I’m almost not positive why. Its a smart film, so unusual, so well made, but its almost like those factors are also what makes this movie so disturbing. Martyrs has taken disturbing and depressing to a whole recent level. Its violent and bloody obvious, but there are worse out there. But its not fair the violence or blood that leaves the uneasy feeling, its the movie as a whole. The subject matter, storyline, darkness, combined with the violence and blood created probably the most disturbingly novel, nearly disgusting, yet brilliantly made film I quite possibly have ever seen. Seek the dilemma trying to review this film? Its one of the most recent, yet horribly disturbing films I’ve seen.
Unfortunately, I cannot eye any replay value here. After seeing this film once regardless of how wonderfully made it is, how fresh it is, how different it is, I simply cannot survey myself ever watching it again. Although watching it once has truly been an experience, it is honest so bizarre, sunless, and depressing that I would never sit through it again.
I’ve never felt this draw about any film before, which says something for the quality and originality of it. If you’ve ever wanted to examine one of, if not the most disturbing film ever made give this a try. Its a gargantuan movie that is almost hard to comprehend that will disturb you many days after viewing it.
How To Quit Smoking Cigarettes
The Electric Cigarette
Electronic Cigarettes Reviews