Round-up 22: The Teen Apocalpse Trilogy

I really don’t feel like writing this week. But I’m going to anyway because that’s what writers do. My ability to interact with people face-to-face has always been lackluster, but the last week has truly tested the limits of what I’m (not) able to accomplish. I’m just complaining, I guess, but given this is the closest thing to a confessional I’ll ever get, what’s the point of hiding it? Whatever. Days in, days out. Let’s get into some movie talk. I unfortunately did not get around to watching Salo yet, but given my shitty mood, I can see that getting bumped up the docket. We shall see, but I have a good feeling this could be the week I finally get through it.

            All this to say, I did start the week off strong with a viewing of each of Gregg Araki’s entries in his Teen Apocalypse Trilogy from the mid-to-late 90s. The trilogy includes Totally F***ed Up (1993), The Doom Generation(1995), and the conclusion to the saga, Nowhere (1997). The films are loosely connected by themes of queer alienation, rage against the establishment, and an inherent nihilistic perspective on life and the future. Totally F***ed Up is the loosest of the three, with a collection of fifteen short episodes about a group of gay teens struggling to find acceptance in a generation that didn’t understand their plight, and moreover served to put them down. It follows the French New Wave approach of montage of characters hanging out, as well as the freeform camera style that immerses the viewer in an almost home video quality. It’s definitely early Araki, all of the tropes are being developed, but this is the least tight of the three. The Doom Generation is Araki utilizing a significant budget for the first time, and he goes balls to the wall with it, and for this, I can respect him a great deal. His vision, however, is less clear, with similar themes from the first film transferring over, this time with a more heightened sense of feeling. What I mean is the film has a tactile approach with graphic violence filtered throughout. This is mostly done for comedic effect, but it must be noted that the severity of the imagery is often hard to look at. This being said, the film has a committed tone and accomplishes a lot through its use of dark colors and witty dialogue that could only come from a mind like Gregg Araki’s. The finale to the trilogy, Nowhere, is easily the strongest of the group by a long shot. This feels like Araki is finally fully confident behind the camera, with beautiful set design complemented by cinematography that amplifies the color and overall vibrant nature of the film. It’s funny, it’s charming, and still wildly uncomfortable with graphic violence and sexual violence throughout. Araki has a message to say, but I’m not sure if he fully accomplishes communicating it. Maybe I’m reading into too much. Ultimately, this was a trip; it felt like being on acid throughout the last two films and not always in a good way, but definitely in an entertaining way. I feel as though a lot of the themes may have gone over my head, and while they were immensely disturbing, I will most certainly be giving them a rewatch sometime soon. The trilogy might even earn its own standalone essay. Time will tell.

            This week, I also rewatched my favorite winner from this year’s awards ceremonies, Anora (2024), which has once again stolen my heart in all the best ways. I am not all too familiar with Sean Baker’s previous work, regrettably so, but I need to dive into his other work because I have heard nothing but great and wonderful things, and Anora is just further proof of this sentiment. Mikey Madison stars as a sex worker who falls in love with a client who happens to be the son of a wealthy Russian businessman overseas. The two have a whirlwind romance that inevitably ends in chaos and heartbreak. The ultimate “anti-Cinderella” story, so masterfully acted by Madison in the lead role. The cinematography is vibrant and moves with the fast pace of the story, once again a testament to Baker’s ability behind the camera. The side characters played by Russian and Armenian actors are hilarious and the script was clearly changed to play up to their strengths, which moreover makes the film funnier to watch. That’s the biggest part of the film that I think people who haven’t seen it fail to understand: this is a comedy! This is a real crowd-pleaser if you give it the time to kick off properly. The opening sequences of the film definitely take their time, but it’s not for no reason. The lives and work of Anora and her friends are given the respect and time they deserve, so that you can actually care for them when the action starts. This film earned its stripes, and I cannot begin to recommend it enough if you haven’t seen it already.

            Recently, and I can’t remember when exactly, I rewatched Michael Mann’s magnum opus, Heat (1995), and was once again startled by the magnificent scale and prowess being utilized in its making. Before Heat, Michael Mann burst onto the film scene with his early 80s hit Thief (1981) starring James Caan in the titular role. Caan is a jewelry thief; he cracks safes and runs off with the loot, and he’s been working essentially for himself for the longest time. He has dreams of retiring with a beautiful woman to start a family and a better life. He meets a woman and confesses his life to her, and she stays under the implication that he’s going to perform a couple more jobs before he can officially retire. New mob ties stop this plan in its tracks as he becomes increasingly tied into their services, ultimately heading off in a spectacular shootout that I’d call one of the most stylish of the era. This is a real heater of a crime film, full of vibes and tone that would later become staples of Mann’s filmography. The sleek look of the streets is matched with tense heist sequences and beautiful dialogue between the main characters. This is a masterclass in making a crime film, and I hesitate (slightly) to say that this might be better than some of his later works. Everything is just firing on all cylinders with this one. It might just be me being a sucker for crime thrillers, but still, an absolute blast and a must-see.

            Despite my shitty mood, I’m glad I got to share what I watched this week. Another long week ahead of me, but some good updates at work and things might be looking up. Might. Who knows? I try to be a “glass half full” guy, but somehow always end up half empty. I think it might be genetics. I digress. What did you watch this week? What are your thoughts on the films of the week? Have you seen them? Any Gregg Araki super fans out there? Until next week.