El color que cayó del cielo Free Movie openload Online director Richard Stanley
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Writers: Scarlett Amaris. 
. 7 / 10. resume: When an iridescent meteorite plummets from outer space and into the property and foundations of a remote New England estate, a malignant force begins to insidiously permeate the lives of an unassuming family. The effects are gradual - time begins to dilate, nature assumes an otherworldly hue - and all things bright and beautiful eventually mutate and corrupt under its influence. So proceeds this eerie adaptation of the short story by H.P. Lovecraft, one of horror's most haunting, here presented by the enigmatic South African filmmaker Richard Stanley. Returning to Midnight Madness 29 years after his hypnotic killer-robot fandango Hardware first premiered in the section, Stanley summons his uniquely hallucinogenic sensibilities to envelope his endearing characters in surreal, incremental dread. At first, their domestic bliss is quietly fraught with an undercurrent of unnerving tension, before eventually boiling over into delirious, acid-fueled terror. The patriarch of this doomed brood is none other than Nicolas Cage, continuing his recent renaissance as a midnight-movie staple with an increasingly unhinged performance that reliably ricochets among every technique in the Stanislavski playbook. The rest of the ensemble, which includes Joely Richardson and Tommy Chong, play effective foils to Cage's delirium, but the real star of the show is the alien entity itself. This all-consuming, dispassionate menace manifests itself in a series of grotesque, body-horror, and psychedelic spectacles, worthy of its ineffable literary origins. Runtime: 1 hours, 51min. Richard Stanley.
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Saw this with Richard Stanley in attendance at PDX Hollywood Theater and H.P. Lovecraft Film Festival.
I went in cold, not knowing much about Lovecraft, and knowing nothing at all about the story. I had heard that Stanley was of some renown for getting sacked from production of Island of Dr. Moreau, with Marlon Brando, Val Kilmer and others, and that he invoked voodoo upon the production out of mischief.
If you read the wikipedia entry, Lovecraft's story itself sounds pretty good.
Too bad the movie scrambles it up into a tedious admixture of contemporary fear of mixed ethnic mating, cheezball humor, and Cage's now-overworked histrionic raving.
It appears Stanley has compressed Lovecraft's epochal tale into a slice-of-life couple of days in the lives of some non-descript city folk turned sheep farmers. Lovecraft's rural homestead is cast as a pastoral bourgeoise retreat with a fine wine cellar, color tv and poor internet service, which is ruining Cage's wife's work as an finance / investment analyst. Her complaints about the internet gets dropped so many times in the script you expect Wall St's bull to appear as a monster, but it's ultimately an inconsequential detail.
The tale is pegged to the emotional straights of a pretty goth-occult (Wiccan? Someone behind me in theater grunted nerdly recognition and approval at some distinctive category of her magick that fandom sees as determinant, but like the mom's profession is another inconsequential plot detail) white teenage girl who-while inexplicably casting spells near a lake on her family's property-encounters a handsome black "hydrologist" surveyor. This is also inconsequential to the plot. Why is this man there? In Lovecraft's story he's an observer who helps the reader make sense of the odd effects that occur upon the landscape as a result of the "meteor" impact.
In this adaptation, could this man be imbued with a wizardly understanding of the sexual contours of nubile girls? If only. Because as you will see, the entire movie is built around her purely passive, innocent sexual attraction to him somehow splitting the world asunder, rendering the homestead, and destroying them all. That's pretty much it. IOW the contents of the story is nothing more than the slightest potential of a mixed ethnic young love affair destroying the world. The meteor is just a supernatural mcguffin.
Meanwhile a bunch of silly stuff occurs. Sadly for the viewer nothing else really happens.
The psychic dimensions of the meteor intrusion go totally unexplored, with the events of the plot, alternately disjointed and spuriously interconnected by weak dialog serving no purpose other than to get from one scene to the next, which in the long run serves no point at all.
It's a remarkable visual experience, I suppose. But it feels designed for the psychic aptitudes of 12-going-on-40 year olds Cthuhlu nerds-who btw must have very sophisticated visual pattern matching capacities because all manner of intense camerawork and vfx are deployed to try to hold audience interest in a plot that's going down a dark road at the 45-mph maximum speed of Cage's 80s vintage Volvo station wagon.
In place of drama, exploration and suspense, you'll see psychedelic vfx ala Annihilation, body horror ala Mandy and a procession of jump scares bookended by old Nick Cage's pro forma crazy-ase hamming.
A solid hour of churning monster mayhem and a iridescent light show leave the hydrologist as the last man standing. He looks across a blighted ruin of a landscape turned to ashes by a teenage girl's amorous histrionics, and wonders aloud about the effects of color on the world. I am not making this up.
I doubt the director is a bigot, but watching this movie in a sea of Portland Cthulhu hipsters and considering Lovecraft's misanthropy and deep strain of white supremacy / xenophobia, I noticed how much these monsters are simply sprouts of unexamined libido rooted in the acrid soil of America's origins with the rapacious empires of Europe, Puritanical new world flight, the North American genocide, and the lingering scars of the Civil War. Portland is a very white and rejunevile city, and this "culture" is fit for an episode of Portlandia. Never mind that the movie was made in Portugal.
At Q/A after show, Stanley said if you kill a dog you've got a B movie. Well you can get B movie many other ways and dropping Tommy Chong's weed-addled old visage into the mix for no reason is another.
Yet the audience seemed to love it and gave a standing ovation. Maybe more out of appreciation for Stanley's appearance at the festival than because they loved the movie?
And it's not a good movie. There's some memorable imagery, and some cinematic craft in keeping with this technical age of the movies, but nothing to go on about. The whole effort felt forced.
Nobody at the Q/A gave a flying F about the medium as an avenue of cultural exploration re Lovecraft's latent racial politics.
I find the mysterianism of the Necronomicon and the rest of this sort of pop occultism tedious, notwithstanding its purely anthropological features.
To his credit, Stanley remarked that his teleplay was informed by his great personal fondness for Lovecraft's work and his awareness of "Lovecraft's misanthropy and racism." That comment spared him from a pointed question I wanted to ask about the absurdly trivial "racial" dimension of the plot re mixed ethic love.
The festival presentation met the basic parameters of fun but was a typical PDX circle of banal hipster fetish and minor celebrity with the movie less a main feature of the event and more a prop for the fetish.
Stanley seems an intelligent and interesting guy and he's worth looking into, esp per the documentary on his de-railed adaptation of the Island of Dr. Moreau and some documentaries which will be difficult if not impossible to find.
I hope he keeps making movies so that he can someday redeem the promise hinted at by this competent if not compelling production.
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