Proxy

This review contains NO SPOILERS and I suggest you skip the reviews with spoilers until after you see the film.

In my opinion this film is a gem in a sea of gravel. Although it could be more polished it nevertheless retains its value.

The actors performances range from competent to stellar (Alexia Rasmussen was particularly impressive but everyone involved held their own and had their moments to shine) and this is in no small part due to good writing and direction. Cinematography is a similar affair ranging from adequate to mesmerizing. It is certainly a mixed bag but you'd be pressing pretty hard to go so far as to call any of it bad. I personally felt the score was superb and fit the tone of the scenes well.

With the exception of a fairly brutal scene in the first act of the film there really isn't much violence or gore on screen here and what little of it there is was handled tastefully. Visually there is nothing here you won't have seen before. What makes it disturbing is the context, the emotional and psychological mayhem rippling through the characters affected and the cold distance maintained by those less/ unaffected around them. The behavior of the main characters may be extreme but they are the extremes of common conditions.

This is where the film truly shines, as a study of the human condition when emotional needs are not satisfied, the common phenomenon of loneliness and isolation within a dense population and the resulting psychoses. The way empathy is handled in a clinical fashion by professionals and dished out superficially by peers when it suits their agenda, the way people within various relationships, genders (or rather, levels of masculinity or femininity within both genders) as well as how deserving a person may actually be of true empathy anyway are all bouncing off each other here and it's really engrossing to behold if this sort of thing interests you.

I really don't want to spoil anything for any of the viewers for whom this film is intended so I hope it suffices to say that there are "twists" resulting from the nontraditional narrative structure that create an unpredictable thriller spliced with elements of drama/ horror. Every time I made an educated assumption of where things were headed the film surprised me and seemed to revel in doing so until the credits rolled.

If you are the type of person who thinks a character in a film who happens to be of a certain gender or sexual orientation being portrayed as flawed is an accusation directed at everyone in that category or, more importantly, are enduring the loss of a loved one . . . viewer discretion is advised.

I hope this film isn't lost in the horde of mediocre entries in the genre(s). From me this film scores a solid 8/10.

If you're looking for a movie that gives you that feeling like you're not sure what you have been apart of, then take a moment to view here. As you sit alone in the dark talking aloud to the TV, you'll be asking yourself questions like: It's a horror? Oh, is it mystery? Maybe it's a psycho killer type thing? Or is it just weird? The ending, It couldn't of ended any other way! I liked it.

The main character really pulled me into the story. She is alone and pregnant, we don't know why. An introvert loner who's sadness seems obvious for all to see. When the first shocking seen hits you, it hits you twice as hard as you know this will send her down some weird pit of crazy despair that only someone on the edge can feel.

Then as the next few scenes of the movie unfold, you can sense that something else is happening and That's when I sat up as I wasn't sure what is happening or what will happen next. As you know, there are way too many movies where you know what happens next!

You have to like unconventional movies or you won't enjoy this strange little trip into weirdness.

Some scenes are really well-crafted (the extreme slow motion scenes in particular are gorgeous) so there is definitely some talent behind the camera.

But, and that's a big but, the pace is at a snails speed at times and you really get the itchy trigger finger for the fast-forward remote button a lot.

I think had it been edited down to 90 minutes it could have been a fairly effective movie over all but as it is you really need to have a lot of patience with it, it's 2 hours long but it feels even longer.

And the second hour of the movie doesn't quite come together as well as I'm sure they intended, which is a shame because it does have a pretty cool plot which reminded me a bit of French horrors more so than American.

So yeah overall a strong 4 or a weak 5 from me.

I can't decide if the actor who plays Anika was terrible because of how poorly the character was written or if she is just a terrible actor. In either case, she turned what could have been a respectable, decent film into a lame Indy ruined by one bad performance.

At first thought, Proxy isn't a horror film because it doesn't concern elements we commonly associate with horror, such as serial killers, demons, and supernatural occurrences. However, it contains the horror elements some of us tragically face as human beings, such as rape, miscarriage, distrust, betrayal, and loneliness in such a way that makes for an experience thriving on fear and uncertainty. I love when films, independent or mainstream, go off on tangents and completely catch me off guard with their intelligence and craft.

We are first greeted with Esther Woodhouse (Alexia Rasmussen), a pregnant woman who, judging by the looks of her stomach, is very close to her due date, emerging from a clinic to only be savagely attacked by a random mugger. She suffers a miscarriage and is left physically deformed, and, due to obtaining the sperm from a sperm bank, has almost nobody to help her through her tragedy. On an off- the-cuff decision, Esther visits a support group for grieving parents, where she meets Melanie Michaels (Alexa Havins), who claims her husband and son were killed. Esther becomes close with Melanie, much to the dismay of Esther's jealous lover Anika Barön (Kristina Klebe).

This is all of the plot I'm willing to give away, for Proxy is one of those films where the line between basic plot summation and spoiler territory is so incredibly thin that another few words added to a sentence could spoil more of the movie experience. It doesn't matter, though, for I'm in the business of opinion and not synopsis. From the moment it kicks off, Proxy is potent and terrifying as a horror film, always engaging the viewer with elements of mystery and character insincerity and keeping them immersed by moving quite frequently and scarcely letting up. In addition, the performances, specifically Rasmussen and Havins, convey a detached and disconnected sense of reality that is almost necessary in a film where the audience is unsure of who is honest, as well as the characters themselves.

On top of that, there is a serious feeling of contempt and loathe that looms over the viewer with every scene, making this a deeper and more investing horror film than I initially imagined. The way the film plays with your emotions by taking numerous social tragedies and lumping together, not for shock, but for the sake of narrative potency and the near-personification of fear is just delightful. Director and co- writer Zack Parker (working alongside writing partner Kevin Donner) take their time to allow slowburn tension to develop, as Proxy occupies a liberally-used two hours, sometimes focusing on conversation, character interest, or events, depending on the current mood of the writers. At two hours, there is ample amount of time to spend on all these aspects, assuring we never get a thoughtful film that races by too quickly to even be analyzed.

Proxy's only issue is that not every performer can make the transition from disconnected to fiery and fuming with anger, most notably Joe Swanberg, one of my favorite directors, who has played low-key for so long perhaps his attempt at sudden rage just feels off-kilter for that reason. There is an understandable mixed reaction to Proxy for more than just its performances, but above all, like many films released under the IFC Midnight label, it's a nasty but thoroughly commendable piece of work illustrating fine- tuned components in a genre that so desperately needs not only some subversiveness but some age-old ideas done correctly rather than haphazardly.

Starring: Alexia Rasmussen, Alexa Havins, Kristina Klebe, and Joe Swanberg. Directed by: Zack Parker.