It's always nice to go into a movie(s) cold and emerge jazzed about possibilities. Case in point, Paul Bunnell's double bill DVD. THE VISITANT is very Lynchian in structure, in that the details divulged at the climax completely make sense of the bizarre strings of events unfolding throughout. A disarming mood
piece, for sure, with a most excellent score, and there's one shot that's textbook composition: the visitant framed from about twenty feet behind a locked gate, under an open-air cemetery structure. That was totally brilliant. The opening shots remind me a lot of NIGHT OF THE LIVING DEAD in how it's cut. That had to be intentional.
THAT LITTLE MONSTER is very ERASERHEAD. Beautiful cinematography (with some stunning shots: the blood falling on the doorway beads; the first approach to the monster's door which leads to an Olympian ascent over, around, and inside it; a bird's eye slow motion view of the monster tackling the babysitter through the doorway) and nice attention to design. Wow. Bob Hope. That's absolutely fantastic, ambitious. Perhaps because a minority of scattershot buzz prefaced the DVD with a frown towards story and structure, I went in looking at it as very European: loose and experimental. True, American studio narrative cronies might advocate cuts here, cuts there, tighten this, tighten that...but I think that's missing the point with what Bunnell achieved with both (with the latter, I kept thinking of all the genre in-jokes, not to mention casting coups...it's totally a TALES FROM THE DARKSIDE, and most certainly, their loss). The curtain introduction is exceedingly funny, by the way.
And hey, I LIKE chocolate-covered raisins. ;)