The Blazing World

Written by Patrick Hao


The Blazing World is part of a concerning trend with genre movies in which filmmakers and the film press feel like in order to instill these films with a sense of importance, these films have to be didactically about real world trauma. The Babadook, a movie I love, is the first one of these films that come to mind in the way that the press hailed it as great because it tackled such heavy subject matter like postpartum depression. As that movie garnered praise and attention, more and more genre films have seemingly felt the need to be shallow and explicit about the very “trauma” at their core.

Recent examples, such as Candyman, The Night House, and the David Gordon Green’s new Halloween movies come to mind as films that put the subtext as text in a way that feels self-conscious in asserting their importance to the public discourse of trauma. This feels especially disconcerting given that a genre like horror has always been about trauma as the root of fear, but it was allowed to exist as subtext. The Blazing World lives in a pretentious self-consciousness.

The title, The Blazing World, comes from Margaret Cavendish’s seminal 17th century story about a utopian society, but this film has little to do with that, having drawn more inspiration story and style-wise from C.S. Lewis or Lewis Carroll. The film follows Margaret who accidentally drowns her sister as a child while her parents (Vinessa Shaw and Dermot Mulroney) are fighting. As she contemplates suicide, she is whisked away to somewhere else through the help of a man named Lained (Udo Kier as an Udo Kier type) and a portal. Now, as an adult (played by the writer-director Carlson Young) as she returns home, she is on a surrealist journey fueled by her subconscious defined by trauma and loss.

As Carlson Young’s debut feature after spending more than a decade as a young actress doing Disney television and Scream Queens, it is easy to understand that Young wanted to throw everything at the wall to see what stuck. Her surrealist subconscious is bathed in different hues and seems informed by works from Lynch and Jodorowsky. But, in how misguided it is, The Blazing World is probably more like Terry Gilliam’s Tideland

The world that Margaret finds herself in is neither surreal enough to allow the dreamscape to wash over the viewer nor tethered in emotions that are relatable. There is barely even tension in some of the horror focused scenes. Any room left open to interpretation is undercut by the fact that we are supposed to be seeing this as a trigger of Margaret’s trauma. There is even a character who explicitly tells Margaret what she is going through is traumatic.

The lighting and production design is also self consciously cool. The aesthetic may be best described as mid-2010s Tumblr chic with “One Perfect Shot” energy. It’s so self consciously cool that it might as well be this Letterboxd list – cool to look at but devoid of substance. But, as a calling card, Young certainly displays enough of any eye to deserve a bigger budget, and maybe a better script. It’s also hard to be too harsh on a film like The Blazing World. It is clearly a personal passion project with a lot to prove. But it also seems emblematic of a trend in genre movies that should be quickly reversed. Let subtext be subtext.

The Blazing World Trailer

The Blazing World will be available in limited theatrical release and to rent and purchase on most major VOD platforms on October 15th.

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Everybody Wants Some!!

Written by Michael Clawson


Richard Linklater’s “Everybody Wants Some!!”, a so-called “spiritual sequel” to the director’s 1993 film “Dazed and Confused”, is set in Texas circa 1980 and follows a group of college baseball players reveling through their last weekend before the start of Fall classes. The focus is on Jake, a Freshman pitcher (played by Blake Jenner), who’s eager to explore his newfound freedom and to whom class is a mere afterthought. The upperclassmen, some of whom are more welcoming than others, are both quirky and highly self-assured. They take it upon themselves to show Jake and his fellow newcomers that although the upcoming baseball season is bound to be a good one, the real fun will be had off the field. “Work hard, play harder” best summarizes their philosophy.

The players spend the weekend bouncing from one venue to the next in pursuit of booze, sex, and camaraderie as if they were fraternity brothers, not athletes. This movie is not, however, a re-imagining of “Animal House”. Linklater has a more meaningful story to tell and his telling of it is simply a blast to absorb. He substitutes titillation for a more honest and nuanced depiction of young adults engaged in both pleasure-seeking and self-identification. In order to keep the alcohol flowing, the team ventures from a disco club, their stomping ground, to a country bar, a punk-rock show, and a party hosted by the performing arts “nerds”. As they do so, we watch them grow to understand that despite their identification first and foremost as baseball players, experiencing other cultural scenes is just as much fun as luxuriating at their home base. Linklater seems to posit that we each take our own road to adulthood, but what unifies our experience is the desire to have as much fun as we can along the way.

A few things detract from what overall is a highly enjoyable movie. One is that the film’s undoubtedly male perspective is occasionally overbearing. The camera tends to ogle the women, which is unfortunate considering that not all of the movie’s themes are applicable to men specifically. Secondly, the romance that blossoms in the story’s second half (Jake falls for a Theater student named Beverly, played by Zoey Deutch) feels a tad too good to be true. Nonetheless, I’d wager that “Everybody Wants Some!!” will hold up over time just as its predecessor has.

Everybody Wants Some Trailer

Everybody Wants Some!! is available on VOD