movies: The Revenant and Stalker
Mar. 21st, 2026 11:58 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
snickficThe Revenant (2015). A wilderness guide (Leonardo Dicaprio) left for dead after being mauled by a bear goes on a revenge quest against the trapper (Tom Hardy) who killed his son.
As suggested by that summary, this extremely whumpy, if you're into that, to a point well beyond realism. Somehow our guy Glass struggles through total wilderness for tens of miles with myriad open wounds and a broken leg, and rather than dying of deprivation, exposure, or infection, he actually gets better. By the end of the movie he's barely even hobbling anymore. Also, the people in this movie spend so much time tromping through and even immersed in barely-melted icewater that I expected them to either die of hypothermia or lose some toes to frostbite in the first twenty minutes.
This is also an incredibly linear movie. There are no surprises here, no unexpected decisions or developments. No depths of character are revealed. It's also incredibly male-centric. The only female character with lines is Glass's wife, who's dead before the movie even starts, and the only other woman on screen is a Native woman-shaped Macguffin who gets raped on screen, then rescued, but never gets to speak. Even worse than that, to me, is that we get nothing of Glass's relationship with his half-Pawnee son at all. Other than simmering resentment over unjust treatment, we don't have any sense of the kid's personality or Glass's dynamic with him, which makes for a weaker movie and also makes it hard to believe in the movie's pretensions of giving a shit about the effect of European colonization on Native peoples.
I watched this for the scenery, and I will say it was great on that front. Lots of snowy crags, excellent! I also really enjoyed Will Poulter and Domhnall Gleeson, who round out the cast.
Cannot believe this beat Mad Max: Fury Road for best picture.
--
Stalker (1979). Wikipedia summary: a man called a stalker guides two clients through a hazardous wasteland to a mysterious restricted site known simply as the "Zone", where there supposedly exists a room which grants a person's innermost desires.
This is a Soviet movie by director Andrei Tarkovsky, who also did Solaris. If I'd realized that, I could have better set my expectations for this movie. I watched it because the premise gave me cosmic horror vibes and specifically because it felt like a precursor to a bunch of more recent cosmic horror that I've loved or at least loved concepts from, including Jeff Vandermeer's Southern Reach trilogy and movies like A Dark Song, Malefique, YellowBrickRoad, and Antrum: The Deadliest Film Ever Made. (If you're not familiar, this a hilariously idiosyncratic list of widely varying quality, lol. There's a reason you probably haven't heard of most of those.) Maybe, I said, this is the original source of these other things I love!
Unfortunately, while this does promise many horrors, it delivers none of them. Very possibly it was an inspiration for those other things, but in the sense that other people watched this and were like, "okay but what if this were actually a horror movie."
The first hour or so is my favorite; I was genuinely shocked when the sepia filters of the real world give way to full color in the Zone, and there's some great tension as our stalker navigates the Zone using methods that hint at incomprehensible dangers. However, the longer we go without encountering any of those dangers, the harder it is to believe in them. By the time we finally arrive at the possibly magical room, I was more than half convinced that the dangers were all imagined, and the glimpse of two decaying skeletons came too late to change my mind. And then! We DON'T EVEN GO INTO THE ROOM. NO ONE GOES INTO THE ROOM. *flips over table*
Tarkovsky was not trying to make the movie I wanted to watch; he was much more interested in big philosophical questions and really long takes, and I gather this is considered an all-time classic for those reasons.
This was apparently an adaptation-in-name-only of the Strugatsky Brothers' novel Roadside Picnic, which I happen to have already have on hold at the library for unrelated reasons. I'm interested to see how it compares.
As suggested by that summary, this extremely whumpy, if you're into that, to a point well beyond realism. Somehow our guy Glass struggles through total wilderness for tens of miles with myriad open wounds and a broken leg, and rather than dying of deprivation, exposure, or infection, he actually gets better. By the end of the movie he's barely even hobbling anymore. Also, the people in this movie spend so much time tromping through and even immersed in barely-melted icewater that I expected them to either die of hypothermia or lose some toes to frostbite in the first twenty minutes.
This is also an incredibly linear movie. There are no surprises here, no unexpected decisions or developments. No depths of character are revealed. It's also incredibly male-centric. The only female character with lines is Glass's wife, who's dead before the movie even starts, and the only other woman on screen is a Native woman-shaped Macguffin who gets raped on screen, then rescued, but never gets to speak. Even worse than that, to me, is that we get nothing of Glass's relationship with his half-Pawnee son at all. Other than simmering resentment over unjust treatment, we don't have any sense of the kid's personality or Glass's dynamic with him, which makes for a weaker movie and also makes it hard to believe in the movie's pretensions of giving a shit about the effect of European colonization on Native peoples.
I watched this for the scenery, and I will say it was great on that front. Lots of snowy crags, excellent! I also really enjoyed Will Poulter and Domhnall Gleeson, who round out the cast.
Cannot believe this beat Mad Max: Fury Road for best picture.
--
Stalker (1979). Wikipedia summary: a man called a stalker guides two clients through a hazardous wasteland to a mysterious restricted site known simply as the "Zone", where there supposedly exists a room which grants a person's innermost desires.
This is a Soviet movie by director Andrei Tarkovsky, who also did Solaris. If I'd realized that, I could have better set my expectations for this movie. I watched it because the premise gave me cosmic horror vibes and specifically because it felt like a precursor to a bunch of more recent cosmic horror that I've loved or at least loved concepts from, including Jeff Vandermeer's Southern Reach trilogy and movies like A Dark Song, Malefique, YellowBrickRoad, and Antrum: The Deadliest Film Ever Made. (If you're not familiar, this a hilariously idiosyncratic list of widely varying quality, lol. There's a reason you probably haven't heard of most of those.) Maybe, I said, this is the original source of these other things I love!
Unfortunately, while this does promise many horrors, it delivers none of them. Very possibly it was an inspiration for those other things, but in the sense that other people watched this and were like, "okay but what if this were actually a horror movie."
The first hour or so is my favorite; I was genuinely shocked when the sepia filters of the real world give way to full color in the Zone, and there's some great tension as our stalker navigates the Zone using methods that hint at incomprehensible dangers. However, the longer we go without encountering any of those dangers, the harder it is to believe in them. By the time we finally arrive at the possibly magical room, I was more than half convinced that the dangers were all imagined, and the glimpse of two decaying skeletons came too late to change my mind. And then! We DON'T EVEN GO INTO THE ROOM. NO ONE GOES INTO THE ROOM. *flips over table*
Tarkovsky was not trying to make the movie I wanted to watch; he was much more interested in big philosophical questions and really long takes, and I gather this is considered an all-time classic for those reasons.
This was apparently an adaptation-in-name-only of the Strugatsky Brothers' novel Roadside Picnic, which I happen to have already have on hold at the library for unrelated reasons. I'm interested to see how it compares.
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