Louis C.K.: Oh My God

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Louis C.K.: Oh My God by Louis C.K.

I have no intention of going through and naming each comedy bit, that would ruin the surprise and fun of watching this new hour from Louis C.K.. The core of C.K.’s comedy is not the material itself. He is not reliant on comedy mechanics for laughs. Nothing he says ever feels like a joke in the traditional ‘setup, punchline’ sensibility. No, the humor is sourced in his energy and inflections, where the audience is experiencing the world through his point of view as if we were in his body, thoughts or fantasies. Sometimes it’s all three.

Often I find myself laughing at his word choices and visual descriptions. At times, he’s merely just stating the obvious. But the way C.K. utilizes a metaphor or simile is artful in how he can conjoin two separate ideas together, where he can wormhole the audience’s minds to some unexpected grotesque places for comparisons. And then he builds on it by acting out these ridiculous thought trains. There was also one improvisational moment where he accidentally spills water and he comments on it that had me aching in laughter. The bit he did as his closer was truly the climax of this new hour.

C.K. makes a point that being older makes a more intelligent and interesting person. He is the living embodiment of his own point. We’re watching a comedian who has grown into himself, and we’re intrigued not just for the laughs, but because he has something to say. A voice with true gravitas that he has earned from living a life.

And for that, Louis C.K. seems eternally connected to the grotesque and the morbid, but it’s all enwrapped over a positive message: appreciate life and what you have. That’s how he gets away with saying very horrible things on stage. As an audience member and a student of stand-up comedy, I enjoy watching him get away with it.

We Need To Talk About Kevin by Lynne Ramsay

We Need To Talk About Kevin by Lynne Ramsay

There are three Louis C.K. jokes about how parenting is the hardest job in the world, it is the only job you cannot quit and yet parents are never allowed to say it is hard in front of people. That idea taken to an extreme is the premise of We Need To Talk About Kevin.

What is that extreme? It is the worst child imaginable. The kid Kevin (played by Ezra Miller) in this movie is an evil cunt (excuse my French, but if you see this movie, you will understand) whose sole purpose is to hurt people without purpose. Why does he hurt people? He doesn’t even know, he just enjoys it with zero empathy. I hope Ezra Miller can get a date after the film’s release. Yes, it’s that kind of performance.

It’s funny how stories can take you places and make you feel things that would never be okay in real life. I remember watching Vicky Cristina Barcelona and remember rooting for Javier Bardem, Scarlett Johannson and Penelope Cruz’s odd threesome relationship because it made them all happy. I laughed, going “Damn you, Woody Allen for making me feel like this.” That’s what makes watching movies fun. And here’s the thing with this film: I wanted Kevin to die. I was thinking up horrible ways for him to die throughout the entire movie. The worst scenario I was wishing was Kevin’s mother Eva (played by Tilda Swinton) to curb stomp him and get it over with. We Need To Talk About Kevin took me to an unique place, an uncomfortable place sure, but somewhere I have never quite been – wanting a little child to die so her mom can be free of him.

Speaking of the mother, the story completely hangs on Tilda Swinton’s performance. Completely. There are scenes where the viewer is fully omitted from what she’s looking at, but we’re only allowed to interpret what it is through her facial reactions. She constantly plays two opposing emotions against each other. Her character Eva feels remorse for bringing this little motherfucker into existence but out of her duty as a mother she must stick by him. The ultimate tragedy is that Kevin came out of her womb. As a mother she is symbiotically connected to him (and the film underplays that as part of it’s unnerving tension) and therefore responsible for his actions, even though she completely probably wishes she never had him to begin with.

The soundscape in this film is very noteworthy. It represents Eva’s emotional state from her first person perspective. Much of the score is these dark tones, which helps physicalize experience Eva’s inner unexplainable turmoil. Throughout the film Kevin has a habit of doing little things with his hands that are unnerving: he’s mashing breakfast cereal into pieces, snapping Crayons in half, throwing jam/paint all over the place, rolling bread rolls into little balls as if he’s constantly picking at his mother’s patience. Contrastingly, Eva hands are constantly cleaning, wiping, scrapping, as if she’s trying to wipe the imprint of her son away. All these little sounds helps you experience what it’s like being right up close to Kevin and how anarchic and annoying he is. We experience her personal first-person version of hell and it’s an unnerving experience.

There’s a running motif with the colour red, it follows with Eva in her younger pre-Kevin years and eventually the color red appears along with Kevin. It’s meaning develops into different things as the story progresses along. It physicalized the symbiotic relationship between the mother and the son. It represented other things too, but I won’t go into it any further. Yes, spot the colour red!

Lynne Ramsay understands faces and how it can evoke a feeling like a landscape (Seriously, Google Ezra Miller’s face or look at his face above). I like this trait in a director. I can’t explain it.

This was very well done. There’s a lot of craft to telling a great story. I can’t recommend it more! Damn, I’m going to have to come up with a Top Ten List for 2011.

P.S. A reason to watch the end credits. This movie has a “Computer Virus Maker”.